tu ducibus bello gloria maior eris. sola
gerat
miles,
quibus
arma
WAS ARCHITECTURE USED coerceat,TOHOW arma, canteturque fera nil PROJECT A POSITIVE IMAGE OF THE EMPEROR AUGUSTUS?
nisi pompa tuba. horreat Oliver Baldock | Latin Dossier Aeneadas et Dartford Grammar School: 000866 Candidate Number: 028 Word Count: 1,184
primus et ultimus orbis: siqua parum Romam terra timebat, amet. tura, sacerdotes, Pacalibus addite flammis, albaque perfusa victima fronte cadat; utque domus, quae praestat eam, cum pace perennet ad pia propensos vota rogate deos. sed iam prima mei pars est exacta laboris, cumque suo finem mense libellus habet.
HOW WAS ARCHITECTURE USED TO PROJECT A POSITIVE IMAGE OF THE EMPEROR AUGUSTUS? OLIVER BALDOCK
As architecture is my chosen topic for university study, I selected this varied range of sources, from archaeological, numismatics and literary sources, to demonstrate how the Emperor used building work to further his personal image. These sources differ in reliability due to the nature and opinion of their producers but while personal bias must be taken into account when examining these sources, it is hoped there should be enough in each to clearly determine how Augustus used architecture to project his image. [Source 1] Res Gestae Divi Augustus, Section 21. ‘In privato solo Martis Ultoris templum forumque Augustum ex manibiis feci.‘ ‘I built the temple of Mars Ultor on private ground and the forum of Augustus from war-spoils.‘ This source demonstrates Augustus’ power through his construction of major buildings. Both the temple, built on the Capitol, and the forum were situated where his subjects could admire the architecture on a daily basis. A connection with his ‘war-spoils‘, which came from Augustus’ victory over Mark Antony in the Battle of Phillipi in 44-42BC 1, ensures these structures are not only well placed and of significant use, but also remind Rome of Augustus’ victory, and the strength, synonymous with Mars Ultor, of the Emperor in war. [Source 2]: Cassius Dio, Roman History (LIV.8) ‘Indeed, in honour of this success he commanded that sacrifices be decreed and likewise a temple to Mars Ultor on the Capitol, in imitation of that of Jupiter Feretrius, in which to dedicate the standards; and he himself carried out both decrees. Moreover he rode into the city on horseback and was honoured with a triumphal arch….‘ This source shows that both the triumphal arch and temple of Mars Ultor were built to honour the Emperor. However, since ‘he himself carried out both decrees,‘ these buildings represent an Emperor who surpassed the supposedly democratic Senate. The use of war spoils to finance the project2 and the dominating architecture, such as this overbearing triumphal arch which was built to honour Augustus and dominates the road into Rome, is representative of Augustus’
1 2
Lendering, J. (2007). See [Source 1].
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military strength, the importance of these military successes in bringing peace to Rome and the influence that Augustus held over Roman architecture. [Source 3] A Denarius, 27BC-AD14 depicting the Temple of Mars Ultor with Augustus on the Obverse
This Denarius was created to mark the return of the army war standards, lost by Crassus in 53BC3, to the temple of Mars Ultor. The temple then became a social and religious hub from 2BC4. The coin connects this temple with the image of Augustus on the reverse. Each new edition used new Augustan architecture5 as the Emperor was keen to advertise his work to those who would handle this coin throughout the Empire, and thus be able to view his temple, even if they could not see it in Rome.
