Caesar Augustus was a born leader, and an expert strategist. He was the first official Roman Emperor, and ruled the empire alone from 27 BC to his death in 14 AD. Using propaganda and new ideals, he was able to rise to power and transformed the Roman Empire into an organized, successful, and modern civilization. Many of Augustus’ ideas are still alive today, as he created very important models of structuring a society. This time in Roman history is often referred to as Pax Romana, which literally means “Roman peace.” The era is also known as Pax Augusta, referencing Augustus, the leader who created this important period of time. The Ara Pacis, an altar given to Augustus by the Senate following a war victory, is a lasting indication and memorial of his reign and of this time of peace. Ara Pacis means “altar of peace.” The altar depicts multiple scenes, each having a different meaning in relation to Augustus’ rule. They are all linked together, however to represent the peace and prosperity that Augustus brought to the empire. Augustus’ leadership marked a change in a culture, and the Ara Pacis is a physical reminder of this time in history.
Augustus was born in 63 BC with the name Gaius Octavius Thurinus. He later became known as Octavian when Julius Caesar died, and he became the heir, and even later was given the name Augustus. Augustus was raised by his grandmother, Julia Caesar, and was named as Julius Caesar’s heir at age four. Because of his relation to Julius Caesar, Augustus was introduced into Roman public life at a very young age. At age 12, he spoke at Julia Caesar’s funeral. Augustus was involved in battles alongside his great uncle Caesar in Africa, and became a member of the board of pontifices at the young age of 16. (Augustus) Along with many other duties, this group was in charge of staying in the good graces of the gods and managing the Vestal Virgins. When Julius Caesar was murdered in 44 BC, the 19 year old Augustus, received news that he was Caesar’s personal heir. Without any resources, Augustus made his way back to Rome following his studies in Apollina. Augustus knew of the challenges that lie ahead of him when he returned to Rome. Mark Antony, who ruled beside Julius Caesar, assumed that he would be the heir. The situation required extreme care and diplomacy on the part of Augustus.
Rome welcomed Augustus as a political figure related to the great Julius Caesar, but the people also remained faithful to Antony. With patience and strategic leadership, Augustus realized that he must gain the love of and power over the people, but not seem as if he wanted complete control. The empire would be resistant to a tyrannical ruler, especially because they were still pleased with Antony. Augustus used his relation to Caesar, and the audience of the Roman public games to introduce himself to the Roman people, and to raise his own army of 3000 soldiers who were loyal to his great uncle. Around this time, Augustus gained alliances within Rome, as well as Roman loyalty. He was named consul to the Senate and soon after, Antony fled to Gaul and aligned himself with the east region of the empire. Although Augustus needed to differentiate himself from Antony in order to gain power, he was smart to put aside his competition with him, and instead form a triumvirate between himself, Antony, and Marcus Aemilius Lepidus in 43 BC. This second triumvirate did not last long. (Augustus)
At the battle of Philippi, when Brutus and Cassius were defeated and no longer a threat to Roman leadership, the triumvirate was divided. This was relieving to the Roman people because it temporary halted the threat of civil battles between the leaders. Augustus ruled the west in Hispania, Italia, and Gaul, Antony in the east in Egypt, and Lepidus in the south in Africa. Augustus used this separation to his benefit, and spread propaganda that Antony, aligning with the Egyptians, was no longer loyal to Rome. Augustus used these five years of the second triumvirate to win over the Roman people, and also to spread his reign by conquering Lepidus’ territory in the south, and part of Antony’s in the east. When it became public that Antony was associated with the Egyptian leader Cleopatra, and wanted to be buried in the east, Augustus swayed the Senate, allowing him to declare war on Antony. In 32 BC Augustus and Antony meet at the Bay of Actium in Greece, and in 30 BC Augustus was victorious when both Antony and Cleopatra committed suicide. (Zanker) Cleopatra realized that once Antony had fallen and she could not align herself with Augustus, she no longer had any power. After defeating his political “allies” Augustus would spend the next few years gaining power slowly, reforming Rome after years of lawlessness and civil war.
