Introduction

THE triumphal arch, as evolved by the Romans, must be considered primarily as a commemorative monument. There are many variants of the type, both trabeated and arcuated, which can be sub-divided into groups, such as those consisting of a single archway, of which the Arch of Titus, Rome, is a notable example: the triple archway, consisting of a central opening with subordinate arches, of which the Arch of Constantine, Rome, is one of the best examples; and minor types of double archways unified by an attic storey. There are also certain trabeated triumphal arches, such as the Arch of the Goldsmiths, Rome. Amongst notable modern examples are the Arc de Triomphe, Paris, by Chalgrin, the Triumphal Arch at Petrograd, designed by Querenghi (Plate XCII), and that at Madison Square, New York, by McKim.

During the sixteenth century in Italy, the principle of the triumphal arch was adapted to form a central motive of certain types of façade. Throughout the ensuing phases of the Renaissance in France, including the period of the Empire, this feature constantly recurs in buildings of the first importance, modified in detail, but following the accepted disposition. From 1830 till 1880 the French Grand Prix designs reveal an insistence on the theory of an arched motive for central masses as a variation of the more usual portico front.

In England, the triumphal arch was seldom applied as a central feature in a range of buildings. It was adopted to some extent by Sir William Chambers and the school of the brothers Adam for screens and ornamental gateways; it was used in its entirety by Sir John Soane to form part of the Lothbury Court of the Bank of England, and is found again in his design for the completion of the Treasury, Whitehall.

After 1815, the triumphal arch appeared in London as an isolated monument. John Nash designed the Marble Arch and erected it as the chief feature in the courtyard of Buckingham Palace, whence it was afterwards removed to its present site. In the entrance at Hyde Park Corner Decimus Burton employed the triumphal arch in triple form connected by screens, but the design is not entirely satisfactory owing to lack of rhythm. His arch on Constitution Hill is the finest example in London.

Reference should be made to the buildings of the eighteenth century in France and also to the Grand Prix designs for further insight into the application of the triumphal arch motive.

There is yet another purpose to which isolated arched features, which are not purely utilitarian, can be applied: this concerns temporary street decorations for processions and state pageants. Arches of this description have been erected in England from the time of Inigo Jones to the present day, and instances of their effective use can be seen in French, American and other works which touch on this subject. A fine example is reproduced in Fig. 17.