ARA PACIS AUGUSTAE

Walther Amelung & Georg Lippold, Die Sculpturen des Vaticanischen Museums (1908), 220-24. https://books.google.com/books?id=z7-fAAAAMAAJ&pg=PA435&lpg=PA435&dq=Amelung,+Die+Sculpturen+des+Vaticanischen+Museums,+im +Auftrage&source=bl&ots=ZBskAi_hcf&sig=lhXZQCvVgANlA7RSNcQ6MVIzgQA&hl=en&sa=X&ved=0ahUKEwiwg6nIi_7NAhUC3GMKHePjARUQ6AEIRTAG#v=onepage&q=Ara% 20Pacis&f=false 81

This is a revised museum guide to two of the Ara Pacis panels from the North Frieze.  At the very end Amelung and Lippold provide a bibliography of the material as of 1908.

Kubitschek contributed his research on the Ara Pacis coins of Nero and Domitian to Petersen in 1901/02 but found P was not going to make sufficient use of them, so he published the article himself.  K went to much effort to find the best preserved museum pieces, only to discover it was easy to buy just as good coins in the Paris antiquities markets.  He sees the differences between Nero's and Domitian's issues, which are different sides of the same building.  Simplifications on the coins should not reject the whole (do not throw out the baby with bathwater) because it is hard to render accuracy on a coin of a building like the Ara Pacis or Trajan's Column.

This is Gaius Stern's translation into ENGLISH of the first ten pages of Heinz Kähler “Die Ara Pacis und die Augusteische Friedensidee” Jdl 69 (1954), 67-100.  Kähler explains the concept of peace and has some (very traditional) identifications on the South Frieze.  I have done my best to keep the translations on the same page as the original German text so one can cite ideas page by page.  I  made several comments and a few corrections in the FNs (always prefaced GCS) for the reader to understand better some of Kähler's views.    The article is too large for me to save as one item so it is broken up into bits.  I will translate all of Part 1 for the readers.  I have added my own color photos to the text to replace Kähler's originals.

UPDATE:  the entire article now appears in one file.  If it is too large to download easily I will split it into 2 files.  I have corrected some translation errors in the first 20 pages and put in many photos to make it easier to understand. 
      This early, long article on the Ara Pacis does not benefit from the excavations of 1936.  Studniczka has some peculiar opinions worth examining, for when one sees how far off base early research was, one can better appreciate and give credit to those who doggedly fought uphill to assert sensible ideas about the Ara Pacis.  He did correctly look at the real Augustus and rule out Lepidus for Agrippa - whom he compares rightly and favorably to the Louvre Agrippa.    GCS

Angiolo Pasqui ran the first modern excavation (late July to December 1903) looking for the Ara Pacis and provided these findings (it says published 1903, but I would expect 1904).  Scholars will be most interested to read which pieces of the Ara Pacis were found in 1903 - one of which the team could not unearth. The Minister of Education Orlando, who visited the excavation on 8 Nov. was the future Prime Minster during WW I.   
  I included all the original photographs, a few of which are not the best quality.  If you see any corrections that need fixing, let me know.
  Gaius

Franz Wickhoff, _Roman Art: Some of its Principles and their Application to Early Christian Painting_ (MacMillan: New York 1900), translated by Mrs. Arthur (Eugenie) Strong, 31-36, 65, 71-76, 105-10.
  Wickoff made some sharp points which are worth reading all this time later.  I put Walters first, and then found Wickoff on-line so I added it after (even though he wrote first). 
  I added the color photos to replace black and white where possible.  The well head sheep, the photo on page 31, and Fig. 28 came directly from the original text.

