Augustus's Rome, 2000 Years Later

Modern bronze copy of the Augustus of Prima Porta, Via dei Fori Imperiali,

© Alice Barigelli

I love anniversaries and meaningful dates, and this year has been full of them. Back in February we commemorated the 450^th anniversary of the death of the great Michelangelo, in April we celebrated the 450^th birthday of Shakespeare and remembered the 300^th anniversary of the passing of El Greco. This year has also seen important anniversaries of events that have changed history, from the toppling of the Berlin Wall (25 years ago), to the passing of the Civil Rights Act (50 years ago), to D-Day (70 years ago), to the opening of the Panama Canal and onset of World War One (both 100 years ago).

But the most awe-inspiring and moment-of-silence-worthy of all, particularly for those of us who love big, round numbers (and happen to live and breathe ancient Roman history), is the 2000^th anniversary of the death of Emperor Augustus.

Detail of the Augustus of Labicana, Museo Nazionale Romano a Palazzo Massimo (source)

Exactly 2000 years ago today, on 19 August A.D. 14, Emperor Augustus, born Gaius Octavius and the first emperor of Rome, breathed his last. Throughout his long life, Octavius wore many hats, and carried many titles. He was known as Princeps (the “first” citizen of Rome), Divi Filius (the son of the divine, in reference to his great-uncle and adopted father, the deified Julius Caesar), Augustus (illustrious one), Pater Patriae (father of his country), and, of course, Caesar, a family name that would eventually become synonymous with the term “emperor.” His official roles were just as varied, from Consul (Rome’s highest elected office) to Pontifex Maximus (high priest) and eventually Imperator (military commander).

During his 41-year reign (the longest of any Roman emperor), Augustus built enduring monuments, developed the city’s infrastructure, and established the Pax Romana, the empire’s most enduring period of peace. If you’re in Rome today and have nothing more important to do (and really, in the middle of August, what else could you possibly have to do?), I suggest commemorating the extraordinary man’s death with a tour of his greatest monuments and portraits.

Ara Pacis (source)

The best way to appreciate Augustus’s footprint on the fabric of his city is to take a tour of the works he built. He was credited with the line, “I inherited Rome a city of brick; I left it a city of marble,” and whether or not he actually said it, the words certainly ring true. Perhaps the most recognizable of the monuments in his legacy is the Ara Pacis (Lungotevere in Augusta). Although the first years of his reign were marred by war, Augustus’s dedication to restoring peace to the empire was what set him apart from the leaders who would follow him. The majestic white marble Altar of Peace was inaugurated in 9 BC to celebrate the peace brought to the empire by Augustus’s military victories in Hispania and Gaul. Although partially reconstructed, the altar nevertheless possesses much of its original bas-relief decoration, depicting Roman myths, scenes of ritual sacrifice, intricate garlands, and a procession of Augustus and other members of the imperial family. 

Ara Pacis illuminated (source)

Despite the modern misconception that ancient Rome was a city of gleaming white marble, in actual fact, Roman marble buildings were generally painted in bright vibrant colors, and this was certainly the case with the Ara Pacis. In honor of this big anniversary, the exquisite monument will be illuminated with colored laser beams to recreate what it most likely looked like in the emperor's day. This is not the first time this technique has been used (see my post: Real Rome: The Ara Pacis in Technicolor), but it is always spectacular to behold. You can visit tonight from 9pm to midnight without a reservation.

Il Viaggio nel Foro di Augusto, © Andrea Franceschini, courtesy of Zetema Group

In the heart of the Imperial Fora, found partially excavated alongside right and left of Via dei Fori Imperiali, the Forum of Augustus was the physical representation of Augustus’s power. The forum incorporates the Temple of Mars Ultor (the avenging god of war) and was at the time considered “greater than any in existence.” While not completed until 2 BC, the temple was first planned by Augustus after he successfully avenged Caesar, killing his assassins Brutus and Cassius in 42 BC. Just in time for the big anniversary, the forum comes to life in a summer-long project that helps visitors experience the site as it once was. 

Il Viaggio nel Foro di Augusto,

© Andrea Franceschini, courtesy of Zetema Group

Every night, a digital multi-media show recreates the original appearance of the forum before your very eyes. Audience members are provided with earphones with audio in six languages, while the images and animation are projected directly onto the walls of the forum. Visit www.viaggionelforodiaugusto.it for more details.

