The Altar of Peace is one of the most original artifacts of ancient art. It was funded in 9 A.D, by the Roman Senate to commemorate pax romana (Roman peace), which came after long-lasting wars and conflicts which had besieged inhabitants of the empire. It brought them long-awaited stabilization and prosperity. In the conviction of the Senate, the man behind this state of things was Octavius Augustus, to whom in an indirect way this altar was dedicated.

The altar was neither large nor monumental, while its main claim to fame was the reliefs adorning it. It was erected out of marble on a plan of a rectangle (11.65 x 10.62m). The external walls were adorned by an acanthus (at the bottom), among whose branches and leaves there are swans, small lizards and snakes, as well as with figural scenes (at the top). These two parts are divided by a meander.

The reliefs can be divided into two groups – the first is made up of those, which in a direct way refer to Roman mythology, and especially to the myth of the establishment of Rome. And so the walls of the main enterance depict (on the right) the symbolic scene of the establishment of Rome by Aeneas. On the basis Virgil’s Aeneid, the sculptor presented the mythical hero surrounded by his children, who are accompanied by a white sow – according to the legend it was the sow who pointed out the location of the future city to the man coming from Troy. And it was here that Aeneas decides to offer the gods gifts in thanks. On the other side there is, but only in fragments, the scene of establishing the city by Mars – the father of the twins Romulus and Remus, and at the same time the protectorate deity of Rome. On the opposite side – in the back part of the altar – we will see the best preserved relief (on the left) depicting the personality of Mother Earth and Fertility (Tellus), or as others would have it the goddess of peace, surrounded by children and accompanied by two other personifications identified with peace on land and water – Wind (woman seated on a swan) and Water (woman seated on a sea dragon). The figure located in the middle is often interpreted as Venus (Latin: Venus Genetrix) – the founder of the Julia family, but at the same time the allegory of the golden age – an era of prosperity and wealth. On the other side of the enterance there is a very badly preserved relief depicting another personification – this time of the city of Rome itself in the shape of a woman seated on a pile of weapons.

The longer exterior walls of Ara Pacis (on the northern and southern side) are decorated with scenes depicting a procession approaching the altar in order to offer gifts. The southern side is the best preserved. Here we can see a row of men, women and children. The procession is being led by priests (their figures were not preserved), while Octavius Augustus who is following them can only be recognized by his head. He is the one who begins this ceremonial march of his family and his closest collaborators adorned with laurel wreaths, with togas over their shoulders. Our attention is directed to Marcus   Agrippa – the son-in-law and friend of Augustus. He is accompanied by a woman (without a nose), who is identified as the daughter of Augustus (Julia the Elder) or his wife – Livia. The northern wall is much less well preserved, nearly all the heads visible on it are latter reconstructions. Here we can find the figures of dignitaries and priests.

The real altar, which is the destination of the figures shown on the external walls and at which the aforementioned offerings were annually made is found in the middle. It is accessed by steps at the foot of which there is a small courtyard. Its walls were also decorated with reliefs. Their remains are the magnificently chiseled bucrania, meaning two skulls of an ox with stylized garlands of flowers, fruits and ribbons. Another set of steps led to the altar itself, which was in turn decorated with friezes with a representation of a procession of the Vestal virgins, priests and musicians.

The carefully thought-out iconographic program of the altar, contained in its decoration, combined the mythical story of the city with its historical origins and the glorious epoch of the Republic, which was at that time still respected. It also underlined the divine origin of Augustus creating him to be the savior of Rome and an ideal ruler. In the same way propaganda ideology was born, which had in its repertoire national pride and a feeling of superiority, which in this case is connected with belonging to the Roman nation which ruled over the world. This propaganda and nobilitating function was noticed by Augustus, while after him, still today by all the rulers who want to sanction their dictatorships. This camouflaged autocracy which stood in direct opposition to the up to then Republican system of government, is only suggested here – delicately accentuated. While Augustus does exhibit his divine roots, through Aeneas going all the way to the goddess Venus, he still remembers very well, why his foster father Julius Cesar was murdered, he who desired power outside the framework of the sanctified by the Romans republic. However, we do feel that in the almost invisible processional crowd, Augustus is the one playing the main role. He is a symbol of the new order – a step back from Republican Rome towards monarchy. And it is monarchy that shall bring the Roman Empire peace and order for the next 200 years.

