The following essays are separately listed in this web bibliography: Vol. Rome (1985), pp. PDF available on the web throuugh Vol. This block was not excavated until 1937. 75 (Oct.-Nov.  2009). New York: St. Martin's Press, 1960. First published in German, Augustus und di Macht der Bilder (Munich: C. H. Beck, 1987). “Ara Pacis 1938. col tuo pantalone bianco all’Ara Pacis per educazione dò un colpetto di clacson e ti guardo. In the same sentence the author writes (in translation): “on the side facing the Mausoleum, the distance between the monument and the glass wall is too narrow”. Vol. 14 gray-scale photos of the ancient, marble, Latin insciptions and 6 of the Greek. Kempen notes the central role of Livia as wife and mother and her role in stabilizing and legitimizing the Augustan succession. About 20 are full page plus 2 double page. Camp (1) Marmot (45) Montane (1) Mountain Equipment (3) Northfinder (15) Ocun (14) Ortovox (18) Outdoor Research (2) Patagonia (2) Pinguin (1) Salomon (2) Trimm (4) Zajo (11) Stoc. Annotated under English edition listed below, The Power of Images in the Age of Augustus, 1988. Ph.D. dissertation, University of California, Berkeley, 1978. La mia felpa fluo-uo, nei tuoi occhi blu-u-u Although the pages are only 7 ¼ by 6 ¼, the quality of the gray-scale photographs is outstanding. On a number of these, the author has helpfully used arrows to point out details of chisel, scaper, rasp, and drill marks. Comptes-rendus des séances de l’Académie des Inscriptions et Belles-Lettres. Strazzulla, Maria José . Berlin: Kulturstadt Europas; Mainz am Rhein: Verlag Philipp von Zabern,1988; pp. Pollini emphasizes ways in which the Ara Pacis and Augustus’ other monuments allude to the unity of past, present, and future of the Roman state and of Augustus himself. Noua noastră colecție online de pantaloni de damă este gata. Oxford University Press, 2010 (1st ed. Publications that have contributed new and especially informative imagery are given special attention. 98, No. Thornton, M. K. “Bello Gloria Maior Eris”. The exhibition of the Roman Augustus”. “Historische Reliefs”. T'ho preso due, tre girasoli per farmi perdonare. Art Bulletin (ArtB) Photos of the Western prince and images of the 2 youths, on the north processional frieze, identified by Rose as Gaius and Lucius are on this website. Thus, all interpretations are to some extend hypothetical and it is healthy that they be reexamined by professionals from other disciplines. 252-254. landmark charter, in addition to the many general recommnedations, a few specific statements are of special relevance for later decisions and policies in Rome and as a context for treatment of the Ara Pacis Augustae. "Architettura: per una Storia Storica". "Ara Pacis 1938. In contrast, this article included the first published photograph of the famous photograph of the relatively complete, well-preserved panel of the flamines to the right of Augustus in the south side processional frieze. Petersen, E. (Eugen Adolf Hermann Petersen, 1836-1919) “L’Intervento di Restauro della Fronte Orientale dell’Ara Pacis Augustae”. 1994, 4, pp. He immediately calls attention to the partisan controversies that have dominated discussions of the success or failure of the new building. . "Dea Roma" on the "Ara Pacis Augustae": An artistic symbol of the Roman just war tradition. Venice: Marsilio, 1983; pp. 16. Ara Pacis Augustae, ed. Originally 12 February 1997. The quality of most of the illustrations is excellent, a few poor, and, not surprisingly, given the conditions at the time, most of the color is peculiar. Il Museo dell'Ara Pacis. A survey of Italian architecture from the late 19th century to 2010. Bonner Jahrbücher des  Rheinischen Landsmuseums in Bonn und des Vereins von Altertumsfreunden im Rheinlande (BJb / BonJbb). 20-25. After an informative review of the original creation of the Ara Pacis Augustae and the history of its rediscovery, excavations, and study, Rosso devotes the main body of his text to the meaning and symbolism of the reliefs. Issued by the Supreme Council of Antiquities and Fine Arts of the Ministry of Education. In this key text . Roma: L’Erma di Bretschneider, 1989. Gregory, A. P. These include those of Von Duhn 1879 and 1881; Petersen 1894 and 1902; Wickoff 1895; Courbaud 1899; Strong 1907; Pasqui 1903; Ducati 1920 and 1925; Sieveking 1925; Brendel 1935-1936; Bandinelli 1936; Siena 1935; Mustilli 1938; and Moretti 1948. "Italy". “Riscoperta e Fortuna dei Rilievi dell’Ara Pacis nell’età della Rinascita”. 