ARCUS TITI
erected in honour of Titus and in commemoration of the siege
of Jerusalem in summa Sacra via (Haterii relief,
CIL vi. 19151; Mem.
Accad. di Napoli xxiv.
(1906), 227-262,
1 but not finished and dedicated
until after his death (
CIL vi. 945). There is no mention of this arch in
ancient literature, though it may be alluded to by Martial (de spect. 2)
quoted s.v. DOMUS AUREA (p. 167). The theory that it was erected
under Nerva and Trajan is improbable (CJ 1915-16, 131-141). In the
Middle Ages it formed part of the stronghold of the Frangipani, a chamber
was constructed in the upper part of the archway, and the level of the
roadway was lowered considerably, exposing the travertine foundations.
The injury to the structure was so great that it was taken down in 1822
and rebuilt by Valadier, who restored a large part of the attic and the
outer half of both piers in travertine. The frieze and inscription are
therefore preserved only on the side towards the Colosseum. The foundations of the arch stand on the pavement of the
CLIVUS PALATINUS (q.v.),
and therefore it has been thought by some that the arch stood originally
farther north and was moved when the temple of Venus and Roma was
built (
CR 1902, 286;
Mitt. 1905, 118;
BPW 1908, 1034; Me1. 1908,
247-248).
It is, however, far more likely that the pavement belongs to the
pre-Neronian period, and that the position of the arch was the only one
possible, given the existence of the vestibule of the domus Aurea. The
arch was constructed of Pentelic marble, and is 13.50 metres wide,
15.40 high, and 4.75 deep. The archway is 8.30 metres high and 5.36
wide. Above it is a simple entablature, and an attic 4.40 metres in
height, on which is the inscription, which is preserved only on the east
side. On each side is an engaged and fluted Corinthian column, standing
on a square pedestal. The capitals of these columns are the earliest
examples of the Composite style. On the inner jambs of the arch are
the two famous reliefs (
PBS iii. 276-279;
v. 178; Strong, cit.), that on
the south representing the spoils from the temple at Jerusalem, the
table of shewbread, the seven-branched candlestick, and the silver
trumpets, which are being carried in triumph into the city; and that
on the north representing Titus standing in a quadriga, the horses of
which are led by Roma, while Victory crowns the emperor with laurel
as he passes through a triumphal arch. In the centre of the ceiling of
the archway, which is finished in soffits (
lacunaria), is a relief of the
apotheosis of Titus, representing him (or rather his bust) as being carried
up to heaven by an eagle. The frieze
2 contains a procession of various
personages both civil and military, and of animals being led to sacrifice;
we may recognise a personification of the river god of the Jordan in a
recumbent figure, carried by three men. In the spandrels are the usual
winged Victories; while on the keystones are figures of Roma (or Virtus)
towards the Colosseum, and the Genius populi Romani (or Bonus Eventus
3
or Honos) towards the Forum. In type the arch is the simplest of those
existing in Rome; the sides of the piers, which are not adorned with
sculpture, were adorned with niches like windows (
PAS ii. 47-49; LR
201-203; HC 247-250; HJ 15-16 and reff.; Rossini, Archi Trionfali
31-37; D'Espouy,
Fr. i. 95;
ii. 80; SScR 105-118; DR 448-454; RE
Suppl. iv. 479; ASA 116, 117; HFP 52).