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Academic literature on the topic 'Triumphal arches'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Triumphal arches"

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Bogdan, Corneliu, and Nicolae Beldianu. "Triumphal arches from Lower Moesia." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 12 (2021): 107–14. http://dx.doi.org/10.47950/caieteara.2021.12.06.

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The triumphal arches, a product of imperial propaganda, are the most famous and widespread Roman triumphal monuments. The official Roman coins illustrated on their reverse the triumphal arches located in the capital of the empire, Rome. Many of these monuments are still preserved, but some have disappeared in the tumult of history. Therefore, coins become “evidence” of the existence of these buildings when thy have not survived over centuries or allow the reconstruction of parts that have disappeared from them. The provincial coins of Lower Moesia also speak of the presence of such triumphal monuments (unknown now by of archaeological discoveries) from this border province. In this paper, some considerations are expressed regarding the numismatic evidence of the triumphal arches at Markianopolis and Tomis.
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Power, Jacqueline, and Helen Norrie. "Australian Triumphal Arches and Settler Colonial Cultural Narratives." Fabrications 27, no. 1 (January 2, 2017): 71–99. http://dx.doi.org/10.1080/10331867.2016.1262716.

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Lange, Henrike Christiane. "Giotto’s Triumph: The Arena Chapel and the Metaphysics of Ancient Roman Triumphal Arches." I Tatti Studies in the Italian Renaissance 25, no. 1 (March 1, 2022): 5–38. http://dx.doi.org/10.1086/718972.

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Knighton, Tess, and Carmen Morte García. "Ferdinand of Aragon's entry into Valladolid in 1513: The triumph of a Christian king." Early Music History 18 (October 1999): 119–63. http://dx.doi.org/10.1017/s0261127900001856.

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These lines adorned one of the triumphal arches built in honour of Ferdinand of Aragon's ceremonial entry into Valladolid on 5 January 1513. This event, like so many other such entries throughout Europe during the sixteenth century, was intended to recall the Triumphs of the Roman emperors, though it was also embedded in a long-established entry ritual. The ephemeral buildings all'antica, the apparati, street decorations, pageants with allegorical, mythological and historical figures, as well as music and dancing of various kinds all formed part of a royal spectacle devised according to the political process of image-making.
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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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Reyman-Lock, Daryn. "The Triumphal Arches of Gallia Narbonensis: Iconography, Boundary and Identity." Environment, Space, Place 6, no. 2 (2014): 31–68. http://dx.doi.org/10.5840/esplace20146211.

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Knyazev, Pavel. "The Images of Power in the Public Space of Early Restoration England." ISTORIYA 13, no. 1 (111) (2022): 0. http://dx.doi.org/10.18254/s207987840019015-5.

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The article deals with the main features of the public representation of the power images during the early Stuart Restoration. The problem is studied on the material of the solemn entry of the English King Charles II into London on the eve of his coronation, April 22, 1661. Prior to this event, four triumphal arches were built in the city center, using the main symbols and allegories associated with the restoration of the monarchy. Based on a wide range of sources (official descriptions of celebrations, engravings, poetic works and diaries), the authors study the characteristic features of the power images of the early Restoration. Firstly, an important role in the construction of these images was played by the use of the heritage of the Antiquity, mainly of the works of Virgil. England was represented as the new Rome, and Charles II was seen as the new Augustus. Secondly, like the early Stuarts, Charles II sought to present his rule as a new “Golden Age” — the era of prosperity and abundance. The latter, according to the architects of the arches, came to replace the chaos, desolation and discord of the civil wars and of the Interregnum. The symbolism of the arches helps us understand, how the legacy of that period was refracted in official rhetoric and in the minds of the Englishmen of the Restoration era. Finally, the images on the triumphal arches reflected the plans and aspirations of the new government, being a kind of “manifesto” of the new monarchy.
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Zinni, Mariana C. "Poder y representación en las fiestas efímeras: la entrada triunfal en potosí del virrey-arzobispo morcillo." Razón Crítica, no. 10 (January 2020): 33–59. http://dx.doi.org/10.21789/25007807.1701.

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This work studies certain iconographic artifacts erected to celebrate the triumphal entry of the recently appointed interim Viceroy, Archbishop Diego de Morcillo y Auñón, to Villa Rica del Cerro de Potosí, on his way to Lima. Such artifacts, the magnificent triumphal arches, masquerades, a play (loa), and even an oil painting, commissioned to Melchor Pérez de Holguín, were designed in advance. Their purpose was to exalt the figure of the Viceroy by embodying emblematic artistic figures. This research proposes the reading of certain aspects of the iconographic program produced around the figure of Morcillo in order to elucidate local features and some characteristics of the creole agency in Potosí, carefully displayed in these emblems.
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Harrison, James R. "‘More than conquerors’ (Rom 8:37): Paul’s Gospel and the Augustan Triumphal Arches of the Greek East and Latin West." Buried History: The Journal of the Australian Institute of Archaeology 47 (January 1, 2012): 3–20. http://dx.doi.org/10.62614/rdvp0424.

