Arch of Titus

The Arch of Titus (Italian: Arco di Tito; Latin: Arcus Titi) is a 1st-century AD honorific arch,[1] located on the Via Sacra, Rome, just to the south-east of the Roman Forum. It was constructed in c. AD 82 by the Emperor Domitian shortly after the death of his older brother Titus to commemorate Titus's victories, including the Siege of Jerusalem (AD 70).[2]

The arch has provided the general model for many triumphal arches erected since the 16th century—perhaps most famously it is the inspiration for the Arc de Triomphe in Paris, France.[3]

The Arch provides one of the few contemporary depictions of Temple period artifacts.[4][5] It became a symbol of the Jewish diaspora, and the menorah depicted on the Arch served as the model for the menorah used on the emblem of the state of Israel.[6]

Coordinates: 41°53′27″N 12°29′19″E / 41.890717°N 12.488585°E

Arch of Titus
Arch Titus, Forum Romanum, Rome, Italy
The Arch of Titus, showing the "Spoils of Jerusalem" relief on the inside arch
LocationX Palatium
Built inc. AD 82
Built by/forEmperor Domitian
Type of structurehonorific arch
RelatedTitus, Roman triumph, First Jewish–Roman War
Arch of Titus is located in Rome
Arch of Titus
Arch of Titus


Based on the style of sculptural details, Domitian's favored architect Rabirius, sometimes credited with the Colosseum, may have executed the arch. Without contemporary documentation, however, attributions of Roman buildings on basis of style are considered shaky.

The medieval Latin travel guide Mirabilia Urbis Romae noted the monument, writing: "the arch of the Seven Lamps of Titus and Vespasian; [where Moses' candlestick is having seven branches, with the Ark, at the foot of the Cartulary Tower"][7][8]

In a later era, Pope Paul IV made it the place of a yearly oath of submission.

The Frangipani family turned it into a fortified tower in the Middle Ages.[9] It was one of the first buildings sustaining a modern restoration, starting with Raffaele Stern in 1817 and continued by Valadier under Pius VII in 1821, with new capitals and with travertine masonry, distinguishable from the original. The restoration was a model for the country side of Porta Pia.[9][10]

At an unknown date, a local ban on Jews walking under the arch was placed on the monument by Rome's Chief Rabbinate; this was rescinded on the foundation of the State of Israel in 1948, and at a Hanukkah event in 1997 the change was made public.[11][12][13] The arch was never mentioned in Rabbinic literature.[14]



Arch of Titus Detail
Detail of the central soffit coffers
Front view of the Arch of Titus
Carrying off the Menorah from the Temple in Jerusalem depicted on a frieze on the Arch of Titus in the Forum Romanum
Close up 2
Rom, Titusbogen, Triumphzug 3
Close up of relief showing spoils from the Siege of Jerusalem
North, inner relief from the Arch of Titus in the Roman Forum.

The arch is large with both fluted and unfluted columns, the latter being a result of 19th century restoration.[15] The spandrels on the upper left and right of the arch contain personifications of victory as winged women. Between the spandrels is the keystone, on which there stands a female on the East side and a male on the West side.[15]

The soffit of the axial archway is deeply coffered with a relief of the apotheosis of Titus at the center. The sculptural program also includes two panel reliefs lining the passageway within the arch. Both commemorate the joint triumph celebrated by Titus and his father Vespasian in the summer of 71.

The south panel depicts the spoils taken from the Temple in Jerusalem. The golden candelabrum or Menorah is the main focus and is carved in deep relief.[16] Other sacred objects being carried in the triumphal procession are the Gold Trumpets, the fire pans for removing the ashes from the altar, and the Table of Shew bread.[15] These spoils were likely originally colored gold, with the background in blue.[15] In 2012 the Arch of Titus Digital Restoration Project discovered remains of yellow ochre paint on the menorah relief.[17] The north panel depicts Titus as triumphator attended by various genii and lictors, who carry fasces. A helmeted Amazonian, Valour, leads the quadriga or four horsed chariot, which carries Titus. Winged Victory crowns him with a laurel wreath.[15] The juxtaposition is significant in that it is one of the first examples of divinities and humans being present in one scene together. This contrasts with the panels of the Ara Pacis, where humans and divinities are separated.[15]

The sculpture of the outer faces of the two great piers was lost when the Arch of Titus was incorporated in medieval defensive walls. The attic of the arch was originally crowned by more statuary, perhaps of a gilded chariot.[15] The main inscription used to be ornamented by letters made of perhaps silver, gold or some other metal.

