Innovative treatment of perspective & illusion of depth and space. The most prominent feature of this relief is the men holding the menorah, so much attention to detail, that they use pillows on their shoulders to help ease the burden.The stretches held above the soldier’s heads, are raised above eye level, they are framed against an empty background and the viewer’s eye is drawn straight to them.The soldiers wear only tunics and laurel wreaths because it was tradition that before entering Rome, they had to leave their weapons outside the city walls.The upper portion of the panel has placards being paraded by soldiers (a common feature of all triumphal processions) they were inscribed with highlights of the campaign Triumphal arch ‘Porta Triumphalis’ Menorah (Jewish 7 branched candle-stick) Placards held by soldiers Arc of the Covenant Trumpets of Jericho 2m high Knees bent the weight of the plunder, Emphasising the amount & therefore the victory The heads bob up Irregularly showing Business, liveliness and Depth The South panel depicts Rome’s triumphant soldiers shouldering the spoils/ sacred objects taken from the Temple of Jerusalem after the war. Each is a continuous narrative which represents a section of the events from the triumphal parade of AD71.The triumph is recorded on a pair of relief panels that decorate the interior walls of the arch.
Depicts Titus being carried heavenward on The back of a large eagle. This scene is placed on the centre of the Coffered vault, over the main passage. (A common motif In Roman art) The Frieze is carved in high relief, & depicts a procession of figures Leading sacrificial animals (possibly Represents the Arch’s inauguration Ceremony) The spandrels are decorated in a relief of the winged Goddess of Victory flying through the air, carrying A battle trophy. A single gateway stands crowned by An entablature and attic storey.” The scroll is decorated on One side of the monument with the figure Of Roma & on the other with the figure of Fortuna. The architrave is supported by a Projecting key stone, which has been Carved into a scroll. inscription West attic entablature South North Engaged composite columns vault Exterior columns Are unfluted Interior columns are fluted pylon pylon Relief of Apotheosis (Titus on an eagle) East Construction materials:pentallic marble ĭiagram.Dates of Construction: Constructed and dedicated as a posthumous (after death) monument in AD81, by Titus brother and successor Domitian.Purpose:To celebrate Titus’ defeat of the Jews and destruction of Jerusalem and its temple in AD 7o.Inscription:The senate and people of Rome, To divine Titus Vespasian Augustus, Son of Divine Vespasian.Location:The Via Sacra (Sacred Way) in Rome.Spandrels (highlight in your glossary).Fasces – bundles of birch rods surrounding an axe.Vault – circular central part of an arch.Nero AD54- 68 Year of 4 emperors (AD 68 –AD69).Constantine AD 337-307 Julio-Claudian dynasty.
Atop the slender, fluted pillars, the capitals possess the volutes (scroll-like tops) of the Ionic and the ornate acanthus leaves common to the Corinthian.
The arch's ornamental columns are in the Composite order, which means that their capitals combine characteristics of the Ionic and Corinthian. The arch monument also created a passageway in the middle of the street, which required and encouraged passersby to walk throught and observe the relief sculptures celebrating Titus more closely. On a monument like this, the archway may have helped distribute the weight of a statue group displayed on top (now lost). Arches were integral to Roman architecture: they distributed weight far more effectively than the rectilinear post-and-lintel system that was more common in Greek architecture. Romans had been dedicating free-standing arches as monuments for nearly three centuries by the time the Senate and Roman People (SPQR) decreed this one for Titus. Artch for Titus, detail of the Composite column capital.
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