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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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Mkacher, Anis. "Quand observations et interprétations diffèrent : le cas de l'arc de triomphe de Tripoli dans les sources arabes." Libyan Studies 48 (September 25, 2017): 149–57. http://dx.doi.org/10.1017/lis.2017.9.
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AbstractThe only building which has been preserved from the ancient urban fabric of Tripoli, Oea in antiquity, is the Triumphal Arch. By considering Arab sources, we may shed new light on its evolution, the place it had been in the past and the way it was considered during those times. If we compare two excerpts from Arab-Muslim historiography, written by local travellers, with Western testimonies, we see that the monument was reinterpreted in the light of the new culture which was established in the region and of the local history of the city.
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Ignateva, O. A., V. V. Esipov, and O. K. Losj. "Triumphal arch in Russia in the 18th-21th centuries: evolution of function and meaning." IOP Conference Series: Earth and Environmental Science 751, no. 1 (April 1, 2021): 012047. http://dx.doi.org/10.1088/1755-1315/751/1/012047.
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Liu, Hong Yong, Jie Chen, and Yong Cao. "Study on Tender Offers Decision-Making Based on the Sand Table Experiment." Applied Mechanics and Materials 525 (February 2014): 770–74. http://dx.doi.org/10.4028/www.scientific.net/amm.525.770.
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This article discusses about the decision-making method of tender offer based on the engineering project management simulation experiment. The research first simulates the project construction process to explore possible ways to reduce cost. Then, combining with the lowest biding price standards in China, it analyzes the internal relationship between biding price and the lowest cost and finds the determining factors of calculating biding quotation. Next, the research determines the final biding price based on the biding price concepts and several other factors, for instance, competitors’ technical skills, management skills and biding strategies. Finally, this article applies the method in the decision-making process of Triumphal Arch tender offer project and proves the feasibility of the method.
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Easterbrook, Rhiannon. "Reception." Greece and Rome 69, no. 1 (March 7, 2022): 167–71. http://dx.doi.org/10.1017/s0017383521000346.
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While this issue's selection of books on classical reception is diverse in subject area and methodology, one theme they all share is a focus on place and space. The Classics in South America by Germán Campos Muñoz and Time and Antiquity in American Empire by Mark Storey are particularly focused on Classics and the spatiality of empire. South America's location beyond the extent of the world known to the Roman Empire provided an interesting point of departure for the classically inclined inhabitants of the continent as they considered continuities and disjunctures with the time and space of classical antiquity. Campos Muñoz's second and third case studies discuss an array of material and literary evidence in examining how both colonial and anti-imperial activities were framed with respect to ancient history and epic. We see how a sixteenth-century Spanish nobleman celebrated becoming Viceroy of Peru in a procession through a triumphal arch adorned with Latin hexameter and classical motifs. Similarly, Simón Bolívar, the revolutionary and subject of classical odes celebrating his liberation of South American territories, enjoyed classicizing triumphs and parades (140). These contrasting case studies show the ongoing significance of the Roman Empire to South America, even as its imperial status changed dramatically.
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Campbell, Ian, and Aonghus Mackechnie. "The ‘Great Temple of Solomon’ at Stirling Castle." Architectural History 54 (2011): 91–118. http://dx.doi.org/10.1017/s0066622x00004019.
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In 1594, a new Chapel Royal was erected at Stirling Castle, for the baptism, on 30 August of that year, of Prince Henry, first-born son and heir to James VI King of Scots and his wife, Queen Anna, sister of Denmark’s Christian IV. James saw the baptism as a major opportunity to emphasize, to an international — and, above all, English — audience, both his own and Henry’s suitability as heirs to England’s childless and elderly Queen Elizabeth. To commemorate the baptism and associated festivities, a detailed written account was produced, entitledA True Reportarieand attributed to William Fowler. It provided a remarkable piece of Stuart propaganda, as testified by many subsequent reprints, including during the 1745 Jacobite Rebellion. James no doubt had in mind the example of the celebrations at his own baptism in December 1566, which ‘took the form of a triumphant Renaissance festival, the first that Scotland — and indeed Great Britain — had ever seen’. Despite apparently being constructed within a mere seven months, the new chapel achieved its aim of being both impressive and symbolic of the aspirations of the Scottish king (Fig. 1). It can claim to be the earliest Renaissance church in Britain, with its main entrance framed by a triumphal arch, flanked by Italianate windows. However, even more significant is the evidence that the chapel was deliberately modelled on the Temple of Solomon in Jerusalem.
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Carr, Annemarie Weyl. "Iconography and Identity: Syrian Elements in the Art of Crusader Cyprus." Church History and Religious Culture 89, no. 1 (2009): 127–51. http://dx.doi.org/10.1163/187124109x408032.
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AbstractThe murals of triumphal arch in the Church of the Panagia Phorbiotissa, Cyprus, painted in the late thirteenth century when Cyprus was a Crusader state, adopt an iconography paralleled not in Byzantium but in the Miaphysite churches of the Syrian and Egyptian mainland, and best analyzed in relation to Miaphysite liturgical exegesis. As such, they suggest three revisions to current ways of thinking about the roles of Cyprus and the mainland in shaping the art of the Crusader era: 1) rather than for a 'maniera cypria' or a 'maniera tripolitana', we must look for an intricate, two-way reciprocity; 2) it is a reciprocity not simply between Cyprus and the mainland Crusader states, but between Cyprus and the far larger terrain of Syrian and Egyptian eastern Christendom; and 3) it engages not only style but also iconography and content.
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Smith, John F. H. "William Stukeley in Stamford: His Houses, Gardens and a Project for a Palladian Triumphal Arch Over Barn Hill." Antiquaries Journal 93 (September 2013): 353–400. http://dx.doi.org/10.1017/s0003581513000267.
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The part played by William Stukeley in the evolution of English garden design has aroused much interest in recent years, though little research has been carried out into his gardening and architectural activities while resident in Stamford, Lincolnshire, from 1730 to 1747. This was an important period in Stukeley's life and the influence of his archaeological work at Stonehenge and Avebury and his ideas on religion and the early British druids are clearly reflected in his garden designs. Previous work on this period in Stukeley's life has been hampered by imprecision over the various gardens or houses occupied in Stamford by Stukeley. The gardens and his residences are here identified and a mystery concerning his Barn Hill house that has puzzled architectural historians for five decades is solved: what was thought to be a remodelling of the house is here shown to be a scheme for a triumphal arch over the road immediately outside his house.