3
Brantley, C. (2000). Abernathy, D. (2008). 5 Donaldson, T (1966). Pg.123-127 4
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[Source 4] Aureus of Augustus, 18-16BC, Discovered by Barbara McManus, 2005
Obverse: Augustus Reverse: Augustus riding his chariot on the Triumphal arch. Legend on coin: ‘CIVIB ET SIGN MILIT A PART RECVPER‘ ‘For the citizens and military standards recovered from the Parthians,‘ This Aureus depicts Augustus upon his Triumphal arch, linking his victory over the Parthians in 20BC6 to the architecture he was honoured him with in Rome. Combined with a proud and noble depiction of Augustus on the obverse, the legend presents a benevolent Emperor, who has dedicated his Triumphal arch and spent his war-spoils 7 on Rome. Augustus wanted the recovery of the military standards to be seen as much Rome’s success as his own, which therefore presents him as an altruistic Emperor. [Source 5] Suetonius: The Lives of the Caesars. (56) ‘Forum angustius fecit non ausus extorquere possessoribus proximas domos.‘ Translation: ‘He made his forum narrower than he had planned, because he did not venture to eject the owners of the neighbouring houses.‘ This passage suggests Augustus to be either benevolent, in altering his plans so as not to disrupt the neighbouring citizens; or wary, in not wanting to become unpopular with those people living there. While the decision may have been made for reasons other than altruistic ones, this architectural piece was still a major social centre that is memorialised by Suetonius as an act of kindness and shows how Augustus could use almost any architectural project to present himself in a positive light. 6 7
Cavazzi, F. (2003). See [Source 1]
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[Source 6.1] The Curtain Wall in the Forum of Augustus as seen today
[Source 6.2] Forum of Augustus, with reconstruction of sculptural programme from Zanker (1990)
The Forum of Augustus held a prominent position as a social centre in the middle of ancient Rome. The circular design focuses the attention of citizens and visitors on Augustus, who is surrounded by historical Roman figures. Indeed, his central position suggests that he surpasses the surrounding figures. The 25 metre high curtain wall, although a fire screen against the slums also visually isolates the forum. The dominating colonnade, part of which still remains, also separates Augustus’ ancestors from the general forum. This separation and sheer scale of this architecture piece helps to project Augustus’ power and authority, ensuring he is remembered by the Romans. 5
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[Source 7] Res Gestae Divi Augustus: 12: 2 Cum ex Hispania Galliaque, rebus in iis provincis prospere gestis, Romam redi, Ti. Nerone P. Quintilio consulibus, aram Pads Augustae senatus pro reditu meo consacrandam censuit ad campum Martium,’ ‘On my return from Spain and Gaul in the consulship of Tiberius Nero and Publius Quintilius after successfully arranging affairs in those provinces, the senate resolved that an altar of the Augustan Peace should be consecrated next to the Campus Martius in honour of my return,’ This source shows that the Ara Pacis was a dedication to Augustus for his victories. It contrasts both the triumphal arch and the ‘Campus Martius’, where troops were traditionally assembled, helping to symbolise the beginning of Augustus’ new era of peace. The prominent position of the altar meant that Augustus’ influence in bringing peace to Rome was clear for all of his citizens to see. [Source 8] The southern frieze of the Ara Pacis in Rome. Foreground figures: A. Marcus Agrippa, B. Livia, C. Tiberius, D. Vipsania, E. Drusus I, F. Antonia the Younger, G. Lucius Ahenobarbus.
This source displays Augustus’ extended family on the Ara Pacis. The only detailed faces on the frieze are those of the imperial family which, along with the titles he began to bestow upon his heirs8, connects Augustus’ plans for hereditary power with this peaceful era. This focus on architecture and imagery related to the imperial family provided a favourable stance on plans that may have been unpopular and this may have provided justification for Augustus’ planned hereditary model.
8
McManus, B. (2006).
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[Source 9] Ovid: Fasti: Book 3: March: 881-882 ‘Inde quater pastor saturos ubi clauserit haedos, canuerint herbae rore recente quater, Ianus adorandus cumque hoc Concordia mitis et Romana Salus Araque Pacis erit.‘ ‘When four times from then the herdsman has penned his well-fed kids, and four times the grass has whitened with fresh dew, it will be time to worship Janus, and with him gentle Concord and Roman Safety and the altar of Peace.‘ This source describes a time of prosperity with the closing of the Gates of Janus when there is no war throughout the empire. The Ara Pacis is shown as a major part of the peace ceremony, a structure which Augustus used to launch ‘Pax Romana’9 and secure prosperity and order for all of Rome. This demonstrates the role that his use of architecture had in projecting both a positive image of himself and his rule. [Source 10] Pliny the Elder: Natural History: Book 36.72 ‘Ei, qui est in campo, divus Augustus addidit mirabilem usum ad deprendendas solis umbras dierumque ac noctium ita magnitudines, strato lapide ad longitudinem obelisci, cui par fieret umbra brumae confectae die sexta hora paulatimque per regulas, quae sunt ex aere inclusae, singulis diebus decresceret ac rursus augeresceret,.’ ‘The emperor Augustus used the obelisk in the Campus to construct a marvellous sun-dial, on which the shadow cast by the obelisk indicates the length of both days and nights, as marked out on the stone pavement built to measure it. The shadow on the shortest day of winter falls at the six-hour mark, and gradually shortens by an interval each day as the days grow longer (as marked out by bronze rods set in the pavement), after which the shadow lengthens again towards winter.’ This source demonstrates Augustus’ ingenuity to promote himself using architecture. The sundial was not only an impressive mathematical construction but on Augustus’ birthday the shadow cast fell on the Ara Pacis. This proposed the idea that the birth of Augustus and ‘Pax Romana’ are intrinsically linked. The prediction of day length also hinted at the idea that
9
Kreis, S. (2010).
