Relevant bibliographies by topics / Triumphal arch

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Academic literature on the topic 'Triumphal arch'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Triumphal arch"

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Shahmohammadpour, Alireza. "A Sasanian Triumphal Arch in Bishapur." Near Eastern Archaeology 84, no. 4 (December 1, 2021): 306–15. http://dx.doi.org/10.1086/716831.

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Ignatjeva, O. A., V. V. Esipov, and O. K. Losj. "Triumphal arch and triumphal procession as antiquity identification means in European society in the 15-17 centuries." IOP Conference Series: Materials Science and Engineering 667 (November 28, 2019): 012032. http://dx.doi.org/10.1088/1757-899x/667/1/012032.

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McKay, Judith. "Celebrating in the Streets: A Century of Triumphal Arches." Queensland Review 16, no. 2 (July 2009): 1–14. http://dx.doi.org/10.1017/s1321816600005079.

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The arrival of Queensland's first Governor on 10 December 1859 was an occasion for celebration; in the words of Brisbane's newspaper, ‘never was welcome given with heartier zest’. As Sir George Bowen stepped ashore at a temporary landing stage in the Botanic Gardens, he was greeted with an ornamental arch, a semicircular frame covered in flowers and greenery, bearing words of welcome. This ‘triumphal arch’, as it was called, was the creation of Andrew Petrie, a pioneer settler and building contractor, and Walter Hill, the Curator of the Gardens. It was to be the first of hundreds of similar arches erected throughout Queensland for almost a century. They were a regular feature of public celebrations until relatively recent times, marking the arrivals and travels of Governors, occasional visits by royalty, the opening of major roads, railways and bridges, and, to a lesser extent, historical milestones. They ranged from grand, highly decorated structures – often the work of professional designers – erected in the metropolis for royal visits to simple arches of greenery, put up by even the smallest regional communities for special occasions, such as welcoming visiting Governors. This paper takes a closer look at these curious structures and the symbolism behind them for, as Stephen Alomes observes, public rituals provide valuable insights into Australian life, revealing contradictions between imperial loyalties and burgeoning nationalism, indigenous and derivative, traditional and modern.
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Bardill, Jonathan. "The Golden Gate in Constantinople: A Triumphal Arch of Theodosius I." American Journal of Archaeology 103, no. 4 (October 1999): 671. http://dx.doi.org/10.2307/507077.

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Fine, Steven. "Who is Carrying the Temple Menorah? A Jewish Counter-Narrative of the Arch of Titus Spolia Panel." Images 9, no. 1 (May 22, 2016): 19–48. http://dx.doi.org/10.1163/18718000-12340060.

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The Arch of Titus, constructed circa 81 CE under the emperor Domitian, commemorates the victory of the general, then emperor Titus in the Jewish War of 66–74 CE. Located on Rome’s Via Sacra, the Arch has been a “place of memory” for Romans, Christians and Jews since antiquity. This essay explores the history of a Jewish counter-memory of a bas relief within the arch that depicts the triumphal procession of the Jerusalem Temple treasures into Rome in 71 CE. At least since the early modern period, Jews—as well as British Protestants—came to believe that the menorah bearers of this relief represent Jews, and not Roman triumphadors. This essay addresses the history of this widespread belief, particularly during the nineteenth and twentieth centuries, and continuing in contemporary Israel.
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Ditchfield, Simon. "What Did Natural History have to do with Salvation? José de Acosta Sj (1540–1600) in the Americas." Studies in Church History 46 (2010): 144–68. http://dx.doi.org/10.1017/s0424208400000565.

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At the southern foot of the Palatine Hill in Rome, a little more than one hundred metres due west of the triumphal arch erected by the emperor who is associated more than any other with the Christian conversion of the Old World — Constantine the Great – there stands another arch. Relocated from its original position at the eastern foot of the Palatine, more or less directly across from the biggest remaining ruin in the forum — that of the Basilica of Maxentius — it formed the monumental entrance to one of the most important botanic gardens in sixteenth-century Europe — the Orti farnesiani, which were given their definitive shape between 1565 and 1590. I propose that this second arch has reason to be considered as occupying a similar symbolic significance for the conversion of the New World.
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Mauck, Marchita B. "The Mosaic of the Triumphal Arch of S. Prassede: A Liturgical Interpretation." Speculum 62, no. 4 (October 1987): 813–28. http://dx.doi.org/10.2307/2851781.

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Damonte, Giovanni, Stefano Podestà, Giuseppe Riotto, Sergio Lagomarsino, Georges Magonette, and Francesco Marazzi. "Structural Health Monitoring on Real Scale Model of a Masonry Triumphal Arch." Key Engineering Materials 347 (September 2007): 279–84. http://dx.doi.org/10.4028/www.scientific.net/kem.347.279.