Interior of the House of Augustus, Palatine Hill (source)

Unlike the emperors who would succeed him, Augustus lived not in an opulent palace but a comfortable, tasteful home. He chose to live on the Palatine Hill (as would his successors) to underline his connection to Romulus and Remus, the twin founders of Rome who were raised, according to legend, on the very same hill seven centuries earlier, and where Augustus himself was born. Despite its relatively small size, the House of Augustus is celebrated for its superb second-style Pompeian frescoes in vibrant red, black, yellow, purple, and green. See the glorious and well-preserved works in several rooms, including the mysterious Room of the Masks and Augustus’s own study, an intimate haven he called “Siracusa.” When visiting the Palatine Hill, keep in mind that this particular site is only open Mon, Wed, Thu, Sat, and Sun, from 8:30am to 1:30pm. (It’s always a good idea to call and double check if it’s open: 060608.)

Mausoleum of Augustus (source)

Built in 28 BC, the Mausoleum of Augustus (Piazza Augusto Imperatore) is perhaps the most neglected of Rome’s ancient sights. Over the centuries, it has been the victim of cannon fire, earthquake, abandonment, and vandalism, and during its long life has been used as a fortress, a bullring, and a concert hall. But thanks to sturdy defensive walls, some 15 feet thick and 50 feet tall, the site has survived against all odds. Although the mausoleum has been closed for decades, this year’s milestone has been the impetus for the city to pledge €12 million to its restoration and eventual reopening. Although this site is *never* open, it is today! To commemorate this once-in-a-millennium anniversary, the city of Rome is opening the mausoleum for three guided tours this morning. I’ll be there at 9:30, and documenting my visit on Twitter (if I’m allowed to take photographs, that is). If you see this in time, call 060608 and you might just be in time to join one of the groups.

Theater of Marcellus (source)

A few other sites that shouldn’t be missed and are all within walking distance of one another: the Theater of Marcellus (Via del Teatro Marcello), an imposing performing arts center and the second-largest theater in ancient Rome, was built by Augustus in 13 BC and is crowned by a still-inhabited palace built in the Renaissance. (All month long, the theater’s purpose is revived with classical musical performances staged just outside the towering structure. Check out www.tempietto.it for a full list of performances.) The Portico of Octavia (Via di Portico d’Ottavia) is another Augustean site, once a vast cultural and religious center, although sadly little survives today beyond its entrance gate, which is currently hidden under a dreary layer of scaffolding. The Obelisk of Montecitorio (Piazza Montecitorio) (originally from Heliopolis and dating to the 6^th century BC) was brought from Egypt to Rome by the emperor in 10 BC to be used as the pointer of his massive sundial that spread across the Campus Martius neighborhood. The 70-foot monolith cast a shadow across the Ara Pacis on Augustus’s birthday (23 September), a not-so-subtle hint that he was born to bring peace to the empire.

Augustus of Prima Porta, Musei Vaticani, Source: Wiki Commons

Get to know the man up close by studying one (or more) of his many portraits, located in museums across the city. By far the most famous is the Augustus of Prima Porta. This larger-than-life-sized marble sculpture depicting Augustus in the role of imperator, or military commander, was discovered in 1863 in the ruins of the Villa of Livia, in an area that was once countryside and is now on the northern outskirts of the city. The commanding work now has its residence in the Braccio Nuovo section of the Vatican Museums (Viale Vaticano).  

Bust of the Divine Augustus, Musei Vaticani,
© Nick Thompson

Also displayed at the Vatican, in the welcoming Pinecone Courtyard, is an enormous posthumous portrait of the Divine Augustus, discovered in the 16^th century on the Aventine Hill. Another celebrated portrait is the Augustus of Via Labicana. Located today at the National Roman Museum at Palazzo Massimo (Largo di Villa Peretti, 1), this moving work represents a togaed Augustus in his role as Pontifex Maximus, Rome’s spiritual leader. The Hall of the Emperors at the Capitoline Museums (Piazza del Campidoglio, 1) displays the Ottaviano Capitolino, an important early bust of Augustus, showing him as a determined, ambitious, yet vulnerable young man. But you don’t have to visit a museum to find a portrait of Rome’s favorite leader. A modern bronze copy of the Prima Porta statue stands in front of Augustus’s forum along Via dei Fori Imperiali.

Ottaviano Capitolino, Capitoline Museums, Source: Wiki Commons

“If I have played my part well, clap your hands and dismiss me with applause from the stage.”

—Augustus’s last words

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Michelangelo's Rome, 450 Years Later

What better way to celebrate Michelangelo's long life and immense body of work, than spending the 450th anniversary of his death taking a tour of his works. If you're lucky enough to be in his hometown of Florence today, you'll have even more opportunity to do so. But here in Rome, where Michelangelo lived and worked for much of his life, there's still a lot to see.

