ARA PACIS

BASIC FACTS… the Ara Pacis was set up on the Campus Martius (Field of Mars) in the north of Rome, not far from the mausoleum of Augustus. means “Altar of Augustan Peace”

MORE BASIC FACTS… the Ara Pacis was commissioned by the Senate in 13BC and consecrated in 9 BC. it was built to commemorate Augustus’ return from Spain and Gaul after many years disturbance.

SO WHAT MAKES THE ALTAR? eastern window exterior screen altar interior stairway western entrance

MATERIALS USED the altar seems to model itself on the Greek altar of Mercy in Athens. all the materials used are Italian: the foundations, platform and pavement are made from travertine (limestone), Carrara (north Italian) marble for the superstructure, tufa for the core of the altar.

THE ALTAR

THE ALTAR sits upon a small podium. it is richly decorated with a small frieze (39cm high) of a sacrificial procession with Vestal virgins, other sacrifical attendaents and animals (souvetaurilla). the altar was meant to used for yearly sacrifices to the Goddess of Peace.

INTERIOR DECORATION The top section of the inside of the wall is covered with symbols of sacrifice: bulls skulls, garlands (of fruit from the whole year symbolizing the everlasting peace of Augustus), ribbons, libation bowls.

INTERIOR DECORATION a palmette design separates the top and bottom section. the lower section has a ‘wooden fence-like’ design echoing the fence that would have stood around the altar during construction.

EXTERIOR FRIEZE The decoration on the exterior of the precinct wall is split into two sections.

EXTERIOR FRIEZE - Lower The lower part of the screen wall is decorated with: an elaborate floral design of leafy tendrils, emanating from acanthus plants and winding like scrolls until they burst into flowers. birds especially swans (bird of Apollo), insects, snakes, lizards, frogs inhabit the vegetation.

EXTERIOR FRIEZE – UPPER East and West these panels are set either side of the openings in the walls. the scenes on the eastern end are allegorical and ones on the western end are mythical. these scenes are framed by Corinthian pilasters decorated with a floral pattern.

EAST the right panel depicts the armed goddess Roma seated symbolizing victory and peace.

EAST the left panel shows a veiled Mother Earth, Tellus (personifying Italy) with two children on her lap. Symbols of fertility are present in the scene: corn, poppies, fruit, bulrushes, sheep and cows. the two seated women represent aspects of natural world of land, sea and sky. the female on the left symbolises air and sits on a swan the symbol of Apollo. the female on the right symbolises fresh water and sits on a sea-creature and has her feet in water. both females drapery billow around them giving them a halo effect.

WEST the right panel has Aeneas pouring a drink-offering to the gods before he sacrifices a pig at the site of his new home in Italy. in the background stands the shrine of household gods. he is attended by two youths. Aeneas wears his toga over his head in the style of a priest. the scene reminds us of Aeneas’ devotion to the gods and of his connection with Augustus.

WEST on the left panel only fragments remain. the armed god of war Mars is shown with his children Romulus and Remus at the cave of the she-wolf that rescued the babies. This symbolizes the beginning of Rome and the Roman peoples divine origins.

EXTERIOR FRIEZE - UPPER North and South both friezes show life-sized figures (1.55m high) all moving towards the west. the friezes represent the consecration ceremony of the altar in 9 BC. children appear on both sides: some are Augustus’ grandchildren, other unidentified children could symbolise the Emperor’s hopes for an increase in the birth rate among the upper classes.

EXTERIOR FRIEZE - UPPER North and South the treatment of the poses and the drapery is reminiscent of the frieze from the Parthenon in Athens. variety in the friezes is achieved by: different poses, the addition of children, figures looking in different directions, low and high relief used. use of overlapping and slightly smaller background figures show an attempt at depth but it is not perfect. there is a calm but serious mood in these friezes.

SOUTH Augustus stands near the western end of the southern frieze. He is pouring a libation and is accompanied by: consuls, priests, other officials, members of his family. the pose and dress of Augustus’ mirrors that of Aeneas on the entrance panel.

NORTH another procession of senators, officials, women and children of the Imperial moving westwards. one man has his toga draped over his head. another man carries an incense box in a sign of piety. all the heads of the senators are modern. most of the background heads have been restored.

PUT THIS ALL TOGETHER AND YOU GET…

THE ARA PACIS