Imperium and Cosmos: Augustus and the Northern Campus by Paul Rehak

By Paul Rehak

Caesar Augustus promoted a modest snapshot of himself because the first between equals (princeps), a characterization that was once as famous with the traditional Romans because it is with many students this present day. Paul Rehak argues by contrast effect of humility and means that Augustus sought immortality - an everlasting glory won via planned making plans for his area of interest in background whereas flexing his latest strength. ''Imperium and Cosmos'' makes a speciality of Augustus' Mausoleum and Ustrinum (site of his cremation), the Horologium-Solarium (a huge sundial), and the Ara Pacis (Altar to Augustan Peace), all of which remodeled the northern Campus Martius right into a tribute to his existence and an unlimited memorial for his deification after dying. Rehak heavily examines the inventive imagery on those monuments, offering various illustrations, tables, and charts. In an research firmly contextualized by means of an intensive dialogue of the sooner versions and motifs that encouraged those Augustan monuments, Rehak exhibits how the princeps used those on such an unheard of scale as to really raise himself above the typical citizen.

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Extra resources for Imperium and Cosmos: Augustus and the Northern Campus Martius

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Although this hypothesis is attractive, we should note that the entrance of the Mausoleum was oriented slightly to the west of the proposed line that connects the two buildings; thus, it is clear that the two structures were not precisely aligned, even if they were connected by lines of sight. The Basilica of Neptune is contemporary with the Pantheon, and its general location immediately south of the Hadrianic Pantheon is known, though its function and decoration are unknown (Cordischi ). Situated nearby were the Thermae and Stagnum Agrippae, both presumably fed by Agrippa’s aqueduct, the Aqua Virgo, which was completed in , at which time the baths, perhaps begun in , could have been used to their full capacity.

Thus, through the manipulation of space and architecture, Augustus created a direct physical link between himself and some of the major divinities of the Roman pantheon: Apollo Palatinus, Magna Mater, and Victoria (D. Thompson ; Zanker ; Kellum ; Lefèvre ; Royo ). After he became head of the state religious apparatus (pontifex maximus) in  BCE, Augustus installed a shrine and statue of Vesta there  Metaphor and Reality as well, and used his religious authority to reallocate public space by making part of his home public property (domus publica; Lecamore –).

It was clear at the time that Pompey was elsewhere proclaiming himself a world conqueror; an inscription at Miletopolis identifies him as “warden of land and sea” (Dessau –, ; cf. –). –). Thus Pompey modeled humility for other generals—including Augustus—to emulate and improve upon. The spoils displayed in the Circus Flaminius and then paraded through the streets of Rome were meant to astonish and impress: a huge game board of precious minerals, a golden moon weighing thirty pounds, three gold dining couches, enough gem-encrusted gold vessels to fill nine display stands, and gold statues of Minerva, Mars, and Apollo.

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