Building Programme
Forum of Augustus
In 42 BC, Octavian made a vow to erect a temple to Mars Ultor for the avenge of
his adopted father, Julius Caesar, after the Battle of Philippi. On the 1st of
August, the still incomplete Forum of Augustus was inaugurated, but it wasn't
until 19 AD that it was completed, with the additions of arches in honour of
Germania and Druso Minor. It was located between the north-west corner of the
Palatine hill and the foot of the Capitol hill. It was built to provide
additional space to solve Rome's growing need politically, economically and
legally with Rome's growing population. However, it was also useful for Augustus
to promote his, and his family's, prestige. Public prosecutions were held here
as well as being the place in which the decision to go to war was made.
Down both sides of the Forum of Augustus, in the colonnades, are statues of great Roman leaders and heroes. On the left-hand side, Augustus' ancestors, the Julian family, Aeneas and the Kings of Alba Longa (whom Romulus descended from), are placed to show the importance of the concept of 'mos maiorum' on him. On the opposite side are figures of Roman legend, such as Romulus and the kings of Rome. Next to Mars Ultor stands a large statue of the Deified Julius Caesar and on the other side, a statue of Venus, further showing the emphasis on Augustus' ancestry. At the entrance to the temple of Mars Ultor, a statue of Augustus as 'pater patriae' (Father of the Nation) stands; some historians debate that all the heads of the statues in the Forum of Augustus are looking towards it, showing that Augustus is at the centre of everything Roman. In total, there are 108 statues.
Behind the temple of Mars Ultor, a firewall stands at 35m tall; it was partially built to prevent noise and as a clear definition away from the crowded housing behind the Forum of Augustus. The temple of Mars Ultor dominated the Forum and it was the place in which all senatorial re-unions were held for military matters, including triumphs. This reflected the military matter of the god himself. Military emblems and spoils were kept under guard in the cell at the rear of the temple. Religious ceremonies such as the 'ludi martiales' (celebration dedicated to the god of war) and ritual banquets of the priestly order of the Salii were held here too.
The Forum of Augustus was not just a crude monument to Augustus' own past, but a positive monument of Rome's illustrious history. It portrayed the glory of the 'good old days' and identified the glories of Augustus amongst the past glories of Rome. However, as Augustus was at the centre, it can be argued that it was Augustus' self-glorification as it has been interpreted that the figure of the past were forming a 'ring of protection' for Augustus.
his adopted father, Julius Caesar, after the Battle of Philippi. On the 1st of
August, the still incomplete Forum of Augustus was inaugurated, but it wasn't
until 19 AD that it was completed, with the additions of arches in honour of
Germania and Druso Minor. It was located between the north-west corner of the
Palatine hill and the foot of the Capitol hill. It was built to provide
additional space to solve Rome's growing need politically, economically and
legally with Rome's growing population. However, it was also useful for Augustus
to promote his, and his family's, prestige. Public prosecutions were held here
as well as being the place in which the decision to go to war was made.
Down both sides of the Forum of Augustus, in the colonnades, are statues of great Roman leaders and heroes. On the left-hand side, Augustus' ancestors, the Julian family, Aeneas and the Kings of Alba Longa (whom Romulus descended from), are placed to show the importance of the concept of 'mos maiorum' on him. On the opposite side are figures of Roman legend, such as Romulus and the kings of Rome. Next to Mars Ultor stands a large statue of the Deified Julius Caesar and on the other side, a statue of Venus, further showing the emphasis on Augustus' ancestry. At the entrance to the temple of Mars Ultor, a statue of Augustus as 'pater patriae' (Father of the Nation) stands; some historians debate that all the heads of the statues in the Forum of Augustus are looking towards it, showing that Augustus is at the centre of everything Roman. In total, there are 108 statues.
Behind the temple of Mars Ultor, a firewall stands at 35m tall; it was partially built to prevent noise and as a clear definition away from the crowded housing behind the Forum of Augustus. The temple of Mars Ultor dominated the Forum and it was the place in which all senatorial re-unions were held for military matters, including triumphs. This reflected the military matter of the god himself. Military emblems and spoils were kept under guard in the cell at the rear of the temple. Religious ceremonies such as the 'ludi martiales' (celebration dedicated to the god of war) and ritual banquets of the priestly order of the Salii were held here too.
The Forum of Augustus was not just a crude monument to Augustus' own past, but a positive monument of Rome's illustrious history. It portrayed the glory of the 'good old days' and identified the glories of Augustus amongst the past glories of Rome. However, as Augustus was at the centre, it can be argued that it was Augustus' self-glorification as it has been interpreted that the figure of the past were forming a 'ring of protection' for Augustus.
