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from Wm. Hugh Gordon, "Modernized Methods in the Art & Practice of Lettering for Commercial Purposes", 1918.
_Lettering creado para el nuevo festival. La organización es la misma, asà que querÃan que recordara al festival Valladolid SonrÃe.
The inscription settles the attribution before you even reach the reliefs: SENATVS POPVLVSQVE ROMANVS DIVO TITO DIVI VESPASIANI F VESPASIANO AVGVSTO — the Senate and People of Rome to the deified Titus, son of the deified Vespasian. This is the surviving original east face of the arch, the dedication that has anchored every triumphal arch built since, Paris and Washington included. Domitian raised it around AD 81 to honor his late brother and the Flavian victory in Judaea.
Composing tight on the attic and entablature, cropping out the modern footfall below, is a deliberate move toward timelessness — the frame admits only travertine, olive foliage, and a saturated cloudless sky. Hard midday April light rakes across the lettering, deepening each incised serif so the V-cut Roman capitals read crisply; this is the very alphabet that Trajan's column would canonize and that typographers still teach. Below the inscription band, the dentil course and the dense Doric-frieze register of figures lead down toward the spandrels and the famous coffered passage relief just out of frame.
Shooting upward flattens the arch into a frontal plane, monumentalizing it — less archaeological record than icon. The deep blue gradient does heavy lifting, isolating the bleached stone against pure color.