The breastplate that Augustus wears on the Prima Porta is significant in reflecting Augustus piety and desires to project such a public image. On the breastplate many Gods are included such Sol who rules over the skies, establishing connotations with Rome as its protector. The god of war Mars is also featured, receiving the stolen standards after a shameful defeat in the past. To the left of Mars is Apollo whom was Augustus patron god and to the right of Mars is Diana, the inclusion of these two gods may reference Augustus’ secular games which provide a source of propaganda. The Ara Pacis also highlights Augustus’ desire to create piety through the building programme. As shown on the southern frieze, Augustus himself is leading a religious ceremony in which he can be told apart only by his priestly clothes, it is important to note that Augustus blends in with the crowd which contrasts with Hellenistic design and makes Augustus appear as a first citizen rather than an Emperor which highlights how Augustus has used the building programme as a source of propaganda and auctoritas. Augustus interestingly uses the Ara Pacis not only to convey his piety to the gods but also his piety to the family. The south wall reflects Augustus’ social legislation and views on the importance of the family in maintaining peace; this is made obvious by the image of Augustus with his family and many surrounding young children. The eastern wall also shows a swan which represents Venus, with the western wall showing Mars Ultor which fully establishes the theme of respect for and worship of the gods.
Augustus also wished to achieve a feeling in Rome of peace, unite and prosperity which he shows most clearly not through the closing of the gates of Janus but arguably through the Ara Pacis. The northern frieze shows a group of Senators together in which the notion of peace is subtly displayed through the seemingly casual and informal way in which the Senators converse with one another, some face one direction whilst others turn their back and engage in private conversations, it is a subtly indication of the benefits of peace. The senators are wearing togas and a laurel wreath which was the symbol of victory and one even holds an olive branch which fully symbolises peace. The eastern frieze is also essential in conveying peace, in the centre Tellus is shown surrounded by vegetation and children which relates to the prosperity of Rome and shows the benefits of the fruits of peace, if observed there are also predators amongst the vegetation which implies that danger is not gone and vigilance is required in order to sustain the golden age of peace. To the left of Tellus is a swan and to her right is a sea creature. This symbolism indicates peace achieved through air, land and sea which creates a sense of universal and cosmic peace. On the Eastern wall Roma also sits atop arms which emphasises the importance of peace through warfare or “Parta Victoriis Pax.” It is also important to note that the Ara Pacis was placed in the field of Mars along a busy trade route which was placed next to a Sun Dial which on Augustus’ birthday shone directly over the Ara Pacis, indicating that Augustus was born to be a peace maker.
The placing of the shrine on a trading route further strengthens the view that Augustus wished for the Ara Pacis to be seen by all and thus reflects his desire to use the building programme as a platform to declare peace and prosperity rather than to simply transform Rome into an imperial city.
It can be argued that Augustus desired most to use the building programme to reflect on his own success militarily in Rome and in the provinces. The Prima Porta supports this view clearly, most notably on the breastplate which contains a great amount of symbolism, all reflecting the military might of Rome. Augustus himself displays the orator’s pose which highlights his supreme imperium and ability to command an army, the spear he holds too emphasises this ability due to the associations it brings with war and arms. The central image on the breastplate is that of the Parthian handing back the Roman standards which were stolen from Crassus after a shameful defeat in the past. Augustus however was able to settle the matter diplomatically in 20BC with ease and such an inclusion clearly reflects Augustus’ pride in both himself and the Roman military. The inclusion of the two sphinxes is obviously a clear celebration and indication of his victory in Actium and defeat over Anthony and Cleopatra. The presence of Sol can even be argued to have connections with Rome’s military might by emphasising how the sun can now shine after the defeat of Anthony and Cleopatra as well as stressing the unconditional nature of the Roman army, meaning that just as the sun rises each day so does the might of the Roman military. A further subtle reference to Augustus’ victory in Egypt is displayed through Tellus who appears to be prospering as a result of Augustus’ defeats in both the east and the west. To the left of the figure is a woman with a sword on her scabbard who is largely believed to represent Armenia & Judaea or alternative Spain which were all client kingdoms to Rome; to the right of the figure lies the personification of Gaul which is identifiable by the held dragon trumpet and boar military standard. The inclusion of these two Roman conquests further establishes the idea that Rome is the leading military force on earth and it is clear that Augustus thus wishes to use the building programme as a means of displaying this theme. Even the Ara Pacis, a monument of peace makes subtle references to the might of the Roman military, most notably through the presence of Roma herself who sits atop captured arms from Rome’s enemies, showing that the only way to gain peace is through warfare itself. Augustus therefore saw that the declaration and display of Roman military might to be an essential part of his building programme rather than to solely create a beautiful Imperial city.
In many of his public works, Augustus makes reference to Alexander the Great who he seemingly obsesses over, it was said that he visited his tomb in hope of seeing his remains and even commented on Alexander’s ability to lead, stating that he may be able to conquer but he could not lead them. Augustus was also known to use a sphinx as his personal seal and later even the head of Alexander which are yet more clear indications of Augustus’ desire to become Alexander’s superior. Alexander’s presence in the building programme is most notable in Augustus’ forum where he is portrayed on a large canvass , one with Victoria whilst the other showed him in a chariot with the God of War’s hands clutching his back. In the forum, the head of Jupiter Ammon was displayed on a shield which also displays close links with Alexander as it was in the shrine of Jupiter Ammon in Egypt that Alexander was first told of his divinity which draws further parallels with Alexander and highlights Augustus’ obsessively competitive nature with Alexander the Great. It is obvious that Augustus used the building programme as a way of subtly presenting his superiority to Alexander the Great and his conquests although the extent to which this was his sole objective is questionable.
In conclusion I believe that to Augustus, the dawn of a new Roman era (as reflected by his eternal youth in the Prima Porta) was of paramount concern to him and it was natural that he would present this dawn through the restoration of old buildings to the point where he could eventually boast that Rome was a city of Marble after having been found in stone. I think though that it is essential to understand that this was not Augustus’ sole aim and made up only a fraction of his other objectives which included the maintenance of the republican illusion, his desire to appear Pious and morally virtuous, to demonstrate peace and prosperity, to celebrate Roman military strength and of course to present his superiority over Alexander the Great. That is not to say that one cannot exist without the other as in most cases, his objectives overlap with one another such as through the creation of the forum which establishes Augustus’ piety, military strength and superiority to Alexander together, whilst creating a building beautiful architecturally which ultimately made up the City of Marble and allowed Rome to be a state fit for the title of capital.
