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

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 16,387 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

We’re sharing our favourite photos taken by visitors – use #myBritishMuseum if you’d like to feature! Here’s a brilliant shot by @j.ziolkowski that really captures the cool tones of the Great Court. We love the collision of lines in this photo – the hard edges of the original 1823 building set against the curvature of the later Reading Room and tessellation of the glass roof. 
Get snapping if you’d like to feature in our next #regram. 
#BritishMuseum #architecture #perspective #GreatCourt This Degas print is an example of the subject matter and technique the artist moved towards in the early 1890s. During this time, Degas produced sketchy prints showing female figures post-bathing. In this print we can see that the ink has been reworked during the printing process – the hair and shoulders show evidence of additional brushstrokes. The backgrounds of these works are much more sketchy and blurred than works he produced earlier in his career, perhaps showing his increased interest in figures.
#Degas #print #portrait The intense gaze of this young woman was originally intended to appear in the background of a horse racing scene by Degas, but the painting was never completed. This type of challenging composition is typical of the French artist’s work – he liked to crop the viewpoints of his paintings and sketches to create a different atmosphere. The coolly returned stare reverses the traditional relationship between viewer and subject, and emphasises Degas’ progressive approach to painting.
#Degas #painting #sketch #Paris French artist Edgar Degas died #onthisday in 1917. Today we’ll feature works that showcase his radical approach to framing subjects, and his subtle handling of form and tone. This vivid oil sketch from 1876–1877 depicts a repeated motif in Degas’ work – the Parisian ballet. He captured both performances and behind-the-scenes moments in his paintings and sketches, often using vantage points that give a fly-on-the-wall impression to his work. Degas worked rapidly but precisely – mirroring the movements of the dancers he portrayed – and this work is completed in thinned-down oil paint so that his quick brushstrokes could dry quickly.
#Degas #sketch #oilpainting #Paris #ballet Our #SunkenCities exhibition is the first at the British Museum on underwater archaeology. Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. 
At the mouth of the Nile, the city of Thonis-Heracleion flourished as the main entry point into Egypt. Underwater excavations have found a large harbour, numerous ships and anchors, proving this was an international port. This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through Thonis and Naukratis. A copy was found in the main Egyptian temple in each port. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis. 
Learn more about the connections between the ancient civilisations of Egypt and Greece in our #SunkenCities exhibition - until 30 November. Follow the link in our bio to find out more about it. 
Stela commissioned by Nectanebo I (r. 378–362 BC), Thonis-Heracleion, Egypt, 380 BC. On loan from National Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the cities were believed to be lost. After sightings from a plane, a diving survey was organised in 1933 to explore submerged ruins. But it was only from 1996, with the use of innovative techniques and a huge survey covering 42 square miles of the seabed, that underwater archaeologists rediscovered the lost cities. 
Thonis-Heracleion and Canopus were thriving cities long before the foundation of the great port of Alexandria in 331 BC. Finds suggest that they were still inhabited into the AD 700s. The cities’ disappearance was caused by gradual subsidence into the sea – much like Venice today – coupled with earthquakes and tidal waves. This triggered a phenomenon known as land ‘liquefaction’, when the ground turns into liquid. 
This reconstruction shows what the port of Thonis-Heracleion could have looked like, dominated by the Temple of Amun-Gereb. Follow the link in our bio to book your tickets to our #SunkenCities exhibition. © Yann Bernard. © Franck Goddio/Hilti Foundation.
%d bloggers like this: