DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0709
AUGUSTUS' ALTAR OF PEACE. 671
was considered as elevated to the rank of a semi-divine hero, were used statna
Acliillccc, which represented him as nude, and often carrying a spear. In stat-
ues representing deified men, Jupiter was naturally a favorite form for the
emperors, who received highest religious honors. High-born ladies of the
early empire, when represented as goddesses, were usually metamorphosed into
Ceres ; but the forms of Venus, Vesta, Diana, and the Muses were also em-
ployed, and in later times even the wives of freedmen were represented as
goddesses. Excellent portraits exist from the later days of the republic, such
as those of Cicero, Julius Caesar, and Brutus ; but the golden age of historic
and portrait art in Rome was the time of Augustus.12/-* As far as poetic char-
acter is concerned, not only statuary, but relief, then stood higher than ever
after. A breath of Greek idealism seemed still to rest upon the world; and
sometimes, indeed, the portrait is quite buried in ideality.
As best illustrating some of the art-features of this age, we may take that
monument, Augustus' Altar of Peace, which has at last been rescued from
oblivion by the efforts of von Duhn, and its sculptural decoration brought to
receive due admiration. I2"5 This ara pads Augusti was erected by the senate
on the Field of Mars, upon Augustus' safe return, in 12 B.C., from his wars in
the North, in Spain and Gaul. Its dedication followed in February, 8 B.C.; and
a cult was then established, to be observed on every anniversary-day. On the
spot occupied by the Palazzo Fiano, near the Piazza S. Lorenzo in Lucina, rose
this monumental altar. Its quadrilateral form resembled the Great Altar at
Pergamon; and, like that much more extensive structure, it was decorated with
friezes in style and composition similar to the small frieze of the Pergamon
altar, although more realistic than those mythic scenes. Around its sides,
as shown by reliefs recently found on the site, and others, mostly preserved
in the Villa Medici, and in the Belvedere of the Vatican, a procession moved
towards a sacrificial scene, which was represented on the balustrade of the
steps leading up to the altar proper. This balustrade was lined with fine ara-
besques, in which sacred symbols, such as tcznia and bucrajiia (skull of the ox),
were intermingled. Of the procession, seven much-restored large slabs (1.60
meters high) are preserved, besides three fine pieces (1.42 meters high) from
the scene of sacrifice. In the quiet dignity of a religious rite, the procession
approaches the centre from each side. Here, high public functionaries, doubt-
less the two praetors and the senate, accompanied by lictors, advance to meet
Augustus, approaching from the north side. Behind them are the ministers
of the ritual, one with toga thrown over his head, as was usual with those about
to sacrifice, the flute-players, and the camilli or acolytes bearing the ricinium,
or fringed and embroidered fuzzy garment, carried on such occasions, and the
acerra, or small altar, for burning incense. Men, women, and children follow,
as though indicating the Roman people. The faces are better preserved, and
hence the procession more interesting, on the opposite side. First to attract
was considered as elevated to the rank of a semi-divine hero, were used statna
Acliillccc, which represented him as nude, and often carrying a spear. In stat-
ues representing deified men, Jupiter was naturally a favorite form for the
emperors, who received highest religious honors. High-born ladies of the
early empire, when represented as goddesses, were usually metamorphosed into
Ceres ; but the forms of Venus, Vesta, Diana, and the Muses were also em-
ployed, and in later times even the wives of freedmen were represented as
goddesses. Excellent portraits exist from the later days of the republic, such
as those of Cicero, Julius Caesar, and Brutus ; but the golden age of historic
and portrait art in Rome was the time of Augustus.12/-* As far as poetic char-
acter is concerned, not only statuary, but relief, then stood higher than ever
after. A breath of Greek idealism seemed still to rest upon the world; and
sometimes, indeed, the portrait is quite buried in ideality.
As best illustrating some of the art-features of this age, we may take that
monument, Augustus' Altar of Peace, which has at last been rescued from
oblivion by the efforts of von Duhn, and its sculptural decoration brought to
receive due admiration. I2"5 This ara pads Augusti was erected by the senate
on the Field of Mars, upon Augustus' safe return, in 12 B.C., from his wars in
the North, in Spain and Gaul. Its dedication followed in February, 8 B.C.; and
a cult was then established, to be observed on every anniversary-day. On the
spot occupied by the Palazzo Fiano, near the Piazza S. Lorenzo in Lucina, rose
this monumental altar. Its quadrilateral form resembled the Great Altar at
Pergamon; and, like that much more extensive structure, it was decorated with
friezes in style and composition similar to the small frieze of the Pergamon
altar, although more realistic than those mythic scenes. Around its sides,
as shown by reliefs recently found on the site, and others, mostly preserved
in the Villa Medici, and in the Belvedere of the Vatican, a procession moved
towards a sacrificial scene, which was represented on the balustrade of the
steps leading up to the altar proper. This balustrade was lined with fine ara-
besques, in which sacred symbols, such as tcznia and bucrajiia (skull of the ox),
were intermingled. Of the procession, seven much-restored large slabs (1.60
meters high) are preserved, besides three fine pieces (1.42 meters high) from
the scene of sacrifice. In the quiet dignity of a religious rite, the procession
approaches the centre from each side. Here, high public functionaries, doubt-
less the two praetors and the senate, accompanied by lictors, advance to meet
Augustus, approaching from the north side. Behind them are the ministers
of the ritual, one with toga thrown over his head, as was usual with those about
to sacrifice, the flute-players, and the camilli or acolytes bearing the ricinium,
or fringed and embroidered fuzzy garment, carried on such occasions, and the
acerra, or small altar, for burning incense. Men, women, and children follow,
as though indicating the Roman people. The faces are better preserved, and
hence the procession more interesting, on the opposite side. First to attract