{"id":1907,"date":"2017-07-19T22:28:35","date_gmt":"2017-07-19T22:28:35","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/suny-ncc-zeliart\/?post_type=chapter&p=1907"},"modified":"2018-08-22T16:05:25","modified_gmt":"2018-08-22T16:05:25","slug":"early-empire-the-arch-of-titus","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-ncc-zeliart\/chapter\/early-empire-the-arch-of-titus\/","title":{"raw":"Early Empire: The Arch of Titus","rendered":"Early Empire: The Arch of Titus"},"content":{"raw":"
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Sir Lawrence Alma-Tadema,\u00a0The Triumph of Titus: AD 71, The Flavians<\/em>, 1835 oil on panel, 44.3 x 29 cm (The Walters Art Museum) \u201cthe artist shows Titus returning to Rome in triumph following his capture of Jerusalem....His father, Emperor Vespasian...leads the procession. Titus comes next, holding the hand of his daughter, Julia, who turns to address her father's younger brother and successor, Domitian...Alma-Tadema depicted these events by drawing on classical sources...and on the latest 19th-century scholarship regarding everyday life in Rome.\u201d (source<\/a>)<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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The Roman triumph<\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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The Roman triumph was an ancient martial tradition\u2014a parade so riotous that its symbolic culmination involved catapulting the victorious general (triumphator<\/em>) to quasi-divine status for a single, heady day. The Romans\u00a0marked his status by staining his face red using the mineral pigment cinnabar (Jupiter's\u00a0countenance was said to have the same ruddy hue).<\/div>\r\n
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The Romans traced the traditions of the triumph back to their own beginnings. Rome\u2019s legendary founder, Romulus, was the first to celebrate the rite when he defeated and killed Acron, the king of Caenina.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Victory in Judea<\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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In the summer of 71 C.E. the Roman emperor Vespasian and Titus, his eldest son, had quelled a dangerous revolt in the Roman province of Judea and returned to Rome to celebrate this major accomplishment.\u00a0Not only that, but the Flavian dynasty\u00a0(Vespasian and his two sons Titus and Domitian)\u00a0had succeeded in winning the throne during the year 69 C.E.\u2014a time of bloody civil turmoil known as the \u201cYear of the Four Emperors.\u201d<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Judaea Capta Sesterti (Roman coin)\u00a0with portrait of Titus (left) and a personification of Judea, captured (right) \u00a0(photo: copyright \u00a9 David Hendin, used by permission)<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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A great deal was at stake for Vespasian and Titus, both relative political newcomers from a family line (Flavius)\u00a0that was not particularly illustrious. The honor of the triumph was accorded to them jointly, and the spectacle (as described by Flavius Josephus in his text known as\u00a0The Jewish War<\/em>) rivaled anything that Rome had ever seen before: spoils, prisoners, pictorial narratives in abundance. All this was meant to awe the spectators and to transport the viewers to the battlefields of the war in the east. But the ritual of the triumph, its parade\u2014even the semi-divine status accorded the\u00a0triumphator<\/em>\u2014was ephemeral. For this reason, the later construction of permanent monuments (like the Arch of Titus)\u00a0served to make an impact on the urban landscape (and the collective memory of city dwellers) that lasted far longer than the events of the day itself.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Arch of Titus and the Colosseum, Rome\u00a0(photo:\u00a0Steven Zucker, CC BY-NC-SA 2.0)<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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The tradition of\u00a0triumphal monuments connects the Flavians to the traditions of the Roman Republic. Early monuments included columns\u2014for instance the rostrate column (columna rostrata)<\/em>\u00a0of Caius Duilius (c. 260 B.C.E.)\u2014and the early triumphal arch prototype known as the fornix Fabianus erected in the Forum Romanum by Q. Fabius Allobrogicus in 121 B.C.E. The emperor Augustus continued the use of the triumphal arch, even though he restructured the institution of the triumph itself. Since the Flavians were relative newcomers to the Roman power structure, they needed as much legitimization as they could find, and thus participating in the time-honored traditions of the triumph and its stock monuments made a good deal of sense.