According to Josephus, the cakes were unleavened and were baked on the Friday before the Sabbath, since the biblical regulations forbade work of any kind during the Sabbath. The somewhat scanty biblical details concerning the showbread are complemented by further information given by Josephus (a contemporary of Herod's temple), and, over the several centuries after the Temple's destruction, by classical rabbinical literature. unleavened), and like the biblical showbread were baked from wheat flour.
The Babylonian cakes/bread were also required to be sweet (i.e. Like the biblical showbread, the Babylonians and Assyrians generally laid twelve cakes/loaves, or an integer multiple of twelve cakes/loaves, on tables in front of images of their deities the number twelve, which is so prominent in the showbread rite, has always borne mysterious religious significance, and with the Assyrian practice of laying out twelve cakes/loaves, was directly connected with the Zodiac. In the Israelite case, a number of biblical scholars connect the use of showbread directly to the ancient cult of the Ark of the Covenant, the Ark being seen as the home of the deity, and the bread being an offering of food, ready for consumption whenever the deity chose to make an appearance. Modern arches have been modeled on the Arch of Titus, especially Napolean's Arc de Triomphe in Paris which maintains the same proportions but is larger.The custom seems to have been widespread in the region, an example being the Babylonian practice of offering to their gods a number of different kinds of cakes/bread ( akalu) the Hebrew term for showbread, Lehem haPanim, is exactly translated by the Assyrian phrase akal pגnu, which refers to the Babylonian cake/bread offerings. This scene depicts the deification or apotheosis of Titus. At the top of the inside of the arch is a sculpted bust of Titus being elevated to heaven on the wings of an eagle. The fasces were a symbol of the emperor’s presence and power. The lictors, the emperor’s attendants, can be seen holding a bundle of sticks called the fasces. The figure behind him is the goddess, Victory, holding a crown over his head. Titus is driving a four-horse chariot or quadriga.
The north relief on the interior depicts Titus himself during his triumphal procession. These three items were housed in the Temple of Jerusalem and their presence represents the conquering of the Romans over Jerusalem. On the south relief, the spoils of war are displayed as part of the procession: Trumpets, the table of Showbread, and the menorah. The reliefs depict the triumphal procession of Titus, honored for his destruction of Jerusalem. The arch is famous for its reliefs located on the north and south side of the interior. Coins were also minted with a captured Judea personified. This body is often interpreted as the personification of the River Jordan, a symbol of Judea where Jerusalem is located. The procession depicted in the eastern facing frieze includes a corpse being carried on a stretcher (ferculum). Its completion must be after 81CE because Titus has to be dead in order to be deified. It is thought that Domitian, the next emperor, had the arch built to honor his brother. Uniquely, the arch is not specifically mentioned in any historical text so the exact date of its construction is debated. Titus succeeded his father and ruled for only two years from 79-81 CE. It was dedicated to the Divine Emperor Titus, son of Vespasian, and it honored his victory over Jerusalem in 70CE. It is the entry point of the Sacra Via that runs along the northern border of the forum. The Arch of Titus towers over the east end of the Roman Forum.
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