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This paper investigates the social and theological import of Romans against the iconography of the Augustan arches, focusing on Paul’s indebtedness to Greeks and barbarians, the reconciliation of enemies, the victory of Christ on behalf of believers, and his rule over the nations. D.C. Lopez and B. Kahl investigated the iconographic evidence of Aphrodisias and Pergamon when discussing the political implications of Paul’s gospel in the Roman province of Asia. Paul visited neither city, so arguments about the apostle’s interaction with the imperial ideology of ‘victory’ depends more on the ubiquity of the Julio-Claudian propaganda than on any contact Paul might have had with those specific monuments. The Augustan arches throughout the Empire stereotypically depict the humiliation of barbarians at the sites of Pisidian Antioch, a city visited by Paul (Acts 13:14-50), as well as at La Turbie, Glanum, Carpentras and the triple arch at the Roman Forum. However, there were other iconographic motifs on the arches that conflicted with the relentless triumphal ideology of Augustus. They articulated an alternate vision of social relations between conqueror and conquered.
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Naomi Meiri-Dann. "Triumphal Arches in the Public Sphere in Israel—Between Temporary Reality and Fantasy." Israel Studies 24, no. 1 (2019): 76. http://dx.doi.org/10.2979/israelstudies.24.1.04.

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Dissertations / Theses on the topic "Triumphal arches"

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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 arches"

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Fähndrich, Sabine. Bogenmonumente in der römischen Kunst: Ausstattung, Funktion und Bedeutung antiker Bogen- und Torbauten. Rahden: VML, Verlag Marie Leidorf, 2005.

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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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Poplavskiĭ, V. S. Kulʹtura triumfa i triumfalʹnye arki Drevnego Rima. Moskva: "Nauka", 2000.

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Chase, Raymond G. Roman triumphal arches and monumental gates / Raymond G. Chase with Patricia F. Chase. [New Hampshire?]: Patricia Chase, 2008.

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

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Roehmer, Marion. Der Bogen als Staatsmonument: Zur politischen Bedeutung der römischen Ehrenbögen des 1. Jhs. n. Chr. München: tuduv-Verlagsgesellschaft, 1997.

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Cencic, Jasmine. Das Heidentor von Petronell-Carnuntum: Ein Führer. Wien: Verlag der Österreichische Akademie der Wissenschaften, 2002.

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Ståhl, Pernilla. The triumphal arch of Mogadishu. Visby: Eddy.se, 2022.

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9

Frolov, A. I. Sankt-Peterburg ot A do I︠A︡. Sankt-Peterburg: Glagol, 2006.

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Zuchold, Gerd-H. Die Triumphstrasse König Friedrich Wilhelms IV. von Preussen in Potsdam : das Triumphtor. Berlin: Nicolai, 1994.

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Book chapters on the topic "Triumphal arches"

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Zizi, Mattia, Valentina Corlito, Daniela Cacace, and Gianfranco De Matteis. "Limit Analysis for Triumphal Arches in Masonry Churches: Case Study from L’Aquila 2009 and Central Italy 2016–17 Earthquakes." In Lecture Notes in Civil Engineering, 1391–407. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-90788-4_106.

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"Antoine Caron's Paintings for Triumphal Arches." In Astraea - Yates, 242–88. Routledge, 2013. http://dx.doi.org/10.4324/9781315888767-17.

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Bryer, Jackson R. "May Day." In Tales of the Jazz Age. Oxford University Press, 2012. http://dx.doi.org/10.1093/owc/9780199599127.003.0003.

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There had been a war fought and won and the great city of the conquering people was crossed with triumphal arches and vivid with thrown flowers of white, red, and rose. All through the long spring days the returning soldiers marched up the chief...
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Fitzgerald, F. Scott. "May Day." In Tales of the Jazz Age. Oxford University Press, 2023. http://dx.doi.org/10.1093/owc/9780198856085.003.0004.

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There had been a war fought and won and the great city of the conquering people was crossed with triumphal arches and vivid with thrown flowers of white, red, and rose. All through the long spring days the returning soldiers marched up the chief...
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"A REVISED LIST OF ROMAN MEMORIAL AND TRIUMPHAL ARCHES." In A Revised List of Roman Memorial and Triumphal Arches, 1–34. Piscataway, NJ, USA: Gorgias Press, 2009. http://dx.doi.org/10.31826/9781463220204-001.

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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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"Triumphal Arches and Centurions in the Indigenous–Spanish Festival Economy." In Indigenous Miracles, 161–90. University of Arizona Press, 2022. http://dx.doi.org/10.2307/j.ctv2jhjw9k.12.

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Malmberg, Simon. "TRIUMPHAL ARCHES AND GATES OF PIETY AT CONSTANTINOPLE, RAVENNA, AND ROME." In Using Images in Late Antiquity, 150–89. Oxbow Books, 2014. http://dx.doi.org/10.2307/j.ctvh1dwzx.13.

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"Frontmatter." In A Revised List of Roman Memorial and Triumphal Arches, I—iv. Piscataway, NJ, USA: Gorgias Press, 2009. http://dx.doi.org/10.31826/9781463220204-fm.

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"Classical Greek and Latin Literature." In The Oxford History of Literary Translation in English, edited by Stuart Gillespie and David Hopkins, 147–306. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199246229.003.0006.

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Abstract The restoration of the monarchy in 1660 was celebrated with heroic pageantry which drew heavily on classical epic, thereby revealing the centrality of the genre to the aspirations and self-image of the age. The ‘poetical ‘ part of the official pageantry was organized by John Ogilby, who had published his complete translation of Virgil in 1649. The triumphal arches erected for Charles II ‘s coronation procession included Virgilian quotations, one of which, ‘Discite justitiam moniti ‘ ( ‘Be warned and learn justice ‘, Aeneid VI, 620), had a particular aptness for the times (see Harrison 1969: 145).
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Conference papers on the topic "Triumphal arches"

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Goble, C. "“Fetch me a picture representing triumph or similar”: classification based navigation and retrieval for picture archives." In IEE Two-day Seminar. Searching for Information: Artificial Intelligence and Information Retrieval Approaches. IEE, 1999. http://dx.doi.org/10.1049/ic:19990884.

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