Ara Pacis
The Ara Pacis was authorised to be built in 13 BC and was dedicated in 9 BC. It was located on the Via Flaminia and its purpose was to welcome Augustus to Rome after his return from his campaign in Gaul; its iconography shows the benefits of peace in Gaul and Hispania. 'Ara Pacis' means 'Altar of Peace'.
There is no triumphant imagery whatsoever of Augustus' victory which marked a major difference to the traditional celebration of victory, a triumphal arch. Instead, the Ara Pacis celebrates the 'Pax Romana' ('Roman Peace'), or 'Pax Augusta' ('Augustan Peace'). As it avoids any specific reference to an individual victory, the Ara Pacis serves as an icon that symbolises the values of Augustus' Rome; and these are lead by Augustus and his family. The abundance of harvest and fertility are designed to be a reflection of the fertility of the women with Augustus; 'piety and productivity' became the key values to the imperial household.
The Ara Pacis is about 18ft high, 35ft wide and 37ft long and steps lead to an open-roofed altar. To the left of the west-side stairs is a panel depicting the Lupercalia (a festival held on the 15th February to honour Faunus, the god of fertility and forests) and shows a wolf suggesting at the link to Rome's history; it has been interpreted to be Mars with Romulus and Remus at the she-wolf's cave. On the right of the stairs is the depiction of Aeneas offering a drink as he prepares to sacrifice a pig, with a 'lararium' (small household altar) behind him.
On the southern-face of the Ara Pacis is a procession featuring Augustus with an elaborate group of lictores, consuls and priests, as well as some members of his own family. Augustus is in the centre with his head covered in the fashion of a priest as he was Pontifex Maximus. To his immediate left, is a lector (civil servant who would guard the princeps), who carries a fasces. Further to the left of Augustus shows member of the Senate. To the right of Augustus are children and a soldier. It has been argued that this may show his ancestors but another interpretation is that it the children represented Augustus' hopes for an increased birth-rate as he believed that their would not be enough young men to serve as soldiers in Rome's growing borders.
On the Eastern entrance, peace and abundance are depicted. Tellus (Mother Earth), is shown to the left of the entrance and it is believed that Romulus and Remus are depicted with her. Other interpretations include suggestion that Tellus had been made to look like Livia and the babies are Gaius and Lucius, Augustus' adopted grandsons. Other historians suggest that Tellus is a personification of Italy under Augustus, abundant and fertile. On the right hand-side of the Eastern entrance, Roma is depicted sitting on a pile of weapons - this suggests peace. However, this panel is very badly damaged.
On the North wall, a procession is depicted. It shows members of Augustus' family, senators, officials and friends. Some are carrying things and some historians have suggested that they may be carrying implements that suggest that they are en-route to make a sacrifice.
The sacrificial altar was fully-functioning and was used for the sacrifice of both small and large animals. There are drain-holes that can be seen on the walls for the blood to drain away through.
There is no triumphant imagery whatsoever of Augustus' victory which marked a major difference to the traditional celebration of victory, a triumphal arch. Instead, the Ara Pacis celebrates the 'Pax Romana' ('Roman Peace'), or 'Pax Augusta' ('Augustan Peace'). As it avoids any specific reference to an individual victory, the Ara Pacis serves as an icon that symbolises the values of Augustus' Rome; and these are lead by Augustus and his family. The abundance of harvest and fertility are designed to be a reflection of the fertility of the women with Augustus; 'piety and productivity' became the key values to the imperial household.
The Ara Pacis is about 18ft high, 35ft wide and 37ft long and steps lead to an open-roofed altar. To the left of the west-side stairs is a panel depicting the Lupercalia (a festival held on the 15th February to honour Faunus, the god of fertility and forests) and shows a wolf suggesting at the link to Rome's history; it has been interpreted to be Mars with Romulus and Remus at the she-wolf's cave. On the right of the stairs is the depiction of Aeneas offering a drink as he prepares to sacrifice a pig, with a 'lararium' (small household altar) behind him.
On the southern-face of the Ara Pacis is a procession featuring Augustus with an elaborate group of lictores, consuls and priests, as well as some members of his own family. Augustus is in the centre with his head covered in the fashion of a priest as he was Pontifex Maximus. To his immediate left, is a lector (civil servant who would guard the princeps), who carries a fasces. Further to the left of Augustus shows member of the Senate. To the right of Augustus are children and a soldier. It has been argued that this may show his ancestors but another interpretation is that it the children represented Augustus' hopes for an increased birth-rate as he believed that their would not be enough young men to serve as soldiers in Rome's growing borders.