In public opinion Publius Quinctilius Varus has hitherto mainly been regarded as the tragic loser of the famous battle in the Teutoburg Forest in AD 9. However, this negative repute does not do justice to Varus, who previously had pursued a highly successful career in the service of Rome. +++ 19 renowned ancient historians, legal historians, archaeologists and numismatists from Germany, the Netherlands, Italy, Croatia, Greece, Turkey and Israel have compiled their current research results in the colloquium papers. In a total of 17 articles they cast a differentiated light upon the historical-cultural context around the turn of eras, from the person of Varus and his Germanic adversary Arminius, via the policy of conquest in Pannonia and the northern provinces right up to Africa and the eastern Mediterranean regions, all in which Varus held significant military and political offices. The papers are rounded off by various articles on the arts and architecture of the Golden Age, in which Rome reached its cultural peak in the reign of Augustus. +++ Contributions by Rudolf Aßkamp, Torsten Capelle, Markus Dizdar, Werner Eck, Tobias Esch, Michael Gechter, Wolf-Dieter Heilmeyer, Eugenio La Rocca, Detlef Liebs, Eric M. Moormann, Luisa Musso, Ulrich Nuber, Mehmet Önal, Joseph Patrich, Evangelos Pavlidis, Ivan Radman-Livaja, Dieter Salzmann, Martin Tombrägel, Josef Wiesehöfer, Reinhard Wolters, Konstantinos Zachos and Werner Zanier. +++ 246 pages · 235 images · 6 tables · Hardcover · ISBN 978-3-402-15007-8 · Aschendorff Verlag GmbH & Co. KG +++ Review in Bonner Jahrbücher 212, 2012, 397–399 by Prof. Dr. Peter S. Wells (Minneapolis): https://journals.ub.uni-heidelberg.de/index.php/bjb/article/view/43194/36663.

Political image-making -- especially from the Age of Augustus, when the Roman Republic evolved into a system capable of governing a vast, culturally diverse empire -- is the focus of this study. Explored are how various artistic and ideological symbols of religion and power, based on Roman Republican values and traditions, were taken over or refashioned to convey new ideological content in the constantly changing political world of imperial Rome from the fourth century B.C.E. down to the second and third centuries C.E.  Religion, civic life, and politics went hand-in-hand and formed the very fabric of ancient Roman society.  Visual rhetoric was a most effective way to communicate and commemorate the ideals, virtues, and political programs of the leader of the Roman State.  Public memorialization could keep Roman leaders and their achievements before the eyes of the populace in Rome and in cities under Roman sway.  A leader’s success demonstrated that he had the favor of the gods -- a form of legitimization crucial for sustaining the Roman Principate, or government by a “First Citizen.”

The Ara Pacis Augustae, the most representative monument of Augustan art, was totally rebuilt in
1938 at Benito Mussolini’s command, next to the Mausoleum of Augustus in Rome. The marble
fragments, located at the beginning of the 16th Century, found a permanent home there. From 1879, though, a
systematic reflection on the possibility of rebuilding the monument started taking place, involving archaeologists,
intellectuals and politicians. The recognition, in the decades that followed the Italian Unification and the recovery
during the first decade of the 20th Century, linked the Ara Pacis to the history of the Nation once and for all. The
centre of this study is the “second life” of the Ara Pacis, as it became the expression of the nationalist aspirations
of the Country and an instrument for the Fascist Propaganda.

Un’impresa di scavo decennale ha permesso di riportare recentemente alla luce il monumento voluto da Ottaviano per celebrare la battaglia di Azio: il grande altare legittimava lo scontro e diveniva la fase conclusiva della guerra. La rappresentazione del corteo trionfale, delle cataste di armi e della vegetazione era l’espressione dell’ordine ottenuto con la guerra. Nel 9 a.C. fu terminata l’edificazione dell’Ara Pacis Augustae voluta dal Senato per celebrare il ritorno dell’imperatore dalla
Gallia e dalla Spagna. A dominare il programma figurativo non sono più le armi ma le diverse specie vegetali scolpite nel marmo, espressione della nuova pace, destino di tutta l’umanità sottomessa a Roma. Le immagini delle origini mitiche di Roma, le personificazioni dell’Urbe e dell’Italia unite alle figure dell’imperatore, della sua famiglia e dei rappresentanti delle istituzioni politiche e religiose di Roma sono la garanzia del nuovo potere ecumenico. Sono proprio i diversi linguaggi della pace e della guerra ad essere al centro delle osservazioni sui due monumenti augustei.

