Augustus – Building Program The Roman Forum Forum Augustum The Ara Pacis Campus Martius Pantheon – Temple of Agrippa Theatre of Marcellus

Building program Transformation of Rome startling. Prior to 40BC, Roman forum built from coarse limestone and peppery grey local tufa By AD14, Forum was glittering white marble columns. Augustus so improved her appearance that he could justifiably boast: ‘I found Rome built of bricks; I leave her clothed in marble.’ (Suetonius)

The RomanForum – Wallace-Hadrill The central message behind his building progam in the Forum was “that he was leading the Romans to recover the forgotten values, traditions and rites of the past” – “Augustus made the Forum the monument of a single man and his family” “Not only had marble replaced brick and limestone, but wherever you looked in the Forum, you were confronted with the presence of Caesar’s family.

The monuments of the Julian family were all around: The temple of Divus Julius dominated the central axis and acted as a permanent reminder of the power of the god to whom the ruling family owed its origin. Speaker’s platform in front of this temple was dedicated with the bronze beaks of Antony’s ships at Actium. Temple was flanked by one or two triumphal arches of Augustus, celebrating Actium and the Parthian surrender

On the 2 sides of the Forum were the 2 largest administrative buildings: Caesar’s Basilica Julia and Basilica Aemilia (both named after his grandsons Gaius and Lucius) The Rostra acquired a new façade and a golden horseback statue of Augustus. The Senate house bore his name – Curia Julia. Inside was the golden statue of Victoria commemmorating his victory in the civil wars.

Forum Augustum

The Augustan Forum What Augustus ended up with in the Forum was not a crude monument to his own glory, but a subtle conversion of places full of the positive feelings about the past. He wanted to identify his own glory with the past glories of Rome. The figures of the past formed a ring around Augustus.

The statue of Augustus as Pater Patriae stood in the centre in a chariot while the great Romans of the past formed 2 rows in the porticoes on either side. At the top were Romulus and the kings and Aeneas. As in Virgil, these figures looked down with pride towards their descendant Augustus. The Temple of Mars stood at the end and embodied the favour of heaven towards this descendant of the gods. The gods and the heroes of the past all stood in silent witness to Augustus’ embodiment of the virtues and values of Rome

Temple of Mars

The Ara Pacis

The Ara Pacis The Ara Pacis was erected on the Campus Martius 13BC–9BC to celebrate the return of Augustus from his long absence in Gaul. The monument consisted of an altar surrounded by a square marble wall. The images on the friezes carved on each wall symbolised the ideals of Augustus.

Ara Pacis

South Wall Depicts the procession of Augustus and his family with members of the priestly colleges. Illustrates the importance he placed on religion and the family and may also have symbolised his dynastic hopes.

Ara Pacis

East Wall Shows a woman with 2 babies representing Mother earth of Italy with fruit in her lap and animals at her feet. Symbols of contentment and abundance. Animals and vegetation indicate fertility and prosperity. Personification of Italy or the Earth surrounded by abundance and happiness.

Ara Pacis – Paul Zanker Two thirds of the scenes are members of the 4 principal colleges of priests and the 4 chief priests. They seem scarcely distinguished from other figures BUT the priests have togas pulled over their heads, signifying they will perform the sacrifice. Most of the lictors stand behind Augustus and the procession is gathering around him. Is Augustus starting the sacrifice??

The dense rows of figures similarly veiled in togas give the impression of unity and uniformity. The sacrificial procession on the Ara Pacis is a carefully planned, idealised reflection of the renewed Republic, designed not by order of Augustus, but by the Senate. “In essence here we are seeing the newly constituted leading aristocracy of Rome as it wished, at leasy outwardly, to be closely identified with the new order”.

Campus Martius In this suburban location, Augustus allowed the names of others to stand alongside those members of his family. Amphitheatre constructed in 29BC by Statilius Taurus; in 13BC by Cornelius Balbus; a third was dedicated to Marcellus and built by Augustus. The most extensive development was the work of Agrippa.

Agrippa imported a fresh water supply in the Aqua Virgo and gave Rome its first public baths. A park was alongside this with artificial lakes and streams, walks and woods. He also constructed the Temple of Agrippa, the Pantheon. To commemmorate Augustus, he placed a statue of Augustus in the porch.

Temple of Agrippa

Paul Zanker Along with new temples, it was primarily the buildings for entertainment and recreation that transformed the face of Rome. Whereas Augustus personally took charge of building the sanctuaries, for secular projects he let himself be assisted by both family members and friends, the most important of whom was Agrippa.

The water supply was completely reorganised The water supply was completely reorganised. Fresh water flowed into the city through repaired or newly built aqueducts. Mighty arches of the aqueducts helped shape the image of the city. The Aqua Virgo was constructed in 19BC. The Temple of Agrippa was also built.

Mausoleum of Augustus Built at the northern end of the Campus Martius. The largest tomb in the Roman worls. Over 40metres high and topped by a huge bronze statue of Augustus. His Res Gestae was inscribed on two bronze pillars.

Theatre of Marcellus

Theatre of Marcellus Built by Augustus in memory of Marcellus who died in 23BC. The Theatre of Marcellus was named after Marcus Marcellus, Augustus’ nephew who died five years before its completion. Space for the theatre was cleared by Julius Caesar who was murdered before it could be begun; the theatre was so far advanced by 17 BC that part of the celebration of the ludi saeculares took place within the theatre, which was inaugurated in 12 BC by Emperor Augustus and completed in 13 BC.

The Theatre of Marcellus was 111 m in diameter could originally hold 11,000 spectators. It was an impressive example of what was to become one of the most pervasive urban architectural forms of the Roman world. The theatre was built mainly of tufa, cement and opus reticulatum brickwork, completely sheathed in white travertine marble.

Conclusions: Wallace-Hadrill “He transformed the function of the city. Under the Republic Rome had been the centre of power because it was the heart of the city state, where the citizens came to compete with each other. Its monuments reflected that competition, a jumble of small-scale, individualistic buildings without overall planning. Under Augustus, Rome long remained the focus of political competition…This super-city became the monument of the emperors.

Paul Zanker Buiding program was separated into secular and sacred Building sanctuaries took precedence – he considered it his most important mission Agrippa, in contrast, only built one temple. It was connected to his program for religious renewal – no more tufa, heavy roofs or terracotta decoration. His idea was to imitate the finest and most impressive elements of Greek temples

Excessive ornamentation for temples to honour the gods “Worship of the gods and publica magnificentia could go hand in hand” Most lavish structures were for those most closely associated with Augustus: Apollo on the Palantine; Mars Ultor New temples even rivalled that of Jupiter Capitolinus. Under Augustus, Jupiter was no longer the chief focal point of the state religion.

Augustus was the only rival to Agrippa in matters of publica magnificentia. His secular buildings served a more immediate political purpose. He completed Caesar’s major projects (Basilica Julia and Forum Iulium), restored the Theatre of Pompey and laid out the park around his mausoleum.

The Res Gestae: Sections 19-21

Suetonius: Augustus, 29-30