Norman, “Imperial Triumph and Apotheosis: The Arch of Titus in Rome,” in Koine: Mediterranean Studies in Honor of H. This panel closely links Titus’ triumph with Titus’ apotheosis. He wears the same attire as he does in the larger relief depicting him mid-triumph, the image is bedecked with similar garlands, and he rides to heaven on an eagle similar to the one on his triumphing chariot. Specifically on the Arch for Titus, the small panel near the top of the inner arch depicts Titus in the process of apotheosis. An imperial funerary procession roughly reversed the route of a triumph, and shared many notable features (such as likenesses of conquests, the emperor’s attire, the city gate by which a triumph entered and an imperial funeral exited, and the location on the Campus Martius where a triumph began and a funeral ended). Norman, in turn, argues that an imperial triumph, a procession celebrating great military victory such as the one commemorated by the Arch of Titus, began the symbolic cycle that culminated in the triumphator’s posthumous apotheosis, his ascension to divinity. This depiction of the emperor and the eagle likely refers to the apotheosis of Titus after his death. The largest of these, at the apex, contains a relief of Titus on the back of an eagle.
ARCH OF TITUS EAGLE SERIES
Karl Galinsky (Rome: American Academy in Rome, 2014), 85-101. The interior archway of the Arch for Titus features a series of intricately sculpted panels, called coffers. These phenomena help us understand how a triumph could impact the significance of an arch on its path, and how an arch could impact the significance of a triumph.ĭiane Favro, “Moving Events: Curating the Memory of the Roman Triumph,” in Memoria Romana: Memory in Rome and Rome in Memory, ed. Each triumphator could design a different route in order to pass by and create connections with different buildings. What is on the attic An inscription saying, 'The Senate and people of Rome, to Divine Titus Vespian Augustus son of Divine Vespian. After victory, the troop returned to Rome, processed from the Circus Flaminius area, circumambulated the city, and arrived back at the Temple of Jupiter with tribute. Prior to departure for war, the general would pray in the Temple of Jupiter Best and Greatest on the Capitoline Hill for victory. It looks like a two-tiered wedding cake and is decorated with images of eagles holding a garland, a sea lion. Diane Favro’s study (2014) emphasizes the importance of movement in ancient Rome, where mobility was associated with mental activity and even strategies for remembering. The triumphal procession was tied to the collective identity of the state its circular path connected the past with the present. The Arch of Titus menorah base is unique, however. Tuck (Oxford: Oxbow, 2009), 41-53.Even though the Arch for Titus is static, its triumphal experience is rather dynamic. In the history of the art and architecture of Rome, the Arch of Titus has a significance far beyond that of a single monument of the ancient city made still. In this way, the sculptural program connects the ideas of military victory, triumph, and divinity. In the underside of the arch, Titus can be seen flying on the back of an eagle towards the heavens, this is his apotheosis the moment he becomes a god. Norman argues further that this relief is most legible when the viewer is walking away from the forum, as one would during an imperial funeral. As Naomi Norman has argued, an emperor’s triumph, also awarded by the Senate, was seen as the first step to earning apotheosis.
Apotheosis, the transformation from mortal to divine, was the ultimate goal for many Roman emperors, and required the recognition of the Senate.
The interior archway of the Arch for Titus features a series of intricately sculpted panels, called coffers. Detail of Arch for Titus showing Apotheosis panel at the apex of the interior archway
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