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MacKechnie, Aonghus. "Skelmorlie Aisle, Largs: its symbolism, form and functions." Innes Review 71, no. 2 (November 2020): 202–36. http://dx.doi.org/10.3366/inr.2020.0266.
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On account of its composition and relative completeness, the Skelmorlie Aisle in Largs is the most impressive structure of its type and period in the country. This article considers the aisle and its components, its structure and setting, as well as its history as far as the twentieth century, arguing that it was conceived as a single entity and that its purpose was connected with funeral ritual. It had a processional layout rarely seen in seventeenth-century Scotland, hinging on the triumphal arch inside, used here not for the living hero but for the deceased on their passage to life after death. The structure involved some of the top craftsmen associated with courtier works of the period and its composition was fundamentally shaped by masonic symbolism and proportion. There is also the tentative suggestion that the aisle signalled the covert Catholicism of a client who was outwardly Presbyterian.
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Matejčić, Ivan. "Crkva Sv. Nikole u Puli (nekada posvećena Sv. Mariji)." Ars Adriatica, no. 2 (January 1, 2012): 7. http://dx.doi.org/10.15291/ars.438.
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The church of St Mary at Pula was rededicated to St Nicholas in 1583 when it was handed over for the use of the Greek Orthodox community of refugees from Crete and the Peloponnese. During the seventeenth and eighteenth century, various structures (the bell-tower, the narthex, the sacristy) were added along the eastern and northern sides of the church, several door and window openings were walled in, and the lintel and jambs of the main portal were replaced; however, the main architectural core has remained well-preserved. It has a single-cell structure of square ground plan with an eastern apse, which is semicircular in shape in the inside but polygonal on the outside. The dimensions of the church are based on a module of ten Byzantine feet (c. 31.25 cm); the church is 20 feet wide and 30 feet long, while a 10 foot square can fit into the apse. In the interior is a well-preserved triumphal arch. It is composed of a pair of marble columns with capitals which carry a large, central arch. The composite capitals possess an interesting detail: the centres of the capitals on opposing sides were left undecorated and so it can be concluded that these capitals were intended for insertion in a multi-apertured structure which was screened off with a transenna. Such capitals can be seen on large early Byzantine structures, and two similar capitals are placed in the atrium of the Basilica of Euphrasius at Poreč (mid-sixth century). This detail provides evidence about a technique used in the church’s construction, which made extensive use of prefabricated, often even imported elements of architectural decoration. The same type of marble used for the columns of the triumphal arch was used for the parts of the small trifore window set on the façade. In the scholarly literature to date, this trifore has been considered late medieval, but the carving details are identical to those on the parts of the triumphal arch and altar posts at the church of St Nicholas. The masonry of the wall also points to the fact that it had not been inserted in the sixth-century façade at a later date. In the centre of the apse is a marble block which belonged to an altar base, having four holes which still bear the lower parts of the small posts which originally carried the altar table. The remains of the altar can be seen on the photographs which document the restoration works in 1962. The altar remains were subsequently covered with a new altar structure which was removed during the works in 2000. In 1962, when the filling of the window in the south wall was removed, B. Marušić discovered a part of a marble post with a simple capital which he recognized as belonging to the aforementioned altar. Based on this data, a reconstruction of the altar has been proposed in a drawing. B. Marušić also discovered two stone transennae in the walled in-windows of the south wall, which were smaller than the original structure of the window opening and for this reason he suggested that they belonged to a later intervention. The transennae were removed and transported to the Archaeological Museum of Istria for safekeeping. During the 2000 works, fragments of identical transennae were also found in two apse windows, while a complete transenna was discovered in the walled-in window on the north face which was obscured by the addition of the bell-tower. Similar and identical transennae are found on the nearby chapel of Santa Maria Formosa, the remainder of a large basilica which was built in the mid-sixth century by the archbishop of Ravenna Maximian. In the vicinity of Pula, at least three more examples of similar transennae were found, all of which can be compared to the shape of a wooden window frame from the church of Sant’Apollinare in Classe at Ravenna. A number of arguments suggest that the aforementioned transennae belong to the first phase of the church of St Nicholas.
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PARFITT, ROSE. "Fascism, Imperialism and International Law: An Arch Met a Motorway and the Rest is History . . ." Leiden Journal of International Law 31, no. 3 (July 2, 2018): 509–38. http://dx.doi.org/10.1017/s0922156518000304.
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AbstractWhat would happen to our understanding of international law and its relationship with violence if we collapsed the distinction between our supposedly post-colonial ‘present’ and its colonial ‘past’; between the sovereign spaces of the twenty-first century global order, and the integrated, hierarchical space of fascist imperialism? I respond to this question through an investigation into the physical contours of a precise ‘imperial location’: 30°31′00″N, 18°34′00″E. These co-ordinates refer to a point on the sea-edge of the Sirtica that is occupied today by the Ra's Lanuf oil refinery, one of Libya's three most important such facilities. In the late 1930s, however, during Libya's period of fascist colonial rule, this was the point at which a state-of-the-art motorway, the Via litoranea libica, was crossed by a giant triumphal arch, the Arco dei Fileni. Through a chronotopic reading of the temporal, spatial and interpellative aspects of this point, its architecture and its history, I suggest that fascist lawyers, officials and intellectuals accepted a horrifying truth about the relationship between international law and violence – a relationship that twenty-first century doctrinal international law is loath to confront, concerning the inherently expansionist logic of the sovereign state, and the inevitably hierarchical ordering of the ‘international community’ which stems from it.
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Noreña, Carlos F. "The Communication of the Emperor's Virtues." Journal of Roman Studies 91 (November 2001): 146–68. http://dx.doi.org/10.2307/3184774.