The Arch of Titus measures: 15.4 meters (50 ft) in height, 13.5 meters (44 ft) in width, 4.75 meters (15.5 ft) in depth. The inner archway is 8.3 (27 ft) meters in height, and 5.36 (17.5 ft) in width. [18]


The inscription

The inscription in Roman square capitals reads:




(Senatus Populusque Romanus divo Tito divi Vespasiani filio Vespasiano Augusto)[19]

which means "The Roman Senate and People (dedicate this) to the divine Titus Vespasianus Augustus, son of the divine Vespasian."

The opposite side of the Arch of Titus received new inscriptions after it was restored during the pontificate of Pope Pius VII by Giuseppe Valadier in 1821. The restoration was intentionally made in travertine to differentiate between the original and the restored portions.

The inscription reads:




(Insigne religionis atque artis, monumentum, vetustate fatiscens: Pius Septimus, Pontifex Maximus, novis operibus priscum exemplar imitantibus fulciri servarique iussit. Anno sacri principatus eius XXIV)

(This) monument, remarkable in terms of both religion and art,
had weakened from age:
Pius the Seventh, Supreme Pontiff,
by new works on the model of the ancient exemplar
ordered it reinforced and preserved.

• In the 24th year of his sacred rulership. •

Architectural influence

Works modeled on, or inspired by, the Arch of Titus include:


Canaletto (I) 054

1744 by Canaletto

See also

External video
Smarthistory - Arch of Titus[20]


  • R. Ross Holloway. “Some Remarks on the Arch of Titus,” L’antiquité classique 56 (1987) pp. 183–191.
  • M. Pfanner. Der Titusbogen. Mainz: P. von Zabern, 1983.
  • L. Roman. "Martial and the City of Rome." The Journal of Roman Studies 100 (2010) pp. 1–30.
  • Jewish Telegraph agency.[21]


  1. ^ It was not a triumphal arch; Titus's triumphal arch was in the Circus Maximus.
  2. ^ "The Arch of Titus". Retrieved 2017-07-06.
  3. ^ Diana Rowell (23 August 2012). Paris: The 'New Rome' of Napoleon I. Bloomsbury Publishing. pp. 43–. ISBN 978-1-4411-2883-6.
  4. ^ Shragai, Nadav (2006-10-19). "First Temple artifacts found in dirt removed from Temple Mount". Retrieved 2013-08-31.
  5. ^ Bromiley, Geoffrey W, "The international standard Bible encyclopedia", volume 4, pg. 98 "Usually associated with the báma are the cult objects known as massébá and séra".
  6. ^ Mishory, Alec. "Israel National Symbols: The State Emblem". Jewish Virtual Library. Retrieved 2014-07-30.
  7. ^ In English [1]; In Latin: "Arcus septem lucernarum Titi et Vespasiani, ubi est candelabrum Moysi cum arca habens septem brachia in piede turris cartulariae", Mirabilia Urbis Romae, page 4
  8. ^ For a review of historical references to the Arch of Titus, see: Élisabeth Chevallier, Raymond Chevallier, Iter Italicum: les voyageurs français à la découverte de l'Italie ancienne, Les Belles Lettres, 1984, ISBN 9782251333106, pages 274-91
  9. ^ a b A Let's Go City Guide: Rome, p. 76, Vedran Lekić, 2004; ISBN 1-4050-3329-0.
  10. ^ The Buildings of Europe: Rome, page 33, Christopher Woodward, 1995; ISBN 0-7190-4032-9.
  11. ^ [2]
  12. ^ [3]
  13. ^ Morton Satin, a division director at the Food and Agriculture Organization published an article in The Forwardstating that he had successfully "stirred up had triggered considerable deliberation within Rome’s Jewish community" for a public end to the ban: Satin, Morton (2013-12-01). "One Man's Campaign Against the Arch of Titus — and How It Changed Italy's Jews". Retrieved 2014-07-30. According to an ancient ban placed on the monument by Rome’s Jewish authorities, once a Jewish person walks under the arch, he or she can no longer be considered a Jew... the chief rabbi of Rome had told the Israeli Embassy that the original ban was no longer valid, since an independent State of Israel had been established. Unfortunately, no one who knew about the ban had ever been informed of its abrogation!
  14. ^ Steven D Fraade, The Temple as a Marker of Jewish Identity Before and After 70 CE The Role of the Holy Vessels in Rabbinic Memory and Imagination, p.246, "the Arch of Titus is never mentioned in rabbinic sources... there are several references to second-century rabbinic viewings of captured Temple objects in Rome"
  15. ^ a b c d e f g Artus, Paul (2006). Art and Architecture of the Roman Empire. Bellona Books. pp. 45–48. ISBN 978-0-9582693-1-5.
  16. ^ Ermengem, Kristiaan Van. "Arch of Titus, Rome". A View On Cities. Retrieved 2017-07-06.
  17. ^ "Center for Israel Studies | Yeshiva University". Retrieved 2018-04-05.
  18. ^ "Arch of Titus, Rome - Building Info". Retrieved 2018-04-05.
  19. ^ CIL 6.945
  20. ^ "Arch of Titus". Smarthistory at Khan Academy. Retrieved December 19, 2012.
  21. ^ "You searched for "arch of titus" - Jewish Telegraphic Agency". Jewish Telegraphic Agency.