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Topography and the triumph<\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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View across the Roman Forum (Forum Romanum) to the Arch of Titus (photo: Steven Zucker, CC BY-NC-SA 2.0)<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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The Arch of Titus is located in Summa Sacra Via, the highest point of the Sacra Via, Rome's \"Sacred Way\" that served as its main processional street. Furthemore, the Arch of Titus\u00a0\u00a0 commands a key point along the triumphal route (via Triumphalis<\/em>)\u2014one that visually\u00a0links the valley of the Flavian amphitheater (known to us as the\u00a0Colosseum<\/a>) to the valley of the\u00a0Forum Romanum<\/a>\u00a0and the Capitoline Hill beyond. Many triumphal parades had passed along this route for many centuries, thus the choice to place a permanent triumphal monument astride the route was not accidental but, rather, deliberately evocative of the fact that the triumph as a ritual both created and reinforced collective memory for\u00a0Romans. This arch, built as an honorific monument, honored Titus posthumously and was a project executed by his younger brother and imperial successor, Domitian (emperor,\u00a081-96 C.E.). Another arch dedicated to Titus, triumphal in its nature, was located in the valley of the Circus Maximus\u2014but this arch only survives in the form of scattered sculptural fragments and a Medieval transcription of its dedicatory inscription.\u00a0Recent archaeological excavations (2015) in the Circus Maximus have revealed previously unknown remains of this \"lost\" arch, including elements of its foundations.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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The attic inscription<\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Attic inscription, Arch of Titus, after 81 C.E., Rome (photo: Dr. Steven Fine, used by permission)<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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The surviving ancient attic inscription (above) records the dedication of the monument to Titus. Given that Titus is identified as having been deified (divus<\/em>), we learn that the monument\u2019s completion can only have occurred after Titus\u2019 death in September of 81 C.E.<\/div>\r\n
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The text of the attic inscription reads:<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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SENATVS\r\nPOPVLVSQVE\u00b7ROMANVS\r\nDIVO\u00b7TITO\u00b7DIVI\u00b7VESPASIANI\u00b7F(ILIO)\r\nVESPASIANO\u00b7AVGVSTO (CIL 6.945)<\/div>\r\n
The Senate and the Roman people (dedicate this) to the deified Titus Vespasian Augustus, son of the deified Vespasian<\/em><\/div><\/blockquote>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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The inscription makes the dedication a public one\u2014undertaken on the part of the Senate and the Roman People (Senatus Populusque Romanus<\/em>), and reminds viewers of Titus\u2019 link to his likewise deified father, Vespasian, who had died in 79 C.E. This dedication is an example of shrewd power politics on the part of the Emperor\u00a0Domitian\u2014he had been too young to take part in the military glory enjoyed by his father and brother. Perhaps he sought to bask in the\u00a0generally favorable public opinion they enjoyed\u00a0as he himself made the transition to power.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Relief sculpture<\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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View of the vault of the arch\u2019s passageway, with a relief of the apotheosis of Titus (photo: Dr. Steven Fine, used by permission)<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Two panel reliefs flank the single passageway of the arch, and a third adorns the vault (the vault relief is above). The subject matter of the flanking reliefs draws upon the 71 C.E. triumph of Vespasian and Titus, depicting key triumphal episodes following the fall of Jerusalem. In one scene (below)\u00a0\u00a0Romans carry spoils from the Temple in Jerusalem, including a Menorah, sacred trumpets and the showbread table. Recent studies have shown these items were painted with yellow ochre.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Relief panel showing The Spoils of Jerusalem being brought into Rome, Arch of Titus, Rome, after 81 C.E., marble, 7 feet,10 inches high\u00a0(photo:\u00a0Steven Zucker<\/a>, CC BY-NC-SA 2.0)<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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The triumph panel opposite depicts Titus in a triumphal four-horse chariot (quadriga<\/em>) followed closely by the goddess of Victory (Victoria<\/em>), preceded by official attendants known as lictors, and accompanied by symbolic representations (genii<\/em>) of the Senate, the Roman people, and Virtus (manly virtue) (below).