Arch of Titus in Rome brief description. Triumphal arches of Rome - Constantine, Titus, Septimius Severus
The triumphal arch of Constantine is one of the largest and best preserved of the times of ancient Rome. Unlike the arches of Septimius Severus and Titus, it can be viewed for free by walking around. You won't be able to get through it.
It is one of the most famous ancient Roman buildings, a vivid example of ancient architecture, a symbol of the decline of the great Roman Empire.
History reference
Unlike other triumphal arches, Konstantinov's symbolizes not a victory over an external enemy, but a triumph in a civil war. In October 312, Constantine utterly defeated the army of Mark Maxentius at the Milvian Bridge, showing himself to be an excellent strategist.
There is a legend that before this most important battle, Constantine had a sign: in a dream he saw the sign of the cross. He took the Christian symbol with him into battle and won a victory with it. Later, Constantine, named the Great, declared Christianity the sole religion of the empire and moved the capital to Constantinople.
The arch was built for three years and finished in 315. A squat monumental structure 21 meters high was erected, consisting of three spans, with a facade length of about 26 meters and a width of the end sides of 7.5 meters. Eight Corinthian columns of Numidian marble stood out on the frontal sides of the arch. Above them were statues of Dacians, made of marble of a different breed - light, with purple veins. The main part of the building was made of massive white marble blocks.
Decor
The builders took the decor for the arch from pre-existing Roman buildings: the creators of such a grandiose structure had little time to sculpt it. Three years for that era was considered a very short time. Historians suggest another explanation for this fact - the symbolic association of Constantine with the great rulers of the past. On some elements of the decor of the arch, images of earlier ruling emperors are guessed - they were given a resemblance to Emperor Constantine.
Attic
Eight statues for the attic arch were taken from . Eight bas-reliefs on the attic were transferred from another, previously destroyed arch from the time of Marcus Aurelius. The marble frieze was also borrowed - it was divided into four fragments and installed above the small arches and inside the main span. On these decorations, you can recognize military scenes from the time of Trajan. The medallions placed above the side arches depict hunting scenes of Emperor Hadrian.
Today, the Arch of Constantine is considered the most famous of the ancient Roman arches and the best preserved. It stands on the ancient road Via Triumphalis, between and. This arch has become a clear model for many of the later triumphal structures built in the world.
Entrance to this attraction is free.
How to get there
The nearest stop is Colosseo metro (line B).
You can get to Arka by bus:
51, 75, 85, 87, 118, No. 2 to the Colosseo stop;
75, 85, 87, 118, С3, №2, №10 - to Celio Vibenna.
By tram 3, 8 - to Piazza Del Colosseo.
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Year N. e. in memory of the capture of Jerusalem in the year n. e. Served as a model for many triumphal arches of the New Age.
The arch is widely known, first of all, for its bas-relief inside the span. It depicts a procession with trophies captured in Jerusalem.
There was also another, three-span arch of Titus, erected by the Senate in the year CE. e. at the eastern end of the Circus Maximus Racecourse.
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Subtitles
From a small hill on the Sacred Way near the Roman Forum we see the arch of Titus. It was built by his brother in honor of the deification of Titus and his victory in the Jewish War. During the sack of Jerusalem? Yes, that was in 70-71 AD. e. The arch was built about ten years later. It has a typical form of a triumphal arch - it is a single arch in the form of a barrel vault. The arch is framed by an adjoining, built-in column. In fact, these are the components of the arch. These are Corinthian columns, decorated with acanthus leaves, they are also twisted. This is a kind of amalgam of the Ionic and Corinthian columns, an innovation. We are on the side overlooking the Colosseum. It is likely that only the inner columns, or parts of them, are original. Yes. The arch has undergone a thorough restoration. Most of its parts are not original. But this gives an idea of appearance and arch dimensions. On its inner side there are two important relief sculptures, on one side the figures show the Roman army removing trophies from the temple in Jerusalem. Especially the menorah, which is clearly shown as a trophy and as a symbol of Rome's victory. Let's take a closer look: they carry the menorah on their shoulders in a parade procession. They enter the arch as part of the old tradition of triumphal processions, when trophy, treasure and slaves were taken from conquered countries to Rome and paraded for public humiliation. In this way, Rome demonstrated its power. Stylistically, she shows a wonderful sense of naturalism in the figures, how the folds of clothing fit against their bodies, showing their form. This creates a sense of movement and space. Distant figures are presented in low bas-relief, and closer ones - in high bas-relief. Their bodies really protrude from the wall. They come out almost completely. As the figures move through the arch on the right side, they return to space. So, here one feels amazing realism in relation to the body and to space. This contrasts very much with the Arch of Constantine, which we will visit later, where you can see the figures of the period of construction of this arch. These