Arc de Triomphe of Barcelona

The Arc de Triomf (from Catalan: Arc de Triomf) is a monument located at the confluence of Paseo de Lluís Companys, Paseo de San Juan and the round of San Pedro, in the city of Barcelona (Spain). It was designed by the architect José Vilaseca as the main entrance to the Universal Exhibition of Barcelona in 1888. The sculptural decoration was carried out by Josep Reynés, Josep Llimona, Antoni Vilanova, Torquat Tasso, Manuel Fuxá and Pere Carbonell. This work is registered as Cultural Asset of Local Interest (BCIL) in the Inventory of Catalan Cultural Heritage with the code 08019/1053.

Unlike other triumphal arches with a strong military character, the Barcelona Arc de Triomf has a greater civil component, characterized by artistic, scientific and economic progress. The Arc de Triomf has been used as a goal on occasion for some of the most important popular foot races in Barcelona, such as the Jean Bouin or the Barcelona Marathon. Likewise, it was used as a venue for the celebration of festivals and musical events such as Primavera Sound. The monument was restored in 1989.

History and description

Historical photo of the Arc de Triomphe.

The Universal Exposition of Barcelona took place between April 8 and December 9, 1888, and was held in the Ciudadela park, formerly belonging to the army and won for the city in 1851. The incentive of The fair events led to the improvement of the infrastructures of the entire city, which took a huge leap towards modernization and development.

Entrance to the Exhibition was through the Arc de Triomf, a monument created for the occasion that still remains in its original place, designed by Josep Vilaseca. This gave access to the Salón de San Juan —currently Paseo de Lluís Companys—, a long avenue 50 meters wide, where the wrought iron balustrades, the mosaics on the pavement and some large lampposts stood out, all designed by Pere Falqués. Eight large bronze statues representing illustrious figures from the history of Catalonia were placed along this promenade, the work of various sculptors, including those responsible for the sculptural decoration of the Arch. This walk ended at the access to the Exhibition site, where the Ciudadela park is currently located; At this intersection, the monument to Rius y Taulet, the mayor who promoted the Exhibition, was inaugurated in 1901, which currently serves as a counterpoint to the Arc de Triomphe on the other side of the promenade. The monument was inaugurated on May 20, 1888.

Of neo-Mudéjar inspiration, the Arch is 30 meters high, and is decorated with rich sculptural ornamentation, the work of various authors: Josep Reynés sculpted the Adhesion of Nations to the Universal Contest; Josep Llimona made The Reward on the reverse of the upper part; on the right side Antoni Vilanova made the allegories of Industry, Agriculture and Commerce; on the left, Torquat Tasso elaborated the allegories to the Sciences and the Arts; Finally, Manuel Fuxá and Pere Carbonell created twelve female sculptures, the Famas, and Magí Fita was in charge of the majolica that decorates the Arch.

sculptural elements

Name	Author	Material	Dimensions	Description	Photo
United Nations accession to the Universal Competition. Barcelona receiving the nations	Josep Reynés	Porland cement artificial stone	3,47 x 15,86 m	It is the main frieze of the Arc, in which the city of Barcelona receives the nations participating in the Exhibition. The central figure is a personification of Barcelona, which is denoted by the shield of the condal city that has engraved on the chest. It is flanked by Cibeles, the goddess of Mother Earth, crowned with a tower; and Palas Athena, the goddess of war, civilization, wisdom, arts and justice, bound with a shield with the letters P and F, in allusion to Progress and Happiness. Above this relief is the shield of the Spanish monarchy, flanked by two lions with the columns of Hercules, and finished by the royal crown and the Golden Toy.
The Reward. The distribution of rewards to the participants in the exhibition	Josep Llimona	Porland cement artificial stone	15,86 x 3 m	Located on the back of the previous one, this frieze presents the distribution of rewards and rewards to the participants in the Exhibition. It is again starred in an allegory of Barcelona, with the shield in the chest as the previous one, surrounded by various characters of mythological and allegorical character. As in the previous one, it is finished with a royal shield with two lions holding the columns of Hercules, and the inscription Plus ultra.
Apotheosis of Agriculture, Industry and Trade	Antoni Vilanova	Porland cement artificial stone	6.30 x 1.90 m	As the title indicates, this relief presents the allegories of Agriculture, Industry and Commerce, on the right side of the Arc. Alongside the opposite frieze, dedicated to the Sciences and the Arts, they make up material and spiritual progress, the engines that inspired the Universal Exhibitions. From the represented figures you can recognize Palas Atenea, which holds a branch of olive tree, symbol of Peace; and Ceres, who bears grape grains as a symbol of the fruits of the Earth. Agriculture is represented by figures with food trays. Commerce is personified by the god Mercury, and Industry by a denate wheel.
Apotheosis of Sciences and Arts	Torquat Tasso	Porland cement artificial stone	6.30 x 1.90 m	On the left side of the Arc are the allegories of the Sciences and the Arts. The central figure represents Apollo, god of the sun, beauty, music and poetry. In his right hand he holds a flame, symbol of progress leading to Science, while with his left hand he points to the Arts, represented by a woman with a palette for Painting, a figure with a gubia for Sculpture and another with a bas-relieve temple for Architecture. There are also the Euterpe and Terpsícore muses, representatives of music and dance, while Science is symbolized by a woman with a flame in her hand and an old man lying on a cannon.
Famas	Manuel Fuxá and Pere Carbonell	Porland cement artificial stone	2.88 x 2 x 0.70 m (type 1), 2.74 x 2.10 x 0.80 m (type 2)	In the corner towers of the Arc there are a total of twelve winged figures as allegories of the Fame, represented in two different positions: some touch trumpets, while others hold branches of laurel. This symbolizes the glory of the city in the context of the universality of nations, a type of habitual representation in the great commemorative monuments.