On the Eastern entrance, peace and abundance are depicted. Tellus (Mother Earth), is shown to the left of the entrance and it is believed that Romulus and Remus are depicted with her. Other interpretations include suggestion that Tellus had been made to look like Livia and the babies are Gaius and Lucius, Augustus' adopted grandsons. Other historians suggest that Tellus is a personification of Italy under Augustus, abundant and fertile. On the right hand-side of the Eastern entrance, Roma is depicted sitting on a pile of weapons - this suggests peace. However, this panel is very badly damaged.
On the North wall, a procession is depicted. It shows members of Augustus' family, senators, officials and friends. Some are carrying things and some historians have suggested that they may be carrying implements that suggest that they are en-route to make a sacrifice.
The sacrificial altar was fully-functioning and was used for the sacrifice of both small and large animals. There are drain-holes that can be seen on the walls for the blood to drain away through.
Prima Porta Statue
The Prima Porta statue was constructed in 20 BC in order to celebrate the victory over the Parthians; this was something that Crassus, Caesar or Antony could not achieve. Augustus did this by diplomacy but the Parthian king is depicted on his knees offering the lost Roman standards. The statue itself is in the style of a fifth-century BC Greek athletic statue of Doryphoros of Polykleitos and stands at 208 cm tall. Found in Livia's villa in Prima Porta, it gives the portrait of Augustus as a young, handsome man and young ruler and is shown wearing a decorated cuirass with a tunic. Augustus also appears to be accompanied by Cupid riding a dolphin at his side.
Despite the statue being made when Augustus was around forty-years old, his face is still shown to be that of a young man. It is the most common form of Augustus' depiction with around 200 replicas being found. The smooth face, simplistic features and youthful look give the impression of an energetic leader. By combining the features of a Greek athlete with Augustus' smooth 'far way' look, he is supposed to look more like a god than a human. Comma-shaped hair have become the symbol of the emperor; with statues of Trajan, amongst others, found with a similar hairstyle.
The breastplate depicts a man in traditional Parthian dress, who many historians identify as King Phraates IV. He is giving what has been interpreted as Rome's lost standards. The Roman in military dress who is accepting the standards has been interpreted to represent Augustus, Tiberius, Romulus, Aeneas, Mars, or as personification Roman army. Around the central scene, divinities and personifications decorate the rest of the cuirass in intricate detail. Some historians
suggest the two captive women either side represent the recently-captured provinces of Gaul and Hispania
or even territories in Germania. At the top of the cuirass, a figure spreading a cape and wearing a crown is thought to represent Caelus, the sky god, spreading the heavens over the scene. Alternative interpretations indicate the figure at the top is either Saturn or Jupiter Optimus Maximus. If interpreted as Saturn, historians argue that it shows the return of Saturn as ruler of Latium, as was the case during the first Golden Age, therefore crediting Augustus with bringing a new aurea seculae. Just below the topmost figure, another figure is shown, driving a chariot. Some interpret this to be Sol, god of the sun, whilst others claim it is Apollo. Next to the chariot, two other divinities are shown, one is thought to be Aurora ('the dawn'), holding an urn, and the other is interpreted to be Luna ('the moon'), holding a torch. Paired with Caelus, is Tellus (Mother Earth) at the bottom of the breastplate holding two babies and a cornucopia. It has been interpreted that just below the central scene is Diana riding a stag and Apollo upon a winged griffin. The number of gods depicted suggests that this result greatly favoured the gods/Augustus was greatly favoured by the gods.
There is lots of debate between historians as to what exactly Augustus would have held in his left-hand; some argue a spear, some argue a sceptre and yet others argue a laurel branch. The right-hand was not discovered at Prima Porta and has instead been established by an artist's impression. However, it is generally accepted that it is held out in the Roman tradition of 'ad locutio', giving an address to troops.
Augustus' robe on the Prima Porta statue further enhances the notion of his sanctity; it was an emblem associated with the deified Julius Caesar and thus that his robe is above his breastplate suggests at his close association with Caesar and the divine world. Furthermore, at this point in Roman tradition, the number of folds in one's toga shows how pious they are and the Prima Porta statue shows many fold so suggests that Augustus is very pious.
It appears as though Cupid is depicted on Augustus' right-hand side. Cupid was the son of Venus so may be a suggestion to Augustus' divine heritage. However, it has rather been suggested that the facial features are similar to Augustus' adopted grandson, Gaius, as a way of introducing him to Roman public life. The dolphin has been interpreted as a further link to Venus as it may refer to Venus' birth from the sea. On the other hand, it has been interpreted rather as a reference to Augustus' naval victory at the Battle of Actium.
Despite the statue being made when Augustus was around forty-years old, his face is still shown to be that of a young man. It is the most common form of Augustus' depiction with around 200 replicas being found. The smooth face, simplistic features and youthful look give the impression of an energetic leader. By combining the features of a Greek athlete with Augustus' smooth 'far way' look, he is supposed to look more like a god than a human. Comma-shaped hair have become the symbol of the emperor; with statues of Trajan, amongst others, found with a similar hairstyle.