are not elements collected by Constantine from other sites, they date back to the fourth century. The proportions of the figures are not respected: they have rather large heads, and the folds of clothing are shown in a straight line. But on the arch of Titus, the folds look truly three-dimensional and follow the contours of the body. Interestingly, the arch itself faces the Colosseum, which was mainly built by a nobleman who came to Rome after the victory in Jerusalem. That's right. So, on the other hand, we see the emperor in a horse-drawn chariot. All figures look very naturalistic: they are located in a wonderful contraposta, some of them are partially or completely naked, you can feel the movement of horses. Together, these figures create a heroic picture. There is an amazing sense of rhythm. Rhythm is represented not only by the four horses driving a chariot, which are often depicted on triumphal arches at the top in bronze, but also a sense of rhythm is created by the image towering above the crowd of spears. It turns out an interesting type of visual rhythm moving in space. The image of the spears echoes the verticals of the horses' legs from below. It turns out something like an average composition filled with the bodies of horses and figures of people. In addition, there are a number of visual rhythms. We see a picture and think that the action is happening before our eyes. The emperor is at the head of the procession. There is a sense of the real moment. It's true. Interestingly, by the time the arch was built by the brother of Titus, the latter had already been deified and had that special greatness and special power. Before us is a kind of mixture of the real and the unreal - an allegorical figure of victory. Developing symbols of victory behind the emperor in a chariot. In this arch we see a mixture of the real and the allegorical. Subtitles by the Amara.org community
History of appearance
Jewish war
Initially, the rebels were successful: Cestius Gallus with the XII legion was forced to retreat. However, the commander Vespasian was sent to help him. The latter quickly captured Galilee and captured the local leader of the uprising, Joseph ben Matityahu. Later, this Joseph became known as Joseph Flavius, and he described the uprising in his book The Jewish War.
In the meantime, most of the rebels took refuge in Jerusalem, where they promptly began internal strife. The head of the moderate group, the high priest Anna, was killed, and the Zealots themselves split into three groups, under the leadership of Simon bar Giora, John Giskalsky and Eleazar.
In 69, Vespasian was proclaimed emperor and went to Rome. The command of the troops was taken over by his son Titus. For five months he besieged Jerusalem, which in the meantime began a severe famine. As a result, in the year 70 the city was taken, plundered and destroyed. The main shrine of Judaism, the Jerusalem Temple was burned, its valuables were stolen. The inhabitants of the city were killed or sold into slavery. The leaders, Simon and John, among others, were taken captive. Three years later fell last stronghold rebels - the fortress of Masada.
Triumph
Upon returning to Rome, a triple triumph was arranged for the winners: the emperor Vespasian, Titus, and also the second son of the emperor Domitian.
Here is how the witness of the events Josephus Flavius describes this triumph:
[Even before leaving for Rome] from the prisoners of war [Titus] ordered to separate the leaders, Simon and John, and besides them 700 people, distinguished by their growth and beauty, and immediately send them to Italy, since he meant to bring them out in a triumphal procession .<…>
It is impossible to adequately describe the mass of sights that were shown and the luxury of decorations in which the imagination was refined, or the splendor of everything that fantasy can only imagine as: works of art, luxury items and rarities found in nature. For almost everything precious and worthy of admiration that the wealthy had ever acquired, and that was considered to be such individuals, was all that day put on display. […] Then animals of different breeds were led, each decorated with appropriate decorations. […] The clothes of those who were chosen to participate in the procession were especially rich and magnificent. Even the crowd of captives was not simply dressed: the variegation and splendor of the colors of their costumes brightened up the sad look of these emaciated people. But the greatest surprise was aroused by the magnificent litter, which was so huge that the spectators only feared for the safety of those who carried them. Many of them had three, even four floors. […] Numerous individual images reproduced the war in its main moments extremely vividly. […] The artistic performance and grandeur of these images represented the events, as it were, with their own eyes and for those who were not eyewitnesses of them. On each of these structures, the head of the conquered city was also represented at the moment when he was taken prisoner. Then followed also many ships. Prey items were worn in masses; but those that were taken from the temple attracted special attention, namely: a golden table, which weighed many talents, and a golden lamp, which had a shape different from those that are usually used among us. In the very middle, a pillar-like rod rose from the foot, from which thin branches protruded, arranged like a trident; at the top of each ledge was a lamp; all the lamps were seven, symbolically depicting the week of the Jews. Last in the line of booty was the Law of the Jews. […] Later, Vespasian rode, followed by Titus, and Domitian, in magnificent attire, rode at the side on a horse worthy of surprise.
