Arch of Titus AD 81 So far we have studied: Portraiture Patrician carrying busts Philip the Arabian Commodus Religious Architecture Ara Pacis Pantheon Maison Caree Bacchus at Baalbek Now this is: Relief Sculpture

But first...a list of Emperors Julio-Claudian dynasty Augustus 27BC- AD14 Augustus 27BC- AD14 Tiberius AD Tiberius AD Caligula AD37 – 41 Caligula AD37 – 41 Claudius AD Claudius AD Nero AD Nero AD Year of 4 emperors (AD 68 –AD69) Galba Galba Otho Otho Vitellius Vitellius Flavian Dynasty Vespasian AD69-79 Vespasian AD69-79 Titus AD79-81 Titus AD79-81 Domitian AD Domitian AD Trajanic Dynasty Nerva AD96-98 Nerva AD96-98 Trajan AD Trajan AD Hadrian AD Hadrian AD Antonine Dynasty Antoninus Pius AD Antoninus Pius AD Marcus Aurelius AD Marcus Aurelius AD Lucis Verus AD Lucis Verus AD Commodus AD Commodus AD Severan dynasty (11 emperors) (11 emperors) Emperors during the height of crisis AD Philip the Arabian Philip the Arabian Many others (constant change) Many others (constant change) Constantine AD Constantine AD

Vocab list Pylons – 2 outside pillars of an arch Pylons – 2 outside pillars of an arch Vault – circular central part of an arch Vault – circular central part of an arch Posthumous – after death Posthumous – after death Fasces – bundles of birch rods surrounding an axe Fasces – bundles of birch rods surrounding an axe Keystone (highlight in your glossary) Keystone (highlight in your glossary) Spandrels (highlight in your glossary) Spandrels (highlight in your glossary) Apotheosis – becoming a god Apotheosis – becoming a god

Workbooks, p.45 The Via Sacra (Sacred Way) in Rome Location: The Via Sacra (Sacred Way) in Rome Arch Architectural type: Arch The senate and people of Rome, To divine Titus Vespasian Augustus, Son of Divine Vespasian Inscription: The senate and people of Rome, To divine Titus Vespasian Augustus, Son of Divine Vespasian To celebrate Titus’ defeat of the Jews and destruction of Jerusalem and its temple in AD 7o Purpose: To celebrate Titus’ defeat of the Jews and destruction of Jerusalem and its temple in AD 7o : Constructed and dedicated as a posthumous (after death) monument in AD81, by Titus brother and successor Domitian Dates of Construction: Constructed and dedicated as a posthumous (after death) monument in AD81, by Titus brother and successor Domitian pentallic marble Construction materials: pentallic marble 15m high & 12m wide Dimensions:15m high & 12m wide

Diagram... West North East South vault pylon attic entablature inscription Engaged composite columns Exterior columns Are unfluted Interior columns are fluted Relief of Apotheosis (Titus on an eagle)

“It is elegant in its simplicity. A single gateway stands crowned by An entablature and attic storey.” The architrave is supported by a Projecting key stone, which has been Carved into a scroll. The scroll is decorated on One side of the monument with the figure Of Roma & on the other with the figure of Fortuna.

The spandrels are decorated in a relief of the winged Goddess of Victory flying through the air, carrying A battle trophy. (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)

Apotheosis of Titus This scene is placed on the centre of the Coffered vault, over the main passage. Depicts Titus being carried heavenward on The back of a large eagle.

The triumph is recorded on a pair of relief panels that decorate the interior walls of the arch. The triumph is recorded on a pair of relief panels that decorate the interior walls of the arch. Each is a continuous narrative which represents a section of the events from the triumphal parade of AD71 Each is a continuous narrative which represents a section of the events from the triumphal parade of AD71

The South panel depicts Rome’s triumphant soldiers shouldering the spoils/ sacred objects taken from the Temple of Jerusalem after the war.

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 7 branched candle-stick) Menorah (Jewish 7 branched candle-stick) Placards held by soldiers Arc of the Covenant Trumpets of Jericho Triumphal arch ‘Porta Triumphalis’ 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 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 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 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 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 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 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

innovative treatment of perspective & illusion of depth and space. The figures standing closest to the viewer are carved in High relief, those at the back lie very flat. The marching soldiers appear to come from the left hand side of the panel, arc out towards the viewer & turn to enter the gateway

Emperor Titus depicted at rear of parade as Triumphator (Triumphant general). Emperor Titus depicted at rear of parade as Triumphator (Triumphant general). He is led through the city by personifications of the virtues most admired by Romans. He is led through the city by personifications of the virtues most admired by Romans. The north panel

Quadriga (4 horse chariot) Lead by Roma (warlike Personification of Rome) The winged goddess Victory crowns Titus with a Laurel Wreath Titus Figures either side of the chariot Genius Populi Romani (Guardian Spirit of Roman people) shown Nude to the waist & Genius Senatus (Guardian of Spirit of the Senate) in toga Background filled with Fasces, Traditionally carried by emperor’s attendants called Lictors

South panel Depiction of Titus travelling Through mix of human & semi Divine figures was innovative for its time It is as if the procession is swinging around a corner, the relief is carved deeper in the centre to create the image of the horses coming toward the viewer Head of Titus is missing, would have been a portrait carved separately & added to relief. To emphasise him, he is placed high above the ground against empty background – similar to highlighting spoils from the Jerusalem

*Interesting facts Its current appearance is the result of much restoration during the 19 th century. Its current appearance is the result of much restoration during the 19 th century. The arch had once been incorporated into a medieval fortress as part of its defences and a chamber was built into the vault of the arch – the large holes that held its support beams are still in the reliefs of the central passage The arch had once been incorporated into a medieval fortress as part of its defences and a chamber was built into the vault of the arch – the large holes that held its support beams are still in the reliefs of the central passage Inscription was once in bronze, the latin phrase “Senatus Populusque Romanus” or ‘SPQR’ translates to ‘the senate and people of Rome’, is a common feature of Roman monuments. Inscription was once in bronze, the latin phrase “Senatus Populusque Romanus” or ‘SPQR’ translates to ‘the senate and people of Rome’, is a common feature of Roman monuments. Top of the arch once had a bronze statue of a quadriga on it Top of the arch once had a bronze statue of a quadriga on it