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The Roman emperor served a number of functions within the Roman state. The emperor's public image reflected this diversity. Triumphal processions and imposing state monuments such as Trajan's Column or the Arch of Septimius Severus celebrated the military exploits and martial glory of the emperor. Distributions of grain and coin, public buildings, and spectacle entertainments in the city of Rome all advertised the emperor's patronage of the urban plebs, while imperial rescripts posted in every corner of the Empire stood as so many witnesses to the emperor's conscientious administration of law and justice. Imperial mediation between man and god was commemorated by a proliferation of sacrificial images that emphasized the emperor's central role in the act of sacrifice. Portrait groups of the imperial family were blunt assertions of dynasty and figured the emperor as the primary guarantor ofRoma aeterna.Public sacrifices to deified emperors and the imagery of imperial apotheosis surrounded the emperor with an aura of divinity. An extraordinary array of rituals, images, and texts, then, gave visual and symbolic expression to the emperor's numerous functions and publicized the manifold benefits of imperial rule.
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Schreffler, Michael. "A Triumphal Arch for the Count of Moctezuma: Architectural Poetics and Artistic Competition at the Cathedral of Mexico City, ca. 1670–1700." Journal of the Society of Architectural Historians 79, no. 4 (December 1, 2020): 414–37. http://dx.doi.org/10.1525/jsah.2020.79.4.414.
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Schreffler, Michael. "A Triumphal Arch for the Count of Moctezuma: Architectural Poetics and Artistic Competition at the Cathedral of Mexico City, ca. 1670–1700." Journal of the Society of Architectural Historians 79, no. 4 (December 1, 2020): 414–37. http://dx.doi.org/10.1525/jsah.2020.79.4.414.
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Guseva, E. V. "The specificity of psychologism in the works of E.M. Remark (on the material of the work “Shadows in Paradise”)." Язык и текст 6, no. 2 (2019): 30–39. http://dx.doi.org/10.17759/langt.2019060205.
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The article analyzes the methods of psychologism in the work of Erich Maria Remarque on the example of his late work “Shadows in Paradise”, less well known and studied in comparison with the glorified and repeatedly filmed novels “On the Western Front Without Changes”, “Three Comrades” or “Triumphal Arch” . The work clarifies the very concept of “psychologism”, examines its characteristic features, highlights the main forms of psychologism. The specific examples demonstrate the role of the portrait, color painting, sound writing, artistic details, the speech of the characters and the peculiarities of their non-verbal communication in the work of the German writer. It is proved that the whole set of methods of psychologism helps the awareness of the problematics of the work. Problems, largely due to the historical and political situation of the time in which the author lived and wrote, but not limited to it. After all, the situations of existential crisis and moral choice, in which Remarque's characters often find themselves, are typical of any era. The ability of the writer to reveal the inner world of his characters and understand how they are guided in their actions, sometimes irrational, - this is what makes his work relevant and interesting to readers even today, in the 21st century.
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Lenart, Mirosław, Sławomir Marchel, and Janusz Smołucha. "Introduction." Rocznik Filozoficzny Ignatianum 26, no. 1 (November 25, 2021): 9–12. http://dx.doi.org/10.35765/rfi.2020.2601.2.
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The graphic design of this issue of The Ignatianum Philosophical Year- book front cover includes the entrance gate to the Wawel Royal Castle in Krakow. The gate itself is transformed into a triumphal arch opening towards the road recognizable to every person who feels a bond with the cultural heritage of the Western world. This road is the via Appia, once built by the will of Appius Claudius Caecus, and considered one of the oldest Roman tracts. Called “the queen of all roads” by the Romans them- selves, it is inseparable from the Eternal City for everyone raised on the values of Western civilization. Mikołaj Sęp-Szarzyński wrote about it in his famous epitaph: “today in Rome defeated, Rome invincible,” express- ing this way the overwhelming awareness of connecting the past with what we experience as the present. It was on this road that the legendary scene recalled by Henryk Sienkiewicz took place, in which the question: quo vadis, Domine? is asked by the apostle Peter, fleeing from the Eternal City, to Christ he meets on the Appian Way. The power of this question is understood by anyone who is able to see in the roots of Classical and Christian culture all that is the most important for the Western culture not only in terms of its past, but also in terms of its future.
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Samara, Constantini, Vasilios Melfos, Athanasios Kouras, Eirini Karali, Georgia Zacharopoulou, Maria Kyranoudi, Lambrini Papadopoulou, and Eleni Pavlidou. "Morphological and geochemical characterization of the particulate deposits and the black crust from the Triumphal Arch of Galerius in Thessaloniki, Greece: Implications for deterioration assessment." Science of The Total Environment 734 (September 2020): 139455. http://dx.doi.org/10.1016/j.scitotenv.2020.139455.
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Djordjevic, Ivan. "Newly discovered fragments of frescoes in the Church of Saint Ana above Perast, the Boka Kotorska bay." Zograf, no. 29 (2002): 201–6. http://dx.doi.org/10.2298/zog0329201d.
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Several years ago, during the reconstruction and refurbishment of the Church of Saint Ana above Perast, the original layer of frescoes was discovered in this church, which is otherwise known for the wall paintings by Tripo Kokolja (beginning of the XVIII century). Since this church is also known as indicated in the paper, by the name of Saint Veneranda, or Saint Paraskevi, the point that was discussed first of all, was the change in the dedication of the church. On the basis of an analysis of the architecture it was argued that this was one of the oldest shrines in Perast, dating from the mid-XV century. Fragments of frescoes were then analysed, which made it possible to conclude beyond a doubt that Saint Paraskevi was painted on the triumphal arch, on the southern side, and above her, the Crucifixion. The placement of this scene in the main place in the temple resulted from the fact that the Church of Saint Ana was located at the end of the Way of the Cross (Via Crucis), in Perast. All this indicates that the educated population of Perast knew exactly how to create the sacral topography of a town. Finally, it seems that the paper proves, persuasively enough, that the wall paintings in Saint Ana are the work of Lovro Marinov Dobricevic, a painter of Kotor and Dubrovnik from the middle and the latter half of the XV century.
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Yaylenko, E. V. "Portal to the Past: Depiction of Space in the Book Miniatures in the Renaissance Venice." Observatory of Culture 15, no. 3 (August 19, 2018): 309–20. http://dx.doi.org/10.25281/2072-3156-2018-15-3-309-320.
