Download Ara Pacis Augustae

Ara Pacis Augustae (Alter of Augustan Peace)
Dates: from 13-9BC
Located: at the field of Mars (Campus
Martius) to the north of Rome. Found in
pieces and fully restored during the rule of
Benito Musolini (1930s)
Commissioned: by the Roman Senate in
honour of Augustus’ military victories in Gaul
and Spain. The alter was also a gesture of
public thanks to Augustus for the peace and
prosperity he brought to the Empire.
Symbolises: a new ago of peace and
prosperity for Rome and her Empire under
the rule of Augustus. This propaganda
message was not new for a Roman leader, but
the scale of Augustus’ message is significant.
The technique of combining historical and
mythological sources to pronounce this
message is also significant.
Themes conveyed: Commemoration of an important event – the return of Augustus
Promotion of Augustus’ imperial ideology
Divine origins of both Rome and the Julio-Claudian dynasty
Peace and prosperity under the rule of Augustus
Structure: of the Ara Pacis is a Greek concept. The idea of a central alter with a protective screen wall (precinct) comes
from the Classical Greek period (mid to late 5th century BC) and may be compared to the Alter of Pity in the Agora of
Athens. The altar was entered on the west side via nine shallow steps but there is also a doorway in the rear eastern
wall.
Materials: Tufa for the core of the alter; travertine for the foundations, platform and pavement; Carrara marble for the
alter and precinct walls.
Style and Mood: The style of the design and of the carving of the reliefs also from Classical Greece and may be
compared to the Parthenon frieze. The mood of the reliefs is calm and dignified. There is no rapid action or excitement,
all is orderly and restrained.
Composition of the Reliefs
Inner Alter (fragmentary remains only)
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Central section features figures walking in procession (perhaps Pax, Goddess of Peace along with other deities
who have come to receive the gifts offered in sacrifice at the alter).
Inner sides of the raised ends feature Vestal Virgins and heir servants
Outer faces of the raised ends features animals being led to sacrifice by priests and attendants
These reliefs probably depict the annual sacrifices carried out on the anniversary of the altar’s dedication on the
20th January, 9BC.
Inner Precinct reliefs
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Lower section depicts stonework made to represent the original wooden enclosure surrounding the alter
when the site was inaugurated on 4th July 13BC
Upper section depicts symbols of sacrifice; garlands, ox skills and libation bowls. The inner reliefs as a whole,
serves to make it appear that the alter is permanently deked out ready for a sacrificial ritual.
Exterior precinct reliefs (in two registers)
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The lower register features acanthus leaf tendrils and a variety of flowers along with birds, insects, snakes,
lizards, frogs and several swans, all symbolising natural abundance and fertility. The swans are attributes of
Apollo, a god favoured by Augustus and perhaps alluding to the Emperor’s claim that Apollo helped him in his
military
campaigns.
Upper Exterior Precinct Reliefs
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On each of the East and West sides is an allegorical and mythological scene.
On the North and South sides are historical scenes of sacrificial processions.
West Side, right of the entrance (South West corner)
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Aeneas sacrificing the Lavinian Sow to the Penates
Penates (household gods) brought from Troy, in a small shrine
Aeneas is the main figure. His head is draped over with his toga as
symbol of piety (devotion to the gods)
Two youths present. One leads the sow (related to the site of Rome)
to the alter The other youth (possibly lulus, Aeneas’ son) carries fruit
and a jug of wine.
West Side, left of the
entrance (North West corner)
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wolf.
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relief
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Faustulus discovers Romulus and Remus being suckled y the SheRomulus and Remus were fathered by Mars, also depicted in the
Romulus was first King of Rome
East Side, left of exit (South Eastcorner)
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The Tullus (Mother Earth) relief. (possibly Pax, goddess of peace)
Goddess sits on rocky outcrop. Her ‘wet-look’ drapery and the infants on her lap emphasise her fertility.
Other evidence of fertility bounty surround her;
o Fruits lie gathered in her lap
o Grain and poppies flourish in the background
o Well fed livestock lie and graze at her feet
To the right is the personification of salt water. She sits on a winged sea dragon
To the left is the personification of fresh water. She sits upon a swan, above bulrushes as pitcher of water spills
its fresh liquid.
West side, right of exit(North East corner)
Roma, the goddess of war, enthroned peacefully upon a pile of weapons.