La policromia delle opere scultoree ed architettoniche antiche appare nella letteratura scientifica contemporanea come un dato trascurabile, neutrale, relegato a margine nell’interpretazione storico-artistica ed archeologica. Indipendentemente dai pregiudizi winckelmanniani, è esistita ed esiste nella cultura occidentale una difficoltà diffusa ad accettare complessivamente la presenza del colore. E’ per noi, infatti, un’abitudine consolidata la possibilità di leggere le immagini private delle loro caratteristiche cromatiche. In particolare nella trattatista storico-artistica, ciò ha determinato una limitata consapevolezza culturale delle funzioni che il colore ha svolto nella società greca e romana.
Analizzare il valore dato dagli studiosi alla policromia dell’Ara Pacis, monumento la cui scoperta e ricostruzione hanno decretato l’autonomia dell’arte romana da quella greca, potrebbe consentirci un’elaborazione ed una riflessione non esclusivamente filologica su molte questioni specifiche della storia dell’arte romana; potrebbe permetterci di formulare nuovi criteri attraverso i quali sia possibile affrontare il problema della specificità e della storicizzazione delle immagini romane; potrebbe inoltre essere un passaggio indispensabile per individuare le conseguenze che l’atteggiamento culturale “classicistico” ha provocato nel modo di intendere l’arte romana e più in generale quella antica.
Nel dibattito sul ruolo delle forme artistiche come oggetti delle scienze storiche e sulla funzione delle immagini nelle società antiche ed, in particolare, in quella romana, il riconoscimento teorico della presenza del colore può contribuire a ricostruire attraverso le categorie antiche della rappresentazione e della percezione il sostrato sociale, culturale e politico che ne ha fissato l’utilizzo.
In questo senso il monumento augusteo rappresenta un’evidenza privilegiata date le implicazioni politiche e religiose che ne hanno determinata la costruzione e definita l’originalità.

In 13 BC, Augustus and Agrippa returned to Rome after three years in the Western and Eastern provinces respectively and announced the arrival of the dawn of a New Golden Age, predicted by the leading poets of the day (Vergil, Horace, Propertius) and promised in an escalating set of government decrees, coin issues, and ceremonies – most notably the Ludi Saeculares in 17 BC.  Their return also provided a good opportunity to present to the Roman world an escalation of Agrippa’s status as a legal equal to Augustus, thereby both elevating Agrippa above all others and publicly demonstrating that the Augustan regime was by definition not one man rule.  The Senate very conveniently cooperated by voting on 4 July to build in honor of Augustus an altar of peace, the Ara Pacis.  The exterior friezes of the Ara Pacis carry 95% life-size images of the thanksgiving ceremony of its consecration to thank the gods for Rome’s success, which advertise the merits and fruits of peace, and which illustrate Agrippa’s elevated status as a second princeps.  In addition, the Ara Pacis shows many friends of Augustus, almost every close and distant relative still living, and one or two former enemies who have come to terms with the regime, whose presence proves that the new, stable restored republic is vastly preferable to the chaos of civil war.

Cannizzaro provides a good glance for us today of what was known in 1907 about the Ara Pacis.  I thank Gabriella Bruni for helping me with one very long cumbersome sentence of which I could not make head or tail after the 65th word. 
The pictures in this article and in Avena's article may be of the most interest for modern scholars to see what the underground looked like where the Ara Pacis was found.  Cannizzaro rightly points out that fire and earthquake and vandalism have damaged the Ara Pacis, which means (as I pointed out in my lecture in Sept 2016 at Univ. of St. Thomas) that many famous figures were damaged beyond recognition, even if less important individuals on the frieze survive.  Those who think Livia stands next to Agrippa in a posture mimicking his that shows they are lovers/spouses should take heed of this factor!  I also see with surprise that Cannizzaro places Augustus between the two consuls -- he may be the first to make this incorrect claim.  Were the Ara Pacis in color in 1903, everyone would recognize Tiberius and Varus as the consuls in red togas (see my colorized Ara Pacis pictures). - - Gaius
Nota Bene:  Mariano Cannizzaro was the son of the famous chemist Stanislao Cannizzaro, for whom the Cannizzaro reaction is named.

