Triumphal Arch Research Articles

‘As Well by the English as by the Strangers’: Performing a Multicultural London in The Magnificent Entertainment

The pageantry marking James VI & I’s royal entry into London in 1604 featured the participation of Italian and Dutch immigrants who contributed two of the entry’s triumphal arches. This article examines the role of these immigrant communities within the production, and textual reproduction, of James’s royal entry. The pageant records present contrasting approaches to the multiculturalism of early modern London. The first, represented by Thomas Dekker’s official pageant text The Magnificent Entertainment, divides the city into ‘the English’ and ‘the strangers’, whose presence is celebrated for the symbolic possibilities of creating unity out of multiplicity. In the second approach, recoverable within the Italian and Dutch arches, immigrant populations maintain their distinct identities as unified communities possessing the historical and cultural right to welcome James to their city.

“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

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.

A Sasanian Triumphal Arch in Bishapur

The Sasanian Kingdom (224–651 CE) was the last dynasty before the Muslim-Arab invasion of Iran (Pourshariati 2008: 1–2). Sasanian-era architectural remains—mostly including palaces, castles, temple...

Introduction

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.

Female images in the novel “Arch of Triumph” by Erich Maria Remarque

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]

Integration of non-destructive testing, numerical simulations, and simplified analytical tools for assessing the structural performance of historical adobe buildings

For existing structures, the development of seismic vulnerability studies requires the availability of information related to geometry, boundary conditions, material properties, and accumulated damage. In the case of historical constructions, modern conservation criteria recommend carrying out a comprehensive structural assessment that involves the use of concurrent experimental diagnosis complemented with numerical and analytical approaches for structural analysis. This paper presents a proposal for a comprehensive integration of these perspectives by the application of several tools for the seismic performance analysis of an iconic Andean historical adobe building: the 'San Pedro Apostol Church' located in Andahuaylillas, Southern Peru. In this church, several non-destructive techniques for geometrical and damage assessment were combined with structural exploration tools, nonlinear numerical modeling, and simplified analytical tools for performing predictive seismic analysis. The results indicate the feasibility of the integration of these techniques for studying existing earthen buildings and their capacity to properly predict observed damage in past earthquakes (i.e. failures of bell towers, façade walls, tympani, and triumphal arches). In particular, the analyses allowed the identification of high seismic vulnerability of the studied church in occasional earthquakes (earthquakes with a return period of 72 years) due to the activation of collapse mechanisms consisting of rocking of the façade walls and out-of-plane overturning of the lateral walls.

Triumphal arch in Russia in the 18th-21th centuries: evolution of function and meaning

The article characterizes the evolution of the function and meaning of the triumphal arch in Russia in the 18th-21th centuries. The most known examples of the triumphal arches built in Saint Petersburg, Moscow and other cities of Russia over the last three hundred years are analysed. The authors describe the various reasons for erecting these architectural structures as well as their style specifics and identify the relationship between the construction of the arches and the changes in the social ideals and political systems. The article draws an analogy between the triumphal arches in Russia and similar objects built in Western Europe throughout the indicated period.

Triumphal arches from Lower Moesia

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.

Творческое наследие архитектора В.П. Стасова как отражение основных тенденций развития русской архитектуры конца XVIII – середины XIX века

The article presents carried-out research work on the artistic heritage of Vasily Stasov (the buildings that identify to the greatest degree the architect’s stylistic techniques) as determining the main trends in the development of Russian architecture from the end of the 18th to the mid-19th century, namely, the “High Classicist” style, which was predominant during this period, and the sources of historicism. In order to minimize subjectivity when analyzing the evolution of Russian architecture following the main buildings designed by Vasily Stasov, the principle of this assessment was formed. Within the framework of the creative heritage of Vasily Stasov, research was made of: a complex of shopping malls, the interior of a palace (using the example of a ceremonial office), triumphal arches (gates) (four examples), a complex of stables (two examples), food warehouses (two examples), a complex of barracks, restoration work (by the example of a cathedral in an architectural ensemble), cathedrals (two examples) and a church, a tenement house, and a palace ensemble.

