In the spandrels are the usual winged Victories while on the keystones are figures of Roma (or Virtus) towards the Colosseum, and the Genius populi Romani (or Bonus Eventus 3 The frieze 2Ĭontains a procession of various personages both civil and military, and of animals being led to sacrifice we may recognise a personification of the river god of the Jordan in a recumbent figure, carried by three men. In the centre of the ceiling of the archway, which is finished in soffits ( lacunaria), is a relief of the apotheosis of Titus, representing him (or rather his bust) as being carried up to heaven by an eagle. Representing Titus standing in a quadriga, the horses of which are led by Roma, while Victory crowns the emperor with laurel as he passes through a triumphal arch. On the inner jambs of the arch are the two famous reliefs ( PBS III.276‑279 V.178 Strong, cit.), that on the south The capitals of these columns are the earliest examples of the Composite style. On each side is an engaged and fluted Corinthian column, standing on a square pedestal. Inscription, which is preserved only on the east side. ![]() Above it is a simple entablature, and an attic 4.40 metres in height, on which is the The archway is 8.30 metres high and 5.36 wide. The arch was constructed of Pentelic marble, and is 13.50 metres wide, 15.40 high, and 4.75 deep. It is, however, far more likely that the pavement belongs to the pre-Neronian period, and that the position of the arch was the only one possible, given the existence of the vestibule of the domus Aurea. The foundations of the arch stand on the pavement of theĬlivus Palatinus (q.v.), and therefore it has been thought by some that the arch stood originally farther north and was moved when The frieze andĪre therefore preserved only on the side towards theĬolosseum. The injury to the structure was so great that it was taken down in 1822 and rebuilt by Valadier, a who restored a large part of the attic and the outer half of both piers in travertine. In the Middle Ages it formed part of the stronghold of the Frangipani,Ī chamber was constructed in the upper part of the archway, and the level of the roadway was lowered considerably, exposing the travertine foundations. The theory that it was erected under Nerva and Trajan is improbable There is no mention of this arch in ancient literature, though it may be alluded to by Martial di Napoli XXIV. (1906), 227‑262, 1īut not finished and dedicated until after his death ( CIL VI.945). ![]() ThayerĮrected in honour of Titus and in commemoration of the siege of Jerusalem in summa Tiny timeline: ancient Egypt and Mesopotamia in a global context, 2nd–1st millennia B.C.E.Samuel Ball Platner (as completed and revised by Thomas Ashby):Ī Topographical Dictionary of Ancient Rome,īlack-and‑white images are from Platner any color photos are mine © William P. Elena FitzPatrick Sifford on casta paintingsīrowse this content A beginner's guide Tiny timeline: ancient Egypt and Mesopotamia in a global context, 5th–3rd millennia B.C.E. Reframing Art History, a new kind of textbook.Not your grandfather’s art history: a BIPOC Reader.With 503 contributors from 201 colleges, universities, museums, and researchĬenters, Smarthistory is the most-visited art history resource in the world. We believe that the brilliant histories of art belong to everyone, no matter their background. At Smarthistory, the Center for Public Art History, we believe art has the power to transform lives and to build understanding across cultures.
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