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Monitoring represents one solution for the safeguard of historical buildings. The need for a non-destructive and comprehensive monitoring methodology suggests using related to Structural Health Monitoring. This paper is intended to present the outcomes of an experimental campaign on a masonry triumphal arch representing a real scale model of a church part, which was built outside ELSA laboratory at the Joint Research Centre of European Commission. This study aims to evaluate the damage pattern of the structure through simplified dynamic methods producing a quick evaluation of structural safety, easy to use on real cases. As in traditional monitoring, both the instrumentation precision and the measurement variability due to the different testing condition (e.g. ambient conditions) have to be considered. The related effects on the structural dynamic behaviour were analysed and evaluated in order to distinguish an effective change in the “structural health” (a real damage) from an alteration caused by external conditions (a “false positive”). Once studied such effects, settlements were induced to one column base through an “ad hoc” device. Varying the settlement width, three damage levels were obtained in the structure. For each state the structural dynamic properties and their variation were evaluated. Sensitivity of dynamic behaviour to structural damage and to its changes was analysed comparing the results for each level.
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Pancani, G., S. Galassi, L. Rovero, L. Dipasquale, E. Fazzi, and G. Tempesta. "SEISMIC VULNERABILITY ASSESSMENT OF THE TRIUMPHAL ARCH OF CARACALLA IN VOLUBILIS (MOROCCO): PAST EVENTS AND PROVISIONS FOR THE FUTURE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 435–42. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-435-2020.

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Abstract. The triumphal arch of Caracalla in the Roman archaeological site of Volubilis dates back to 216 AD. It was built in a strategic position at the intersection of the main roads leading to the Forum, the decumanus maximus to the east and the roads from Porte à trios baies to the west, that almost certainly was the main gate to the city. The current arrangement of the monument is the result of a restoration intervention carried out in the 1930s by French restorers. Some ancient photos witness that the monument was just a ruin in 1915, when Chatelain carried out the former archaeological excavations and, as a consequence, that it was totally rebuilt. In fact, the monument suffered wide damages provoked by the 1755 Lisbon earthquake, that affected also Morocco, which almost completely destroyed it. By means of the drawings made by the travelers Henry Boyde and John Windus, that retraced the monument thirty years before the earthquake, the original configuration of the monument can be observed and the timeline of events can be reconstructed. In this paper, the timeline of the seismic events that affected the triumphal arch is reconstructed and investigated by means of a structural analysis based on a rigid-block model. Finally, with the purpose of preventing future damage, the seismic vulnerability level of the construction is assessed with reference to its current configuration.
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Wallace-Hadrill, Andrew. "Roman arches and Greek honours: the language of power at Rome." Proceedings of the Cambridge Philological Society 36 (1990): 143–81. http://dx.doi.org/10.1017/s0068673500005265.

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It was decided that a marble arch (Ianus) should be erected in the Circus Flaminius at public expense, positioned by the spot where statues have already been dedicated to Divus Augustus and the Augustan household by G. Norbanus Flaccus, together with gilded images of peoples conquered, and an inscription on the face of that arch stating that the Senate and People of Rome have dedicated this marble monument to the memory of Germanicus Caesar, since he … (account of achievements follows) … unsparing of his labours, until an ovation should be granted to him by decree of the senate, had died in the service of the republic; and above the arch there should be set a statue of Germanicus Caesar in a triumphal chariot, and at his sides, statues of his father Drusus Germanicus, natural brother of Tiberius Caesar Augustus, of his mother Antonia, his wife Agrippina, his sister Livia, his brother Tiberius Germanicus and of his sons and daughters.
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Dissertations / Theses on the topic "Triumphal arch"

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Brüggemann, Stefanie. "Zur Rezeption von Triumphbögen in der italienischen Renaissancemalerei." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2008. http://dx.doi.org/10.18452/15804.