This paper examines how Golden Age imagery in Alexandrian court poetry is connected to the Ptolemaic ideology of kingship and empire. The paper first reviews the use of the motif of a Golden Age in court poetry -- especially the image of the king as a creator of peace, order, and abundance -- and then relates these poetical images to a wider context of Ptolemaic monarchical and imperial representation. The paper also highlights the Ptolemaic influence of Golden Age imagery on Augustan imperial propaganda (e.g. in Virgil's Aeneid and on the Ara Pacis).

ABSTRACT:  The Ara Pacis Augustae (Altar of Augustan Peace) is examined as a shrine of light consistent with the astro-orientation principles of Roman architect Vitruvius (c.25 BC).  Italian archaeologists  excavated (1937-38) and relocated the altar along Rome’s Tiber River – rotating it 75º counter-clockwise from the original orientation.  While its magnificent marble sculpture may be viewed at the Museo dell’Ara Pacis, a key astronomical component of the  altar’s architectural design has until now remained encoded on a paper site plan.  The author calculated the horizon declination (+11.3º decl.) of the altar’s original northeast opening with Program STONEHENGE (Hawkins 1983, 328-330), Guglielmo Gatti’s 1938 site map, and Google Earth satellite imagery: True Azimuth ≈ 75º; Latitude/Longitude = 41° 54’ 10.47” N/12° 28’ 44.60” E; Elevation ≈ 10 meters ASL; and Horizon Altitude ≈ +1.1º.  The Ara Pacis Augustae was dedicated in 9 BC (Moretti 1947,7).  Analysis shows that the axis of the Ara Pacis enclosure’s northeast opening originally was oriented to the rising Sun (+11.0º decl.) on both April 21st and August 27th.  However, the iconography of the Ara Pacis supports an interpretation that only the April 21st sunrise orientation was intended, because each sculpture of the “Tellus” frieze (young woman, flowing amphora, pair of fishes, ram, bull, infant twins) uniquely mirrors the astronomy: Venus (Morning Star phase) and the Zodiac constellations Aquarius-Pisces-Aries-Taurus-Gemini at dawn on the festival of Par ilia (Pales, goddess of shepherds), 21 April 9 BC.  This date coincides with the founding of Rome on 21 April 1 ab urbe condita (753 BC) as recorded by Roman historian Marcus Terentius Varro.  What could be a more fitting venue than the Museo dell’Ara Pacis for exhibiting a virtual 3D animation of the annual sacrifice connecting the Pax Augusta of the SPQR to the Cosmos of the Immortal Gods on the dawn of the Dies Natalis Romae?

ASTRATTO:  L'Ara Pacis Augustae è esaminata in base al precetto astro-architettonico di Vitruvio secondo cui <<…chi si professa architetto dovrebbe essere ben versato in …astronomia e nella teoria dei cieli>>  (De Architectura, I.i.3; IX).  Nel ricollocare l'Ara Pacis per l'esposizione delle sue magnifiche sculture marmoree nel nuovo Museo dedicato all’Ara Pacis (1937-1938), l'altare fu ruotato di 75°, cancellando così ogni allineamento astro-architettonico originario. Poiché la mappa del sito dell'archeologo Guglielmo Gatti del 1938 documenta l'orientamento originale dell'altare, l'autore è stato in grado di calcolare la declinazione (δ) del sole sull’orizzonte astronomico (+11,3ºδ) riferito all’apertura nord-est dell'altare utilizzando i programmi STONEHENGE (Hawkins 1983, 328-330) e Google Earth Pro Digital Elevation Model, con i seguenti dati:  True Azimut ≈ 75º; Latitudine/Longitudine = 41°54'10,47"N/ 12°28'44,60"E; Altitudine ≈ 10m slm; e Altezza angolare dell'orizzonte locale ≈ +1,1º.