Augustus realized his need to assume power in an assertive way in order to ensure his political success, but also to reform Rome. Instead of focusing on expanding the empire, he wanted to improve the current environment. He needed to do all this while still keeping in good graces with the Roman people. His goal was to return the Roman Empire into a place of civility and legality. In 27 BC Augustus used his ingenious political strategy and restored the republic of Rome to the free disposal of the Senate and the people. Augustus did this to be seen as a humble leader, not greedy for power, but also to shift Rome into more of a republic. (Augustus) After Augustus made this decision, with gratitude, the senate granted him a ten-year responsibility of overseeing the main provinces of Rome. Augustus accepted control of the Roman Empire. Days later, the senate awarded Augustus with the name he would become known as for the rest of his life. Augustus is a name contrasting to “humanus”, emphasizing superiority over the rest of mankind. It was also linked with the practice of augury: predicting omens and the future. This emphasized Augustus’ ambition for the future. The name also had a transformation connotation – a change in the Roman Empire from violence to peach and civility. Further emphasizing Augustus’ importance and his close relation with and approval of the gods the Tiber River flooded the city of Rome on the night the name was given to him. (Tenure)
Augustus used his tenure to bring vast reform to Rome, but also to elevate his power and reputation among the people. His goal was to create a better Rome for the people. Augustus created a new system of laws, and emphasized the importance of legality. He also created an intricate tax system in order to fund his public works. As well as reconstructing public buildings to enforce the importance of public space and the physical empire, he created an infrastructure system that allowed trade, and the constant availability of supplies and food coming into Rome. He created the first police and fire-fighting force consisting of hundreds of people, and a standing army of over 170,000 soldiers. All three of these important advancements were aimed at protecting the people of Rome. There was less danger of destruction and death from the fires that constantly ravaged Rome and the Police force protected from violence and danger. (Zanker)
The importance of the community and the family was also elevated. Augustus created public spaces for Romans and planned events and festivals to get people involved and to come together. Roman baths were also created. In order to promote their use, Augustus’ architect and political partner, Agrippa paid all the entrance fees for as long as he was in power, although much of Agrippa’s work was famous under Augustus’ name. Families were important to Augustus, so he promoted marriage and child rearing to create a more civilized republic. He also offered tax discounts to encourage these practices. In some of the first promotion of anti-indulgence, Augustus placed height restrictions on new construction, and created laws prohibiting extravagances in dress, dining, and building. (Tenure) This was a way to show that he was not interested in extreme self-promotion, as previous rulers were. Because of this, Romans began to believe that the pursuit of personal glory by rulers had ruined Rome, and these changes that Augustus were making were for the better. This was all a part of Augustus’ plan; to emphasize the change and alterations that he was making, therefore promoting himself and his glory.
