Ara Pacis Augustae

The Ara Pacis Augustae, known as the Altar of Augustan Peace, is one of the most renowned works of Roman art. Many scholars believe this specifically represents Augustus’s triumphant return from Gaul and Spain. As a result, the monument commemorates Augustus’s finest accomplishments for bringing peace in the Roman world. Consequently, the altar encompasses the theme of peace and the prosperity that occurred thereafter. Although the name of the artist remains unknown, much is known about its history. The Ara Pacis Augustae’s foundation was laid on July 4 in 13BC in which a major ceremony took place. On this day, several sacrifices were made to the state gods along with the Pax, the goddess of peace. After three and a half years of construction, the Ara Pacis was completed in 9BC. The altar, which is free standing on a podium, is encompassed by four different walls, each decorated with sculptural reliefs on the inside and outside. On the lower registers there are mainly decorative vines and cactus leaves while upper registers consist of mainly figural sculptures. There are many notable friezes contained on the Ara Pacis including two processional friezes on different sides, which depicts the ceremony of the monument being dedicated along with Augustus’s return from Gaul. Augustus, although missing the majority of his body, is shown along with his two grandsons and various Senate members in the frieze. Moreover, the panel of Tellus includes Gaius and Lucius Caesar, who are both believed to be the nephews and future heirs of Augustus. Another frieze shows a Roman priest and his attendants about to sacrifice a sow, perhaps indicating a more sacrificial meaning to the altar, although this has been a source of controversy for art historians. Aside from this scene, there are several other friezes which personify Earth or Tellus, the lineage of Venus, and even Pax, herself, among several other integral figures. However, perhaps two of the most important figures are

Bibliography: Syme, Ronald. "Neglected Children on the Ara Pacis." American Journal of Archaeology 88.4 (1984): 583-89. The credentials of Syme are extremely solid and well-validated Journal of Archaeology 90.4 (1986): 453-460. John Pollini’s credentials are both extensive and sound Elsner, John. “Cult and Sculpture: Sacrifice in the Ara Pacis Augustae.” The Journal of Roman Studies 81.1 (1991): 50-61 Rehak, Paul. “Aeneas or Numa? Rethinking the Meaning of the Ara Pacis Augustae.” The Art Bulletin, 83.2 (2001): 190-208