BLINDS FOR A SKYLIGHT WINDOW

The Arch provides the only contemporary depiction of sacred articles taken from the Temple in Jerusalem. The seven-branched menorah and trumpets are clearly depicted. It became one of the most poignant symbols of the diaspora. In a later era, Pope Paul IV made it the place of a yearly oath of submission, forced by the Pope on the Jews of the new Roman Ghetto.[4] The arch bore such significance for Roman Jews, that they refused to walk under it. An exception occurred in 1948 with the founding of the State of Israel, when members of the local Jewish community passed through it in a solemn procession, in the opposite direction to that taken by the triumphant ancient Roman processions.[5] The menorah depicted on the Arch served as the model for the menorah used on the emblem of the State of Israel.

The Arch of Titus is a 1st-century honorific arch[1] located on the Via Sacra, Rome, just to the south-east of the Roman Forum. It was constructed in c.82 AD by the Roman Emperor Domitian shortly after the death of his older brother Titus to commemorate Titus' victories, including in the Sack of Jerusalem in 70 A.D.
The Arch of Titus has provided the general model for many of the triumphal arches erected since the 16th century—perhaps most famously it is the inspiration for the 1806 Arc de Triomphe in Paris, France.
The Arch of Titus, constructed using pentelic marble, is arranged in five bays with an ABA rhythm, the side bays perpendicular to the central axial arch. The corners are articulated with a massive order of engaged columns that stand on a high ashlar basement. The capitals are Corinthian, but with prominent volutes of the Ionic order projecting laterally above the acanthus foliage—the earliest example of the composite order. Above the main cornice rises a high, weighty attic on which is a central tablet bearing the dedicatory inscription. The entablatures break forward over the columns and the wide central arch, and the profile of the column shafts transforms to square. Flanking the central arch, the side bays now each contain a shallow niche-like blind aedicular window, a discreet early 19th century restoration.

Triumphal arch. Dated 1783 on frieze. By Thomas Leverton presumably for Thomas Gascoigne of Parlington Hall. Limestone. Free-standing wall of 3 bays; round- headed giant main archway with imposts continued across the flanking bays as string course broken by giant pilasters; each side bay has a smaller round headed arch with moulded extrados, keystone, and imposts, all within a square- headed recess; and, in the panel above, a blind oval; entablature with moulded cornice, frieze finely lettered:- LIBERTY IN N AMERICA TRIUMPHANT MDCCLXXXIII and parapet with pilasters continued. Other side identical. LBO


Colman says:
"It is said that George IV in the days when he was Prince Regent, was passing through this part of Yorkshire and was to lunch at Parlington. On coming to the arch, under which he would have to pass, and being informed of its purpose he declared he would not enter the house of a man who could thus perpetuate the memory of England's defeats, and immediately turned back."