Pledges of Empire: The Ara Pacis and the Donations of Rome

Kleiner, Diana E. E.; Buxton, Bridget

doi:10.3764/aja.112.1.57

Cited by 7 publications

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“…The identity of the figure with the scroll seated under the oak tree is more controversial, but given the heroicmythical theme of the panel and the allusions to 9 See esp. Kleiner and Buxton (2008) and Buxton and Hannah (2005) for new interpretations of key archaeological evidence associated with the emergence of the Augustan monarchy. Questioning Augustus' dynastic or at least monarchic intentions goes back to the work of Judge (1977Judge ( , 2008, and the lack of evidence for a succession policy in the early decades of the principate is noted in Corbett 1974;Severy 2003;Gruen 2005.…”

Section: The Lavinian Sow Panelmentioning

confidence: 98%

“…53 Fraschetti 1980. 54 On the representation of children's ages in Augustan historical relief, see the useful study by Pollini (1987, 22-8) and, more recently, Kleiner and Buxton 2008. altar. And finally, events on altar relief panels could occur at different times and on different planes, but time and space never conflict on the same panel: the goddess of the so-called Tellus or Pax relief on the Ara Pacis cannot simply stand up and walk around the corner into the procession of senators.…”

Section: The Apotheosis (Funereal) Panelmentioning

confidence: 98%

“…under Augustus' sponsorship, see Lott 2004. On the Augustan princes as pignora imperii and new Dioscuri, see Kleiner and Buxton 2008. On the Dioscuri and the imperial princes, see the valuable discussions in Scott 1930;Poulsen 1991;Champlin 2011;Pollini 2012, 420-34. 13 Zanker 1969, 214-15. Augustus' Palatine house and household elsewhere on the altar, Apollo is a good candidate.…”

Section: The Lavinian Sow Panelmentioning

confidence: 99%

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A New Reading of the Belvedere Altar

Buxton

2014

American Journal of Archaeology

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. AbstractControversy over the identification of the figures on the Belvedere altar has long hindered consensus about

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Section: The Lavinian Sow Panelmentioning

confidence: 98%

Section: The Apotheosis (Funereal) Panelmentioning

confidence: 98%

Section: The Lavinian Sow Panelmentioning

confidence: 99%

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A New Reading of the Belvedere Altar

Buxton

2014

American Journal of Archaeology

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“…5) sacerdotes (pontífices y flámenes) y miembros adultos de la familia imperial junto con otros jóvenes 24 , cuya presencia 24 Friso sur : Koeppel 1987: nº 31, 38, 42, 43;friso norte: nº 35, 38, 41. Las dudas acerca de la identidad precisa de los jóvenes (además de Koeppel véase Riemann 1942: 2096-2102Syme 1984;Kleiner y Buxton 2008) impiden confirmar su condición de hijos con padre y madre vivos.…”

Section: Los Confines Sacros Del Ara Pacis Augustaeunclassified

Religión y culto en el <em>ara Pacis Augustae</em>

Delgado

2016

Arch. esp. arqueol.

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El ara Pacis Augustae, con toda su magnificencia como obra de arte y todas sus poderosas implicaciones políticas como creación del poder imperial, era esencialmente un altar, es decir, un lugar de culto oficial sometido a una determinada reglamentación religiosa y dotado de un calendario ceremonial específico. En consecuencia esta investigación ha sido ideada y desarrollada para presentar, discutir y, en su caso, dar respuesta a los problemas que presenta el ara Pacis como lugar de culto. El debate se integra y articula en el contexto más amplio de la naturaleza de las arae en la práctica cultual romana y se sustenta en el análisis de la tradición textual del ara Pacis y la propia evidencia arqueológica. Como resultado, se presenta el proceso de institución del ara Pacis Augustae en toda su extensión y complejidad, tanto en sus aspectos propiamente rituales como en su plasmación monumental. SUMMARYThe ara Pacis Augustae, in all its magnificence as a work of art and all its powerful political implications as a creation of the imperial power, was essentially an altar, i.e. an official place of cult subject to certain religious rules and having a specific ceremonial calendar. Accordingly, this research topic has come about and been developed to present, discuss and try to provide a response to the problems that the ara Pacis poses as a place of cult. The debate is organized and is part of the broader context of the nature of the arae in the Roman cultic practice and is predicated on the analysis of the textual tradition of the ara Pacis and the archaeological evidence itself. As a result, we present the process of 'foundation' of the ara Pacis Augustae to its full extent and complexity, both in its own ritual aspects themselves as well as in its physical representation as a monument.PALABRAS CLAVE: Augusto; Principado augusteo; Roma augustea; Religión romana; Arqueología romana.KEY WORDS: Augustus; Augustan Principate; Augustan Rome; Roman religion; Roman Archaeology.La identificación del altar exhumado en el Campo de Marte romano con el ara Pacis Augustae de los 1 jadelga@ull.es http://orcid.org/0000-0001-6949-9768 textos epigráficos -establecida en las últimas déca-das del siglo xix-fue el comienzo de una exégesis sobre el monumento que se prolonga hasta nuestro tiempo. Un repaso atento a los títulos publicados desde entonces muestra que han sido las cuestiones arqueológicas, arquitectónicas, iconográficas, políticas o prosopográficas las que han centrado la atención de los investigadores. Pero desde luego esta nómina de intereses no agota en absoluto las posibilidades de estudio de esta espléndida obra augustea. Para un historiador de la religión romana resulta una paradoja el hecho de que los problemas relativos a la naturaleza religiosa del altar hayan sido tradicionalmente marginados, tratados parcialmente o sencillamente soslayados. El ara Pacis Augustae, con toda su magnificencia como obra de arte y todas sus poderosas implicaciones políticas como creación del poder imperial, era esencialmente un ara, es de...