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Zwei Beobachtungen bilden den Ausgangspunkt dieser Arbeit: Zum einen sind in der zweiten Hälfte des Quattrocento in der italienischen Malerei auffallend viele Bilder zu finden, in denen Triumphbögen die Hintergründe beherrschen. Zum anderen haben sich einige der berühmtesten Maler der Zeit wiederholt mit dem Motiv Triumphbogen auseinandergesetzt: Botticelli, Mantegna, Ghirlandaio und Perugino. Im Zentrum der Arbeit steht der individuelle Umgang der Künstler mit dem antiken Monument. Es stellen sich die Fragen, auf welchem Wissenstand die Auseinandersetzung mit antiker Architektur durch die Maler basiert und in welchem Verhältnis in ihren Werken Studium, Rekonstruktion und künstlerische Imagination stehen. Um die Grundlage zu diesen Überlegungen zu schaffen, werden im ersten Teil der Arbeit zahlreiche Quellentexte daraufhin befragt, welche zeitgenössischen Auffassungen über die Genese, die Funktion und die Bedeutung römischer Triumphbögen es gab. Außerdem ergibt die Analyse der Texte eine Bestandsaufnahme des Ausgangsmaterials: Aus ihnen geht hervor, zu welcher Zeit welche Triumphbögen wahrgenommen wurden, welche Monumente den Malern überhaupt als Vorbilder zur Verfügung standen. Einer Fülle von Architekturzeichnungen ist zu entnehmen, auf welche Weise Probleme der Rekonstruktion gelöst wurden. Auf Bildern ist die Vermischung von archäologischer Treue und freier Umarbeitung besonders groß. Im Hauptteil geht es deshalb um die Frage, welche Sicht Künstler auf die antiken Bauten hatten und nach welchen Methoden sie verfuhren, um sie in ihre Bilder einzufügen. Dazu gehören Untersuchungen sowohl der Art und Weise der formalen Aneignung römischer Vorbilder, des Verständnisses ihrer baulichen Funktion, der Rolle, die in diesem Zusammenhang die alltäglichen visuellen Erfahrungen für die Wiedergabe und Interpretation dieser Bauten spielten, als auch der Ikonographie, der inhaltlichen Bedeutung, die Triumphbögen in Bildern haben.
Two observations form the starting-point of this thesis: On the one hand there is a remarkable number of pictures whose backgrounds are dominated by triumphal arches in the second half of the Quattrocento in Italian painting. On the other hand some of the most famous painters of the time explored this motif repeatedly: Botticelli, Mantegna, Ghirlandaio and Perugino. The centre of this thesis is dedicated to the individual treatment of the antique monument by the artists. It implies questions in regard to the level of knowledge on which the painter’s exploration with antique architecture was based and to the relation between study, reconstruction and artistical imagination in their works. To create the basis for these considerations, in the first part of the thesis numerous sources are consulted with regard to the contemporary conceptions on genesis, function and meaning of Roman triumphal arches. In addition the analysis of the sources results in an account of the material: The sources reveal at which time what kind of arches have been perceived, which monuments have been actually available as models to the painters. How problems of reconstruction have been solved can be inferred from a vast number of architectural drawings. In the paintings the mixture of archeological faithfulness and free interpretation is especially obvious. Therefore the main part of the thesis is about the question which point of view on the antique architectures the artists had and which methods they applied to introduce them into their paintings. To this aspect also belong examinations of the kind of the formal acquisition of Roman models, of the understanding of their structural function, of the role, which the everyday visual experiences played for the reproduction and interpretation of these buildings, as well as of the iconography, the meaning the triumphal arches had in the paintings.
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Carrer, Tomaso School of Architecture UNSW. "The triumphal arch motif in Sant'Andrea, Mantua: Respondeo and rhetoric in Alberti's architecture and theory." 2007. http://handle.unsw.edu.au/1959.4/40893.

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Leon Battista Alberti's church of Sant' Andrea in Mantua has been closely studied by many Renaissance scholars in relation to its layout, dimensions, proportions, chronology, style and aesthetics, as well as earning its place in both Alberti's corpus and the sweep of Renaissance architecture. The thesis investigates how eloquence is embodied in the sequential repetition of the triumphal arch motif between inside and outside. This thesis it is based on extensive and critical review of historical and theoretical literature. It marks a close examination of Sant?Andrea and to lesser extent San Francesco in Rimini, revisiting key ideas, texts and words. The principal finding of the thesis is that Alberti?s concept of respondeo, as developed in De Re Aedificatoria is the key to understanding the triumphal arch motif and its repetition in the interior. The thesis also comprehensively outlines the variety of contexts in which repondeo can be understood. This term, correlated to the passing of time and to rhetorical-based Albertian terms as decorum and convenio, means a 'sensitive suitability' between parts. The analysis of the triumphal arch motif of Sant?Andrea suggests that formalism has played a more important role in Alberti's design for this church than previously believed. This is by the motif's rigorous outline changing between the interior nave and the exterior fa??ade according to the observer's different visual perceptions. The rhetorical structure of the triumphal arch, in the way that it moves became from two to three dimensions in the fa??ade, seeks familiarity with the city's surrounding environment to establish simultaneity of actions. In this way, by joining the historical-religious point of references to a strategy of perception, the triumphal arch achieves public consensus. This rhetorical program is addressed especially by the patron of the church of Sant' Andrea Ludovico Gonzaga II also the ruler of Mantua with popular aspects of his public representations.
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Books on the topic "Triumphal arch"

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The arch of Nero in Rome: A study of the Roman honorary arch before and under Nero. Roma: G. Bretschneider, 1985.