Dato che l'Ara Pacis fu inaugurata nel 9 a.C. (Moretti 1947, 7), il planetario digitale Starry Night Pro ha calcolato che il vettore astro-orizzonte dell'apertura nord-est dell'Ara Pacis era originariamente orientato verso il Sole nascente (+11,0ºδ) sia il 21 aprile che il 27 agosto del 9 a.C.  Tuttavia, l'iconografia sul fregio << Tellus >> dell'esterno nord-est supporta l'interpretazione che solo l'alba del 21 aprile fosse significativa, perché ogni elemento scultoreo del fregio – giovane donna (Venere), anfora fluente (Acquario), coppia di pesci (Pesci), ariete (Ariete), toro (Toro), gemelli neonati (Gemelli) – rispecchia l'ascesa eliaca di Venere/Stella del Mattino in Ariete tra le cinque costellazioni dello zodiaco primaverile viste dall'altare sacrificale interno all'alba della Festa di Palilia (Parilia) (Pales, dea dei pastori), il 21 aprile 9 a.C.  In questo giorno si commemora la fondazione di Roma, il 21 aprile 1 ab urbe condita (AUC) nella cronologia di Marcus Terentius Varro, cioè la 93a iterazione nel periodo sinodico Terra-Venere di 8 anni dell'ascesa eliaca di Venere/Stella del Mattino nella costellazione dell'Ariete sul Dies Natalis Romae, 21 aprile 753 a.C.

Alfred von Domaszewski reprinted his 1903 article in his 1909 book _Abhandlungen zur römischen Religion_ (1909), 90-103, with no changes to the text and only a few changes in the last 8-10 footnotes.  This translation has corrected a few things rendered poorly in the 1903 page (and I should go back and fix that file, too).  I have added a few pages from the book - 127-28, 145-47, and 53-54, which concern Bonus Eventus and Tellus.  One will be impressed with the Prima Porta cuirass on page 54.  Von Domaszewski deserves credit for identifying correctly Germanicus, but he is the one who identified the UNBORN Domitius Ahenobarbus as the boy after Germanicus - a serious error, since that boy (Nero's father) was added for romantic reasons, anachronistically.

Sieveking frequently changed his mind about the Ara Pacis.  This 1925 article revises some of his earlier opinions.  I have added many footnotes and pictures of items he mentions in the text.  In order to know how some commonly held opinions (and mistakes) were reached one must see the chain of scholarship.  I have updated this file from March 2014 in Feb 2015 to include the entire article as one file, now that my computer can handle big docs.

Picard discusses the Ara Pacis from 328 ff.  I was interested in the French view (1960) of the monument.  However, P is lazy about making mistakes in FN citations several times.  I caught all I could (nor does he put the titles of articles, just the journal).  As usual, I have added many photos relevant to the text.  This article is part II of a 4 part series in R.É.L.

This is Gaius Stern's translation into ENGLISH of the next twelve pages of Heinz Kähler “Die Ara Pacis und die Augusteische Friedensidee” Jdl 69 (1954), 67-100.  I have added my own color photos as close to the originals as possible.  Many of the FNs are added by me (always with GCS) and a few corrections appear in the FNs.  I have done my best to keep the translations on the same page as the German text.

Updated August 2016  I hope this version is easier to see and read.  I improved several mistakes in the translation and a missing paragraph was restored.  Sieveking is responsible for several good ideas:
A. He removed the Villa Medici panels from consideration – which Petersen included as part of the Ara Pacis.
B. He wisely argued in favor of 13 BC over 9 BC.
C. He correctly argued that Lepidus appears on the Ara Pacis for this important religious ceremony, but ...  see below
D. He argued that the entire Ara Pacis depicts a single procession (it does but not as he expressed it).

On the other hand, he contributed two very poor ideas that gained much acceptance – one for 25 years the other for a whole century, impairing our understanding of the Ara Pacis.
E. He made a poor ID for the figure we now know is Agrippa as Lepidus  (he often changed his mind)
F. He proposed the identification of Aeneas on the front panel in the other article.  (Now challenged by Rehak as Numa - and I side with Rehak).

