Augustus is said to have found Rome a city of brick and left it a city of marble—this altar symbolizes his golden age.
The Roman state religion in microcosm
Vowed on July 4, 13 B.C.E., and dedicated on January 30, 9 B.C.E., the monument stood proudly in the Campus Martius in Rome (a level area between several of Rome’s hills and the Tiber River). It was adjacent to architectural complexes that cultivated and proudly displayed messages about the power, legitimacy, and suitability of their patron—the emperor Augustus. Now excavated, restored, and reassembled in a sleek modern pavilion designed by architect Richard Meier (2006), the Ara Pacis continues to inspire and challenge us as we think about ancient Rome.
An open-air altar for sacrifice
The significance of the topographical placement would have been quite evident to ancient Romans. This complex of Augustan monuments made a clear statement about Augustus’ physical transformation of Rome’s urban landscape. The dedication to a rather abstract notion of peace (pax) is significant in that Augustus advertises the fact that he has restored peace to the Roman state after a long period of internal and external turmoil.
The Outer screen—processional scenes
- a scene of a bearded male making sacrifice (below)
- a scene of seated female goddess amid the fertility of Italy (also below)
- a fragmentary scene with Romulus and Remus in the Lupercal grotto (where these two mythic founders of Rome were suckled by a she-wolf)
- and a fragmentary panel showing Roma (the personification of Rome) as a seated goddess.
Implications and interpretation
Mussolini and Augustus
The Ara Pacis and Richard Meier
The firm of architect Richard Meier was engaged to design and execute a new and improved pavilion to house the Ara Pacis and to integrate the altar with a planned pedestrian area surrounding the adjacent Mausoleum of Augustus.
The Ara Pacis Augustae continues to engage us and to incite controversy. As a monument that is the product of a carefully constructed ideological program, it is highly charged with socio-cultural energy that speaks to us about the ordering of the Roman world and its society—the very Roman universe.
Augustus had a strong interest in reshaping the Roman world (with him as the sole leader), but had to be cautious about how radical those changes seemed to the Roman populace. While he defeated enemies, both foreign and domestic, he was concerned about being perceived as too authoritarian–he did not wish to labeled as a king (rex) for fear that this would be too much for the Roman people to accept. So the Augustan scheme involved a declaration that Rome’s republican government had been “restored” by Augustus and he styled himself as the leading citizen of the republic (princeps). These political and ideological motives then influence and guide the creation of his program of monumental art and architecture. These monumental forms, of which the Ara Pacis is a prime example, served to both create and reinforce these Augustan messages.
The story of the Ara Pacis become even more complicated since it is an artifact that then was placed in the service of ideas in the modern age. This results in its identity being impossibly, a mixture of Classicism and Fascism and modernism—all difficult to interpret in a postmodern reality. It is important to remember that the sculptural reliefs were created in the first place to be easily readable, so that the viewer could understand the messages of Augustus and his circle without the need to read elaborate texts. Augustus pioneered the use of such ideological messages that relied on clear iconography to get their message across. A great deal was at stake for Augustus and it seems, by virtue of history, that the political choices he made proved prudent. The messages of the Pax Romana, of a restored state, and of Augustus as a leading republican citizen, are all part of an effective and carefully constructed veneer. What was the Pax Romana?
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