rides a bird, the other a sea creature. Earth, sky, and water are all ele-
ments of this picture of peace and fertility in the Augustan cosmos.
Processions of the imperial family (FIG. 10-31) and other im-
portant dignitaries appear on the long north and south sides of the
Ara Pacis. These parallel friezes were clearly inspired to some degree
by the Panathenaic procession frieze (FIG. 5-50, bottom) of the
Parthenon. Augustus sought to present his new order as a Golden
Age equaling that of Athens under Pericles in the mid-fifth century
BCE. The emulation of Classical models thus made a political state-
ment as well as an artistic one.
Even so, the Roman procession is very different in character
from that on the Greek frieze. On the Parthenon, anonymous figures
act out an event that recurred every four years. The frieze stands for
all Panathenaic Festival processions. The Ara Pacis depicts a specific
event—possibly the inaugural ceremony of 13 BCEwhen work on the
altar began—and recognizable contemporary figures. Among those10-29Ara Pacis Augustae (Altar of
Augustan Peace; looking northeast), Rome,
Italy, 13–9 bce.
Augustus sought to present his new order
as a Golden Age equaling that of Athens
under Pericles. The Ara Pacis celebrates the
emperor’s most important achievement,
the establishment of peace.10-30Female personification (Tellus?),
panel from the east facade of the Ara Pacis
Augustae, Rome, Italy, 13–9 bce.Marble,
5 3 high.
This female personification with two babies
on her lap epitomizes the fruits of the Pax
Augusta. All around her the bountiful earth
is in bloom, and animals of different species
live together peacefully.ARA PACIS AUGUSTAE On Livia’s
birthday in 9 BCE, Augustus dedicated the
Ara Pacis Augustae (Altar of Augustan
Peace;FIG. 10-29), the monument cele-
brating his most significant achievement,
the establishment of peace. Figural reliefs
and acanthus tendrils adorn the altar’s
marble precinct walls. Four panels on the east and west ends depict
carefully selected mythological subjects, including (at the right in FIG.
10-29) a relief of Aeneas making a sacrifice. Aeneas was the son of
Venus and one of Augustus’s forefathers. The connection between the
emperor and Aeneas was a key element of Augustus’s political ideology
for his new Golden Age. It is no coincidence that Vergil wrote the
Aeneidduring the rule of Augustus. The epic poem glorified the young
emperor by celebrating the founder of the Julian line.
A second panel (FIG. 10-30), on the other end of the altar en-
closure, depicts a seated matron with two lively babies on her lap. Her
identity is uncertain. She is usually called Tellus (Mother Earth), al-
though some scholars have named her Pax (Peace), Ceres (goddess of
grain), or even Venus. Whoever she is, she epitomizes the fruits of the
Pax Augusta. All around her the bountiful earth is in bloom, and ani-
mals of different species live peacefully side by side. Personifications
of refreshing breezes (note their windblown drapery) flank her. One1 ft.256 Chapter 10 THE ROMAN EMPIRE