The ultimate goal of the triumphal procession was the Temple Jupiter Capitol. Here, according to the old custom, everyone must wait until the messenger announces the death of the enemy leader. It was Simon, the son of Giora, who participated in the procession among other captives. […] When his death was announced, there was general rejoicing and then the sacrifices began.
Description of the arch
The height of the monument is 15.4 m, the width is 13.5 m, the depth of the span is 4.75 m, the width of the span is 5.33 m.
The semi-columns that decorate the arch are the first known example of a composite order. Four winged Victorias are carved in the corners near the span of the arch. Inside the span there are two bas-reliefs: a procession with trophies captured in Jerusalem (the menorah stands out especially), and the emperor Titus driving a quadriga. The statue of Titus on the quadriga was also at the top of the arch, but has not survived to this day. On the soffit there is a bas-relief depicting the apotheosis (obtaining the divine essence) of the emperor.
In the Middle Ages, the arch of Titus was included in the fortification, later part of it was destroyed. During the reign of Pope Pius VII, Giuseppe Valadier restored the monument. To mark the elements he recreated, Valadier made them from
This term has other meanings, see Arc de Triomphe (meanings). Triumphal Arch of Titus (81 years old) ... Wikipedia
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A separate monumental structure in the form of an arch on pillars, often crowned with an attic (a wall above the cornice), erected on the occasion of a triumph - the solemn entry of the victorious commander into Rome. Triumphal arches were also erected to commemorate ... ... Art Encyclopedia
This term has other meanings, see Arc de Triomphe (meanings). Triumphal Arch Triumphal Arch of Septimius Severus Arco di Settimio Severo ... Wikipedia
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Triumphal Arch- Rome, an architectural structure, installed on roads and squares, had one or three passages, an attic, on which the one in whose honor the T. a. was installed was depicted in a chariot. The reason for its construction could be, for example, ... ... Dictionary of antiquity
Triumphal gates, permanent or temporary monumental framing of the passage (usually arched), a solemn building in honor of military victories and other significant events (Triumphal Arch of Titus in Rome, 81; Triumphal Gates in Moscow, ... ... encyclopedic Dictionary
Triumphal gates, permanent or temporary monumental decoration of the passage (usually arched) or a solemn structure in honor of military victories and significant events. They have one or three spans covered by semi-cylindrical ... ... Art Encyclopedia
- (lat. Arcus Tiberius), a triumphal arch in the Roman Forum, built in honor of the return of Roman standards (by Germanicus in 15 or 16 AD), lost in the battle in the Teutoburg Forest. The arch was located on the territory between the Temple ... ... Wikipedia
triumphal arch- (lat. triumphus victory) a monumental decoration of a passage or a solemn structure in honor of military victories and significant events. As a rule, triumphal arches have three symmetrical spans (rarely one) end with an entablature and ... ... Architectural Dictionary
The arch of Titus shown in the photo in Rome is one of the most famous monuments Eternal City. It was built by Domitian in 81 AD. e. in honor of the victory of Titus and Vespasian in the war against the Jews and their complete annihilation in 70 AD. One of the wall reliefs inside the arch shows the trophies of the great Temple in Jerusalem before its destruction. Another relief depicts the apotheosis of Titus, who is carried to heaven on the wings of eagles.
Description
A relief on the south side of the triumphal arch of Titus in Rome depicts one of the scenes of this event: Roman soldiers carrying trophies after the destruction of the Temple in Jerusalem in 70 CE. e., including the menorah (seven-horned lamp), which was kept in the temple. The Romans in triumphal procession laurel wreaths, and those who carry the menorah have pillows on their shoulders. Soldiers carry signs dedicated to the victories of Titus. This group is just a few of the hundreds of the actual triumphal procession that took place along the Sacred Way in Rome. The whole procession is about to enter the carved arch.
The second scene on the north side of the triumphal arch of Titus in ancient Rome depicts the procession of Roman soldiers who conquered Jerusalem. Titus - in his chariot, quadriga, with winged victory riding beside him, who places a wreath on his head, the goddess Virtus (Virtuta) leads the horses. Soldiers are also depicted there.
