Augustus, a renowned leader of the Roman Empire during the 27 BC, initiated the use of built forms for the ascension and preservation of power. The development of Rome under his rule inaugurated a highly influential style of architecture, establishing a new standard subsequent to the fall of the Roman Empire. His supremacy over the Roman Empire ensued a substantial shift in the urban environment, marking Rome as a prosperous and affluent city. This paper will argue that he used architecture to improve the longevity of his influence subsequent to his reign. Architecture was also a way to celebrate his victories as a powerful conqueror. He also displayed his connection to deity, thus presented himself as divine figure. Through the examination of the planning, style, function and form of specific buildings and monuments, Augustus’ personal symbolism through built forms are evident. Augustus had numerous sites built in recognition of him or is connected to his divine presence in various forms. The Mausoleum of Augustus, Ara Pacis and the Forum of Augustus are a few selected that exemplifies his impact on Roman urbanization.
The Mausoleum of Augustus is a significant building that represents his principate and legacy beyond his time in power. The tomb was commissioned and built for him around 28 to 23 BC to commemorate his absolute rule. The Mausoleum of Augustus was built as a Roman tumulus mound around 89 metres in diameter and 40 metres in height. One of the theories regarding Augustus’ decision in building such large monuments was to challenge and or celebrate defeats of nations of power such as Antony and Cleopatra in the Battle of Actium. Constructing a larger tomb structurally and visually intimidates adversaries. The sheer size of the concrete construction indicates that even after his passing, Augustus will still maintain his omnipotent presence.
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The plan of the mausoleum also reveals the unique circular layout. It illustrates the ‘interior construction of five concentric walls’ with the ‘cella at the centre’. The buttress outer walls not only provide protection from vandalism or theft but also supports the ‘mass and weight of the earth’. Moreover, a passage from the entrance of the mausoleum leads into the inner walls that ‘were created for the funerary rites of circumambulation’ and other symbolic rituals dedicated to the gods and Augustus himself. The centre tomb was also created to house his body and deceased family members. Apart from the bodies of the dead, the tomb also includes plaques that commemorates his many achievements.
Furthermore, aside from the symbolic design of the mausoleum, the positioning of the royal tomb in relation to the topography of Campus Martius had great significance. Located by the Tiber River near the northern regions of Campus Martius, the mausoleum is directly across the Pantheon. Interestingly, both colossal structures are of circular forms. The arrangement of the two circular buildings amongst mostly orthogonal buildings aimed to express Augustus’s ‘progression from mortal to an immortal status’, alike the gods worshipped in the Pantheon. Ultimately, such a permanent and enormous burial chamber was to ensure that his presence, thus the longevity of his achievements and legacy will be memorialized long after his death.
The Ara Pacis is a monument located within north of Campus Martius near the Pantheon, designed after Augustus’s military campaign in Spain around 9 BC. The Altar represents Pax Augusta (peace of Roman Empire under Augustan rule). The monument also served as a chronicle and celebration of his conquest of throughout the Roman Empire through three-dimensional art forms. The monument is overlaid with intricate and highly textural carvings that is carved from Lunese marble from the Mediterranean’s. As many of Ancient Roman architecture was greatly influenced by the classical Greek style, not only was the techniques of the classical style adopted, the use of materials such as marble was also implemented in this structure. The use of marble, especially in large and or significant structures helps to state its pertinence.
Iconography has a major role in delivering intense and somewhat unfamiliar ideologies in accessible forms to garner support from all classes of citizens. The exterior walls were decorated with statuary like carvings of people related to Augustus such as his family and political allies. The altar portrays scenes of civilian life during that time, with animals, children and women shown performing agricultural tasks. The contrasting scenes on the other panels also show both the politics of the higher powers and the apparent serene and fulfilling lifestyle of Roman citizens. Other carvings depict figures in victorious scenes; one holding laurel wreath to symbolise victory, further implementing the idea of Augustus’s many victorious conquests. The Altar of Peace included obvious choices of deities such as the Pax (Goddess of Peace). The idea not only provides respect to the god, but further reinforce Augustus’s new regime that promised to bring peace and prosperity to the Roman citizens. Figures along the long friezes of the altar includes many figures related to Augustus; either familial, political and or religious. Political and religious figures display the authority of such members over the city as they support and strengthen Augustus’s principate. At face level, familial figures such as women and children provide people with less intimating figures that are softer and more congenial. However, the choice of including familial members aims to accentuate the prosperity of Augustus reign through his heirs and other authority of his family members. Portraying a unified family are vital for his success as autocracy and the power of his family was synonymous at the time. Furthermore, certain parts of the frieze has the inclusion of guest or hostage children from other places, suggesting his successful conquests outside of Rome and his control over the future generation as a result.