Biserica reformată din Turda Veche: cercetările arheologice din anii 2018–2020 / The Reformed Church of Turda Veche: the archaeological research between 2018 and 2020

Biserica reformată din Turda Veche: cercetările arheologice din anii 2018–2020 / The Reformed Church of Turda Veche: the archaeological research between 2018 and 2020

La configuración urbana de las nuevas casas consistoriales de sevilla, expresión del poder de una ciudad en el marco del proyecto imperial

The urban configuration of the new council houses in Seville, an expression of the power of a city within the framework of the imperial project The new town hall of Seville, built from the year 1527 on the Plaza de San Francisco, is the first test of a new way of approaching the urban re- newal of the city. In this short journal we intend to clarify the urban implications of the project, anticipating some of the keys necessary to un- derstand the innovative nature of the proposal, whose origin can be found at the entrance of Emperor Carlos V a few months before the start of the works. In the building, interest in the city is detected in the representation of its classic past, in the use of scenographic values on the facade towards the square and in the attention to its preferred location in the urban fabric through the construction of a monumental triumphal arch aligned with Genova street. All these values were tried by Diego de Riano in the ephemeral architectures made for the royal entrance and transferred to permanent architecture in the first renaissance building in the city.

«Loyalty of Faithful Peoples». Manifestation of National Patriotism During the Visits of Emperor Franz Joseph to Lviv

The article focuses on concrete examples - the visits of Emperor Franz Joseph, and how the city of Lviv presented itself. And how this representation has changed over time - from the neo-absolutism of the 50s of the XIX century to the broad autonomy of the early XXth century. What social groups dominated, how national communities fought for the right to be heard. How they built a symbolic relationship between the emperor and his subjects. The methodological basis of the study comprises the principles of historicism, objectivity and systematics. General scientific and special research methods were used in solving the set tasks: historiographical analysis, generalization, quantitative, chronological, retrospective. The scientific novelty of the work lies in a comprehensive analysis of the state of study of the issue in modern historiography and comparison of existing data with the available evidence of the time. Conclusions. For almost 70 years, from the mid-nineteenth to the early twentieth century, Galicia as part of the Habsburg Empire went from brutal rule from Vienna to broad autonomy. At the same time, the nature of relations between the main national groups (Poles, Jews and Ukrainians) changed. These groups, using the opportunities provided by the constitution, developed and represented themselves to the authorities, delineated symbolic boundaries, interacted with each other. They also mobilized their members for certain mass events, such as the emperor's visits or other national demonstrations. By the middle of the nineteenth century, the ritual of emperor’s visits to the province had already been practiced, as had the symbolic roles of the emperor. He was a philanthropist, military leader, judge, “father” etc. Galicia and Lviv (as the capital city of the province) in the beginning were simply recipients of these rituals and symbols. However, over time, local elites began to form their own programs, emphasize their own symbols, that is, actively involved in this process. And this activity is important for understanding the history of the region at that time. Especially when you consider that imperial rituals have become a model on which local elites built some national traditions of mass politics. The traditions of demonstrations, festive illumination, construction of triumphal arches, military orchestras and much more were borrowed from the imperial ritual and adapted by local elites to their needs. If we understand how it worked at the level "faithful subjects greet a just monarch", we can look differently at the mass politics of the early twentieth century, when the streets of Lviv became a stage for the political drama of modern times.

A bazini plébániatemplom reneszánsz szószéke (1523)

A bazini plébániatemplom reneszánsz szószéke (1523)

The Case of the Missing Anastasis. An iconographical conundrum in the presbytery of S. Maria Antiqua

In the present contribution, two authors approach a limited part of the iconography in the sanctuary of Santa Maria Antiqua in Rome, painted during the pontificate of John VII (705-707 AD). Two different hypotheses will try to come closer to a solution of a problem concerning the Christ cycle on the sanctuary side walls, where Christ’s appearance to the Disciples on the Road to Emmaus is the concluding motif. This rather reasonable solution stands, however, in huge contrast to John’s Christ cycle in his oratory in Old Saint Peter’s Basilica which concludes with the ʽHarrowing of Hellʼ or Christ’s descent into Hades. Being a novelty, this, so called Anastasis-scene, where Christ liberates the prisoners of Hades, has a strong soteriological, or salvation historical, meaning. Anastasis, which, in fact, appears in two different locations in John’s rich assembly of motifs in S. Maria Antiqua, is wholly absent from the highly ʽcerebralʼ sanctuary iconography. Our two alternative solutions to this absence both include an Anastasis, either as a free hanging icon (Nordhagen), or as a motif included in the vast Adoration scene on the triumphal arch, here located below the Crucifixion on the steep Cliff of Golgotha (Folgerø).

