AS OF JANUARY 2025, CONSERVATION WORK ON THE ARCH OF TITUS IS UNDERWAY.
THE INTERVENTION WILL END IN EARLY JUNE. IN ORDER TO LIMIT THE DISTURBANCE, WORK IS BEING DONE ON THE EXTERIOR WITH A LIFTING PLATFORM; TO WORK ON THE INTERIOR, A SCAFFOLD HAS BEEN ERECTED AND WILL BE DISMANTLED GRADUALLY AS THE INTERVENTION PROCEEDS GIVING VISIBILITY BACK TO THE RELIEFS. WE APOLOGIZE FOR THE INCONVENIENCE CAUSED BUT WE ARE SURE IT WILL BE WORTH IT! 

The Arch rises with its only fornix (archway) at the point where the visitors from the Roman Forum go up to the Palatine Hill. It was erected in honor of Titus Vespasian Augustus (79-81 AD), second emperor of the Flavian dynasty, as a spectacular gateway to the Imperial Palaces.
It is identified with certainty by the legible inscription on the attic, on the side facing the Colosseum, which preserves the original dedication (CIL VI, 945): “Senatus / Populusque Romanus / divo Tito divi Vespasiani f(ilio) / Vespasian Augustus” (The Senate and People of Rome in honor of the divine Titus, son of the divine Vespasian, Vespasian Augustus).

The attribute “divus” referring to Titus, suggests that he was already deified, and therefore deceased, when the text was engraved. The construction of the arch, therefore, is thought to be after 81 AD, probably to be placed in the early years of the reign of Domitian (81-96 AD), who did so much to ensure that his brother was deified. The reliefs carved on marble show off the success of the Jewish War, concluded by Titus, together with his father Vespasian, in 71 AD: in the small frieze under the attic, which was originally intended to go all the way around, the triumphal procession is depicted; the panel affixed on the South pylon shows the procession’s passage through the Triumphal Gate of the Forum Boarium, where the ceremony began, with the exhibition of the rich spoils brought to Rome, including the seven-branched candelabra (the menorah); the imperial quadriga with Titus crowned by Victory is depicted on the opposite North pylon.
Despite the references to historical facts, the monument never had a triumphal function; another arch, dedicated to the emperor but erected in the curved side of the Circus Maximus, performed this function. Rather, the subject of debate among scholars is whether, provided at the top with a spacious hollow room, it could have housed the temporary burial of Titus, whose apotheosis is carved in the center of the vault below as a flight over the back of an eagle towards the sky.

In the Middle Ages, the Arch was incorporated into the fortress of the powerful Frangipane family and later annexed to the Olivetan monastery complex. Thus, we often see it depicted in the drawings and paintings of artists and travellers of all times.
The first demolitions of the post-ancient additions that began in the 15th century were followed in the 1820s by a radical restoration by architect Giuseppe Valadier (1762-1839), when the structure, disassembled piece by piece and totally freed, was reassembled and integrated with travertine in the missing parts, taking on its current appearance. The inscription visible on the attic, in bronze letters, on the side facing the Roman Forum, dates back to this period and, in particular, to the pontificate of Pius VII (1800-1823), who wanted to commemorate this important restoration work, marking a milestone for the conservation practices of ancient monuments.

• CONSERVATION STATUS

  The Arch of Titus underwent, during this last century, regular conservation and maintenance interventions, nevertheless the monument is prone to weathering, pollution and the natural deterioration of the stone.

  The main issues affecting the stone surfaces of the Arch of Titus are:

  • deposition of dust and pollutants
  • weathering
  • marble pulverisation, exfoliation, micro-fracturing
  • development of biological patinas, vegetation and settlement of birds
  • alteration of previous conservation work

• DIAGNOSTIC INVESTIGATIONS

  The present restoration was preceded by an investigation campaign meant to deepen our knowledge on constituent materials, degradation phenomena and overlying substances.
  Samples were also taken to search for any colour residues.

• THE INTERVENTION

  The restoration of the outer sides of the arch is carried out with an electric platform to avoid any pollution, noise and any nuisance to visitors. On this occasion, a new safety system will be installed, allowing restorers to work on the top of the arch, as well as on the outer walls, hanging with ropes, without taking risks. The work will be completed with the installation of a lightning conductor system to avoid any possible atmospheric discharges. Due to the present climate change, the city of Rome is experiencing more frequent storms and heavy lightning strikes that recently struck the monuments of our heritage: this is why our monuments are going to be provided with lightning rods.

  Conservation activities include the following operations

  • removal of biological patina and vegetation
  • laser cleaning of marble surfaces
  • re-cohesion of marble with nano-lime
  • re-adhesion of flakes and fragments
  • grouting and micro-grouting of cracks, fractures and exfoliation of stone
  • anti-oxidation treatment and protection of metal elements
  • stone surface protection
  • removal of vegetation and cleaning of the roofing and flooring of the arch

• SCENOGRAPHIC LIGHTING PROJECT

  The intervention on the surfaces is completed by installing a new lighting system that enhances the shapes and reliefs of the arch and allows the beauty of the reliefs to be fully enjoyed, giving light back to the triumphal procession.

• PHOTOS

  

  Arch of Titus, Eastern Front

   

  

  Arch of Titus, detail of the key of the arch

   

  

  Arch of Titus, detail of the frieze

   

  

  Arch of Titus, detail of the decoration of the arch spandrel

   

  

  Arch of Titus, eastern front, dedicatory inscription

   

  

  Arch of Titus, detail of the lacunar vaulting

   

  

  Arch of Titus, conservative interventions performed with elevating platform