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This article investigates the painted miniatures of manuscripts and early printed books of the second half of the 15th century performed in the art workshops of the Renaissance Venice and Padua. The author determines the main development stages of the principles of space depicting in the picturesque design of manuscripts and printed books. The relevance of study of this topic is caused by the fact that it has been on the periphery of research attention for a long time, obscured by other historical and artistic problems. The scientifi c novelty of the research revealed the new principles of constructing spatial composition and formation of new typology of landscape in Venetian art. For the main research method, the author uses the formal-style analysis and structural analysis. It demonstrates how simultaneously with the change of the sheet decoration structure there appeared the new opportunities for the placement of spatial composition. At an early stage, the manuscript sheet decoration consisted of the depiction of painted architecture treated in the guise of triumphal arch or classical altar with inscription, which gradually has been getting form of imaginary façade with ornaments and fragments of text upon it (the so-called architectural frontispiece type). The next faze consists in the emergence of natural motifs near it and its progressive development in the form of autonomous landscape, which one can see in the works of leading Venetian illuminator in the time circa 1500 Benedetto Bordon. The author investigated the basic types of manuscript decoration that included the depiction of landscape as well as its basic iconographical formulae. The signifi cance of the study lies in that fact which helps to explore the new sources of Venetian mythological painting, going back to the stylistic features and compositional principles of the Late Quattrocento miniature.
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Folgerø, Per Olav. "The Sistine Mosaics of S. Maria Maggiore in Rome: Christology and Mariology in the Interlude between the Councils of Ephesus and Chalcedon." Acta ad archaeologiam et artium historiam pertinentia 21 (September 21, 2017): 33–64. http://dx.doi.org/10.5617/acta.5530.
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In the present re-reading of the Sistine mosaics of S. Maria Maggiore, which embraces the Old and New Testament scenes in their totality, it will be argued that the iconography is a visual manifestation of the Christology predominating in the Roman Episcopate during the interlude between the Councils of Ephesus and Chalcedon (AD 431 to 451). The fact that the Old Testament narration opens with the Life of Abraham and concludes, on the opposite wall, with the Battles of Joshua, including a distinct pictorial indication of the position of Rahab, the harlot of Jericho, who became the great-great-grandmother of King David, has led the present author to the suggestion that the lost panels concluding the cycle may have included at least one Davidic scene. Such a scene would have extolled the soteriological meaning of the human nature of Christ, “the Son of David, the Son of Abraham” (Mt 1:1), thoughts expounded by Leo the Great in his Tomus ad Flavianum, which laid the ground for the Chalcedonian Council. By the same token the thesis will be advanced that, on the triumphal arch, the matron in the blue maphorion, who sits on Christ’s left side, counterbalancing the Virgin in the Adoration of the Magi scene, may be a personification of the women in the genealogical line of Jesus Christ listed in the Gospel of Matthew (Mt 1:1-16). The two women counterpoised in the Adoration scene would thus exalt and substantiate the Gentile, non-Jewish, contribution to the lineage of Our Saviour. The divine providence expressed through these `extraneous´ links in His ancestry (the key figures of whom were the Gentile women Rahab and Ruth), in the story which led to the Descent of the Logos and the Birth of Christ, may have been the underlying, unifying theme in the vast decoration of the basilica.
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Tyukhmeneva, Ekaterina Alexandrovna. "“Firearm art” in honor of the Russian State abroad: to the question of Russia’s representation in Europe during the time of Peter the Great." Культура и искусство, no. 12 (December 2021): 1–13. http://dx.doi.org/10.7256/2454-0625.2021.12.36989.
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This article determines the key principles of designing fireworks and illumination compositions created in honor of the Russian State in foreign territories in the late XVII – early XVIII centuries. The analysis of themes and images contained therein in conducted in the context of the problematic of representative culture of that time. The article is first to attract the preserved graphic sources and published written archival materials discovered in recent years, including by the author of this research. Special attention is given to fireworks and illuminations on the occasion of the Treaty of Nystad, which did not receive due coverage within the scientific literature. Due to the peculiarities of “firearm art”, the research methodology relies on the scientific reconstruction with the use of art history, historical-cultural, as well as elements of iconographic and iconological analysis. It is revealed the firework festivities were one of the remarkable form of Russia’s representation abroad during the time of Peter the Great. In allegorical interpretation, they not only glorified the Russian State, but also reflected far-reaching plans of the monarch aimed at obtaining the imperial status of the country. Most of the fireworks and illumination compositions were based on the traditional for ambassadorial ceremonial culture of that time motif of the triumphal arch, and the arsenal of themes and images resembled the Russian festive complexes. The fire paintings were created in accordance with the principles similar to heraldic images: centerpoint, vertical and horizontal hierarchy, and laws of symmetry. As far back as his first trip to Europe, Peter the Great knew that fire performances is a source of creating awareness and excellent opportunity to make the country know to the world.
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Клюев, С. А. "THE CHURCH OF MADHANE ALEM IN ADI QASHO AND THE DIFFICULTIES OF DATING OF TIGRAY (ETHIOPIA) ROCK-HEWN MONUMENTS." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 2(11) (February 17, 2020): 98–113. http://dx.doi.org/10.25995/niitiag.2019.11.2.006.
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Датировка скальных памятников - один из наиболее сложных и дискуссионных вопросов, возникающих перед исследователями в процессе изучения истории архитектуры Эфиопии. Основываясь на различных концепциях и подходах, ученые расходятся в датировке отдельных памятников более чем на 300 лет. Так, один и тот же памятник может быть воспринят как относящийся ко времени упадка Аксумского царства VIII- IX вв., угасания культуры или же, напротив, укрепления династии Соломонидов XIV-XV вв., времени создания множества новых храмов с богатым декором. Одним из памятников, датировка которого остается спорной, является скальная церковь Медхане Алем в Ади Кешо (Тыграй). Автор статьи, сопоставляя различные факты, прежде всего обращаясь к особенностям резного декора и архитектурного плана церкви, предлагает свое обоснование датировки храма второй половиной XIV - первой половиной XV в. The dating of rock-hewn churches is one of the most complicated and controversial issues facing researchers in the process of studying the history of Ethiopian architecture. Based on various concepts and approaches, scientists differ in the dating of monuments for more than 300 years. Thus, D. R. Buxton dated the rock-hewn church of Madhane Alem in Adi Qasho to the end of the 10-11centuries, D. Phillipson determines the time of its creation to the period up to the 10th century, and M. Gervers and E. Fritsch note that the structure of the maqdas of the church indicates a later date of creation, but do not specify it. The purpose of this article is to determine the dating of the rock-hewn church of Madhane Alem in Adi Qasho. Legendary information reports that the church of Adi Qasho, like some others (Mikael Baraka, Maryam Hibiito) in Tigray, was founded by Abuna Abreham, a saint who lived in 1350-1425. The layout of the church combines the principles of both traditional basilicas with two aisles, which became widespread in Ethiopia during the time of the Aksum kingdom, and some signs of the "open-type" basilicas that appeared in Ethiopia, probably in the period from the 14 century. In accordance with the traditions of the architecture of early Ethiopian basilicas, the church at Adi Qasho has the following features: - the vault of the nave is elevated relative to the aisles (in this case, slightly); - an Aksumite frieze runs along the upper part of the nave (with the exception of the east wall); - the maqdas is separated from the naos by a wall with a triumphal arch resting on pilasters; - the vault and the eastern wall of the maqdas form the apse with semi-dome. However, in the maqdas there are no pastophoria which are characteristic of early Ethiopian basilicas. Gervers and Fritsch draw parallels between the Adi Qasho church and the famous cruciform church of Beta Giyorgis at Lalibela (according to their dating from the 15 century), which also does not have pastophoria in the maqdas area. The church of Adi Qasho has some features of the decoration and the layout in common with the basilicas of "opentype", especially the rock-hewn church of Maryam Dabra Tsion. The U-shaped narthex presumably derives from the churches of the Lasta region: in the churches with an ambulatory (Abba Libanos at Lalibela and Zoz Amba Giyorgis), and the later "open-type" basilicas in Tigray: Yesus Archnao and Maryam Dabra Tsion. The facade solution of a four-pillar portico at the church also finds possible prototypes in the Lasta region in churches with colonnades: Madhane Alem at Lalibela, Gannata Maryam, Kankanet Mikael. Exploring the carved decoration of the Adi Qasho church, one can find a characteristic resemblance to the decoration of the church of Maryam Dabra Tsion (the paintings are stylistically dated to the turn of the 14th-15th centuries), and in particular, to the richly decorated ornamental carving of Abuna Abreham’s cell, which is connected to the church by the ambulatory. The Cupola and walls of this cell have the following decorations: diamond-shaped caissons (in Madhane Alem, they are located in the vault of the central bay in the northern aisle); a cross with four accented squares between its bars (in Madhane Alem - in the vault of the nave); multifaceted cross with ornamental filling; another geometric compositions consisting of squares. Carved crosses in the interior of the church are also stylistically dated to the 14th-15th centuries. Two crosses on high shafts are carved on pilasters in the span of the triumphal arch. Paired crosses are also known in earlier churches, but their location in the maqdas area finds parallels with the church of Maryam Dabra Tsion. Is it possible that the image of paired crosses flanking the triumphal arch may be related to the rejection at the middle of the 14th century of the previously used wooden altar barriers with columns decorated with paired crosses. Shallow triple niches (in the western parts of the southern and northern walls) and six niches in the western wall are carved in the naos of the church. Similar niches with images of saints decorated the walls of the church Maryam Dabra Tsion and of the church Yesus Archnao, probably a little earlier. The upper limit of the dating of the monument can be determined by the presence of abundant traces of soot, which can be evidence of the destructive invasion of Ahmad Gran’s jihadists, which destroyed many churches and church relics in Ethiopia in the thirties of the 16th century; likewise, the style of the corner beams of perspective frames of doorways leading from the narthex to the naos. Their form from the second half of the 15th century changes from cubic to round-headed. These factors make it possible to designate the upper limit of dating to the middle of the 15th century, i.e. approximately until 1450. Probably, the creators of the church tried to unite in the monument both the local traditions of the basilica architecture and the new trends that came from the political center of the country. The features of the layout of the church, particular qualities of its maqdas demonstrate close creation date of the Adi Qasho church and the basilica of Maryam Dabra Tsion. Thus, the most plausible dating is close to the legendary information, namely 1370-1450.
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Gervers, Michael. "Churches Built in the Caves of Lasta (Wällo Province, Ethiopia): A Chronology." Aethiopica 17 (December 19, 2014): 25–64. http://dx.doi.org/10.15460/aethiopica.17.1.857.
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The five churches of Yǝmrǝḥannä Krǝstos, Ǝmäkina Mädḫane ʿAläm, Ǝmäkina Lǝdätä Maryam, Walye Iyäsus and Žämmädu Maryam are all built in caves in the massif of Abunä Yosef, situated in the Lasta region of Wollo. Changes in their architectural forms suggest that they were constructed over a period of several hundred years in the order listed and as such represent a significant chronological model against which many of Ethiopia’s rock-hewn churches may be compared. Until the publication of this paper, it has been universally accepted that the church of Yǝmrǝḥannä Krǝstos was built in the second half of the 12th century under the sponsorship of an eponymous king. Aspects of the church’s architecture, namely the absence of a raised space reserved for the priesthood before the triumphal arch (the bema), of any sign of a chancel barrier around it, of western service rooms, of a vestibule and narthex, and of the presence of a reading platform (representative of the Coptic ambo), of a full-width open western bay (allowing for a ‘return aisle’), and of arches carrying the aisle ceilings, all point to a date of construction around the mid-13th century. In fact, the closest parallels to Yǝmrǝḥannä Krǝstos may be found in Lalibäla’s second group of monolithic churches, Amanuʾel and Libanos. Closely associated also is the church of Gännätä Maryam. A painting of the Maiestas Domini in the south-east side room (pastophorion) of the latter suggests that the room served as an extension of the sanctuary. By the end of the 13th century, as witnessed by Ǝmäkina Mädḫane ʿAläm and the other churches built in caves, the full-width sanctuary becomes a characteristic which endures throughout 14th- and 15th -century Ethiopian church architecture. Yǝmrǝḥannä Krǝstos and Gännätä Maryam stand on the cusp of a major liturgical change which coincides with the transfer of royal power from the Zagwe dynasty to their Solomonic successors, who sought legitimacy by following Coptic practices.