Roman triumph
The Roman triumph was an ancient martial tradition: it was a parade, the symbolic climax of which often resulted in the victorious commander (triumphant) receiving semi-divine status.
The tradition of triumph goes back to the founding of Rome. Romulus was the first to celebrate in this way the victory over Akron, the king of Caenina.
Victory in Judea
In the summer of 71 AD. e. Roman and Titus, his eldest son, put down an uprising in the Roman province of Judea and returned to Rome to celebrate this achievement.
Much was at stake for Vespasian and Titus, representatives of the Flavian dynasty, which was not particularly famous. The triumph of victory was shared by them, and the spectacle (as described by Flavius Josephus in his text known as "The Jewish War") rivaled that which Rome had ever seen. But the ritual of the triumph, its parade, even the semi-divine status inherent in the triumphant, was ephemeral. For this reason, the construction of permanent monuments (such as the Arch of Titus in Rome) served to become not only part of the urban landscape, but also the memory of the inhabitants of the city.
Meaning
The tradition of triumphal monuments connects the Flavians with the traditions of the Roman Republic. Early monuments were columns: for example, the rostral column (columna rostrata) of the consul Caius Duilius (circa 260 BC), as well as an early prototype of the triumphal arch, known as installed in the Roman Forum by Fabius Allobrogicus in 121 AD. Emperor Augustus also built a triumphal arch, although he reorganized the institution of the triumph itself. Because the Flavii were relative newcomers to the Roman power structure, they needed this kind of legitimization, and thus engaging in time-honored traditions of triumph and building monuments made a lot of sense.
The Arch of Titus in Rome is located in the high point Holy road. It is also a key point along the triumphal route (via Triumfalis - the road of the victors) that visually links the Flavian Amphitheater (known as the Colosseum) and the Roman Forum and the Capitoline Hill. Many triumphal parades have taken this route over the centuries, so the choice of site for the monument was not accidental, but rather a deliberate reminder that the triumph, as a ritual, created and strengthened the collective memory of the Romans.
This arch was a posthumous homage to Titus, built by his younger brother and successor Domitian (emperor, 81-96 AD). Another arch dedicated to Titus was located in the area of the Circus Maximus, but it survived only in the form of sculptural fragments and a medieval transcription of the dedication inscription. Recent archaeological excavations (2015) at the Circus Maximus have revealed previously unknown remains of this "lost" arch, including elements of its base.
Inscription
Preserved on the Arch of Titus in Rome since ancient times, it represents the dedication of the monument.
Her text reads:
POPVLVSQVE ROMANVS
DIVO TITO DIVI VESPASIANI F(ILIO)
VESPASIANO AVGVSTO
(The Senate and the Roman people (dedicates it) to the divine Titus Vespasian Augustus, son of the divine Vespasian).
The inscription shows public devotion on the part of the Senate and the Roman people (Senatus Populusque Romanus), and commemorates Titus' deified father, Vespasian, who died in 79 AD. This dedication is an example of the astute policy of power on the part of the emperor Domitian: he was too young to be part of the military triumph that his father and brother were honored with.
Recovery and current state
In the eleventh century, the Arch of Titus in Rome was incorporated into a fortress built by the Frangipani family, causing damage to the panel reliefs that are still visible today.
In 1821, during the pontificate of Pope Pius VII, Giuseppe Valadier took up the restoration of the surviving structure. In order to identify the parts that were restored, Valadier used travertine that was different from the original marble. During the restoration, the inscription on the western side was updated.
Influence
The Arch of Titus in Rome has long served as a source of artistic inspiration. Leon Battista Alberti was inspired by this form when he designed the façade of the Basilica of Sant'Andrea in Mantua (Italy) after 1472.
The Arch of Titus inspired many modern monuments, including the Arc de Triomphe in Paris (1806), the Stanford White Arch in Washington Square Park in New York (1892), the United States National Memorial Arch in Valley Forge National Historic Park, designed by Paul Philip Crete (1917) and Edward Lutyens' Indian Gate in New Delhi (1921).
Full of historical and cultural attractions. Each architectural masterpiece tells about important events centuries-old history of the capital of Italy. One of unique creations architecture of its heyday is located near the majestic Colosseum.