<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Relief panel showing Titus in a triumphal four-horse chariot, Arch of Titus, Rome, after 81 C.E., marble, 7 feet,10 inches high\u00a0(photo:\u00a0Steven Zucker<\/a>, CC BY-NC-SA 2.0)<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Since the triumphal parade would have passed through the very spot on which the arch was constructed, these images serve as powerful evocations of collective memories shared and held by the Roman people. The depiction in the reliefs echoes the riotous parade described by Flavius Josephus. The program of Flavian architecture largely transformed the physical landscape of Rome; this program was replete with visual cues and reminders of Flavian success, all of which stemmed from and centered around the great triumph at the culmination of the Jewish War.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Restoration and current state<\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Canaletto, The Arch of Titus in Rome, 1742-44, oil on canvas, 38 x 28 cm (Galleria dell\u2019Accademia Carrara, Bergamo)<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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During the eleventh century the arch was incorporated into a fortress built by the Frangipani family in Rome, resulting in damage to the panel reliefs that is still visible today. In 1821, during the pontificate of Pope Pius VII, Giuseppe Valadier undertook a major restoration of the surviving structure. In order to identify those portions that had been restored, Valadier employed travertine as opposed to the original marble. The western side of the attic received a new inscription at the time of this restoration. Canaletto\u2019s famous painting of the arch grants a view of the monument\u2019s condition prior to Valadier\u2019s restoration.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Paul Philippe Cret, The National Memorial Arch In Valley Forge Park in Pennsylvania, erected 1917<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n

Influence<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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The Arch of Titus has long provided a source of artistic inspiration. Leon Battista Alberti was inspired by its form as he designed the facade of the basilica of Sant\u2019Andrea in Mantua, Italy, after 1472. The Arch of Titus has inspired many modern commemorative arches, notably the Arc de Triomphe in Paris (1806), Stanford White\u2019s Arch in Washington Square Park in New York City (1892), the United States National Memorial Arch in Valley Forge National Historical Park designed by Paul Philippe Cret (1917), and Edward Lutyens\u2019 India Gate in New Delhi (1921).<\/div>\r\n
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Essay by Dr. Jeffrey Becker<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"
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Sir Lawrence Alma-Tadema,\u00a0The Triumph of Titus: AD 71, The Flavians<\/em>, 1835 oil on panel, 44.3 x 29 cm (The Walters Art Museum) \u201cthe artist shows Titus returning to Rome in triumph following his capture of Jerusalem….His father, Emperor Vespasian…leads the procession. Titus comes next, holding the hand of his daughter, Julia, who turns to address her father’s younger brother and successor, Domitian…Alma-Tadema depicted these events by drawing on classical sources…and on the latest 19th-century scholarship regarding everyday life in Rome.\u201d (source<\/a>)<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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The Roman triumph<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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The Roman triumph was an ancient martial tradition\u2014a parade so riotous that its symbolic culmination involved catapulting the victorious general (triumphator<\/em>) to quasi-divine status for a single, heady day. The Romans\u00a0marked his status by staining his face red using the mineral pigment cinnabar (Jupiter’s\u00a0countenance was said to have the same ruddy hue).<\/div>\n
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The Romans traced the traditions of the triumph back to their own beginnings. Rome\u2019s legendary founder, Romulus, was the first to celebrate the rite when he defeated and killed Acron, the king of Caenina.<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Victory in Judea<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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In the summer of 71 C.E. the Roman emperor Vespasian and Titus, his eldest son, had quelled a dangerous revolt in the Roman province of Judea and returned to Rome to celebrate this major accomplishment.\u00a0Not only that, but the Flavian dynasty\u00a0(Vespasian and his two sons Titus and Domitian)\u00a0had succeeded in winning the throne during the year 69 C.E.\u2014a time of bloody civil turmoil known as the \u201cYear of the Four Emperors.