447-453. Florence: Nardini Editore-Centro Internazionale del Libro, 1978. American Journal of Archaeology:  Online Publications: Museum Review. Although not visible in the photograph, this slab also includes the well-preserved back half of Augustus’ figure. Translated by A Snodgrass and A. Künzl-Snodgrass, with forward by ", Book II, February, lines 57-67 Available on the web through JStor. . Toynbee, J. M. C. (Jocelyn Mary Catherine, 1897-1985) Claridge, Amanda There is an 8-page glossary and major bibliography. 391-415. Vizualizeaza colectia actuala Iarnă 2020/2021 in portalul de moda Koeppel provides a systematic study of all the then-known changes to the monument and a comprehensive pre-1987 bibliography, including key issues such as the probably representation of the Ara Pacis Augustae on coins, which would be our only ancient Roman images of the monument. overview of Augustan culture in its various manifestations.” In his preface, he warns us that “the scholarship on virtually all the subjects treated here is controversial” and stresses that “Augustan culture, and especially the arts, architecture, and poetry, were a sophisticated and cosmopolitan blend of many traditions”. Still a basic source. Ara Pacis". These 3 drawings are reproduced on this website. 10 (1907), pp. Ann Arbor: University of Michigan Press, 1988 (German original: Augustus und die Macht der Bilder; Munich: Beck, 1987; also published in Italian, Augusto e il Potere delle Immagini; Torino: G. Einaudi, 1989). A major contribution to our understanding of the 1938 reconstruction of the Ara Pacis, requiring that we revisit aspects of previous interpretations. There is no mention of the flowing exterior staircase or fountain, both popular gathering places for the public. The child in the north frieze is Parthian and the child on the south is a Gaul, thus “represented the peace that had been achieved in both East and West” (p. 41). Princeton Stanford Working Papers in Classics. 13-18. 138-146. Kaiser Augustus und die verlorene Republik. Harmondsworth, Middlesex: Penguin books, 1957. Intro: RE#m7 SIadd9 FA# RE#m7 SIadd9 Come va? Available onlne through JStor. 690-697. “Frieden-durch-Sieg-Ideologie und die Ara Pacis Augustae. Dolari reminds us that some of the tool marks now visible were first common during the reign of Hadrian (Emperor 117-138), when she think the monument (trans.) Cambridge University Press, 1997; pp. Antikenmuseum Berlin, Staatliche Museen, Preussischer Kulturbesitz. 30 July 1997. This is a rich contextual study of the evolving urban fabric of ancient Rome, "the motives for urban intervention, methods for implementation, and the socio-political context of the Augustan period, as well as broader design issues such as formal urban strategies and definitions of urban imagery" (p.i). A copy of the entire volume at the Fiske Kimball Fine Arts Library of the University of Virginia is vailable on the web through the Digital Sculpture Project at: Bruto, M. L. and C. Vannicola Los Angeles: J. Paul Getty Museum, 2002. As evidence, he illustrates and describes Mantegna’s engraving of the “Triumph of Caesar” and Mantegna’s drawing and painting of the “Captives”. In the 1982 reprint, pages 355-373 are also numbered pp. When published, this was the most imortant publication relating Augustan art to all other aspects of Roman culture. col tuo pantalone bianco all’Ara Pacis per educazione dò un colpetto di clacson e ti guardo Che poi con te è tutto un flirtare tanto non concludi mai t’ho preso due o tre girasoli per farmi perdonare e dai La mia felpa fluo-uo nei tuoi occhi blu eravamo un duo-uo ma ora non lo … Listed and annotated below under Kleiner and Buxton. 43-66. ⭐ Livrare in 24h. Moreover, the 1829 map (fig.4), 1915 perspective drawing (fig.1), and 1934 aerial photograph (fig.7) of the immediate area all show the narrow strip of houses fronting on the Via di Ripetta, the site for the 1938 pavilion and later 2006 museum and show that as yet there was no road on the Tiber side of this row of buildings. Quaderni di studi romani (Istituto di studi romani), 2. Journal of Roman Archaeology (JRA). 610-612. Roma: L’Erma di Bretschneider, 1983. All of the illustration in this article with captions are reproduced on this website. to the Christian era, drawing on a wide range of evidence such as texts, inscriptions, dedications, ceremonies, games, and structures. 