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B.A. 1 st year History of Western Art

B.A. 1 st year History of Western Art. Dr. O. P. Parameswaran, Assistant Professor, Department of Fine Arts, Post Graduate Govt. College for Girls, Sector-11, Chandigarh. Roman Art History of Western Art. Arch of Titus Spoils from the temple in Jerusalem, relief in passageway,

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B.A. 1 st year History of Western Art

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  1. B.A. 1st yearHistory of Western Art Dr. O. P. Parameswaran, Assistant Professor, Department of Fine Arts, Post Graduate Govt. College for Girls, Sector-11, Chandigarh

  2. Roman ArtHistory of Western Art Arch of Titus Spoils from the temple in Jerusalem, relief in passageway, Arch of Titus, Rome. 81 A. D . Marble, height 7’10. Triumph of Titus, relief in passageway.

  3. Arch of Titus • Introduction: • The spatial qualities of the Ara Pacis reliefs reached their most complete development in the two large narrative panels on the triumphal arch erected in 81A.D. to commemorate the victories of the Emperor Titus.

  4. Arch of Titus • Despite the mutilated surface, the movement of a crowd of figures in depth still appears strikingly successful. • On the right, the procession turns away from us and disappears through a triumphal arch placed obliquely to the background plane so that only the nearer half actually emerges from the background -a radical but effective device.

  5. Arch of Titus • Relief Panel-1: • One of them shows part of the triumphal procession celebrating the conquest of Jerusalem; the booty displayed includes the seven – branched candlestick and other sacred objects.

  6. Arch of Titus • Relief Panel-2: • A companion panel avoids such experiments although the number of layers of reliefs is equally great here. • We also sense that its design has an oddly stationary quality; despite the fact this is simply another part of the same procession

  7. Arch of Titus • The difference must be due to the subject, which is the Emperor himself in his chariot, crowned by the winged Victory behind him. • Apparently the sculptor’s first concern was to display this set image, rather than to keep the procession moving.

  8. Arch of Titus • Once we try to read the Imperial chariot and the surrounding figures in terms of real space, we become aware of how strangely contradictory the spatial relationships are: the four horses, shown in strict profile view, move in a direction parallel to the bottom edge of the panel, but the chariot is not where it ought to be if they were really pulling it.

  9. Arch of Titus • Moreover the bodies of the Emperor and of the most of the other figures are represented in frontal view, rather than in profile.

  10. Arch of Titus • These seem to be fixed conventions for representing the triumphant Emperor, which our artist felt constrained to respect, though they were in conflict with his desire to create the kind of consistent movement in space he achieved so well in the previously described relief.

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