\u201d<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Judaea Capta Sesterti (Roman coin)\u00a0with portrait of Titus (left) and a personification of Judea, captured (right) \u00a0(photo: copyright \u00a9 David Hendin, used by permission)<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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A great deal was at stake for Vespasian and Titus, both relative political newcomers from a family line (Flavius)\u00a0that was not particularly illustrious. The honor of the triumph was accorded to them jointly, and the spectacle (as described by Flavius Josephus in his text known as\u00a0The Jewish War<\/em>) rivaled anything that Rome had ever seen before: spoils, prisoners, pictorial narratives in abundance. All this was meant to awe the spectators and to transport the viewers to the battlefields of the war in the east. But the ritual of the triumph, its parade\u2014even the semi-divine status accorded the\u00a0triumphator<\/em>\u2014was ephemeral. For this reason, the later construction of permanent monuments (like the Arch of Titus)\u00a0served to make an impact on the urban landscape (and the collective memory of city dwellers) that lasted far longer than the events of the day itself.<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Arch of Titus and the Colosseum, Rome\u00a0(photo:\u00a0Steven Zucker, CC BY-NC-SA 2.0)<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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The tradition of\u00a0triumphal monuments connects the Flavians to the traditions of the Roman Republic. Early monuments included columns\u2014for instance the rostrate column (columna rostrata)<\/em>\u00a0of Caius Duilius (c. 260 B.C.E.)\u2014and the early triumphal arch prototype known as the fornix Fabianus erected in the Forum Romanum by Q. Fabius Allobrogicus in 121 B.C.E. The emperor Augustus continued the use of the triumphal arch, even though he restructured the institution of the triumph itself. Since the Flavians were relative newcomers to the Roman power structure, they needed as much legitimization as they could find, and thus participating in the time-honored traditions of the triumph and its stock monuments made a good deal of sense.<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Topography and the triumph<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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View across the Roman Forum (Forum Romanum) to the Arch of Titus (photo: Steven Zucker, CC BY-NC-SA 2.0)<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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The Arch of Titus is located in Summa Sacra Via, the highest point of the Sacra Via, Rome’s “Sacred Way” that served as its main processional street. Furthemore, the Arch of Titus\u00a0\u00a0 commands a key point along the triumphal route (via Triumphalis<\/em>)\u2014one that visually\u00a0links the valley of the Flavian amphitheater (known to us as the\u00a0Colosseum<\/a>) to the valley of the\u00a0Forum Romanum<\/a>\u00a0and the Capitoline Hill beyond. Many triumphal parades had passed along this route for many centuries, thus the choice to place a permanent triumphal monument astride the route was not accidental but, rather, deliberately evocative of the fact that the triumph as a ritual both created and reinforced collective memory for\u00a0Romans. This arch, built as an honorific monument, honored Titus posthumously and was a project executed by his younger brother and imperial successor, Domitian (emperor,\u00a081-96 C.E.). Another arch dedicated to Titus, triumphal in its nature, was located in the valley of the Circus Maximus\u2014but this arch only survives in the form of scattered sculptural fragments and a Medieval transcription of its dedicatory inscription.\u00a0Recent archaeological excavations (2015) in the Circus Maximus have revealed previously unknown remains of this “lost” arch, including elements of its foundations.<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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The attic inscription<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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Attic inscription, Arch of Titus, after 81 C.E., Rome (photo: Dr. Steven Fine, used by permission)<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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The surviving ancient attic inscription (above) records the dedication of the monument to Titus. Given that Titus is identified as having been deified (divus<\/em>), we learn that the monument\u2019s completion can only have occurred after Titus\u2019 death in September of 81 C.E.<\/div>\n
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The text of the attic inscription reads:<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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SENATVS
\nPOPVLVSQVE\u00b7ROMANVS
\nDIVO\u00b7TITO\u00b7DIVI\u00b7VESPASIANI\u00b7F(ILIO)
\nVESPASIANO\u00b7AVGVSTO (CIL 6.945)<\/div>\n
The Senate and the Roman people (dedicate this) to the deified Titus Vespasian Augustus, son of the deified Vespasian<\/em><\/div>\n<\/blockquote>\n<\/div>\n<\/div>\n<\/div>\n