The Altar of Peace was initially located in a completely different place – on the Field of Mars, not far from the present-day Church of San Lorenzo in Lucina. It remained there for centuries, damaged by floods, buried in the ground. Its sculptural remains were not discovered until the XVI century, while the foundations themselves were found under buildings which sprung up here in the XIX century. Scattered and in part destroyed parts of the altar were reconstructed based on historical documents and coins in 1938, thanks to Benito Mussolini – a great enthusiast of Roman art. It found its new location not on the densely built-up Field of Mars, but on the shore of the Tiber, in the neighborhood of the Mausoleum of Augustus – the symbol of Augustus’s reign and the greatest homage bestowed by the emperor upon himself and his family.

The   grand opening of the restored by Mussolini Altar of Peace, took place on 23 September, 1938 – on the two thousandth anniversary of the birth of Emperor Augustus. The ceremony was accompanied by many other celebrations and a retrospective exhibition (Mostra Augustea della Romanità) devoted to Augustus himself, who was an idol of Mussolini and with whom to a large extent Duce identified. An architectural tribute to both of them was the new urban development concept of Piazza Augusto Imperatore, whose significant element was the Altar of Peace. However, the central point of the square was still the Mausoleum of Augustus, while the buildings surrounding it, which had been developed over the centuries were torn down  rather unceremoniously. Around the square monumental, referencing ancient architecture, created by Fascists architects, municipal buildings were placed. After many years of reconstruction of the mausoleum, Mussolini’s unfinished plan of which the aim was to arrange this area, will finally be completed.

Desiring to protect this exceptional work of Roman art from damage, a roof over it was planned. During the time of Mussolini it was a simple, similar in shape to an ancient temple, pavilion. The building was constructed hurriedly, perhaps without the proper care, so only 40 years after it required renovation. And here is where years of discussions started: renovate a Fascist pavilion or not? Ultimately it was agreed to tear down the old building and entrust the new design to an American architect of Italian origin, Richard Meier. In 2006 the complex was unveiled, consisting of a set of fountains, a terrace and the aforementioned glass, steel and marble pavilion, which also served the function of a museum. Next to the main exhibition devoted to the altar itself there are rooms in it, where temporary exhibitions take place, as well as a library and a bookshop.

And while even before its implementation Meier’s design stimulated the emotions of Romans, after its unveiling it divided them into two warring camps. The architect’s fame did not stop words of criticism towards his artistic creation. With enthusiasm his vison was scorned, especially by the right side of the political spectrum, defending the earlier, Fascist monument. However, even the supporters of the balanced architecture raised voices full of contempt seeing such a modern building in the very heart of Rome. Meier created a new link in the chain of buildings surrounding the Mausoleum of Augustus, without damaging the harmony of the two churches found nearby – San Girolamo dei Croati and San Rocco. He also did not forget to pay tribute to Augustus himself: from the side of the via Ripetta, on a stone wall of the museum he had verses from the autobiography of Augustus (Res gestae) chiseled – a sort of a catalogue of the accomplishments of the emperor during his lifetime. Thus, was created a contemporary plaque of his glory, imitating those, which in the past had adorned numerous cities in the empire.

After nearly 10 years the criticism of Meier’s structure seems unfounded – it is difficult to imagine another, better solution, although I believe that the Fascist one was not without merit either. It seems that, Meier created another outstanding building in the history of Italian and Roman architecture, but of course everyone is entitled to their own opinion.

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