When Julius Caesar was named as a god in 42 BC, Augustus was automatically seen as related to the gods, and this was a very high honor. Without being too obvious, Augustus publicized the fact that he was the son of a god, and this elevated his status. He was granted the privilege of having laurel trees and an oak wreath at his personal residence. These symbols were traditionally only seen at priestly buildings, therefore enhancing Augustus’ religious alignment. He also emphasized the importance of a close relation to the gods. (Favro) With the help of Agrippa, he reconstructed many religious buildings and also built new buildings to gain the approval of and increase his relationship with the gods. In these years Augustus reconstructed over 80 temples, spending lavishly on gold and other precious stones to flank the interiors of the most important religious buildings. Along with this, Augustus emphasized the importance of religion in the empire. Civility and laws alone were not enough for a successful republic. He elevated the power of priests, and as a result of his religious revitalization he was seen as a divine ruler sent to restore humanity. Augustus used this quote by Horace to guide his religious revitalization, “He who takes it upon himself to look after his fellow citizens and the city, the empire and Italy and the temples of the gods, compels all the world to take an interest.” (Favro)
Augustus used his popularity to promote his image. He constructed statues of himself all over the Roman Empire, and was recognized as responsible for all the reconstruction of Rome. While discouraging self-promotion, Augustus definitely promoted himself as a divine ruler, emphasizing his paternal stamp over the Roman Empire. The statues and busts of Augustus were all shown with the same youthful face that was used his entire life. This youthful look was different from previous leaders who emphasized their successes and toil in battle with tired and older-looking faces. This youthful look was a change that Augustus wanted to accentuate, separating himself from previous leaders. (Zanker) This youthful image was also the new face of the Roman Empire, and the face of peace. Augustus restored peace to the Roman Empire. He adamantly discouraged war and violence, and instead of focusing on war, he focused on the internal affairs of the empire. Upon returning from victories in Gaul and Spain, the Senate awarded Augustus with the sacred Ara Pacis, an altar of peace commemorating not only the victories in battle, but also the Augustan age of peace or “Pax Romana.”
In order to understand the significance of the Ara Pacis, one must understand the rule of Augustus. His reformations and what he emphasized in his rule are all depicted on the memorial altar. The Senate commissioned the altar on 13 BC, as an alternative to a triumph procession, which the humble Augustus declined. It was thought that he did this in order to further differentiate himself from past rulers, but also to refute the importance of promoting the violence of war. The Ara Pacis’ purpose was to depict Augustus’ reign, but also placed him in the realm of a divine person amongst the gods, because the altar dedicated to him was used for sacrifices to the gods. The altar was finished on January 30th, 9 BC, and remains the most important example of Augustan era sculpture that stands today. The structure was originally located near Augustus’ mausoleum burial grounds, and directly beside the Via Flamina which was the road leading into the center of Rome. The front of the Ara Pacis shows scenes from the creation of Rome. These Frieze scenes tie Augustus with the creation of the empire, rooting his re-creation of Rome on an equal level with Romulus and Remus’ creation. On the left of the stairs, Romulus and Remus are depicted when they were discovered by the shepherd Faustulus. They are being fed by the she-wolf in the Lupercal cave, and the god of Mars looks on the scene, representing the creation of Rome. To the right of the entrance stairs, we see the Aeneas sacrificial frieze, with the sacrificial pig. Augustus would have wanted to be linked to his ancestors, specifically the father of the Julian family Aeneas. (Weinstock) The Tellus relief is shown on the rear left of the Ara. This scene has created much confusion in the interpretation of the Ara Pacis. The woman seated in the scene is most commonly depicted as Tellus, the mother of the earth, but can be seen as multiple goddesses in harmony, also depicting Venus, Ceres, and Pax. This combination of multiple goddesses shows that cumulatively, these goddesses are looking down on Augustus’ prosperous reign with approval. The twin children seated on the woman’s lap represent the fertility of the Roman Empire, and the corn, grain, and abundance of fruit in the scene also represent this abundance and prosperity. To the right of the back wall, the female warrior Roma is in a seated position with several war weapons at her feat. The seated position signifies her rest, and the lack of war. This scene depicts peace in the Roman Empire because of the lack of war.