Arches in honor of the winners
Valiant commanders who returned with victory after long war, always met in the most solemn way. Ancient Rome was no exception. Since ancient times, special stone structures were erected in honor of the victors, in which their feat was immortalized. Courageous warriors proudly drove into the city through the constructed arches, where they were solemnly greeted with honors by the locals.
However, Constantine, which will be discussed in the article, was not completed at the time of the victorious return of the emperor. This is the only building in Rome erected after the victory in civil war, because most often such buildings were created in honor of the triumph over an external enemy.
Emperor Constantine and his merits
The impudent and ambitious Constantine from childhood wanted to become an emperor, and for this purpose he went to any lengths, removing those who were objectionable and hindering him from his path. The father of the young man - a famous commander - before his death transfers his powers to his son, and the Roman soldiers proclaim Constantine their emperor in advance.
At that time, the cruel despot Maxentius, who was hated by the city dwellers, ruled in Rome. A valiant warrior dreaming of the throne, who has chosen Christianity as his religion, sends his army to the enemy across the Alps. Knowing that Maxentius' forces far outnumber his army, Constantine prays for a long time, waiting for some heavenly sign.
sign from above
In the annals there is a mention of a miracle that struck the enemy armies and surprised Constantine himself. After his requests for help in the upcoming battle, a cross from the sun's rays appears in the sky, and supposedly the inscription "Conquer by this" becomes visible in the clouds. The future emperor was confused, not knowing what to do, and at night Christ comes to him in a dream, urging him to go to war against the pagans and restore Christianity throughout the vast empire.
30-year-old Constantine, inspired by signs, goes into battle and defeats the tyrant's large army. In 312, the head of Maxentius was brought to Rome so that all the inhabitants looked at the defeated despot, and Constantine himself sat on the long-awaited imperial throne.
Transfer of the capital
Only 2 years later, the Triumphal Arch of Constantine dedicated to the victory appears. Rome paid for such a long wait for the emperor by moving the capital to the city of Byzantium, which became a Christian religious center, and the ruler himself was canonized. Even the mention of all the feats of arms on the huge arch did not stop the young emperor, who did not appreciate such a belated attention.
The largest arch
The triumphal arch of Constantine, erected with the money collected by the Senate and the people, is the "youngest" building of its kind. The monumental structure consists of 3 spans, the largest - the central one - and the winner was supposed to solemnly enter on a decorated chariot. The gigantic size and thickness of the marble arch make it one of the largest in the world. On both sides, the powerful building is surrounded by columns, the walls are decorated with exquisite bas-reliefs depicting scenes of victories of the valiant emperor.
Borrowing from other monuments
It is known that decorative statues and medallions transferred from other buildings were used to decorate the arch. bas-reliefs, dedicated to victory Constantine, were actually removed from historical monument, erected in honor of the victory of another glorious commander, Marcus Aurelius. Two-meter medallions, located between the columns, described the events associated with another emperor, only the head of the ancient Roman ruler Hadrian was replaced with the image of a fearless winner.
Such borrowing of elements from other historical monuments is explained by the fact that the Arc de Triomphe of Emperor Constantine in Rome was built in a very short time. Although many do not agree with this version, considering the unusual "eclecticism" as a simple lack of funds. Researchers who have carefully studied the documents of those eras agree that the huge structure needed elements that would give it a special status, and therefore the design of the arch was carried out in such an unusual way. Be that as it may, the monument of amazing beauty amazes with the power and magnificence of all living people.
Lavishly decorated masterpiece
The triumphal arch of Constantine in Rome, whose architecture was copied from a similar structure, was erected in such a way that it seems to everyone that it rests solely on mighty columns. Their lavishly decorated reliefs depict scenes of the captivity of wild barbarians by Roman soldiers. Above the central span of the arch rises a sculptural image of the goddess of victory - Victoria. These decorative ornaments date back to the reign of the conqueror of the pagans.
On the sides, the Triumphal Arch of Emperor Constantine is decorated with medallions, on which the deities of the Moon and the Sun race in chariots. The internal and external surfaces of the monument dedicated to the main triumph of the emperor are filled with sculptural works.
Immersion in ancient history
The triumphal arch of Constantine is surrounded by a high fence so that tourists from all over the globe they did not steal an ancient masterpiece of world culture for souvenirs. It must be said that yellow marble suffers greatly from weather conditions and exhaust gases.
Thousands of visitors every day look at amazing pictures, plunging into ancient history with long wars and bright, significant victories. The impressive building allows everyone to touch eternity, to forget about the vanity of the mortal world.
