This superbly illustrated volume was produced to accompany an exhibition with the same name put on at the Yeshiva University Museum in New York as the culmination of the Arch of Titus Project of the Yeshiva University Center for Israel Studies. The exhibition celebrated the success of the Arch project, directed by Steven Fine (who has also edited the current volume), in discovering remains of the original pigment on the menorah depicted on the panel of the arch which represents the spoils of Jerusalem being carried through the streets of Rome as part of the triumphal procession of Titus and his father Vespasian, and one of the more striking images in the book, as in the exhibition, represents the arch reliefs in vivid colour. The volume, written for the most part with engaging enthusiasm and clarity but with occasional lapses in English grammar which should have been picked up by a copyeditor, contains chapters on the making of a polychrome model of the arch reliefs (and on the importance of colour in Roman sculpture more generally); the role of triumphal processions in ancient Rome; the relationship between the arch reliefs and the attitude displayed in the written sources, particularly Josephus, which commemorated the war of Rome against the Jews; the development of rabbinic legends about the sufferings of Titus; Christian perceptions of the arch in the Middle Ages (about which there is only a little evidence) and the early modern period (about which there is a great deal, expertly discussed by William Stenhouse in one of the most extensive and detailed contributions); Moses Mendelssohn on the depiction of the menorah on the arch (and the significance of its substantial differences from ancient rabbinic descriptions); the architect Valadier behind the papal reconstruction of the arch in the nineteenth century; artistic representations of the arch in the nineteenth and twentieth centuries; the significance of the setting up of two menorahs, a gift from a prominent American Jew, to flank the altar in the cathedral of St John the Divine in New York in the 1920s; and the ambivalent attitude of mourning and defiance displayed by modern Jewish pilgrims to the arch. Fourteen contributors are listed, but Steven Fine himself is credited for three of the eleven substantive chapters as well as for the preface, introduction, postscript and exhibition checklist, and it is clear that his vision and erudition, already displayed in his volume on the menorah (The menorah: from the Bible to modern Israel, Cambridge, Ma 2016), underlie both the project from which this fine volume emerged and the production of the volume itself.