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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This is an exquisitely decorated purse lid from the Anglo-Saxon burial at #SuttonHoo, which was brought to the world's attention #onthisday in 1939. In this object the quality of craftsmanship can really be appreciated. The lid is only 19cm in length but it must have been incredibly valuable. The outstanding nature of the finds at Sutton Hoo points to this being the burial of a leading figure in East Anglia, possibly a king. The landowner Mrs Edith Petty donated the discovery to the British Museum in 1939.
#SuttonHoo #Gold #Archaeology #AngloSaxon Today we’re celebrating the unearthing of the beautiful Anglo-Saxon objects from #SuttonHoo, which were found #onthisday in 1939. Arguably the most iconic of all the objects, this helmet was an astonishingly rare find. Meticulous reconstruction has allowed us to see its full shape and some of the complexity of the fine detailing after it was damaged in the burial chamber. The gold areas of the helmet reveal a dragon or bird-like figure – the moustache forms the tail, the nose forms the body and the eyebrows form the wings, with a head just above. Another animal head can be seen facing down towards this.
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Our #AfricanRockArt image project team have now completed cataloguing 19,000 rock art images from Northern, Eastern and Southern Africa, and will be completing work on sites from Southern African countries in the final phase of the project. Follow the link in our bio to find out more about our African #rockart image project and the incredible images being catalogued.
Photograph © TARA/David Coulson. Our #AfricanRockArt project team is cataloguing and uploading around 25,000 digital images of rock art from throughout the continent. Working with digital photographs has allowed the Museum to use new technologies to study, preserve, and enhance the rock art, while leaving it in situ.

As part of the cataloguing process, the project team document each photograph, identifying what is depicted. Sometimes images are faded or unclear. Using photo manipulation software, images can be run through a process that enhances the pigments. By focusing on different sets of colours, we can now see the layers that were previously hidden to the naked eye.

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Tanzania contains some of the densest concentrations of rock art in East Africa, mainly paintings found in the Kondoa area and adjoining Lake Eyasi basin. The oldest of these paintings are attributed to hunter-gatherers and may be 10,000 years old.

Follow the link in our bio to learn more about the project and see stunning #rockart from Africa. This week we’re highlighting the work of our #AfricanRockArt image project. The project team are now in the third year of cataloguing, and have uploaded around 19,000 digital photographs of rock art from all over #Africa to the Museum’s collection online database.

This photograph shows an engraving of a large, almost life-sized elephant, found on the Messak Plateau in #Libya. This region is home to tens of thousands of depictions, and is best known for larger-than-life-size engravings of animals such as elephants, rhino and a now extinct species of buffalo. This work of rock art most likely comes from the Early Hunter Period and could be up to 12,000 years old.

Follow the link in our bio and explore 30,000 years of stunning rock art from Africa. © TARA/David Coulson.
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