Situated on the boundary of the Ciutat Vella district, the Arc de Triomf is a free-standing structure that presides over the Passeig de Lluís Companys at its junction with Carrer de Trafalgar and Avinguda de Vilanova. It is a construction of simple design, consisting solely of a large monumental arch flanked on either side by two pairs of giant semi-columns. The walls defining the intrados of the arch contain, on both sides, access points to the interior of its piers. As these piers are not solid, the interior space is articulated by a series of partitions and arches that support the structure. In addition, within these spaces rise the two spiral staircases that provide access to the roof terrace above, concealed inside the semi-columns flanking the arch. Access to the terrace is gained through two crown-shaped openings which serve as models for the other six ornamental cupolas that complete the structure. The principal feature of the triumphal arch is its material configuration, based on the use of exposed brick ornamented with glazed ceramics and with certain stone detailing. Indeed, although the foundations and plinth were constructed using large blocks of Montjuïc stone, the visible structure of the building is fundamentally ceramic, making its construction easier and more economical. Furthermore, the formal composition of the building constitutes a catalogue of the ornamental resources of late Eclecticism moving towards early Catalan Art Nouveau, although some authors have sought to identify similarities with Neo-Mudéjar architecture, which was practically non-existent in Catalonia. As for the ornamentation, this is based on the interplay of volumes created by projections and recesses according to the arrangement of the bricks. The monument’s plinth stands out for the wedge-shaped bases of the semi-columns, as well as for the arrangement of horizontal bands of yellow and red brick. This plinth is crowned by a continuous frieze of yellow and green glazed ceramics decorated with vegetal motifs. Within this plinth, in the intrados of the arch, are the two entrances to the interior of the building, formed by triple doorways closed with wrought-iron grilles bearing the four bars and the Cross of Saint George. The imposts of the arch are ornamented with floral stone capitals and reliefs in the form of bats (an emblem attributed to James I the Conqueror). Although the vault of the arch is made of brick, the façades display, through sculpted stone voussoirs, a large laurel wreath supporting the coats of arms of the 49 provinces that formed the Kingdom of Spain in 1888. The keystone of both arches features the city’s coat of arms. The spandrels of the arch display decorations in earth-coloured glazed ceramics and reliefs fashioned in brick. The crowning of the building is its most interesting part. Above a frieze of corbels running around the four façades rest four sculptural stone friezes. The frieze on the mountain side, entitled “Barcelona Receives the Nations”, was sculpted by Josep Reynés i Gurguí and depicts Barcelona as a crowned and enthroned lady extending her arms to either side, surrounded by other female figures representing Spain, the French Republic, the Austro-Hungarian Empire and the British Empire, among others. The frieze on the sea side, entitled “Reward”, was an early work by Josep Llimona i Bruguera and, in a more restrained language, shows Barcelona awarding prizes to participants in the Exhibition, among whom Spain, with her lion, and France, with the Phrygian cap, stand out. The frieze on the Besòs side, created by Torquat Tasso i Nadal, is entitled “Apotheosis of the Arts and Sciences” and depicts the god Apollo surrounded by male and female allegories of architecture, sculpture, literature, painting, music and geography, among others. The frieze on the Llobregat side, created by Antoni Vilanova i March, is entitled “Apotheosis of Agriculture, Industry and Commerce” and depicts a Victory receiving homage from various figures bringing fruits and gears as attributes of agriculture and industry, under the gaze of Hermes, representing commerce. Each of these friezes is flanked by the capitals of the semi-columns surrounding the monument. These abstract brick capitals are adorned with stone sculptures executed by Manuel Fuxà Leal and Pere Carbonell i Huguet. They represent twelve winged Victories or Fames who, resting their feet upon spheres, raise their arms bearing wreaths of flowers and laurel and cast-iron trumpets. The building is finished with a cornice composed of brick corbels and panels of yellow glazed ceramics in the shape of stars. At the centre of the two principal façades (mountain and sea), this frieze is interrupted by the presence of the full coat of arms of Alfons XIII flanked by two lions. Crowning the building, eight brick cupolas clad in yellow and green ceramics (two of which function as openings) adorn the roof terrace, all surmounted by immense comital crowns made of earth-coloured glazed ceramics.