33-51. Gymnasium. This is a magnificent, horizontal quarto volume, of about 140 pages, fine paper and printing. The Fascination with the Past: John Henry Parker’s Photographs of Rome. In her final section, Kleiner develops the essential connection between the representation of family groups on the Ara Pacis and the innovative social policies of Augustus, especially the aim of reversing the declining birthrate of the nobility and the danger which this presented of a decline of the entire imperial system. . dell’Inst). 34-36; tavv. The commentary includes highly clarifying observations including the basis for the translation and inscription. Ara Pacis Augustae, ed. available on the web through the HahtiTrust. However, it intelligently claims that what is known about such things as the  importance of antiquarian collecting during the Renaissance suggests that portions of what we now identify as the Ara Pacis may have been known previous to our first documentary evidence. 29-43. Unfortunately, more like a newspaper critic than an architectural historian, she takes an aggressive position throughout: "Meier indeed scrawled his name triumphantly on a travertine slab near the entrance". He gives special attention to coins, which he writes comprise “perhaps the most important single source materal for elucidating the political economic and social history of the Roman empire”. Other superb photographs of the Ara Pacis and related material are available on the Archne web site, listed below. Importantly, she calls attention to the evolving restoration theories at the time. Veltroni, Walter. Wochen. Narrative Wanddarstellungen von Altägypten bis ins Mittelalter. Dalla teca di Morpurgo agli eventi di spettacolarizzione recente. The author attempts to formulate typology for Roman historical reliefs. There are 7 pages of text and endnotes on the Ara Pacis, reporting on a series of studies and treatments carried out by the CBC 1982-1990. 61. Annotation quoted from Historical and Philosophical Issues in the Conservation of Cultural Heitage, ed. An exceptionally informed and clearly presented archaeological guide to Rome, Ostia, and many other outlying areas. Roman Sculpture. This edition had been promoted by Mussolini and was used for the 1938-39 inscription carved into the east wall of the Morpurgo fascist pavilion. . Per educazione, do un colpetto di clacson. eds. Winkes, R. Gatti, Guglielmo (1905-1981) But neither the architect nor others involved should be faulted for this because this glass wall could not be moved further from the monument in the 1938 pavilion or more than a few inches in the 2006 museum. This section was written by Guglelmo Gatti, one the principles involved in the restoration, and at time of writing Sovrintendente ai Musei, Gallerie, Monumenti e Scavi del Comune di Roma. Favro, Diane The Art Bulletin (ArtB). VII (1884), pp. 124-128. Available on the web through JStor at Portraits of Livia: Imaging the Imperial Woman in Augustan Rome. Maugeri, Maria Inscriptiones antiquae in Etruriae urbibus exstantes. Vol. The Emperor’s Restrospect: Augustus Res Gestae in Epigraphy, Historiography and Commentary. Journal of Roman Archaeology (JRA), Supplementary Series, No. Vecchie citta' ed edilizia nuova. Aarhus, Denmark: Aarhus University Press, 1994. We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. Tabs Lyrics Chords Spartiti. Stewart, Peter Taken straight on, with almost no distortion, these are valuable documents for the appearance and condition of the reliefs in 1985. (Outstanding dissertations in the Fine Arts). The exemplary maps are based on up-to-date research, drawn especially for this publication. Björn C. Ewald and Carlos F. Noren´a. Boston, 2005, pp. “The Trouble with Gaius and Lucius: Augustus’ Adopted Sons on the Ara Pacis Augustae”. Ed. In addition to 2 photographs of previously known fragments, the valuable illustrations include 4 photographs of portions of the Ara Pacis as seen in the excavated tunnels under the Palazzo Ottoboni (previously Palazzo Fiano); 2 ground plans and 2 cross-section elevation drawings recording portions explored during the recent excavation; and a pictorial drawing suggesting the original appearance of the Ara Pacis with an imaginary surrounding building. 