The most significant features of the monument are the reliefs on the North and South precinct walls
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These reliefs contain a mixture of senators and priests and important historical figures that can be identified by
their portraits
The reliefs are thought to depict the figures present at the altar’s inauguration in 13BC. (Could be the dedication
ceremony in 9BC, or even Augustus’ triumphant return from Gaul and Spain)
South Wall Relief
Contains the most important section of the frieze
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Augustus is depicted about to conduct a sacrifice. Like Aeneas on the western precinct wall, Augustus stands
with his head covered by a fold of his toga, a gesture or piety.
Augustus is surrounded by the Flamines (they wear unusual headgear, like a candlestick)
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Further back in the procession are members of the imperial family led by Marcus Agrippa. Then Agrippa’s wife
Julia, their son Gias Caesar, Augustus’ imperial successor Tiberius, Augustus’ niece Antonia the Younger and her
son Germanicus and others, all carved in high relief.
The background figures (ie. In the low relief) are all senators and members of the Roman aristocracy.
The presence of children and family reflects Augustus’ political ideology. He believed children represented the
city’s wealth. His tax regime penalised those who remained unmarried and favoured those with more than
three children.
The wealth of male heirs represented in the frieze is notable. This serves to foster the public faith in the JulioClaudian dynasty.
North Wall Relief
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Composed chiefly of senators wearing wreaths, important Roman priests, and lictors (civil servants) carrying
their fasces.
At the end of the procession is a group of men, women and children thought to be minor members of the
imperial family.
Portrayal of Augustus
(On the Ara Pacis Augustae)
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Augustus is shown on the South Relief near the south-west corner
of the Ara Pacis.
Also adjacent to this corner is the relief of Aeneas sacrificing to the
Penates. The proximity of Aeneas and Augustus reflects Augustus’
Julio-Claudian lineage which he traced back hundreds of years to
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Aeneas, the ancestor of the Roman people, and in turn to his mythologically divine origins (Venus was Aeneas’
mother). The link between Aeneas and Augustus is also echoed in the similar pose and priestly dress. Augustus
pours a libation while Aeneas also offers a sacrifice.
Augustus is surrounded by the consuls, senators, flamines and is followed by members of his imperial family,
including his Tiberius.
Augustus is not depicted as divine, immortal or superhuman His is represented as ‘princeps’ the first among
equals. This is shown through his consistent scale and dress to others around him.
The mythological, allegorical and historical reliefs on the precinct walls combine to present a clear message that
Augustus has heralded a new age of peace and prosperity for Romans He has divine origins and his favoured by
the gods. He is a ‘New Aeneas’, the founder of a new prosperous Roman Age, one that will continue under the
leadership of future generations of his family line.
Sample Questions;
What was the significance of the Ara Pacis Augustae?
Augustus’ account in the Res Gestae 12.2 links it with his return from Spain and Gaul in 13 BC after he has successfully
arranged affairs in those provinces. The senate then decreed that an altar of Augustan peace be erected next to the
Campus Martius in honour of the event, and that magistrates, priests and Vestal Virgins conduct an annual sacrifice
there. RG13 tells us that the gates of the Temple of Janus were then closed, which links the Ara Pacis with the idea that
peace is the outcome of military successes which secure Roman imperium. N.B. Augustus refused a triumph, and public
acknowledgement, by coming into the city quietly at night, and he refused an altar actually in the Senate house. The
altar, significantly, was built on the Campus Martius, a traditional focus of a triumph, and a mile outside the pomerium on the demarcation line between military imperium and the domestic area of chief city magistrates.
To what extent does the Ara Pacis Augustae convey similar messages to those of the Prima Porta statue of Augustus
and to what extent do they differ?
Points which might appear here:
The Ara Pacis adopts a style which derives from famous predecessors like the Parthenon frieze foregrounds Augustus,
his family and the representatives of the major components of his power structure and ideological approach uses a
traditional and respected style and an equally validated building form makes use of Roman mythology in the exterior
frieze and imagery of a shrine in the interior
The Prima Porta statue emphasizes Augustus’ divine descent rather than his own progeny, foregrounds peace as a
product of military success uses a visual reference to a Greek statue-type uses Roman mythological references
Both clearly use a common frame of reference to convey similar messages, and good answers are likely to discuss the
differences of emphasis rather than of core message