1. (1) (i) From which monument does this relief come? (ii) Where exactly in Rome is this monument located? [Ach] (i) Arch of Titus (ii) On / across the Sacred Way / Via Sacra / In / at the entrance to the Forum. Both answers are required.

2. (2) When was the monument erected? [ACH] (After) 81 AD

3. 3) (i) Who built this monument? (ii) How is this person related to the man whom the structure commemorates? [ACH] (i)Domitian (not just “the emperor at the time”). (ii)(ii) He was Titus’ brother. (iii)Both answers are required.

4. 4) Which historical event is celebrated in the relief depicted in this reproduction? [ACH] Sacking of Jerusalem.

5. 5) Identify and locate on the relief TWO items, other than the placards, that are being carried by members of the procession. [MER] In the central part of the relief – the menorah / seven-armed candleholder. The Table of the Shew Bread carried towards the front of the procession (not just “a holy table”). The trumpets of Rosh Hashana / Jericho, tied to the legs of the table (not just “sacred trumpets”). (Location NOT required.) Any TWO correct answers.

6. 6) (i) Describe in detail the other TWO relief panels on this structure. (ii) Explain the thematic relationship of the northern relief panel to the relief shown in Reproduction D. [MER] (i) Northern relief panel: Titus riding a chariot / quadriga surrounded by a winged figure representing Victory and divinities representing the Senate and People of Rome. Lictores in the background carry fasces. The procession is led by the Amazonian Valour or similar1. Vault frieze: An eagle carries Titus on his back as he ascends to the gods (an apotheosis scene). (ii) Thematic relationship: Northern frieze shows Titus in a traditional role as triumphator; links to this frieze celebrating his military victory over the Jews. (Other answers are possible.) Any ONE detailed description OR TWO descriptions of lesser detail. At least TWO points for each panel required for a detailed description. BOTH detailed descriptions and ONE comment on thematic relationship of the northern frieze. At least TWO points for each panel required for a detailed description.

7. 7) (i)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. (ii)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. [EXC] (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. BOTH parts of the question must be answered. For (ii), exemplification must be clear, but both friezes do not have to be mentioned if, in (i), there is a specific reference.

8. 8)(i) Explain in detail THREE ways in which the procession depicted in Reproduction D reflects typical features of a real triumphal procession in the city of Rome. (ii)Discuss ONE way in which the sculptor has taken artistic licence in order to present his version of this triumphal procession AND explain why he may have done so. [EXC] (i) Dress – the figures in the procession are without weaponry and wear only tunics, as was required when entering the city – even for soldiers. They are adorned with the laurel wreath representing victory, as was convention. The placards carried recorded the booty captured so that the crowd was made aware of the details of how successful Rome had been. The public display of crucial items of booty was typical as it helped to identify the location and extent of the victory. The arch that the procession passes under is the Porta Triumphalis, or the Gate of Triumphs. All those celebrating a victory procession had to pass under it. (ANY GATE or ARCH acceptable.) (ii) The display UP HIGHER of the treasures on stretchers is an artistic device to make them seem all the more clear. The absence of a significant crowd watching (or, indeed, participating) is unlikely on a public holiday. The likely reason is to keep the focus on Titus’ achievement. Apart from the Porta Triumphalis, there is no specific indication of a setting within Rome. The likely reason that no background buildings are included is to keep the booty prominent and clear. Inclusion of the arch itself – to reinforce the triumphal aspect BOTH parts of the question must be answered. THREE points for (i). For (ii), at least ONE point of explanation must be given. The explanatory section is in bold in the evidence column, but this should be generously interpreted.