Image of The Main Heroine Of “Arch of Triumph” By E.M. Remarque: Grammatical and Syntactic Aspect

The article is devoted to the identification of grammatical and syntactic means of language as a means of introducing the image of the main heroine of the novel “Arch of Triumph” by Erich Maria Remarque. Based on the analysis of the first chapter of the novel, it is concluded that the task of introducing and transmitting the image of the main heroine is realized by the author through the use of a number of grammatical constructions, in particular, various forms of the subjunctive, primarily relying on the modal meaning of optativity (desirability). In addition, the author reveals such stylistic technique as contrasting sentences in two moods: subjunctive and indicative, which serves to strengthen the contrast between the real and unreal, real and desirable, while realizing the author’s intention to immerse the reader in the world of doubts that torment the soul of the main character. At the same time, it has been established that a characteristic feature of the author’s language in the studied novel is the use of simple sentences.

A Triumphal Arch for the Count of Moctezuma: Architectural Poetics and Artistic Competition at the Cathedral of Mexico City, ca. 1670–1700

In seventeenth-century Mexico City, the viceroys appointed by the kings of Spain began their tenures by processing through two ephemeral triumphal arches, one of them erected at the portal to the west transept of the Metropolitan Cathedral. The designs of those arches and their decoration with paintings on mythological themes are recorded in festival books printed to accompany the ceremonial entries. Previous scholarship has focused on the iconographic programs of the arches, seeing them as official statements on good government and the expression of an elite self-image. Less attention has been paid to the architectural structures themselves, the focus of ATriumphal Arch for the Count of Moctezuma: Architectural Poetics and Artistic Competition at the Cathedral of Mexico City, ca. 1670–1700. In this essay, Michael Schreffler presents a close and comparative reading of the descriptions of the arches in the festival books, providing insights into architectural knowledge and artistic competition in seventeenth-century Mexico City.

Skelmorlie Aisle, Largs: its symbolism, form and functions

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.

SEISMIC VULNERABILITY ASSESSMENT OF THE TRIUMPHAL ARCH OF CARACALLA IN VOLUBILIS (MOROCCO): PAST EVENTS AND PROVISIONS FOR THE FUTURE

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.

ARCH AS A SYMBOL OF THE TRIUMPH OF THE DOMINANT IDEOLOGY IN THE ARCHITECTURE OF KYIV IN THE 1930S-1950S.

The article examines the arch as a monument and its symbolic significance in the thesaurus of Soviet neoclassical architecture on the example of Kyiv.The arch, with its expressive imagery, reflects complex iterations of the architectural and artistic search of the 1930s and 1950s. Changes in the socio-political and cultural context that consistently lead to the transition from the avant-garde to the Stalinist Empire style, transformations within the neoclassical style caused by the Second World War, and the transition from historical reminiscences to Soviet architectural modernism after 1955 are considered.The paper presents the materials of the three largest competitions that took place in the capital of Ukraine during this period: the construction of the Government Quarter in 1934-1935, the restoration of Khreshchatyk in 1944-1947 and the Triumphal Arch "In honor of the 300th anniversary of the reunification of Ukraine with Russia" 1954, respectively. Competitions account for the three above-mentioned transitions in the architectural field of the USSR, so, given the number of represented author groups and their wide geography, reflect the global trend. The article analyzes the change of approaches to the use of the arch as a key symbol, which successfully shows the dominant preferences of both the management staff - customers and performers - architects, trying to reflect on the relevant social demand.

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

In the present study, 12 particulate deposits and one black crust sample were collected from the Triumphal Arch of Galerius in Thessaloniki, Greece and characterized by employing a multi-analytical approach including chemical analysis of trace elements and ionic species, as well as scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDS) to gain information about the micromorphology and the chemical composition in terms of major elements. In addition, one unaltered marble sample, e.g. the marble directly beneath the black crust, was examined by microscopic and isotopic methods to characterize its texture and origin. The particulate deposits consist mainly of calcite, quartz, aluminosilicate mineral phases, several metal oxides of Fe, Ti and FeCr with Mn and Cu. They also include bird droppings enriched in P and S, and plant residuals. The black crust has a similar mineral composition and is dominated by calcite with traces of quartz and halite, whereas P- and S-enriched particles are common. In both cases a coating on calcite crystals with a thin crust rich in Ca, Ba and S is commonly observed and is attributed to the previous conservation works. Concentrations of As, Zn, Pb, Cu, nitrate, sulfate, chloride and acetate were significantly higher in particle deposits than in the black crust as opposed to Fe, Co, Ni and formates that were at the same level. The traffic-related trace elements Pb, Zn and Cu and most ions were significantly higher in low-altitude deposition samples. The current marble deterioration is induced by a combination of factors, including mechanical, physico-chemical and biological processes.