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Balletti, C., F. Guerra, C. Meneghello, and G. Romanato. "THE DIGITAL EPHEMER: HENRY III OF FRANCE IN VENICE (1574)." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences VIII-M-1-2021 (August 27, 2021): 33–40. http://dx.doi.org/10.5194/isprs-annals-viii-m-1-2021-33-2021.
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Abstract. Sometimes digital reconstruction interfaces with the ephemeral aspect of the Cultural Heritage. Photogrammetric survey, integrated with the most up-to-date visualization technologies, aims to the production of 3D models that can recreate and document the artifacts that were made to be short-lived.The paper deals with the documentation of an historical event: the stay of Henry III of France in Venice in 1574. This happening has been studied as part of the journey from Poland to France, undertaken by the king through Austria and northern Italy. Many royal events were organized and among the architectural and sculptural works that were made for the occasion, two stand out: the ephemeral triumphal arch and loggia designed by Andrea Palladio for the grand entry of the King and the three hundred sugar sculptures cast from moulds obtained from Jacopo Sansovino’s workshop.Historical research, iconography and cartography, along with the photogrammetric survey of some artworks still visible today, allowed the three-dimensional reconstruction of the temporary structures and sugar sculptures created for this historical event and made to last only for the ten days of his stay.The purpose of this research is to map the movements of the King and recreate the works of art that were created for him in various parts of Venice, according to a geographic and scientific approach, by framing them in space and time and employing the 3D models to project the observer into 16th century Venice.The integration of methods and techniques pertaining to geomatics and three-dimensional computer graphics allow us to animate and reconstruct images of no longer existing places and works of art which were made to be fleeting but scenic at the same time and arouse amazement between the leading personalities of those times.The “digitalization of the ephemeral” aims to bring these artifacts back to memory, following a meticulous process based on the examination of the historical sources together with cartographic data and a scientific survey.
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Van Sasse Van Ysselt, Dorine. "Johannes Stradanus: de decoraties voor intochten en uitvaarten aan het hof van de Medici te Florence." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 149–79. http://dx.doi.org/10.1163/187501790x00075.
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AbstractSources show that the Flemish artist Johannes Stradanus, whose career flourished from about 1555 in Florence, collaborated on several occasions on large-scale, temporary decorations, most of them commissioned by the grand dukes de'Medici, for important dynastic events such as baptisms, entries into cities and funerals. A multitude of artists and craftsmen carried out these decorations on the basis of often complicated iconographic programmes. In 1564, for instance, on the occasion of Michelangelo's funeral in S. Lorenzo, Stradanus painted the grisaille Michelangelo in 1529 in his dwelling in the Giudecca being received by the nobles of Venice by order of the Doge Andrea Gritti and the Signoria. In 1565, for the triumphal entry into the city of Johanna of Austria, he painted all the pictures decorating the triumphal arch erected on the Canto de' Tornaquinci. These consisted of five scenes glorifying the following exploits of rulers of the House of Austria: Rudolf conferring the Archdukedom of Austria on Albrecht I, Maximilian II being crowned emperor, Ferdinand I defending Vienna against the Turks, Albrecht slaing Adolf of Nassau in a battle, Philip II of Spain receiving the corona obsidionalis from Malta and two large trompe-l'oeil street views. In 1574, for the funeral of Cosimo I de'Medici in S. Lorenzo, Stradanus was probably involved in the painting of the skeletons and coats of arms. Furthermore, on the occasion of Francesco I de' Medici's funeral in S. Lorenzo in 1587, he painted the grisaille Francesco visiting his betrothed, Johanna of Austria, in Innsbruck; in 1588, for the entry of Ferdinando I de' Medici into Pisa, the canvas The burial of Pope Stephen I in the catacomb of Callixtus for the decoration of S. Stefano dei Cavalieri; in 1589, for the entry of Christina of Lorraine, the painting The retreat of the Turks after the siege of Vienna, as part of the decorations on the Canto de' Bischeri. Finally, in 1598, for the obsequies in memory of Philip II of Spain in S. Lorenzo, the grisaillc The siege and capture of Antwerp; for the same occasion he also provided the design for the grisaille The conquest of the Philippine islands, painted by his son Scipione. Stradanus' first commissions date from the start of his career in Florence, when he was working in Vasari's studio. As one of the master's assistants in decorating the Palazzo Vecchio, he had already gained ample experience in large-scale painting for the Medici. After leaving Vasari's studio in about 157 and setting up as an independent artist, Stradanus remained one of the leading Florentine artists who received commissions for official large-scale decors. He retained this status up to a venerable age, a sign of the appreciation he continued to enjoy in this field. Unfortunately none of Stradanus' decorative work has survived, with the exception of the canvas in Pisa. An impression of his skill in this field in conveyed by contemporary sources and the sketches, drawings, etchings and engravings presented in this article. This material clearly shows that in his long and productive life Stradanus was not only active as a painter of frescos and altarpieces and a designer of tapestries and engravings, but also played a prominent role at the court of the Medici as a painter of decorations.
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Krob, Melanie Gordon. "Arch of Triumph [Commentary]." Academic Medicine 76, no. 12 (December 2001): 1228. http://dx.doi.org/10.1097/00001888-200112000-00015.
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Remarque, Erich Maria. "Arch of Triumph [Excerpt]." Academic Medicine 76, no. 12 (December 2001): 1229. http://dx.doi.org/10.1097/00001888-200112000-00016.
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Morresi, Manuela, and Dorothy Hay. "Cooperation and Collaboration in Vicenza before Palladio: Jacopo Sansovino and the Pedemuro Masters at the High Altar of the Cathedral of Vicenza." Journal of the Society of Architectural Historians 55, no. 2 (June 1, 1996): 158–77. http://dx.doi.org/10.2307/991118.