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The inscription makes the dedication a public one\u2014undertaken on the part of the Senate and the Roman People (Senatus Populusque Romanus<\/em>), and reminds viewers of Titus\u2019 link to his likewise deified father, Vespasian, who had died in 79 C.E. This dedication is an example of shrewd power politics on the part of the Emperor\u00a0Domitian\u2014he had been too young to take part in the military glory enjoyed by his father and brother. Perhaps he sought to bask in the\u00a0generally favorable public opinion they enjoyed\u00a0as he himself made the transition to power.<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Relief sculpture<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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View of the vault of the arch\u2019s passageway, with a relief of the apotheosis of Titus (photo: Dr. Steven Fine, used by permission)<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Two panel reliefs flank the single passageway of the arch, and a third adorns the vault (the vault relief is above). The subject matter of the flanking reliefs draws upon the 71 C.E. triumph of Vespasian and Titus, depicting key triumphal episodes following the fall of Jerusalem. In one scene (below)\u00a0\u00a0Romans carry spoils from the Temple in Jerusalem, including a Menorah, sacred trumpets and the showbread table. Recent studies have shown these items were painted with yellow ochre.<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Relief panel showing The Spoils of Jerusalem being brought into Rome, Arch of Titus, Rome, after 81 C.E., marble, 7 feet,10 inches high\u00a0(photo:\u00a0Steven Zucker<\/a>, CC BY-NC-SA 2.0)<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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The triumph panel opposite depicts Titus in a triumphal four-horse chariot (quadriga<\/em>) followed closely by the goddess of Victory (Victoria<\/em>), preceded by official attendants known as lictors, and accompanied by symbolic representations (genii<\/em>) of the Senate, the Roman people, and Virtus (manly virtue) (below).<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Relief panel showing Titus in a triumphal four-horse chariot, Arch of Titus, Rome, after 81 C.E., marble, 7 feet,10 inches high\u00a0(photo:\u00a0Steven Zucker<\/a>, CC BY-NC-SA 2.0)<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Since the triumphal parade would have passed through the very spot on which the arch was constructed, these images serve as powerful evocations of collective memories shared and held by the Roman people. The depiction in the reliefs echoes the riotous parade described by Flavius Josephus. The program of Flavian architecture largely transformed the physical landscape of Rome; this program was replete with visual cues and reminders of Flavian success, all of which stemmed from and centered around the great triumph at the culmination of the Jewish War.<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Restoration and current state<\/h3>\n<\/div>\n<\/div>\n<\/div>\n
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Canaletto, The Arch of Titus in Rome, 1742-44, oil on canvas, 38 x 28 cm (Galleria dell\u2019Accademia Carrara, Bergamo)<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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During the eleventh century the arch was incorporated into a fortress built by the Frangipani family in Rome, resulting in damage to the panel reliefs that is still visible today. In 1821, during the pontificate of Pope Pius VII, Giuseppe Valadier undertook a major restoration of the surviving structure. In order to identify those portions that had been restored, Valadier employed travertine as opposed to the original marble. The western side of the attic received a new inscription at the time of this restoration. Canaletto\u2019s famous painting of the arch grants a view of the monument\u2019s condition prior to Valadier\u2019s restoration.<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Paul Philippe Cret, The National Memorial Arch In Valley Forge Park in Pennsylvania, erected 1917<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

Influence<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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The Arch of Titus has long provided a source of artistic inspiration. Leon Battista Alberti was inspired by its form as he designed the facade of the basilica of Sant\u2019Andrea in Mantua, Italy, after 1472. The Arch of Titus has inspired many modern commemorative arches, notably the Arc de Triomphe in Paris (1806), Stanford White\u2019s Arch in Washington Square Park in New York City (1892), the United States National Memorial Arch in Valley Forge National Historical Park designed by Paul Philippe Cret (1917), and Edward Lutyens\u2019 India Gate in New Delhi (1921).<\/div>\n
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Essay by Dr. Jeffrey Becker<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\t\t\t
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Candela Citations<\/h3>\n\t\t\t\t\t
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CC licensed content, Shared previously<\/div>