1. The Arch of Titus

2. Basic Facts DIMENSIONS: 15.4m high, 13.5m wide, 4.75m deep DATE: 81 AD
LOCATION: Roman Forum (Rome) – on Sacred Way (Via Sacra) on triumphal route
COMMISSIONED BY: Domitian
MATERIALS: Pentelic marble
TYPE: single-vaulted triumphal arch
15.4m
4.75m
13.5m

3. INSCRIPTION: the Senate and People of Rome [dedicate this] to the Divine Titus, son of the Divine Vespasian (tells us arch was made after Titus’ death)
PURPOSE: To celebrate the 70AD victory in Judaea and the 71AD triumph of Titus and Vespasian. Titus defeated the Jewish rebellion in Judaea, sacked the Temple of Jerusalem, and drove out many Jews. Vespasian took part in the triumph, but does not appear on the arch – we don’t know why Domitian left him out
PROPAGANDA MESSAGE: Domitian (unpopular and a poor general) is trying to link himself to his very popular and competent brother – and maybe combat rumours he had a hand in Titus’ death??

4. Background
Roman triumphal arches were erected to commemorate triumphs, special celebrations awarded by the Senate to generals who had won major campaigns and had killed at least 5,000 of the enemy
In Imperial times only the Emperors or their family members get awarded triumphs
The Senate, priests, cartloads of spoils, animals for sacrifice and enemy prisoners would parade/ be dragged from the Campus Martius through the city to the Temple of Jupiter in the centre of Rome
The triumphator (victorious general) would be next, entering the city from the Campus Martius through the Porta Triumphalis (triumphal gate), riding in a chariot, dressed in a special toga and with his face painted red in the guise of Jupiter. Behind him stood a slave who held a golden wreath over his head and whispered in his ear a reminder that he was only a man.

5. Signs might be carried advertising particular victories
Following the Emperor would be the officers and then legions, clad in togas or tunics and wearing wreaths – they were not allowed armour/weapons inside the city
Signs might be carried advertising particular victories
At the end, the Emperor sacrificed to Jupiter
Triumphal arches, built to celebrate this great honour, were normally placed on the triumphal route to remind later armies/generals of earlier victories
Earlier arches have a single vault, later arches often have 3 vaults
Triumphator with slave holding wreath
Prisoners
Soldier in tunic with placard/sign describing victory

6. In this illustration, try to find: the Emperor – the spoils – the enemy prisoners – the Temple to Jupiter – the Porta Triumphalis – a triumphal arch – the officers and men

7. Temple to Jupiter on Capitoline
A triumphal arch
Spoils
Prisoners
Emperor
Officers in togas followed by men in tunics
Porta Triumphalis

8. Arch of Titus
Triumphal route

9. Construction Two massive piers/pylons supporting a vault
Above the vault is an entablature with a sculpted frieze and an attic, with an inscription
Frieze
Attic
Entablature
Vault
Piers

10. Decoration
Once had bronze statue of Emperor in quadriga (4 horse carriage) on top

11. Exterior
Engaged columns of Composite order – FIRST EVER EXAMPLE OF COMPOSITE ORDER!
Arch decorated with carved keystone – volute scroll and central figure – Roma on one side, not sure who on other side
Spandrels (triangular areas at top of arch) decorated with winged Victories carrying battle trophies
Frieze above vault shows sacrificial procession

12. Sacrificial procession – people and animals
Decorated keystone – Roma?
First ever Composite columns
Spandrels with winged Victories carrying battle standards

15. Interior
Most decoration in interior so future people walking/ soldiers marching through will see it
Inside vault – coffers (square designs cut into surface) with central scene of Titus’ apotheosis (becoming a god) – he is shown being carried to heaven on an eagle’s back

16. South Side Interior Panel
South side interior of pier – 2m high relief panel
Soldiers carrying spoils including the Jewish Menorah, Trumpets of Jericho and Ark of the Covenant, entering Porta Triumphalis
Figures are nearly life-size 2m

18. Menorah (seven-stemmed candle stick)
Trumpets of Jericho – according to Torah/Old Testament, they were used to break down the walls of Jericho
Ark of the Covenant – object holy to Jews – marked God’s promise to never create another great flood
Menorah (seven-stemmed candle stick)
Signs about key events in campaign against Jews
Porta Triumphalis
Soldiers in tunics or togas

19. Use of perspective – arch shown at an angle
Blank background at top to focus attention on spoils
Attention to detail – e.g. cushions on men’s shoulders who carry weight – adds realism
Variation in poses adds interest and sense of movement/ life
Main object of interest (menorah) placed towards back to give more sense of movement – viewer is waiting for it to sweep past them!
Lower relief so that figures appear to turn away from viewer to enter arch
Figures in centre are in highest relief so procession appears to be closest to the viewer

20. North side interior of pier – 2m high relief panel: Emperor Titus in quadriga being led into city by personifications of guardian spirits, Roma and Victory
Note – this mixture of real and divine figures/personifications is unique for its time but became very popular afterwards

22. Victory holding wreath over Titus’ head Titus as triumphator
Roma in helmet
Genius Senatus – Clad in toga
Genius Populi Romani – Guardian Spirit of Roman People – nude to waist

23. Blank background at top to focus attention on Emperor
Criss-crossing fasces to add visual interest
Emperor elevated above other figures to draw the eye
Emperor’s head carved separately for realistic portrait – has since been lost
Main object of interest (Emperor) again placed towards back to give more sense of movement
Foreground figures in highest relief to appear closer (e.g. horses’ legs projected fully from background but have broken off)
Overlapping (e.g. of horses) creates sense of depth

25. Practice Question from 2005 exam AS 90512 (3
Practice Question from 2005 exam AS (3.2) – worth 6 credits externally
What would you say to answer this Excellence question (Question G) from the 2005 NCEA exam?
Analyse how the sculptor has attempted to create an added sense of depth in the relief shown in Reproduction D. You must make TWO detailed points and provide examples to illustrate your answer.
Discuss TWO distinct points of similarity in the use of space between the relief in Reproduction D and the northern relief panel. Provide examples from BOTH reliefs to illustrate each point.

26. Practice Question Answer
Here’s what the examiners said…
(i) Typical points:
In the lower half, a juxtaposition of low and high relief has given the impression of figures in the background.
The placards are diagonally placed to give the impression of recession into space.
The relief in the central portion is higher than at the extremities – it ‘bulges’ – to make it seem that the extremities are disappearing into the distance.
(Other points are possible – overlapping acceptable – example required for each point.)
(ii) Similarities with northern relief panel:
Both friezes use receding diagonals to suggest three-dimensional space. In the case of the northern relief, this is done by depicting the fasces diagonally.
Both friezes have the top half almost vacant. By surrounding the figures that are there with space, they are given prominence. On the northern side, this is the fasces, as symbols of imperial power; and Titus himself, set above both humans and spirits.
In both friezes, the lower section is extraordinarily busy. In the case of the northern side, this is the overlapping legs of the horses pulling the quadriga, whereas on the southern side it is the jumble of legs of men in the procession.
(Other points are possible)