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In 1534 the Vicentine masters, Giovanni da Porlezza and Girolamo Pittoni da Lumignano (the so-called Pedemuro masters) signed a contract with Aurelio Dall'Acqua for the construction of the main altar in the cathedral of Vicenza. Documents concerning the altar, later Dall'Acqua's funerary monument, have led scholars to attribute the design to Andrea Palladio, who began his career as a stone carver in the Pedemuro workshop. Designed following the model of a triumphal arch, the altar constitutes an extraordinary novelty in Vicenza, which was still unfamiliar with ancient models in the 1530s and 1540s. Documents show that Aurelio Dall'Acqua had connections to Venetian intellectual close to the doge, Andrea Gritti and the Franciscan theologian Francesco Zorzi, who, in those same years, wrote the program for the church of S. Francesco della Vigna and was in contact with Jacopo Sansovino. The inventory of the library of Dall'Acqua and an examination of his correspondence reveal his religious interests: that he was close to Catholic reform circles and interested in Erasmus; an expression of those interests should be considered part of the realization of the altar. Architectural analysis of the monument allows us to note in it a series of medieval and Renaissance elements from Florentine sources, direct borrowing from antique sources, and elements from Venetian architecture of the same period. Comparison of these elements with the architectural language that Palladio developed in the 1540s, after his first visit to Rome, excludes an attribution to him. In any case, the date of design is too early for him to have undertaken an autonomous project. Many of the architectural elements on the altar are to be found in the work of Jacopo Sansovino, who was invited to Vicenza in 1538 to furnish an opinion on the roofing of the tribune of the cathedral and the movement of the original altar to the end of the apse. The design for the architectural structure of the altar is attributed here to Sansovino, while the disposition of the semiprecious stones which entirely cover the altar is considered to be the work of the Pedemuro masters. Francesco Zorzi seems to have been the connecting figure between patron and architect, as he was in Sansovino's commission for the main altar and funerary monument of Cardinal Francesco Quiñones in the basilica of S. Croce in Gerusalemme, Rome.
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Daniels, C. M. "Excavation and Fieldwork amongst the Garamantes." Libyan Studies 20 (January 1989): 45–61. http://dx.doi.org/10.1017/s0263718900006580.
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The Garamantes exercised a powerful hold upon the Mediterranean imagination during the early and high Empire (Daniels 1970; Desanges 1962; Merighi 1940; Romanelli 1959; Ruprechtsburger, forthcoming). Remote and beyond the southern limits of the African provinces, they represented the mythical south, only accessible after perilous desert travel; they were inextricably interwoven in people's minds with swarming serpents, fabulous fountains and precious stones, with the silent noon tide of the terrifying desert and such inhuman creatures as men with no voices or no heads, strapfoots, Goat-Pans and Satyrs (Pliny, N.H. 5.1.7).The reality of Roman contact with them was no less exotic. The last entry of all in the Fasti Triumphales (CIL I2, p. 50) on the Arch of Augustus in the Roman Forum commemorates a triumph celebrated on 27th March 734 A.V.C. (19 BC) by L. Cornelius Balbus, ex Africa: below, the stone surface remains rough and no further names follow. But Balbus' honour was much more noteworthy for he was not even a Roman by birth (PIR2 C1331; Thomasson 1960, 11). Like his famous uncle, Caesar's Balbus, he was a full-blooded Spaniard hailing from Cadiz (Gades) — and the only foreigner ever to be accorded a triumph, the Elder Pliny informs us (N.H. 5.5.36). His rise to fame came about through a steadfast devotion to Caesar's cause, for which he was ultimately rewarded by Augustus with consular rank (Velleius 2.51.3), and became Proconsul of Africa in ?20 BC (Syme 1939, 80, 235, 325, 339, 367).
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Monterroso, Antonio. "Via triumphalis per theatrum Marcelli, símbolos de arquitectura en la forma urbis marmorea." Revue archéologique 47, no. 1 (2009): 3. http://dx.doi.org/10.3917/arch.091.0003.
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Stobiecka, Monika. "Archaeological heritage in the age of digital colonialism." Archaeological Dialogues 27, no. 2 (November 13, 2020): 113–25. http://dx.doi.org/10.1017/s1380203820000239.
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AbstractDigital archaeologists claim that their practices have proven to be an important tool for mediating conflict, ensuring that the digital turn in archaeology entails engaging in current political issues. This can be questioned by analysing a copy of the Syrian Arch of Triumph. The original was destroyed in 2015. A year later, a copy was carved out of Egyptian marble; the replica was constructed thanks to digital documentation, which allowed archaeologists to create a 3D model. The arch was placed in various Western locations; however, it never reached Syria. Hybridity, the cultural and political significance of the arch’s replica and its ‘Grand Tour’ invite us to think about different interpretive layers of this artefact of ideological discourse (ontological, epistemological, ethical). In this paper, the replica of the Syrian arch will be analysed through the frameworks of post-colonial theory and technology studies. Both perspectives provide an insight into promising advantages and alarming drawbacks of such digital practices. This paper argues that the case of a copy of the Syrian Arch of Triumph on the one hand reflects the contemporary colonial technocracy in heritage politics (an ethical dimension), and on the other demonstrates that an ideological aspect of its digital reconstruction emerges from a speculative anticipation of what might constitute the universal value of world heritage in the future (an onto-epistemological dimension).
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Glendinning, Miles. "The ‘Grand Plan’: Robert Matthew and the Triumph of Conservation in Scotland." Architectural Heritage 16, no. 1 (November 2005): 72–102. http://dx.doi.org/10.3366/arch.2005.16.1.72.
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Hendrix, John. "The Humanist Interpretation of Hieroglyphs in the Allegorical Studies of the Renaissance: With a Focus on the Triumphal Arch of Maximilian I. Karl Giehlow. Trans. Robin Raybould. Brill’s Studies in Intellectual History 240; Brill’s Texts and Sources in Intellectual History 16. Leiden: Brill, 2015. viii + 352 pp. $175." Renaissance Quarterly 69, no. 1 (2016): 230–31. http://dx.doi.org/10.1086/686340.
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Scott, R. T. "The triple arch of Augustus and the Roman triumph." Journal of Roman Archaeology 13 (2000): 183–91. http://dx.doi.org/10.1017/s1047759400018857.
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Khunti, Roshni. "The Problem with Printing Palmyra: Exploring the Ethics of Using 3D Printing Technology to Reconstruct Heritage." Studies in Digital Heritage 2, no. 1 (September 26, 2018): 1–12. http://dx.doi.org/10.14434/sdh.v2i1.24590.