80, Part 2, 1990. He argues that these reliefs, though varying over time and for particular situations, follow a well-fixed logic. Nevertheless, no fewer than 7 key fragments, 4 enlarged details, and a few related materials were here published for the first time. Highly detailed images but not exact and including a few areas of imaginative reconstruction. Following a survey of the pre-1937 history of the Ara Pacis Augustae, Gatti provides a careful description of the 1937-38 excavation, its discoveries, and comments on the reconstruction of the monument. Although dense with information, the writing is approachable and engaging. She also identifies the central goddess and the two on either side as "the three Horai (Horae), goddesses who brought justice and prosperity through the seasons.". Available on the web through JStor at It is now clear not only that this monumental work was conceived at the same time as the Ara Pacis, but that the orientation of the altar itself was actually determined by the lines of the sundial” (Bowersock, “Pontificate of Augustus”, pp. Chapter I, “The Augustan Age”, includes 19 pages of text and 9 plates of small, weak gray-scale photos of the then known fragments considered from the Ara Pacis, plus one hypothetical ground plan. “Neuattisches und Pergamenisches an den Ara-Pacis-Ranken.” Amor di Roma. For all students and  scholars, this major article reminds us of the lack of ancient Roman written evidence describing the Ara Pacis and the necessarily provisional nature of not only our interpretations but also of the very identificaton of subjects. The author points out that the Ara Pacis was the single work of art most projected during World War II and deserves our respect and protection. Vol. The author writes that “my focus in this book is on the Augustan transformation of a single geographic area of Rome, the Campus Martius, from a center of display and competition among the old Republican families into a kind of Augustan ‘theme park’ that evolved over time, celebrated his major achievements and prepared for his death and eventual deification” (p.xiii). A  brief history of the Campus Martius from early antiiquity to recent times; including brief accounts of the Mausoleum of Augustus, Ara Pacis Augustae, and Arco del Portogallo. Ara Pacis: ein Staatsmonument des Augustus auf dem Marsfeld. Dissel, Karl Koeppel, G. M. “Nowhere in the Panathenaic frieze have children been combined with men and  women to form  integrated family groups such as may be found in the Ara Pacis” (pp. Vol. “Un’Architettura alla ricerca del suo luogo”. . Architettiroma Livrare gratuita peste 300 LEI; Garantie 2 ani; Retur in 14 zile; Plata in rate; Vouchere cadou; Cauta Bine ai venit . "Ara Pacis restituta. “The structure and function of the building exhibit the same qualities of dynamic tension between formal variety and unified conceptualizaton”. Images of this relief are on this website. Sotto casa che ti faccio mille poste. “The Altar of Peace”. In this bibliography, the 2 halves of this landmark book are separately listed and annotated as: Simon, Erika The extent to which the surface of the marble reliefs of the Ara Pacis retain their original carving is, of course, essential to our reading of those reliefs. “Maximus Videtur Rex. She reconstructs not only some of the specific decisions but also the primary political purpose and urgent conditions at the time. In this web bibliography, Zanker's Introduction Available on the web through the Open Library of the Internet Archive. “L’Ara Pacis Augustae nei filmati dell’Archivo Storico dell’Istituto Luce” Favro, Diane 49-63. "With regard to other monuments, the experts unanimously agreed that, before any consolidation or partial restoration is undertaken, a thorough analysis shoud be made of the defects and the nature of the decay of these monuments. Curcio, Giovanna “Arcus et arae Claudii”. Bullettino  della Commissione Archeologica Comunale di Roma (BullCom), vol.103 (2002), pp. Available on the web through JStor at MEFRA). Max Maller). Vol. Rockwell, Peter, Stanley Rosenfeld, and Heather Hanley, with photographs by Stanley Rosenfeld. Che poi con te è tutto un flirtare tanto non concludi mai t’ho preso due o tre girasoli per farmi perdonare e dai. 1-17). On the web through Persee. Untitled 2 page article in Italian and English in Kleiner, Diana E. E. Concepta Barini Recensvit. 70 (1966), pp. Munich: F. Bruckmann, 1925. 247-257. 34-35. Carte Gatti. There are 3 extended essays by Kostoff, totaling some 70 pages. At that time no remains of the Ara Pacis had been associated with the monument. In his abstract, the author concludes that “the Altar’s imagery of the Golden Age . He concludes that “it would seem that the Camillus is to be perceived as a prominent Roman, probably an important member of the large family of Augustus”. Settis, Salvatore, “Die Ara Pacis”. 