External links

Arc de Triomphe

The Arc de Triomphe de l'Étoile (French pronunciation: [aʁk də tʁijɔ̃f də letwal] (listen), Triumphal Arch of the Star) is one of the most famous monuments in Paris, standing at the western end of the Champs-Élysées at the center of Place Charles de Gaulle, formerly named Place de l'Étoile — the étoile or "star" of the juncture formed by its twelve radiating avenues. The location of the arc and the plaza is shared between three arrondissements, 16th (south and west), 17th (north), and 8th (east).

The Arc de Triomphe should not be confused with a smaller arch, the Arc de Triomphe du Carrousel, which stands west of the Louvre. The Arc de Triomphe honours those who fought and died for France in the French Revolutionary and Napoleonic Wars, with the names of all French victories and generals inscribed on its inner and outer surfaces. Beneath its vault lies the Tomb of the Unknown Soldier from World War I.

As the central cohesive element of the Axe historique (historic axis, a sequence of monuments and grand thoroughfares on a route running from the courtyard of the Louvre to the Grande Arche de la Défense), the Arc de Triomphe was designed by Jean Chalgrin in 1806, and its iconographic program pits heroically nude French youths against bearded Germanic warriors in chain mail. It set the tone for public monuments with triumphant patriotic messages.

Inspired by the Arch of Titus in Rome, Italy, the Arc de Triomphe has an overall height of 50 metres (164 ft), width of 45 m (148 ft), and depth of 22 m (72 ft), while its large vault is 29.19 m (95.8 ft) high and 14.62 m (48.0 ft) wide. The smaller transverse vaults are 18.68 m (61.3 ft) high and 8.44 m (27.7 ft) wide. Three weeks after the Paris victory parade in 1919 (marking the end of hostilities in World War I), Charles Godefroy flew his Nieuport biplane under the arch's primary vault, with the event captured on newsreel.Paris's Arc de Triomphe was the tallest triumphal arch until the completion of the Monumento a la Revolución in Mexico City in 1938, which is 67 metres (220 ft) high. The Arch of Triumph in Pyongyang, completed in 1982, is modelled on the Arc de Triomphe and is slightly taller at 60 m (197 ft). La Grande Arche in La Defense near Paris is 110 metres high. Although it is not named an Arc de Triomphe, it has been designed on the same model and in the perspective of the Arc de Triomphe. It qualifies as the world's tallest arch.

Arch of Tiberius

The Arch of Tiberius ("'Arcus Tiberi'") was a triumphal arch built in 16 AD in the Forum Romanum to celebrate the recovery of the eagle standards that had been lost to Germanic tribes by Varus in 9. The Roman general Germanicus had recovered the standards in 15 or 16.The Arch spanned the Vicus Jugarius between the Temple of Saturn and the Basilica Julia. It was dedicated to the emperor Tiberius because in the Imperial period only the emperor could celebrate a Triumph, so the victory of Germanicus was celebrated as a triumph of Tiberius. Very little is known about this monument. It is mentioned in literary sources, and it is known from a relief on the Arch of Constantine. It appears to have been a single arch, like the later Arch of Titus, flanked by two columns of the Corinthian order. The foundations of the Arch have been found on the Forum, but nothing is visible.