The propaganda through built forms and art made his schemes less overt, as the empire was moving from a democratic society to a dictatorship. The idea of propaganda through more visually appealing forms such as art and architecture instead of dialogue are repeated throughout many of Augustus’ buildings. The use of permanent marketing is more effective than ordinary acts of publicity such as speeches as they are limited to groups of people and are temporary, thus easily forgotten. Buildings are a large scale, permanent forms of promotion that constantly reminds all civilians the continuous triumphs of Augustus over the empire.
Augustus wielded his power to renew the old and develop the new parts of the city. In doing so, he sustained his figure as a supreme, godly leader. Of the countless buildings Augustus led to restore and construct, the Forum of Augustus with its Temple of Mars Ultor is one of the more renowned pieces of architecture that demonstrates his promotional schemes that solidified his authoritarian rule over the city of Rome. Such ideas were implemented through continuing Julius Caesar’s plan to pay respects to Mars (the God of War) by building the Temple of Mars Ultor within the his own forum. The Forum was constructed in 2 BC during major transitions of power and seats of within the government. The large and domineering structure aimed to evoke strong feeling of admiration and compliance from the citizens. This was achieved by the distinct arrangement and use of topography to devote the sacred space to the Roman Gods of War, Mars. Augustus utilizes the power of a god to connect his reign to the divine power of a deity.
The Forum was constructed with mostly marble, which is many reserved for the rich and privileged. However, Augustus’s new authority indicated more marble was imported from Africa to be used to build new structures, including civic spaces. Such bold decisions highlight his leadership and great sense of innovation, as he claimed to have “…found Rome built of bricks; and left her clothed in marble”. The white marble of implemented throughout the exterior and interior as not only was it a durable material but left a beautiful polished finish that exudes elegance and opulence. Aside from the notable use of marble, the use of Roman concrete as an all-purpose building material was included in certain aspects of the structure as another innovative creation during Augustus’s reign.
To reflect the apparent perfection of Augustus, the dedicated space must also equate to such precise excellence. This was achieved by the emphasis on proportion, scale, and symmetry. The overall design of the Forum was inspired by classical Greek architecture that symbolizes the transcendence of Augustus’ mortality to a status of divinity. Roman temples’ overall form, proportions and use of Orders were derived from Greek traditions, with that architecture style applied heavily to many of the buildings’ Augustus commissioned. A clear distinction from Greek to Augustus’ interpretation of classic architecture was that whilst the Romans kept the columns and decorative style, the idea of frontality was adopted instead of approaching the site at a perspectival angle. Viewers approach the building from the front, thus perceiving it as t a two-dimensional structure of perfect symmetry and proportion. The building asserts the grandiose and awe-inspiring mood by the extravagant solidity of the structure. However, Corinthian columns spanning around 30 metres held up the post and beam construction with the extension the upper column leading the viewer’s eyes upwards, providing an illusion of height. The entablature was also covered in detailed decorations of flora which is also harmonious with the leaves carved on the columns. Above was the richly decorated pediment, detailed with colorful imagery that of deities. However, it correspondingly uses the spacious interior to highlight the elegance of the space through the ample lighting the softly illuminates the interior, thus giving a sense of ethereality. The forum has pycnostyle columns (1.5 ratio spacing between each column) and followes the architectural traditions of the Late republic: with the inclusion of elements such as a high ‘podium’, an impressive front stair, a deep front porch and the cella, the house of the deity”. The elevated platform in the stairs allowed victory speeches and public meetings in take place. The raised podium also sets the contrast of status between Augustus and everyone peering up from below. Overall, this choice of planning and construction had the intention generating a sense of reverence and fear from the people. Such a strategic move also covertly.
His authority resulted in a significant revolution in the importance of built form during Ancient Rome. Augustus use of built forms promoted his longevity of a powerful ruler. His conquests as a military leader and emperor was showcase through monuments dedicated to him. To further reinforce his association to divinity, architecture was an enduring form of propaganda that rallied support for his campaigns. The numerous sites built in recognition of him only demonstrates is everlasting influence not only in Rome, but many years after his reign.
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