The breastplate depicts a man in traditional Parthian dress, who many historians identify as King Phraates IV. He is giving what has been interpreted as Rome's lost standards. The Roman in military dress who is accepting the standards has been interpreted to represent Augustus, Tiberius, Romulus, Aeneas, Mars, or as personification Roman army. Around the central scene, divinities and personifications decorate the rest of the cuirass in intricate detail. Some historians
suggest the two captive women either side represent the recently-captured provinces of Gaul and Hispania
or even territories in Germania. At the top of the cuirass, a figure spreading a cape and wearing a crown is thought to represent Caelus, the sky god, spreading the heavens over the scene. Alternative interpretations indicate the figure at the top is either Saturn or Jupiter Optimus Maximus. If interpreted as Saturn, historians argue that it shows the return of Saturn as ruler of Latium, as was the case during the first Golden Age, therefore crediting Augustus with bringing a new aurea seculae. Just below the topmost figure, another figure is shown, driving a chariot. Some interpret this to be Sol, god of the sun, whilst others claim it is Apollo. Next to the chariot, two other divinities are shown, one is thought to be Aurora ('the dawn'), holding an urn, and the other is interpreted to be Luna ('the moon'), holding a torch. Paired with Caelus, is Tellus (Mother Earth) at the bottom of the breastplate holding two babies and a cornucopia. It has been interpreted that just below the central scene is Diana riding a stag and Apollo upon a winged griffin. The number of gods depicted suggests that this result greatly favoured the gods/Augustus was greatly favoured by the gods.
There is lots of debate between historians as to what exactly Augustus would have held in his left-hand; some argue a spear, some argue a sceptre and yet others argue a laurel branch. The right-hand was not discovered at Prima Porta and has instead been established by an artist's impression. However, it is generally accepted that it is held out in the Roman tradition of 'ad locutio', giving an address to troops.
Augustus' robe on the Prima Porta statue further enhances the notion of his sanctity; it was an emblem associated with the deified Julius Caesar and thus that his robe is above his breastplate suggests at his close association with Caesar and the divine world. Furthermore, at this point in Roman tradition, the number of folds in one's toga shows how pious they are and the Prima Porta statue shows many fold so suggests that Augustus is very pious.
It appears as though Cupid is depicted on Augustus' right-hand side. Cupid was the son of Venus so may be a suggestion to Augustus' divine heritage. However, it has rather been suggested that the facial features are similar to Augustus' adopted grandson, Gaius, as a way of introducing him to Roman public life. The dolphin has been interpreted as a further link to Venus as it may refer to Venus' birth from the sea. On the other hand, it has been interpreted rather as a reference to Augustus' naval victory at the Battle of Actium.
Saepta Julia
The Saepta Julia was conceived by Caesar, but built Lepidus and then finished by Agrippa in 26 BC. It was used for the 'comitia tribute' (Tribal Assembly) to gather to cast votes. It was located on the Campus Martius, next to the Pantheon, and would later be used by Augustus to host gladiatorial fights and also serve as a market. It was decorated with marble tablets and Greek paintings.
Suetonius"Since the city was not adorned as the dignity of the empire demanded, and was exposed to flood and fire, he so beautified it that he could justly boast that he had found it built of brick and left it in marble".
"He built many public works, in particular the following: his forum with the temple of Mars the Avenger, the temple of Apollo on the Palatine, and the fane of Jupiter the Thunderer on the Capitol. His reason for building the forum was the increase in the number of the people and of cases at law, which seemed to call for a third forum, since two were no longer adequate. Therefore it was opened to the public with some haste, before the temple of Mars was finished, and it was provided that the public prosecutions be held there apart from the rest, as well as the selection of jurors by lot." "He had made a vow to build the temple of Mars in the war of Philippi, which he undertook to avenge his father; accordingly he decreed that in it the senate should consider wars and claims for triumphs". "He constructed some works too in the name of others, his grandsons and nephew to wit, his wife and his sister, such as the colonnade and basilica of Gaius and Lucius; also the colonnades of Livia and Octavia, and the theatre of Marcellus. More than that, he often urged other prominent men to adorn the city with new monuments or to restore and embellish old ones, each according to his means". "Further, to make the approach to the city easier from every direction, he personally undertook to rebuild the Flaminian Road all the way to Ariminum, and assigned the rest of the high-ways to others who had been honoured with triumphs, asking them to use their prize-money in paving them". |
Res Gestae Divi AugustiExplains that he built the temple to Mars Avenger and the Forum Augustum.
"Ara Pacis was consecrated in honour of successfully arranging affairs in Spain and Gaul" (13 BC). "I rebuilt 82 temples". Lists many building works. |