It is not often that one of an artist's earliest works becomes appreciated as one of his greatest masterpieces, but such is the case with the Pietà, sculpted in the last years of the 15th century, when Michelangelo was barely 25 years old.

Detail of the Pietà, Michelangelo, St. Peter's Basilica, Rome [source]

So much could be––and has been––said about this work, that I can't even scratch the surface in this little post, so I won't try. One curiosity is that it is the only work that Michelangelo ever signed, according to legend because he was frustrated that he was not receiving the proper recognition for the work, as he was new to Rome when he created it, and not yet well known there. He did this in secret, after the work had been completed and presented, and in fact, he was in such a hurry that he made a few mistakes! If you look closely you can see that he even misspelled his own name, leaving out a few letters and inserting them inside of others. I guess no one is perfect, although he came as close as anyone on Earth ever did, I'd wager.

Detail of the Pietà, signature, Michelangelo, St. Peter's Basilica [source]

After a stint in Florence, during which Michelangelo sculpted the David, he was back in Rome and working, against his will, on the ceiling of the Sistine Chapel, from 1508 to 1512. There are probably close to 7 trillion blog posts about the Sistine Chapel, so I won't bore you with another, but I will post my absolute favorite image from the ceiling. This glorious lady is the Libyan Sybil, called Phemonoe, who foretold of the "coming of the day when that which is hidden will be revealed." I have stood in the Sistine Chapel over one thousand times, and of the some three hundred figures on the ceiling, this is the one that has struck me over and over.

The Libyan Sybil, detail from the ceiling of the Sistine Chapel, Michelangelo 

[source]

Sometimes looking at a great artist's plans and sketches is more revealing that looking at the finished version. Here are Michelangelo's studies for the Libyan Sybil.

Studies for the Libyan Sybil, Michelangelo [source]

The great tragedy of Michelangelo's life was that, due to forces beyond his control, he was never given the time and space to complete the tomb of Pope Julius II, the work that he believed was going to make his career and put him on the map. He of course couldn't know that he would one day be remembered as one of the greatest––if not the greatest––artists who ever lived, and he didn't need the tomb to prove that. His only completed figure of the planned tomb is the Moses, and it is only by standing in front it that you can get a true sense of its power and majesty. It is almost unbelievable that Michelangelo made drastic changes to this work, specifically changing the positioning of the left leg.

Moses, Michelangelo, San Pietro in Vincoli church, Rome [source]

I love this whimsical drawing of what it might have been like to witness Michelangelo at work on the Moses. Somehow I doubt he would have had knights and nobles loitering around his studio while he worked, and since the work was sculpted between 1513 and 1515, this image makes the artist look a little old. But it does give you the idea of the size of the great work.

[source]

It's impossible to call any work by Michelangelo "little known," but in Rome, at least this one might come close. After delighting in Gian Lorenzo Bernini's Elefantino in the piazza outside, venture inside the glorious Gothic church of Santa Maria sopra Minerva (with its starry blue ceiling that looks something like what the ceiling of the Sistine Chapel looked like before our hero got his hands on it), to find the Risen Christ, sculpted by Michelangelo between 1519 and 1521.

The Risen Christ, Michelangelo, Santa Maria sopra Minerva church, Rome [source]

From 1536 to 1541, Michelangelo found himself back in the Sistine Chapel frescoing another colossal work of art. The Last Judgement is about as different from the chapel's ceiling as one work can be from another by the same artist. Sadly, by the 1530s, the Renaissance was over, and the Counter Reformation had come to Rome. What did that mean for art? Lots of hell and damnation to scare those naughty Protestants into coming back to the Mother Church. And it also meant that shortly after Michelangelo's death, this work would be vandalized by Daniele da Volterra (but don't blame him; he was forced to do it), who added lots of scarves and other modest coverings to some of the more scandalous figures.

The Last Judgement, Michelangelo, Sistine Chapel [source]

Don't forget that Michelangelo was not only a sculptor and a frescoist; he was an architect too. Talk about a Renaissance man! From 1536 to 1546, more or less the same period he was working on The Last Judgement, Michelangelo was also redesigning the entire Capitoline Area, reversing the orientation of the square so that it turned its back on the ancient ruins of Rome's past, and looked instead toward the Vatican, and providing the Palazzo Senatorio with a new Renaissance facade. He also designed the glorious starburst pavement in the center of the square (which I love so much that I chose it as my wedding symbol), and which was not actually laid out as Michelangelo had desired until 1940.

