Studies for a Triumphal Arch Surmounted by Britannia [recto and verso] c. 1799

Editor: This drawing, "Studies for a Triumphal Arch Surmounted by Britannia," from around 1799, is by John Flaxman. It’s rendered in pencil on paper. It seems like a very preliminary sketch. What catches your eye when you look at this, or perhaps how do you decode this? Curator: The structural underpinnings intrigue me. Consider the composition. Flaxman lays out, on a single page, at least two distinct architectural structures. The emphasis on line, its delicacy and precision, dictates our perception. Observe the careful arrangements of geometric shapes and forms of the arches; what inherent quality of structure do you think Flaxman is investigating? Editor: It does feel like he’s trying to get at the bare bones of architecture – a simplification of form. Is the figure of Britannia adding a symbolic layer, or is it merely an additional compositional element? Curator: A pertinent question! While the allegorical weight of Britannia is undeniable, the formal analysis directs our focus towards how her figure interacts with the architectural elements. Her placement atop the arch affects the visual weight and balance, thus changing our reading of the triumphal arch. Editor: So you're saying it’s more about how the artist is playing with shapes than any symbolism? Curator: Not entirely. Both aspects contribute to the work’s meaning, but the formal approach prioritizes the visual relationships. How does the horizontal format of the paper affect the presentation of these imposing arches, for instance? The landscape orientation accentuates the span and breadth of the arches themselves, no? Editor: I see what you mean; it really makes you focus on the spread of the architecture, almost as a continuous structure, a series or study of different arches across a single plane. Thanks, that clarifies things! Curator: Indeed. The intrinsic qualities inform so much about the context and artist's intentions.