Avena published this 30 page article in 1904, which employs the correspondence of the Cardinal of Montepulciano with the duke of Tuscany, for whom he purchased the Ara Pacis panels.  I have preserved the original photos wherever possible except where I have added my own.  It is impressive to see Figure 9, the panel that they brought up with the missing front of Augustus and some lictors, as well as Figure 10 (the real Gaius Caesar in my opinion).  I added the Neronian Ara Pacis coin at the end.

In 1994 the Augsburger Kunstsammlungen bought a painting by the german, longtime Italy-based artist Christian Berentz. It shows a fragmentary slab, now lost, from the Ara Pacis Augustae, situated in the garden of Villa Medici in Rome. The same fragment occurs on a drawing by Joseph Wright of Derby, dated in 1774. The paper discusses the now lost fragment and locates it on the  backside of the so called Tellus-Relief. It may have been used to restore the figurative slabs of the altar in 1782 by Francesco Corradori.

Il Centro Studi ClassicA dell’Università IUAV di Venezia, nel 2010 coordinato da Monica Centanni e Paolo Morachiello, è stato capofila del progetto vincitore di ricerca Prin 2007, “L’invenzione del Passato. Archeologie, architetture, ricostruzioni e restauri dei monumenti storici in Italia (XIX-XXI sec.)”.
Il progetto, coordinato dal Prof. Amerigo Restucci – nel 2010 Rettore dell’Università IUAV di Venezia, ha visto coinvolte in una ricerca biennale quattro unità di ricerca provenienti dalle Università di Venezia, Firenze, Bologna e Udine.

A coronamento del programma Prin, che ha interessato anche la Storia e la fortuna dell’Ara Pacis a partire dalle primissime scoperte rinascimentali fino all’anastilosi del 1938, il 15 Settembre 2010 ha avuto luogo una giornata di studi, presso l’Auditorium dell’Ara Pacis in Roma, durante la quale sono stati presentati gli esiti della ricerca.

La giornata ha visto coinvolti gli studiosi facenti parte del progetto di ricerca: Gianluca Belli e Amedeo Belluzzi dell’Università degli studi di Firenze, Fabrizio Lollini e Daniele Guernelli dell’Università degli studi di Bologna, Federica Pascolutti, Tiziana Armillotta e Cristiano Tessari dell’Università degli studi di Udine; Amerigo Restucci, Monica Centanni, Giulia Bordignon, Simona Dolari e Giacomo Calandra di Roccolino dell’Università IUAV di Venezia.

Accanto agli studiosi e ai ricercatori che si sono occupati dei diversi temi storici, archeologici e architettonici affrontati nella ricerca Prin, hanno preso parte ai lavori  i professori Marcello Barbanera dell’Università La Sapienza di Roma ed Elisabetta Pallottino dell’Università degli Studi di Roma Tre, che da anni conducono studi e ricerche sulla storia dell’archeologia italiana e le ricostruzioni archeologiche in epoca contemporanea.

En el presente volumen encuentra lugar una selección de estudios derivados de varios eventos académicos organizados por la Cátedra Extraordinaria Italo Calvino. La mayoría de ellos fueron presentados en las xI Jornadas Internacionales de Estudios Italianos, que se llevaron a cabo del 28 al 31 de octubre de 2013. Aquellas jornadas estuvieron dedicadas a Giovanni Boccaccio en los setecientos años de su muerte, en el marco de las celebraciones internacionales. Fruto de ese exitoso encuentro fue un libro publicado en Italia,1 sin embargo, dada su temática, algunas colaboraciones debieron quedar fuera. En 2016 la Cátedra celebró dos eventos especiales, el primero dedicado a Elsa Morante y el segundo a Giuseppe tomasi di Lampedusa. Para dar difusión a estos trabajos de investigación, aprovechamos esta oportunidad para incluir en un solo volumen una selección de los estudios presentados a lo largo de cuatro años de
encuentros académicos.