50, No. 327-330. Riding notes that, as of the opening weekend, the altar was available for public viewing for the first time in 7 years. The first publication of the results of the 1903 excavation of the Ara Pacis Augustae, written by the director of the excavation, Angiolo Pasqui, who later became State Archaeologist (Director of the Ufficio Scavi della Direzione per la Antichità e Belle Arti). . American Journal of Archaeology. As an addendum, von Duhn published the 1784 notes of the Roman sculptor-restorer-teacher Francesco Carradori (1747-1825), who had been commissioned to restore 5 panels of the 2 processional friezes. “Si Puo Valorizzare il Mausoleum di Augusto?” Photos of a cast of a famous portrait head of Livia are available on this website. Discipline, docenti, studenti; a cura V. Fianchetti Pardo ed. 5-6 (1970) pp. ed. Roma: L’Erma di Bretschneider, 1983. Includes about 40 excellent photographs of the outside, and a few inside, of the new Museo dell’Ara Pacis, taken in 2008 by Ralph  Lieberman, Williams College. May the soldier bear weapons only to keep weapons in check, and may nothing but a procession be sounded by the fierce trumpet. She presents a carefully reasoned, convicing argument, including that “the images of the non-Roman children from the Ara Pacis are consistent in costume, composition, gesture, and posture with other non-Roman child images” in other Roman art. Lazzaro, Claudia, and Roger Crum. Holliday, Peter J. Rome: Archivio Centrale dello Stato. Among the valuable illustrations are photographs of the newly restored altar and 1937-38 pavilion during a major 1969-70 restoration. For the strongest rejection of Hannestad’s position, see Amanda Claridge, “Late-antique Reworking of the Ara Pacis and Other Imperial Sculpture?”, Journal of Roman Archaelogy, Vol. . Bartoli, Pietro Santi Martin Kybelík and Mario Schwarz, eds., with a foreword by Walter Frodl. Photos of a distingsuished woman on the south side processional frieze, thought by scholar to be Livia or Julia, are available on this website. The Agricola and the Germania. Munich: Verlag Ernst Vögel, 2001. 625-628. Each section except the last is itself carefully outlined, with footnotes. “Bermerkungen zur Ara Pacis”. Because they also record views and events no longer available, of prime value are the photographs of the pavilion being destroyed and the museum being constructed, in all of its stages. XXXV. 10. 30-32, “Ara Pacis Augustae”, pp. Detailed account of drawings from the collection of Cassiano del Pozzo and his family, now in the Royal Library at Windsor Castle. English translation published as Roman Art by the J. Paul Getty Museum, Los Angeles, 2010. "the minute study of all the pieces so far come to light and those that future excavations will find will allow us to safely . Book I, January, lines 709-722 “Un Tassello della tradizione moderna”. “Lo scavo e la recostruzione dell’Ara Pacis Augustae”. Concened with the problem of authenticity, Boito advocates, in addition to the criterion of minimal intervention, principles that insist on the visibility of nonoriginal elements added during restoration and on scrupulous documentation".   2, no. Includes a few good quality color photographs by Scott Gilchrist, Archivision, showing the Ara Pacis inside the 1938 pavilion, important because we can no longer see the monument as it was for decades seen, studied, and described by scholars. Almost 180 were taken by the author, including many rare, extreme close-ups, though these vary somewhat in clarity. Pp. Un Museo per l’Ara Pacis: la storia, il progetto, I materiali. Galinsky writes that “the function of the Ara Pacis is enhanced by its combination of sophistication in design and concept with accessibility for a non-elite populace”. The author states that the obelisk erected by Augustus in the Campus Martius “is usually treated as part of a category rather than discussed as an individual monument” (no.23 on p.151), and that “with few exceptions, scholars gloss the monument’s Egyptian significance with but a generalized statement about obelisks’ role as Pharonic cult objects dedicated to the sun” (p.139). It is especially unfortunate that, like many critics, Zanker nowhere mentions that the new museum building superbly achieves its main purpose, the protection of the Ara Pacis Augustae from further deterioration. a cita di Maria Piera Sette. Engramma, no.88 (March 2011); previously no.75 (Oct.-Nov. 2009). 61-144. Richard Meier: Il Museo dell’Ara Pacis. “Man or God: Divine Assimilation and Imitation in the Late Republic and Early Prncipate”. RM 1979, 1980 (repub. “March 30, 1938 – The King visited the state of the ongoing work of Augustus, the Ara Pacis” Do un colpetto di clacson.