Arch of Titus (Circus Maximus)

The lesser-known Arch of Titus was a triple bay arch erected at the eastern end of the Circus Maximus by the Senate in A.D. 81, in honour of Titus and his capture of Jerusalem in the First Jewish–Roman War. Few traces remain. The inscription (CIL 19151=ILS 264), quoted by an 8th-century Swiss monk known only as the "Einsiedeln Anonymous", makes it clear that this was Titus' triumphal arch. Sculptural fragments of a military frieze have been attributed to the arch.Architectural and epigraphic fragments of the now lost arch were rediscovered during excavations in 2015.

Arch of Titus (painting)

The Arch of Titus is an 1871 oil painting on canvas. It was a collaboration between three American painters: George Peter Alexander Healy, Frederic E. Church, and Jervis McEntee. It depicts the Arch of Titus in Rome, with the Colosseum in the background, and includes portraits of Henry Wadsworth Longfellow and his daughter Edith, and the three artists. The painting is currently on display in the Newark Museum in Newark, New Jersey.

Capital (architecture)

In architecture the capital (from the Latin caput, or "head") or chapiter forms the topmost member of a column (or a pilaster). It mediates between the column and the load thrusting down upon it, broadening the area of the column's supporting surface. The capital, projecting on each side as it rises to support the abacus, joins the usually square abacus and the usually circular shaft of the column. The capital may be convex, as in the Doric order; concave, as in the inverted bell of the Corinthian order; or scrolling out, as in the Ionic order. These form the three principal types on which all capitals in the classical tradition are based. The Composite order (illustration, right), established in the 16th century on a hint from the Arch of Titus, adds Ionic volutes to Corinthian acanthus leaves.

From the highly visible position it occupies in all colonnaded monumental buildings, the capital is often selected for ornamentation; and is often the clearest indicator of the architectural order. The treatment of its detail may be an indication of the building's date.

Composite order

The composite order is a mixed order, combining the volutes of the Ionic order capital with the acanthus leaves of the Corinthian order. In many versions the composite order volutes are larger, however, and there is generally some ornament placed centrally between the volutes. The column of the composite order is typically ten diameters high, though as with all the orders these details may be adjusted by the architect for particular buildings. The Composite order is essentially treated as Corinthian except for the capital, with no consistent differences to that above or below the capital. The composite order is not found in ancient Greek architecture and until the Renaissance was not ranked as a separate order. Instead it was considered as an imperial Roman form of the Corinthian order. Though the Arch of Titus, in the forum in Rome and built in 82 AD, is sometimes cited as the first prominent surviving example of a composite order, the order was probably invented "a little before Augustus's reign, and certainly well-developed before his death, the very time when the Roman version of Corinthian was being established."With the Tuscan order, a simplified version of the Doric order, also found in ancient Roman architecture but not included by Vitruvius in his three orders, the Composite was added by Renaissance writers to make five classical orders. Sebastiano Serlio (1475–1554) published his book I sette libri d'architettura in 1537 in which he was the second to mention the composite order as its own order and not just as an evolution of the Corinthian order as previously suggested by Leon Battista Alberti. Leon Battista Alberti in his De re aedificatoria (English: On the Art of Building) mentions the composite order, calling it "Italic".

Emblem of Israel

The Emblem of the State of Israel (Hebrew: סמל מדינת ישראל‎, translit. Semel Medinat Yisra'el; Arabic: شعار دولة إسرائيل‎, translit. shiear dawlat 'iisrayiyl) shows a menorah surrounded by an olive branch on each side, and the writing "ישראל‬" (Hebrew for Israel) below it. Most commonly light blue and white, the coat of arms does appear in different colour combinations depending on the use (see below).

List of Roman triumphal arches

For the history of triumphal arches, see Triumphal arch.

For post-Roman triumphal arches, see List of post-Roman triumphal arches.This is a list of Roman triumphal arches. All currently surviving Roman arches date from the imperial period (1st century BC onwards). They were preceded by honorific arches

set up under the Roman Republic, none of which survive. Triumphal arches were constructed across the Roman Empire and remain one of the most iconic examples of Roman architecture.