Lugli was one of the great 6 archaeologists who worked on the Ara Pacis before 1937, and he published several articles in Italian (which are hard to find in America).  This article provides a good state of the field in 1938 while it was being placed in the then new museum of glass walls.

Readers will note that the words in bold in Italian scanned very poorly so they are reconstructed with my best guess and then translated as such.  This is like manuscript work from a papyrus of the Odyssey. 
  Ducati wrote several entries on updated opinions in 1920 on the Ara Pacis (also Relief of Domitius Ahenobarbus and more) right before the Fascist Era.  I translated items where the Ara Pacis was mentioned.

Gardthausen put out this little book  on the Ara Pacis after the 1903 excavations, but before all the other pieces had been discovered in 1936.  He analyzes Dissel and Petersen and explains some interesting stuff, including a chart of prior scholars' identifications.  Note how he says (page 44) Agrippa is not the veiled man (!) and that Augusts forbid Lepidus to enter the Senate (!) although Dio 54.15.5 says exactly the opposite (see my own note, loc. cit.).  On page 45, however, he reverse course and endorses Domaszewki's argument that it is Agrippa.

Monaco did an extremely thorough study of all prior opinions on the figures of the Ara Pacis and then adds his own verdict at the end.  He also included a multi-page chart at the end that shows the differing opinions over time on each figure (without pictures).  This is a commendable and excellent way to do the study, even though I sometimes disagree with his conclusions.  The method is excellent.  I employed a very similar method in my 2004 dissertation (signed off in 2006) WITH pictures.  Each page had too much text so I did not include the Italian, but one can compare tot he website scanned version.
  All pictures in this translation were added by me (and I took them).

UPDATED August 2016  Again March 2024
Translator’s note:  Domaszewski’s article is little read today, but it should be.  I have updated and fixed some translation errors, March 2014.  Domaszewski (Dom-a-CHEF-ski) has several good ideas  and popularized the identifications of Drusus, Antonia, and Germanicus.  But he also came up with the bad theory of the Domitius Ahenobarbus family, based on the romantic appeal of seeing the two Antonia sisters close together and Nero’s father on the Ara Pacis without any reasoning. 
The identification of Nero’s father is completely unsupportable, as he was born after the completion of the Ara Pacis, but this idea has persisted for a century.  I hope when others see its original presentation, they will realize how weak the proposal really is. I have kept my critiques to the footnotes and are always so marked.  I tried to keep faithfully his original text, but consolidated his FN whenever he had two or three for a single sentence.  At times I added in more complete FN references and commentary.
(New March 2024)  I found thee was a typographical error in the German ehlen for fehlen (to fall short) which is why I could not make sense of the sentence' "Antonia Maior cannot fail to be next to her sister Antonia Minor.''
  It is important for those reading this article to remember that Domaszewski did not have access to certain pieces of the Ara Pacis that were still underground and to some information about the imperial family (for example the marriage of Varus to Vipsania was published in 1976). -GCS

Schreiber disagreed with the conclusions of Wickhoff, which is the purpose of this 23 page article.  For Ara Pacis scholars, the point is what he thinks of the so-called Tellus Relief (really PAX).  Schreiber looked at the Carthage Relief found in Cherchel and the Florentine relief = PAX.  He proposed they have a common original inspiration from Alexandrine Hellenistic art.  He did not think either one is a copy of the other.  This translation skips the first 10 and the last 4 pages.  I have replaced the photos from the article with my own and Effie Petrie's photos from the Ara Pacis.  I put in three small Grimini relief photos for the reader.    -Gaius

This treatise / monograph proposes that the Ara Pacis celebrates the Lares in accord with Augustus's religious reforms.  The article shows where scholarship was in 1907, and is only to be believed here and there (I like his thoughts on the Penates, for example).  I have added a critique at the very end, and as usual the photos are my addition.

I upload two early English pieces on the Ara Pacis from 100 years ago:  Henry Beauchamp Walters, The Art of the Romans (1911), 53-56.
  I added the color photos to replace black and white where possible.  The well head sheep, the photo on page 31, and Fig. 28 came directly from the original text.