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“…In recent years increased interest in the subject of children in antiquity and their place within the family has focused attention on the role of children as participants in religious activities. Research in this area has examined the subjects of: how religious knowledge was transmitted to children (Clarke, 2003; Osiek and MacDonald, 2006; Prescendi, 2010; and see Osiek’s contribution in this volume); children’s participation in domestic rituals (Clarke, 2003 and 2007; Prescendi, 2010); children’s participation in divinatory rites (Johnston, 2001; Prescendi, 2010); children’s participation in non-imperial cults in the larger Greco-Roman world (Uzzi, 2005; Green, 2007; Backe-Dahmen, 2008); abject ritual practices involving children (Frankfurter, 2006; D’Ambra, 2007) and the Romanization of children as participants in imperial rituals (Mantle, 2002; Uzzi, 2005 and 2007; Kleiner and Buxton, 2008). Compared with the early Christian sources, evidence for children as participants in religious rites in the Roman imperial period is abundant.…”

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confidence: 99%

Visual Representations of Children and Ritual in the Early Roman Empire

Tulloch¹

2012

Studies in Religion/Sciences Religieuses

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This paper takes the position that the best way to identify figures of children participating in scenes of early Christian ritual is through a comparison of child figures in Roman art and ritual. For the purpose of this comparison we refer to Roman scenes showing children in processions, offerings/sacrifices and banquets. Early Christian scenes of offerings which continued the representation of children but omitted the priest and musicians may have aided the identification of the scene as a gift or donation rather than a Roman sacrifice. While there is no ambiguity as to the figures in many of the early Christian baptism scenes being children, there is a long standing debate whether the child figures symbolically represent Jesus’ immersion in the Jordan river or actual baptizands. Possible similarities between Roman purification rituals by immersion in water and early Christian baptism, especially with regard to the visual representation of these rituals, remain a fruitful area for future research. Cet article propose que la meilleure façon d’identifier les images d’enfants qui participaient aux scènes d’anciens rituels chrétiens est par une comparaison des images d’enfants représentés dans l’art et le rituel romains. Aux fins de cette comparaison nous nous référons à des scènes montrant des enfants romains dans les processions, les offrandes/sacrifices et les banquets. Les anciennes scènes chrétiennes de l’offrande qui ont inclus la représentation des enfants, mais qui ne représentent ni le prêtre ni les musiciens, ont pu avoir aidé à l’identification de la scène comme un cadeau ou un don chrétien plutôt que d’un sacrifice romain. Bien qu’il n’y ait aucune ambiguïté que les images dans la plupart des scènes d’ancien baptême chrétien sont des enfants, il y a un débat de longue date de savoir si les images d’enfants représentent symboliquement l’immersion de Jésus dans le fleuve Jourdain ou bien de baptisés réels. Il est possible qu’il y ait des similarités entre les rituels de purification romain par immersion dans l’eau et l’ancien baptême chrétien, en particulier à l’égard de la représentation visuelle de ces rituels, ce qui mérite davantage de recherche.

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Pledges of Empire: The Ara Pacis and the Donations of Rome

Cited by 7 publications

References 0 publications

A New Reading of the Belvedere Altar

A New Reading of the Belvedere Altar

Religión y culto en el <em>ara Pacis Augustae</em>

Visual Representations of Children and Ritual in the Early Roman Empire

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