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The use of 3D printing technology to reconstruct the Arch of Triumph in Palmyra has opened a Pandora’s Box of ethical issues relating to the use of digital technology to preserve heritage represented by historical objects and sites. The author investigates the ethical implications of the three replicas of the arch made by IDA in New York, London, and Dubai after the original was destroyed in the Syrian Civil War. The ethics of digital reconstructions of heritage are not yet coded by UNESCO or ICOMOS, but it is important to hold reconstructed heritage to the same ethical expectations as other types of heritage. This paper concludes that the reconstructed arch failed to meet these expectations in four key ways. First, it does not address the human loss in Palmyra and the contribution of the Assad regime to its destruction. Second, despite an ostensible commitment to reproduction, the reconstructed arch is inaccurate in material and scale. Third, the arch is patented by the IDA and has had limited public and digital access. Finally, the reconstruction promotes a potentially irresponsible culture of quickly reconstructing destroyed heritage without respect for the context or current needs of the respective people. Through delving into Pandora’s Box, this article aims to highlight ethical issues specific to digital reconstructions of heritage that need to be addressed in formal codes of ethics concerning the preservation of heritage represented by historical objects and sites.
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Pokhalenkov, Oleg Evgen'evich, and Sof'ya Evgen'evna Nikulicheva. "Female images in the novel “Arch of Triumph” by Erich Maria Remarque." Litera, no. 5 (May 2021): 165–73. http://dx.doi.org/10.25136/2409-8698.2021.5.35263.
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This article is dedicated to the analysis of female images in the novel “Arch of Triumph” by Erich Maria Remarque, particularly their symbolic meaning infused by the author into some characters. The research objective consists in the analysis of female images from the cultural, artistic and literary perspectives. The article employs structural analysis based on the methodology of N. V. Pavlovich. Special attention is given to the references to mythology for describing one or another image. The author substantiates the idea of the connection of each female character with the time and place of her initial stay or origin. Review is conducted on the following heroines: Joan Madou – a mediocre actress and singer, mistress of the protagonist; Kat Hegstrom – a patient and close friend of Ravic; Sybil – beloved of the German doctor died in the gestapo. The scientific novelty of this work consists in consideration of images of the heroines through the prism of associative-imagery, metaphorical meaning of the prototypes used by the author in creating and describing the characters. A comparison of the compositional roles of the aforementioned heroines is carried out. Particular attention is given to the female characters from “Osiris” brothel (which is an important location in the novel and plays a significant compositional role in the text), and their manager Roland. The similarity is noticed between “Osiris” brothel and the boarding house for noble girls, as well as few other comparisons of the women of easy virtue with the ladies brought up in the spirit of the Victorian Era. The article determines certain intertextual correlations n the historical-literary and cultural-historical context. Attention is also paid to consideration of the[WU1] philosophical views of the novelist and the process of their implementation in developing the images of the characters. The work indicates the impact of philosophical ideas of “lost generation” upon the characters of the novel and their life attitudes. The author of the article touches upon the theme of romantic relationships and behavior of the heroines therein. [WU1]
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Pokhalenkov, Oleg Evgen'evich, and Sof'ya Evgen'evna Nikulicheva. "Female images in the novel “Three Comrades” by Erich Maria Remarque." Litera, no. 10 (October 2021): 131–40. http://dx.doi.org/10.25136/2409-8698.2021.10.36379.
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This article analyzes female images in the novel “Arch of Triumph” by Erich Maria Remarque. The research is based on the theory of N. Pavlovich that each image has several similar invariants ascending to the uniform archetype. A hypothesis is advanced that the characters in the works of E. M. Remarque can be divided into two groups: 1) associated with the generally literary archetypes; 2) collective living images. The article also examines female images who have a plot-driven and artistic meaning in the text, although do not belong to the indicated time period. The image of Patricia Holman in the novel is associated with the mythological archetype, which is reflected in the description of her appearance, behavior, and corresponding events. It is noted that all central female images in the novels by E. M. Remarque have are intertwined with the mystical characters from myths and legends. The scientific novelty consists in tracing the evolution in description of the images of public female figures in comparison with another novel – “Arch of Triumph”. The author also examines another narrative parallel between the two novels: similar stories of two families lived in a particular historical time. The conclusion is made that the storyline of many novels by Erich Maria Remarque is based on a certain pattern. The author attempted to reconstruct the aforementioned pattern, which has largely proven the assumptions put forward in the earlier research.
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Maloney, William J. "Orthopaedic crossfire®—larger femoral heads: A triumph of hope over reason!: In opposition." Journal of Arthroplasty 18, no. 3 (April 2003): 85–87. http://dx.doi.org/10.1054/arth.2003.50107.
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Ferrer, Ciro, Piergiorgio Cao, Carlo Coscarella, Michelangelo Ferri, Luigi Lovato, Stefano Camparini, Luca di Marzo, et al. "iTalian RegIstry of doUble inner branch stent graft for arch PatHology (the TRIUmPH Registry)." Journal of Vascular Surgery 70, no. 3 (September 2019): 672–82. http://dx.doi.org/10.1016/j.jvs.2018.11.046.
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Webster, Christopher. "Late Georgian Churches: ‘Absolutely Wretched’ or the Triumph of Rational Pragmatism?" Architectural History 60 (2017): 147–81. http://dx.doi.org/10.1017/arh.2017.5.
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AbstractThis article considers the late Georgian church and argues that this huge group of buildings, involving almost all the country's major architects, has never been properly assessed by historians. This is principally a result of the opprobrium heaped on these churches by the Ecclesiologists who needed them to be marginalised in order to promote their own agenda of church design and worship, and the view that they are largely worthless lives on in places, even today. The article proposes their re-evaluation, suggesting that judging them by the standards the Ecclesiologists applied retrospectively is both illogical and inevitably destined to produce verdicts of failure. Instead, it seeks to place these buildings within the context of late Georgian society, religious attitudes and especially the period's building world. It argues that the best of them, especially the big ‘town’ churches, display a high degree of intelligent, functional planning and a fascinating exploitation of new materials and structural innovations that do great credit to their designers.
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Callaghan, John J., Thomas D. Brown, Douglas R. Pedersen, and Richard C. Johnston. "Orthopaedic Crossfire®—larger femoral heads: A triumph of hope over reason!: In the affirmative." Journal of Arthroplasty 18, no. 3 (April 2003): 82–84. http://dx.doi.org/10.1054/arth.2003.50072.
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