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2

Fogliato, Dario. L' Arco di Augusto a Susa. Collegno: Gruppo archeologico "Ad Quintum", 1992.

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Maria, Remarque Erich. Arch of triumph. New York: Ballantine Pub. Group, 1998.

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Remarque, Erich Maria. Arch of triumph. London: Pan Books, 1988.

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Chamot, Carlos Dargent. Arco de la Amistad. [Lima]: Municipalidad de Santiago de Surco, 2003.

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Paglieri, Nadia Pazzini. Il linguaggio architettonico degli archi di trionfo romani: Introduzione all'architettare. Imperia: Ennepilibri, 2000.

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Gli archi onorari di Roma e dell'Italia romana. Roma: "L'Erma" di Bretschneider, 1988.

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Fornasier, Bruno. Les fragments architecturaux des arcs triomphaux en Gaule romaine. Besançon: Presses universitaires franc-comtoises, 2003.

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Lazarou, George A. Memories of Hollywood: 1948 : Erich Maria Remarque's Arch of triumph : a tribute. Athens, Greece: G.A. Lazarou, 1997.

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Les arcs romains de Jérusalem: Architecture, décor et urbanisme. Fribourg, Suisse: Editions universitaires, 1997.

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Book chapters on the topic "Triumphal arch"

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Damonte, Giovanni, Stefano Podestà, Giuseppe Riotto, Sergio Lagomarsino, Georges Magonette, and Francesco Marazzi. "Structural Health Monitoring on Real Scale Model of a Masonry Triumphal Arch." In Damage Assessment of Structures VII, 279–84. Stafa: Trans Tech Publications Ltd., 2007. http://dx.doi.org/10.4028/0-87849-444-8.279.

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Thunø, Erik. "‘Living Stones’ of Jerusalem: The Triumphal Arch Mosaic of Santa Prassede in Rome." In Cultural Encounters in Late Antiquity and the Middle Ages, 223–30. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.celama-eb.5.103079.

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Tezcan, Selman, Niharika Tambe, Christopher Muir, Rafael Aguilar, and Renato Perucchio. "Nonlinear FE Analysis of the Response to Lateral Accelerations of the Triumphal Arch of the Church of Andahuaylillas, Peru." In RILEM Bookseries, 1301–9. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-99441-3_139.

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Dörp, Peter. "»Arch of Triumph«." In Auszeiten vom Töten, 73–128. Göttingen: V&R unipress, 2016. http://dx.doi.org/10.14220/9783737006521.73.

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"triumphal arch." In Sir Banister Fletcher Glossary. © the Royal Institute of British Architects (RIBA) and the University of London, 2018. http://dx.doi.org/10.5040/9781350122741.1002603.

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"Triumphal Arch." In Encyclopedic Dictionary of Archaeology, 1416. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58292-0_200670.

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Tondro, Maximilian L. S. "The First Temporary Triumphal Arch in Venice (1557)." In Court Festivals of the European Renaissance, 335–62. Routledge, 2017. http://dx.doi.org/10.4324/9781315259086-19.

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Guasco, Alessio. "OPTIMUS PRINCEPS AND THE TRIUMPHAL ARCH IN BENEVENTO." In History of Law and Other Humanities, 157–66. Dykinson, 2019. http://dx.doi.org/10.2307/j.ctvr7f8t1.12.

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Brown, Thomas J. "Visions of Victory." In Civil War Monuments and the Militarization of America, 186–231. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469653747.003.0005.

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This chapter situates northern and southern monuments to Civil War victory within longstanding traditions in art history. The triumphal arch came to the United States after the war. Proposals for arches framed debates about the future of antebellum landscapes like town commons and parade grounds, and arches also figured prominently in the shaping of public parks, largely a key feature of post-war urban planning. Increasingly sexualized statues of Nike, or Winged Victory, imagined Union triumph as a more comprehensive consummation than the most renowned successes of antiquity. Early attempts to represent peace incorporated a foundation in social or political change, but peace gradually converged with martial victory. The shift in Union memorials from regeneration to self-congratulation paralleled the rise of Confederate victory memorials. These works partly celebrated the overthrow of Reconstruction and consolidation of white supremacism but also illustrated a deepening national reluctance to engage in critical introspection.
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Powderham, Alan, and Tony O’Brien. "Raising the 133 m High Triumphal Arch at the New Wembley Stadium (2002–2004)." In The Observational Method in Civil Engineering, 239–61. CRC Press, 2020. http://dx.doi.org/10.1201/9780429344244-10.

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