Scientifically accurate, three-dimensional digital representations of historical environments allow architectural historians to explore viewsheds, movement, sequencing, and other factors. Using real-time interactive simulations of the Roman Forum during the mid-Republic and the early third century CE, Diane Favro and Christopher Johanson examine the visual and sequential interrelationships among audience, actors, and monuments during funeral rituals. Death in Motion: Funeral Processions in the Roman Forum presents a hypothetical reconstruction of the funeral of the Cornelii family in the early second century BCE and argues that the conventional understanding of the staging of the funeral oration may be incorrect. It then reviews the imperial funerals of the emperors Pertinax and Septimius Severus to compare the ways that later building in the Roman Forum altered the ritual experience, controlled participant motion, and compelled the audience to submit to an imperial program of viewing.

Rome in the mid-first century B. C. projected an unattractive image. The urban infrastructure had long been mismanaged. Even public temples showed the effects of neglect. Focusing on immediate solutions solvable in a single term in office, Republican magistrates could not deal effectively with problems of urban care. Rather than enforcing extant regulations, the state relied inefficiently on private efforts and civil suits to maintain and protect the built environment. As a result, legal restrictions only marginally curbed poor construction and speculation. At the end of the millennium, Augustus assumed the role of pater patriae. As benevolent father, he exerted control over the Roman people at every level. Using a skillful combination of carrot and stick, he intervened in all aspects of the urban environment, building and repairing structures and reshaping legal and administrative provisions for urban care. For maximum efficiency, he redefined existing offices and established a clear hierarchy of responsibility. Exploiting the office of curator, he made appointments for lengthy terms and created permanent bureaucratic staffs. He involved every class in the care of the capital and made sure that all officeholders owed their allegiance to him personally. His efforts coalesced in 7 B. C. with the establishment of fourteen new administrative regions. Seen in totality, Augustus's seemingly ad hoc provisions for fire fighting, water distribution, building maintenance, and urban safety reflect a consistent policy of social control. His efforts to create a functional, attractive, and enduring urban environment were both paternal and calculated.

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Urban icons were common in the Roman world, with monuments, cityscapes and personifications all used as metonyms. Yet an icon for the most important city of all is not easily identified. Rome was always sui generis, too large to be easily captured visually. Filled with innumerable wonders, no single structure or artwork stood for the whole. Representing the collective, as well as the great extent of the empire, the city could not be encapsulated in a single image.

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