"Princes" and Barbarians on the Ara Pacis

Rose, Charles Brian

doi:10.2307/505797

Cited by 32 publications

(8 citation statements)

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“…The issues of family and domestic tranquility are further played up by the girl in the background behind Agrippa, whom Brian Rose has argued is Dynamis of Bosporus, reaching out from the background to touch the Parthian guest-hostage on the head. 17 The young lad has come to be fostered in the home of Agrippa and Julia and to learn Roman ways. She is young Vipsania Tertia, the daughter of Agrippa by his second wife, Claudia Marcella, and she adds a new dimension to Agrippa's role as a perfect Roman father of many children, a role model for others.…”

Section: Lewis (The Official Priests Of Rome Under the Iulio-claudianmentioning

confidence: 99%

Augustus, Agrippa, the Ara Pacis, and the coinage of 13 BC

Stern

2015

Acta Ant. Hung.

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In 13 BC, Augustus returned to Rome from a lengthy tour of the western provinces, just as Agrippa returned from the East. All conditions had been readied to present to the Roman people the establishment of Agrippa as the new partner of Augustus' labours after a multi-year build up, culminating in the Ara Pacis ceremony at which Agrippa co-presided. However, to those watching the political slogans and headlines of the Roman mint, the Ara Pacis ceremony and Agrippa's prominent role therein did not bring news, for the coinage of 13 boldly proclaims Agrippa as if he were second princeps by advertizing his enhanced status and by highlighting his accomplishments beyond the level ever provided for any of Augustus' other colleagues, including his eventual successor, Tiberius (whose own enhancement of powers after AD 4 was modeled upon the precedent of Agrippa). The coinage of 13 BC represents a break from the recent general pattern in that it broke up Augustus' quasi-regal domination of the mint, and it sent out two simultaneous and compatible messages. Firstly, and more specifically, the imagery informed the Roman public as do newspaper headlines today of the elevation of Agrippa as Augustus' legal equal, showing that Rome was no monarchy. The Roman mint alternated between standard issues for certain messages and new images for others, including escalation of the status of Agrippa. The year 13 provided several occasions to raise the status of Agrippa, a novus homo. Agrippa was offered a third triumph, which he again refused. He received a new priesthood(s). His tribunician power was renewed for five years, as was that of Augustus. And at the Ara Pacis ceremony, Agrippa shared equal credit for pacifying the Empire in a ceremony that may have included closing the Gates of Janus. Much of this information comes to us not just from textual evidence, but also the archeological record. The coinage of 13 informs us of the regime's official statements and the Ara Pacis itself shows the veiled Augustus at the head of the Pontifical College and the veiled Agrippa completing the Pontifical College and starting the imperial family as a demonstration of his integral role in the state, although tragically his life would end before the Ara Pacis was completed, leaving it to be a monument of a vision of the future Augustus was never able to achieve.

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Section: Lewis (The Official Priests Of Rome Under the Iulio-claudianmentioning

confidence: 99%

Augustus, Agrippa, the Ara Pacis, and the coinage of 13 BC

Stern

2015

Acta Ant. Hung.

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“…As Jas Elsner has argued, the primary function of the religious art on the Ara Pacis was to map the sacred elements of the imperial cult at its beginnings in the 1st century BCE (Elsner, 1995: 192–196). However, as Paul Zanker and others have argued, its political function, especially with regard to children, cannot be separated from its religious function (Zanker, 1990: 121–123; Kleiner, 1993: 29, 44–46; Rose, 1993: 54; Kleiner and Buxton, 2008: 57). The monument shows two processions, which move in parallel lines depicted on the north and south friezes of the precinct walls which protect and demarcate the actual altar.…”

Section: Children and Sacred Processionsmentioning

confidence: 99%

“…His placement beside Agrippa near the front of the procession suggests his high status, yet the boy appears in non-Roman dress. As scholars have argued, the short tunic, long curly hair, cap and torque (wreath) around his neck are reminiscent of children from the eastern part of the empire 13 rather than the Roman west (Rose, 1993: 55–56; Uzzi, 2007: 70–78; and Kleiner and Buxton, 2008: 59–60). On the north side of the Ara Pacis frieze, there are three figures which, using the criteria outlined above, can be identified as children, a togated girl and two small boys.…”

Section: Children and Sacred Processionsmentioning

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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“…On the Ara Pacis there appear the two so-called 'barbarian princes', one shown wearing a torque to indicate that he represents a western barbarian and the other wearing a Phrygian cap to show that he is from the east (Rose 1990). The presence of the two.…”

Section: Lain Ferrismentioning

confidence: 99%

Insignificant Others: Images of Barbarians on Military Art from Roman Britain

Ferris¹

1995

Theoretical Roman Archaeology Journal

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"Princes" and Barbarians on the Ara Pacis

Cited by 32 publications

References 1 publication

Augustus, Agrippa, the Ara Pacis, and the coinage of 13 BC

Augustus, Agrippa, the Ara Pacis, and the coinage of 13 BC

Visual Representations of Children and Ritual in the Early Roman Empire

Insignificant Others: Images of Barbarians on Military Art from Roman Britain

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