British Museum blog

Description of the Arches

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode London Becomes Rome looks at the grand and theatrical coronation of King James I.


Ruth Levis, British Museum

The illustrations of the triumphal arches featured in today’s programme were published in a book, The Arches of Triumph, ‘invented and published’ by Stephen Harrison, the man behind the arches’ creation. Here is his description that accompanied The Temple of Janus (the Roman god of beginnings and transitions), the final arch in the procession.

The Temple of Janus. © Trustees of the British Museum

The seventh and last Pegme (within the Citie) was erected at Temple-barre [Temple Bar], beeing adioyned close to the Gate: The Building was in all points like a Temple, and dedicated to Janus Quadrifrons.

Beneath that Foure-fac’d head of Janus was advancd the Armes of the Kingdome, with the Supporters cut out to the life: from whence being remoude they now are placed in the Guild Hall.

The wals and gates of this Temple were brasse; the Pillars silver, their Capitals and Bases gold: All the Frontispice (downeward from those Armes) was beutified and supported by twelve rich Columnes, of which the foure lowermost, being great Corinthian pillers, stood upon two large Pedestals, with a faire Vaux over them in stead of Architriue, Frieze and Cornice.

Above them, eight Columnes more, were likewise set, two and two upon a large Pedestall; for as our worke began (for his Maiesties entrance) with Rusticke, so did wee thinke it fit, that this out Temple, should end with the most famous Columne, whose beauty and goodlinesse is derived both from the Tuscane, Doricke, Ionicke and Corinthian, and received his full perfection from Titus Vespasin, who advanced it to the highest place of dignitie his Arch Triumphall, and (by reason that the beauties of it were a mixture taken from the rest) he gave it the name of Composita or Italica: within the Temple stood an Altar, with burning Incese upon it, before which a Flamin appears, and to the Flamin comes the Genius of the City.

The principall person in this Temple, was Peace. At her feete lay Warre groueling. At her right hand stood Wealth. On the same hand likewise, but somewhat remote, and in a Cant by her selfe, Quiet was seated, the first hand maide of Peace, whose feete stood vpon Tumult. On the left hand (at the former distance) Liberty the second hand-maide of Peace had her place, at whose feete Seruitude lay subiected. Beneath these (on distinct degrees) sate two other hand maides of Peace, Safey and Felicity, Safety trampling upon Danger and Felcity upon Unhappinesse. Genius and Flamin spake thus much.

Shakespeare’s Restless World is on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 weekdays.

Listen to today’s programme London Becomes Rome

Filed under: Shakespeare's Restless World, What's on

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Legend has it that #onthisday in 753 BC Romulus founded Rome. Here's the myth on this coin
#history #coin #Rome #Romulus Happy birthday to #QueenElizabeth II, who is 89 today! Here’s a photo of her visiting the Museum in 1957
#history #Museum #BritishMuseum #Queen Odilon Redon was born #onthisday in 1840. This is one of Redon's (1840-1916) most famous coloured pastels, and was first shown in the gallery of Durand-Ruel - the favoured dealer of the Impressionists - in 1894. There it was seen by Tatiana Tolstoy, the daughter of the great Russian novelist Leo Tolstoy, who noted in her diary: 'One of them whose name I could not make out-something like Redon-had painted a face in blue profile. On the whole face there is only this blue tone, with white-of-lead.' Tolstoy quoted this in his diatribe against contemporary art, 'What is Art?', first published in 1898, as irrefutable evidence of the degenerancy of modern art.

One of many studies of female profiles in Redon's work, La Cellule d'Or ('The Golden Cell') suggests introspection, its golden glow embodying the power of thought. The intense colour and strict composition recall the portraits of the early Florentine Renaissance. Here however, the feeling dominates over objective representation; the blue and gold halo are the traditional colours of the Virgin Mary, but no further religious message intrudes.

The drawing is made on paper in oil paint over a white ground, which gives the colour its luminous intensity.
#art #history #drawing #artist Construction of St Peter’s Basilica began #onthisday in 1506. It was completed 120 years later. This print by Giuseppe Vasi was made in 1774
#print #art #history #Rome #Italy Happy 134th birthday @natural_history_museum! Here’s the British Museum before the natural history collection moved to South Kensington
#giraffe #history #BritishMuseum #museum Most Greek sculpture that survives from antiquity is carved from white marble, of which the Mediterranean has many natural sources. A relationship has often been assumed between the pure white of freshly cut marble and the idealism of Greek art. In fact, the opposite is true. Colour was intrinsic to ancient ideas of beauty. For centuries this has been a subject of fascination and controversy. The great Italian Renaissance sculptor Michelangelo revived the Greek idea of the human body but denied the use of colour. This was partly due to negative associations with the painted saints of the medieval period. During the European Enlightenment of the 1750s onwards, and increasingly into our own time, the preferred aesthetic was a truth to materials. Painting and gilding were seen as unnecessary and undesirable.

Sculpture in antiquity was often adorned not only with colour but also with different materials. The Greek marble statue of an archer reconstructed here was drilled and fitted with metal attachments. The figure originally held a bronze bow and arrow and a quiver was fixed to his left hip by a metal dowel. Individual locks of hair were made of lead. The colourful design of the man’s knitted all-in-one garment, often worn by peoples from the east, is clearly seen weathered into the marble surface under controlled lighting.

You can see this wonderful object in our exhibition #DefiningBeauty, until 5 July 2015.
#exhibition #BritishMuseum #ancientGreece #sculpture #art

Plaster cast of archer with reconstructed paint, based on a Greek original of about 490–480 BC, from the Temple of Aphaia at Aigina. Staatliche Antikensammlung und Glyptothek, Munich.
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