Memorial Arch of Tilton

The Memorial Arch of Tilton, sometimes referred to as Tilton's Folly, is a historic arch on Elm Street in Northfield, New Hampshire, United States, on a hill overlooking the town of Tilton. The 55-foot-tall arch (17 m) was built by Charles Tilton in 1882; it was modeled after the Arch of Titus in Rome, its surfaces, however, modeled in the rustication that was currently a fashionable feature of Romanesque revival building. The Memorial Arch of Tilton was added to the National Register of Historic Places in 1980.

Menorah (Temple)

The menorah (; Hebrew: מְנוֹרָה‬ [mənoːˈɾaː]) is described in the Bible as the seven-lamp (six branches) ancient Hebrew lampstand made of pure gold and used in the portable sanctuary set up by Moses in the wilderness and later in the Temple in Jerusalem. Fresh olive oil of the purest quality was burned daily to light its lamps. The menorah has been a symbol of Judaism since ancient times and is the emblem on the coat of arms of the modern state of Israel.

Rabirius (architect)

Rabirius was an ancient Roman architect who lived during the 1st and 2nd centuries CE. His designs included the massive Flavian Palace, situated on the Palatine Hill at Rome, and the Alban Villa at present-day Castel Gandolfo, both erected on a commission by his patron, emperor Domitian.It has been suggested that Rabirius designed the extant Arch of Titus, a commemorative arch located in summa Sacra Via honoring the joint triumph celebrated by Titus and Vespasian marking their successful suppression of the Jewish Revolt in 71 CE.

Raffaele Stern

Raffaele Stern (1774–1820) was an Italian architect.

Born in 1774 in Rome to Giovanni Stern, an architect. Raffaele was also the grandson of the Baroque painter, born and active in Rome, Ludovico Stern.

He was educated in Winckelmann's classical and neoclassical principles, and designed a plan for a New Wing of the Museo Chiaramonti in the Vatican Museums in 1805-1806, which he was commissioned to enact in 1817. He also worked on the papal restoration of the Colosseum and Arch of Titus which were later taken on by Giuseppe Valadier. He also built a new Fontana dei Dioscuri in 1818 for Pope Pius VII supporting an ancient Roman granite seashell (found in the 16th century) on top of a large basin. His pupils included Luigi Poletti.

Stern died in Rome in 1820.

Roman square capitals

Roman square capitals, also called capitalis monumentalis, inscriptional capitals, elegant capitals and capitalis quadrata, are an ancient Roman form of writing, and the basis for modern capital letters.

Square capitals were used to write inscriptions, and less often to supplement everyday handwriting. When written in documents this style is known as Latin book hand. For everyday writing the Romans used a current cursive hand known as Latin cursive. Notable examples of square capitals used for inscriptions are found on the Roman Pantheon, Trajan's Column, and the Arch of Titus, all in Rome. Square capitals are characterized by sharp, straight lines, supple curves, thick and thin strokes, angled stressing and incised serifs. These Roman capitals are also called majuscules, as a counterpart to minuscule letters such as Merovingian and Carolingian.

Before the 4th century, square capitals were used to write de luxe copies of the works of authors categorized as "pagan" by Christians, especially those of Virgil; the only three surviving manuscripts using this letter, among them the Vergilius Augusteus, contain works by Virgil. After the 5th century the square capitals fell out of use, except as a display lettering for titles and chapter headings in conjunction with various script hands for body text: for example, uncials.

Square capitals were greatly respected by artisans of the Renaissance such as Geoffroy Tory and Felice Feliciano. A few centuries later, they were also a major inspiration for artisans of the Arts and Crafts movement such as Edward Johnston and Eric Gill, and so many signs and engravings created with an intentionally artistic design in the twentieth century are based on them.Edward Catich is noted for the fullest development of the thesis that the inscribed Roman square capitals owed their form, including the serifs, wholly to the use of the flat brush, rather than to the exigencies of the chisel or other stone cutting tools. Although not universally accepted, the brushed-origin thesis had been proposed in the nineteenth century. Catich made a complete study and proposed a convincing ductus by which the forms were created, using a flat brush and then chisel. He promulgated his views in two works, Letters Redrawn from the Trajan Inscription in Rome and The Origin of the Serif: Brush Writing and Roman Letters.

During the early era of the movable type printing press, Roman square capitals became the primary inspiration for the capital letters in early serif typefaces; Roman type, especially that developed by those associated with Aldus Manutius, came to produce a number of typefaces still used to the present day. The 1989 digital typeface Trajan from Adobe is a direct, all-capital adaptation of the Roman square capitals on Trajan's column.

