The hidden meaning behind Rome's famous arch monuments
With the advent of the empire, Augustus retained imperium maius, or 'greater power,' and became the leader of all generals, which meant generals could no longer erect triumphal arches. This became a privilege reserved exclusively for the imperial family.
Anatomy of the artworks
Anatomy of the artworks
Sculptures, reliefs, and inscriptions allude to the success and parade that the triumphal arch was built to honor. Some elements focus on the spoils of war, while others depict the victor's chariot or scenes of battle. The original decoration on the Arch of Septimius Severus in the Roman Forum is shown in this 1829 illustration by Franz Heinrich Köler.
Quintlox/Album
Below the four main panels are reliefs depicting the transfer of spoils of war in chariots. Columns with Corinthian capitals form part of the decorations. Spandrels on the side have images representing the rivers of the conquered Parthians, including the Tigris and Euphrates. The top of the central arch is flanked on either side by a winged victory carrying a trophy. Panels portraying the unfortunate prisoners of war adorn the lower section. Many are pictured with mournful expressions and hands tied behind their backs. Coins featuring the arch that were minted during the reign of Septimius Severus show that it was topped by a gilded bronze sculpture of a chariot drawn by six horses and driven by the emperor and his son Caracalla.
The upper part of the arch is covered in a marble panel bearing a Latin inscription in gold lettering that reads:
TO THE EMPEROR CAESAR LUCIUS SEPTIMIUS SEVERUS SON OF MARCUS, ... FATHER OF HIS COUNTRY, CONQUEROR OF THE PARTHIANS IN ARABIA AND SYRIA, PONTIFF MAXIMUS, IN THE 11TH YEAR OF HIS RULE, CONSUL 3 TIMES, AND PROCONSUL, AND TO THE EMPEROR CAESAR MARCUS AURELIUS ANTONINUS AUGUSTUS PIUS FELIX [CARACALLA], IN THE SIXTH YEAR OF HIS RULE, CONSUL, AND PROCONSUL ... BEST AND BRAVEST OF PRINCES, DISTINGUISHED FOR HAVING RESTORED THE REPUBLIC AND EXPANDED THE POWER OF THE ROMAN PEOPLE, ... FOR THEIR NOTABLE VIRTUES AT HOME AND ABROAD THE SENATE AND THE ROMAN PEOPLE (DEDICATE THIS MONUMENT).
Four main panels decorating the arch depict wars waged by Septimius Severus against the Parthians and the Arabs. The panel below presents the A.D. 195 siege of the Parthian fortress of Nisibis (Nusaybin today), in present-day southeastern Turkey. The original panel is now badly deteriorated.
Given that some colonies were many hundreds of miles away from the capital in Rome, it was a shrewd political move to keep the ambitions of far-flung generals in check by focusing all reference to victories on the emperor himself. Over time, triumphal arches shifted away from being related to the triumphal parades of generals and instead became commemorative monuments glorifying the emperor alone. Having been transformed into a vehicle of imperial propaganda, triumphal arches proliferated not only in Rome but also across the empire.
(8 things people get wrong about ancient Rome.)
While the triumphal arches of the republican era were short-lived wooden structures, the commemorative arches of the empire, made from stone and Roman cement (opus caementicium), were designed to last. The arch itself became deeper, sometimes extending from 15 to nearly 37 feet from front to back. Two smaller side arches flanking the main arch reinforced the structure and increased the surface area available for reliefs and inscriptions. This decoration was concentrated in the attic section at the top of the arch, which often displayed panels with war scenes depicting weapons taken from the defeated as well as a sculpture of the victor driving a chariot.
The Arch of Titus
Built by Emperor Domitian in A.D. 81 to honor his brother, the late emperor Titus, this arch is located on the Via Sacra, the route followed by the triumphal processions.
Luigi Vaccarella/Fototeca 9x12
The architecture of the arches evolved as the imperial era went on. The few arches that remain from the reign of Augustus, the first emperor (27 B.C.–A.D. 14), have an austere design and appear somewhat out of proportion. Later, the influence of Hellenistic, Syrian, and Mesopotamian art would lead to a mingling of forms as architects experimented with decoration from various architectural schools; the Arch of Titus achieves a particularly attractive balance. Erected in A.D. 81. on the Via Sacra, it is the oldest surviving arch in Rome.
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