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Augustus controlled the sun and time, promoting his immortality and power in both life and death. [Source 11.1] The Mausoleum of Augustus in its present state, Rome
[Source 11.2] Reconstruction of the Mausoleum of Augustus, with a statue of Augustus presiding on the top, H. von Hesberg from Wallace-Hadrill (2007)
This source depicts Augustus’ Mausoleum, his and his family’s final resting place. Its imposing architecture is a memorial of Augustus’ influence and immortality as a deified emperor whose statue watches over the Campus Martius and Rome. This imposing structure stands opposite the Ara Pacis, connecting his image and memory with the peace that Augustus brought to Rome. With such a large and intricate circular construction situated on a major transport route in and out of the city, its existence today is evidence of Augustus’ determination to use architecture to ensure Romans continued to remember him after his death.
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The sources in this dossier focus on the positive projection of Augustus’ image through his influence on architecture. All of these sources show structures that dominate public areas where citizens could admire them. The extravagance of the Ara Pacis or size of Augustus’ Mausoleum suggests that they were established to be admired and to promote the admiration of Augustus. However, these buildings were multipurpose: the Solarium Augusti was not simply Augustus’ gift to Rome, it acted as a memorial, promoting Augustus’ immortality. The Ara Pacis did not just commemorate Augustus’ return and victories, it provided a structure from which Augustus could promote his campaign of peace and secure hereditary power. The temple of Mars Ultor, built from Augustus’ war spoils, developed not just into social hub but also acted as a reminder of Augustus’ numerous victories. Therefore, it is undeniable that Augustus’ campaign for peace and his plans for hereditary rule had an incredible influence on Roman architecture and left Rome a more prosperous centre of the ancient world.
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BIBLIOGRAPHY Primary Sources Source 1: Augustus; Emperor of Rome. (Trans. Thomas Bushnell (1998)). Res Gestae Divi Augusti: The Achievements of the Divine Augustus. Source 2: Cassius Dio. (Trans. E. Cary, 1914). The Roman History: The Reign of Augustus. Penguin Classics. Source 3: (1996). Buildings on Roman Coins. Available: http://www.romancoins.info/VICBuildings.html. Last accessed 05/10/12. Source 4: McManus, B. Roman Coins. Available: http://www.vroma.org/images/mcmanus_images/indexcoins.html. Last accessed 24th June 2012. Source 5: Suetonius, C. (Trans. J. C. Rolfe, 1913). The Lives of the Twelve Caesars. Loeb Classical Library, 56 Source 6.1: Multiple Contributors. (2011). Forum of Augustus. Available: http://rometour.org/foro-di-augusto-forum-augustus.html. Last accessed 25th April 2012. Source 6.2: Zanker (1990). Forum of Augustus. Available: http://www.vroma.org/~bmcmanus/forumaugplan.html. Last accessed 24th June 2012. Source 7: Augustus; Emperor of Rome. (Trans. Thomas Bushnell (1998)). Res Gestae Divi Augusti: The Achievements of the Divine Augustus. Source 8: Burns, J. Vispania on Roman Coins. Available: http://www.jasperburns.com/ara.jpg. Last accessed 25th June 2012. Source 9: Ovid. (Trans. Sir J.G.Frazer, 1931). Fasti. Loeb Classical Library, 3.881-882 Source 10: Pliny the Elder. (Trans. J.Bostock & H.T.Riley, 1855). Natural History: Book 36. 72 Source 11.1: Lendering, Jona. Mausoleum of Augustus. Available: http://www.livius.org/ro-rz/rome/rome_mausoleum_augustus.html. Last accessed 8th September 2012. Source 11.2: Wallace-Hadrill, A (2007). Augustan Rome. Bristol: Bristol Classical Press. Pg 53-62
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Secondary Sources Abernathy, D. (2008). Temple of Mars Ultor. Available: http://www.romereborn.virginia.edu/ge/TS-043.html. Last accessed 15th May 2012. Brantley, C. (2000). Battle of Carrhae. Available: http://www.fanaticus.org/DBA/battles/carrhae.html. Last accessed 25th Apr 2012. Cavazzi, F. (2003). Augustus. Available: http://www.roman-empire.net/emperors/augustusindex.html. Last accessed 12th Apr 2012. Donaldson, T (1966). Ancient Architecture on Greek and Roman Coins and Medals. US: Argonaut Publishers. Kreis, S. (2010). Augustus Caesar and the Pax Romana. Available: http://www.historyguide.org/ancient/lecture12b.html. Last accessed 19th Dec 2012. Lendering, J. (2007). Battle of Philippi. Available: http://www.livius.org/phi-php/philippi/battle1.html. Last accessed 20/1/13. McManus, B. (2006). Augustus: A Man for All Seasons. Available: http://www.vroma.org/~bmcmanus/augustus2.html. Last accessed 20/01/13.
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