Along the longer sides of the Ara, a procession is depicted, centered around Augustus who is near the front. The procession depicts priests with sacrificial offerings, as well as the family and close relatives of Augustus. There are 46 surviving figures on the Ara Pacis today on the north and south procession walls. (Weinstock) It is important to note that these particular scenes are modeled somewhat after Greek styles. Augustus really admired the Greeks, and their artistic forms. Augustus thought that using Greek sculpture elements in his altar would elevate him as a leader and align him with a successful civilization. The classically Augustan element here is to change these forms slightly, focusing on his change and the distinctiveness of all things Augustan. Figures along the walls are depicted very real and recognizable, whereas traditional Greek figures would be depicted as a metaphor for what they represented. We can clearly see Augustus as leader of the procession, the high priest of Rome, with very distinctive clothes. Additionally, the priests on the opposite wall are recognizable and have distinct faces, although in modern times we do not know the names of these people. The depth of the procession is also very evident. There are fainter figures that would be within the procession line, and figures that protrude from the marble with feet overhanging from the Ara’s walls to show their importance. The procession expresses Augustus’ elevation of the Roman family, especially his family because they are the individuals responsible for carrying on his name and reputation. Augustus also chose to use children in his procession, which was typically not done in sculpture of the time. The children represent his desire to increase the birth rate, while also representing his need for a successor.
Processional Frieze, Sullivan, 2006
The abundance of floral, or scroll friezes cannot be ignored on the Ara. The abundance of natural plants, and beautifully cultivated vines are a symbol of Rome’s wealth and golden age. Symmetry is also important in these friezes. The vines are not haphazard, but very symmetric. There are also animals in the friezes, for example a snake crawling over a bird’s nest. These depictions represent Rome’s organization under Augustan rule, as well as the civil and peaceful lifestyle that permeated Rome. Inside the altar, garlands of all types of fruit further represent the abundance of Rome. Additionally, animals are depicted in a procession themselves, awaiting their sacrificial offering. The symbols in the Ara Pacis show the importance of reforms made during the Augustan Age, but also the peace he brought to the Roman Empire. Although peace, specifically the goddess Pax, is technically never depicted, the altar as a whole represents this peaceful time as well as depicting Augustus as a divine and all-powerful ruler. It is also interpreted that Pax is not depicted on the altar to further show Augustus as responsible for the creation of this peace, rather than the goddess.
The Ara Pacis stood near the Tiber river in ancient times, causing it to be buried after constant floods. First excavated in 1536, the Ara Pacis was not fully recovered and reconstructed until 1937 on the 2000th anniversary of Augustus’ birth. Today the tomb lies in a brand new building that was built in 2006 by Richard Meier. (Weinstein) This building, the first civic building built in the historical center of Rome in over 50 years, is very controversial. Not only is it built by an American architect, but it is built in an extremely modern style, particularly rare in Rome’s historical center. Italians might not be ready for such a building, but as the eternal city, Rome is assumed to be endless. At what point will new structures, and new architectural elements be implemented into Rome? This needs to happen at some point. While the building enclosing the Ara Pacis is extremely controversial, it brings modernity to Rome that seems long overdue, as well as a nice contrast to the ever-important ancient structure.
Front of Ara Pacis, Sullivan, 2006
In terms of studying the history of the Roman Empire, studying Augustus and how the Augustan Age changed Rome for the better is essential to understanding why this civilization has lasted as long as it has. Augustus made reforms in the empire that are still very evident today. While he was a ruler with a self-promoting agenda, his real goal was to show that he knew what was good for Rome, and knew how to rule over an empire. The Ara Pacis is a monument that represents both the prosperity and the peace that Augusts created in Rome, and commemorates and remembers Augustus.
Bibliography
“Augustus." Encyclopædia Britannica. 2010. Encyclopædia Britannica Online. 12 Jan. 2010 <http://www.britannica.com/EBchecked/topic/43047/Augustus>.
Favro, Diane. The Urban Image of Augustus. Cambridge University Press, New York, 1996.
Macquarie University, 2008. – Picture of Augustus Bust.
Sullivan, Mary Ellen. “The Ara Pacis Augustae.” Bluffton Univeristy. 2006. 17 Jan. 2010.
Weinstock, Stefan. “Pax and the 'Ara Pacis’.” The Journal of Roman Studies, Vol. 50, Parts 1 and 2 (1960), pp. 44-58.
Zanker, Paul. The Power of Images in the Age of Augustus. University of Michigan Press, Ann Arbor, 1988.
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