However, much has happened since it went up, including the Blogger outage. Scroll down for a report on that. More new posts will be added below this one. The essay below is the conclusion of the ninth part in a series by Takuan Seiyo.
Significance[ edit ] The altar reflects the Augustan vision of Roman civil religion. The lower register of its frieze depicts vegetal work meant to communicate the abundance and prosperity of the Roman Peace Latin: Pax Augustawhile the monument as a whole serves a civic ritual function whilst simultaneously operating as propaganda for Augustus and his regime, easing notions of autocracy and dynastic succession that might otherwise be unpalatable to traditional Roman culture.
Structure[ edit ] Plan of the Ara Pacis. North is at the left The monument consists of a traditional open-air altar at its center surrounded by precinct walls which are pierced on the eastern and western ends so called today because of the modern layout by openings and elaborately and finely sculpted entirely in Luna marble.
The Altar[ edit ] Within the enclosing precinct walls, the altar itself was carved with images illustrating the lex aria, the law governing the ritual performed at the altar. The sacrificial procession depicts animals being led to sacrifice by figures carved in a Republican style similar to the so-called " Altar of Domitius Ahenobarbus ," in sharp contrast with the style on the exterior of the precinct walls.
What remains of the altar is otherwise fragmentary, but it appears to have been largely functional with less emphasis on art and decoration. The interior of the precinct walls are carved with bucraniaox skulls, from which carved garlands hang. The garlands bear fruits from various types of plants, all displayed on a single garland as allegorical representations of plenty and abundance.
The bucrania in turn evoke the idea of sacrificial piety, appropriate motifs for the interior of the altar precinct. Relief showing a sacrifice performed by Aeneas or Numa Pompilius. The exterior walls of the Ara Pacis are divided between allegorical and pseudo-historical relief panels on the upper register while the lower register is compared of scenes of nature: The upper register of the northern and southern walls depict scenes of the emperor, his family, and members of the regime in the act of processing to or performing a sacrifice.
Various togate figures are shown with their heads covered capite velatosignifying their role as both priests and sacrificiants. Other figures wear laurel crownstraditional Roman symbols of victory.
Members of individual priestly colleges are depicted in traditional garb appropriate to their office,  while lictors can be identified by their iconographic fasces. Women and children are also included among the procession; the depiction of children in Roman sculpture would have been novel at the time of the Altar's construction, evoking themes of moral and familial piety, as well as easing concerns over dynastic intentions while simultaneously introducing potential heirs to the public eye.
The western and eastern walls are both pierced by entryways to the altar, although the interior would only have been accessed by a stairway on the western side. The entryways were flanked by panels depicting allegorical or mythological scenes evocative of peace, piety and tradition.
On the eastern wall, panels depicted the seated figures of Roma and Paxwhile the western side depicts the discovery of the twins and she-wolf and the sacrifice of a figure traditionally identified as Aeneasbut increasingly believed to be Rome's second king, Numa Pompilius.
The identity of these various figures has been a point of some controversy over the years, relying heavily on interpretation of fragmentary remains, discussed below. The sculpture of the Ara Pacis is primarily symbolic rather than decorative, and its iconography has several levels of significance.
The program of the Ara Pacis addressed this group's very real fears of cyclical history, and promised that the rule of Augustus would avert the cataclysmic destruction of the world predicted by contemporary models of historical thought. The east and west walls[ edit ] Female Warrior.
The East and West walls each contain two panels, one well preserved and one represented only in fragments. The East Wall contains a badly preserved scene of a female warrior bellatrixpossibly Romaapparently sitting on a pile of weapons confiscated from the enemythus forcing peace upon them by rendering them unable to make war.
When the monument was being reconstructed at its present site, Edmund Buchner and other scholars sketched what the panel may have looked like.
This interpretation, although widely accepted, can not be proved correct, as so little of the original panel survives. The other panel is more controversial in its subject, but far better preserved. A goddess sits amid a scene of fertility and prosperity with twins on her lap.
Scholars have variously suggested that the goddess is Italia, Tellus EarthVenus, and Peace, although other views also circulate. Due to the widespread depiction around the sculpture of scenes of peace, and because the Altar is named for "peace", the favoured conclusion is that the goddess is Pax.
The fragmentary " Lupercal Panel" apparently preserves the moment when Romulus and Remus were discovered by Faustulus the shepherd, while Mars looks on. Marble fragments of the tree and the head and shoulder of Mars if it is Mars and part of a second individual thought to be Faustulus survive, but the addition of the she-wolfRomulus, and Remus is entirely speculative.
The better preserved scene depicts the sacrifice of a pig the standard sacrifice when Romans made a peace treaty by an old priest and two attendants. Inthis scene was identified by Johannes Sieveking  as the moment when Aeneasnewly arrived in Italy, sacrificed a sow and her 30 piglets to Juno, as told by Virgil and others, even though the scene differs greatly from Vergil's description.
In the s, Stephan Weinstock challenged this identification and the very identity of the entire monumentciting numerous discrepancies that Sieveking and his followers had failed to notice between Vergil's version and the panel. These figures fall into four categories: In addition there are two or three non-Roman children, who may be guests or hostages in Rome.
The ceremony took place in the summer of 13 BC, but not necessarily on 4 July, when the Senate voted to build the Ara Pacis.Art History Research Paper - Imagine pondering into a reconstruction of reality through only the visual sense.
Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose.
Gaius Julius Caesar Augustus (født september 63 lausannecongress2018.com, død august 14 lausannecongress2018.com) var grandnevø av Julius Cæsar og ble den første romerske lausannecongress2018.com var født som Gaius Octavius og ble deretter Gaius Julius Cæsar Octavianus etter at han ble adoptert av grandonkelen.
Selv om han beholdt den ytre formen av den romerske republikk, . Start studying Prima Porta, Ara Pacis and Forum of Augustus.
Learn vocabulary, terms, and more with flashcards, games, and other study tools. From the La Città delle Ragazze A new exhibit at the Ara Pacis allows visitors to see the altar in VR with all its ancient paint in tact, as well as offering a full historical rundown of the monument.
Roman Architecture from Yale University. Roman Architecture is a course for people who love to travel and want to discover the power of architecture to shape politics, society, and culture. Learn online and earn valuable credentials from top. The Ara Pacis Augustae (Latin, "Altar of Augustan Peace"; commonly shortened to Ara Pacis) is an altar in Rome dedicated to Pax, the Roman goddess of lausannecongress2018.com monument was commissioned by the Roman Senate on July 4, 13 BC to honor the return of Augustus to Rome after three years in Hispania and Gaul, and consecrated on .