Earlier versions of this paper were given at Iowa State (Nov. 2005), and in 2014 at conferences on Augustus.  A final version is to be prepared for publication.
In 13 BC, Augustus returned to Rome from a lengthy tour of the western provinces, just as Agrippa returned from the East.  All conditions had been readied to present to the Roman people the establishment of Agrippa as the new partner of Augustus’ labours after a multi-year build up, culminating in the Ara Pacis ceremony at which Agrippa co-presided.  However, to those watching the political slogans and headlines of the Roman mint, the Ara Pacis ceremony and Agrippa’s prominent role therein did not bring news, for the coinage of 13 boldly proclaims Agrippa as if he were second princeps by advertizing his enhanced status and by highlighting his accomplishments beyond the level ever provided for any of Augustus’ other colleagues, including his eventual successor, Tiberius (whose own enhancement of powers after AD 4 was modeled upon the precedent of Agrippa).
Even before he received the title “Holy One” in 27, Augustus had effectively monopolized the coinage and very rarely allowed anyone else to appear on coins issued from the Roman mint.  The coinage of 13 BC represents a break from this general pattern in two different ways.  It broke up Augustus’ quasi-regal domination of the mint, sending out two simultaneous and compatible messages.  Firstly, and more specifically, the imagery informed the Roman public like newspaper headlines do today of the elevation of Agrippa in a variety of dimensions as Augustus’ legal equal, secondly thereby showing that Rome was no monarchy.  Some coinage from that year relies upon prior imagery to repeat a familiar message about new individuals, other coins innovate.  Although we cannot credit Augustus and Agrippa directly for the mint masters’ designs, they likely approved of the imagery before circulation.  Suetonius Div. Aug. 34, says that Augustus revived certain traditions and devised others.  This comment could well apply to the coinage of this period, for the Roman mint had a series of standard issues for certain messages such as a victory in battle or the celebration of a triumph.  It also created many brand new images to proclaim new messages, including escalation of the status of Agrippa.
The year 13 provided several occasions to raise the status of Agrippa, a novus homo from Arpinum, to that of grand magnate.  Agrippa was offered a third triumph, which he again refused.  He received a new priesthood(s).  His tribunician power was renewed for five years, with that of Augustus.  And at the Ara Pacis ceremony, he shared equal credit for pacifying the Empire in a ceremony that may have included closing the Gates of Janus.  Much of this information comes to us not just from textual evidence, but also the archeological record.  The coinage of 13 informs us of the regime’s official statements and the Ara Pacis itself shows the veiled Augustus at the head of the Pontifical College and the veiled Agrippa as a second bookend to the Pontifical College and the start of the imperial family as a demonstration of his integral role in the state, although tragically his life would end before the Ara Pacis was completed, leaving it to be a monument of a vision of the future Augustus was never able to achieve.

This 1906 German dissertation _Roman Statues of Clothed Females_ is surprisingly critical of Augustan Era art and Petersen's work on the Ara Pacis.  Heckler did not give the friezes much scrutiny but only a few passing generalizations.  It is not really of any value for Ara Pacis scholarship as it makes no contributions, but it shows that not everyone was taken by Petersen's many mistakes.  The dissertation was finished in 1906, it was published in  1908.

In section 11, Petersen explains why he thinks the Carthage Relief (K) is older than the Ara Pacis panel (R) of a very similar goddess, today somewhat widely recognized as Pax Augusta (see my dissertation).  In 1925, some thought the goddess to be Italia (some Fascist chest thumping may have encouraged this view), others thought Tellus, or even the Alps, but also Pax.

This small section from my dissertation proposes that Ptolemy of Mauritania may be the boy on the North frieze of the Ara Pacis dressed (not as a camillus) but in Hellenistic style.  Ptolemy was the grandson of Antony and Cleopatra and inherited the throne of Mauritania from his father Juba II in AD 26.  Caligula later murdered him.  Now I am suspicious that Ptolemy was probably born closer to 5 BC than 20 BC, but the reader can decide if my argument  holds water,