Siege of Jerusalem (70 CE)

The Siege of Jerusalem in the year 70 CE was the decisive event of the First Jewish–Roman War. The Roman army, led by the future Emperor Titus, with Tiberius Julius Alexander as his second-in-command, besieged and conquered the city of Jerusalem, which had been controlled by Judean rebel factions since 66 CE, following the Jerusalem riots of 66, when the Judean provisional government was formed in Jerusalem.

The siege ended on 30 August 70 CE with the burning and destruction of the Second Temple, and the Romans entered and sacked the Lower City. The destruction of both the first and second temples is still mourned annually as the Jewish fast Tisha B'Av. The Arch of Titus, celebrating the Roman sack of Jerusalem and the Temple, still stands in Rome. The conquest of the city was complete on 8 September 70 CE.

Steven Fine

Steven Fine is a historian of Judaism in the Greco-Roman World and a professor at Yeshiva University.

Temple of Jupiter Stator (8th century BC)

The Temple of Jupiter Stator was a sanctuary on the slope of the Capitoline Hill. In Roman legend, it was founded by King Romulus after he pledged to build it during a battle between the Roman army and that of the Sabines.


Titus (; Latin: Titus Flavius Caesar Vespasianus Augustus; 30 December 39 – 13 September 81 AD) was Roman emperor from 79 to 81. A member of the Flavian dynasty, Titus succeeded his father Vespasian upon his death, thus becoming the first Roman emperor to come to the throne after his own biological father.

Prior to becoming emperor, Titus gained renown as a military commander, serving under his father in Judea during the First Jewish–Roman War. The campaign came to a brief halt with the death of emperor Nero in 68, launching Vespasian's bid for the imperial power during the Year of the Four Emperors. When Vespasian was declared Emperor on 1 July 69, Titus was left in charge of ending the Jewish rebellion. In 70, he besieged and captured Jerusalem, and destroyed the city and the Second Temple. For this achievement Titus was awarded a triumph; the Arch of Titus commemorates his victory to this day.

During his father's rule, Titus gained notoriety in Rome serving as prefect of the Praetorian Guard, and for carrying on a controversial relationship with the Jewish queen Berenice. Despite concerns over his character, Titus ruled to great acclaim following the death of Vespasian in 79, and was considered a good emperor by Suetonius and other contemporary historians.

As emperor, he is best known for completing the Colosseum and for his generosity in relieving the suffering caused by two disasters, the eruption of Mount Vesuvius in AD 79 and a fire in Rome in 80. After barely two years in office, Titus died of a fever on 13 September 81. He was deified by the Roman Senate and succeeded by his younger brother Domitian.

Triumphal arch

A triumphal arch is a monumental structure in the shape of an archway with one or more arched passageways, often designed to span a road. In its simplest form a triumphal arch consists of two massive piers connected by an arch, crowned with a flat entablature or attic on which a statue might be mounted or which bears commemorative inscriptions. The main structure is often decorated with carvings, sculpted reliefs, and dedications. More elaborate triumphal arches may have multiple archways.

Triumphal arches are one of the most influential and distinctive types of architecture associated with ancient Rome. Thought to have been invented by the Romans, the triumphal arch was used to commemorate victorious generals or significant public events such as the founding of new colonies, the construction of a road or bridge, the death of a member of the imperial family or the accession of a new emperor.

The survival of great Roman triumphal arches such as the Arch of Titus inspired many post-Roman states and rulers, up to the present day, to erect their own arches in emulation of the Romans. Arches in the Roman style have been built in many cities around the world, most notably the Arc de Triomphe in Paris, the Narva Triumphal Arch in Saint Petersburg, the Wellington Arch in London, the Arcul de Triumf in Bucharest and India Gate in Delhi.

Triumphal arch is also the name given to the arch above the entrance to the chancel of a medieval church where a rood can be placed.

Velian Hill

The Velia — or Velian Hill or Velian Ridge — is a saddle or spur stretching out from the middle of the north side of the Palatine Hill towards the Oppian Hill (itself a spur of the Esquiline Hill) in Rome.

In later times, the Velia was called Summa Sacra Via ("Summit of the Sacra Via") — since that road began there at its highest point — and was marked by the Arch of Titus and Temple of Venus and Roma. (An alternate theory is that the Velia was actually the eastern half of the Palatine).

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