Piazza del Campidoglio, Michelangelo, Rome [source]

In 1547, Michelangelo began designs for the dome of St. Peter's Basilica. This would be his last major work, and for the twelve years that he worked on it, he refused to receive any payment. He realized that his life was drawing to a close, and he chose to create this masterpiece for the glory of God alone, as a kind of final offering. Although the dome was not completed until after his death, his designs were adhered to with only a few exceptions.

Dome of St. Peter's Basilica, Michelangelo [source]

Michelangelo's very last project, built between 1562 and his death in 1564, is the church of Santa Maria degli Angeli e dei Martiri, an ingenious structure in which he created a Renaissance church out of a section of the ruins of the Roman bath complex, the Terme di Diocleziano. It is a stunning place to visit, however, some unfortunate "restorations" in 1749 by Luigi Vanvitelli take away significantly from the simple harmony of Michelangelo's design.

Santa Maria degli Angeli e dei Martiri, Michelangelo, Rome [source]

This list is not quite conclusive of the works by Michelangelo in Rome. To be exhaustive, I'd have to add Palazzo Farnese, a project Michelangelo took over after Antonio da Sangallo, the arch of Via Giulia, that was originally meant to be a private bridge across the Tiber, just for the Farnese family, to link their palace with their "country" home, Villa Farnesina, and of course the magnificent frescoes in the Pauline Chapel in the Vatican. The Pauline Chapel is, alas, not open to the public and its unlikely that it ever will be, as it is the pope's private chapel. But we can dream, right?

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The fable of Cupid and Psyche at Castel Sant'Angelo

The fable of Cupid and Psyche is the subject of a new exhibit at the Castel Sant'Angelo that opened this past Friday. I was particularly looking forward to this exhibit because I love anything that has a theme. Don't get me wrong, retrospective exhibitions on some of the world's greatest artists, like Tintoretto, Guercino and Dalì are enthralling, but it's nice to change things up and see a show like this that illustrates a story through works of art that span the centuries.

Cupid and Psyche kiss, 2nd half of 2nd century AD, Capitoline Museums, Rome

The fable of Cupid and Psyche (Amore e Psiche in Italian) first appears in L'asino d'oro (The Golden Ass) written by Lucius Apuleius in the 2nd century AD, although the tale existed in oral tradition much earlier, as some of the works in this exhibit prove.

Psyche discovers Cupid, Jacopo Zucchi, Galleria Borghese, Rome

The story begins as an old woman recounts the tale of Cupid and Psyche to a young woman. This introductory scene is depicted in the tapestry below.

An old woman narrates the tale of Cupid and Psyche, French school, 1750 ca, Palazzo del Quirinale, Roma

 Psyche (whose name means either 'soul' or 'butterfly') is the youngest of three daughters of a king. (Although Psyche is sometimes depicted with butterfly wings, she is a mortal.) Although all three sisters are lovely, Psyche is the most beautiful by far, and people come from distant lands just for the pleasure of admiring her beauty. As you can imagine, this causes Venus, the goddess of beauty, to become enraged with jealousy.

Porcelain jasper medal depicting Psyche, Josiah Wedgwood, late 18th century. Fitzwilliam Museum, Cambridge

Venus cannot bear the thought that a mere mortal should be more admired than her, so she convinces her son Cupid to visit the girl while she is sleeping and pierce her with his arrow, planning to arrange for a hideous monster to be the first thing Psyche sees (and therefore falls in love with) upon awakening.

Cupid and Psyche, Limoges, mid-16th century, National Renaissance Museum, Ecouen

Cupid makes himself invisible as he sets about his task, but just as he is about to pierce Psyche with his arrow, she wakes up and even though he is invisible, she looks straight into his eyes. Distracted by her beauty, he accidentally pierces himself instead and falls deeply in love with her. Unable to complete his mission, he returns to Venus and tells her what happened. Venus is furious and curses Psyche so that no man will ever propose to her.

Cupid is so distraught that he neglects his duty of causing mortals to fall in love. No one is marrying or mating, not even the animals! In order to get the world back to rights again, Venus gives in and allows Cupid to marry Psyche.

Meanwhile, because of Venus' curse, poor beautiful Psyche has had no offers of marriage, and after consulting an oracle, her father the king reluctantly abandons her on a mountaintop where is to be married to a mysterious being. Once there, the Zephyrs, spirits of the west wind, carry her off to a sumptuous palace in a paradise-like setting.

Psyche transported by Zephyrs, John Gibson, mid-19th century, Palazzo Corsini, Roma

After being waited on by invisible servants, Psyche retires for the night. Cupid at last arrives, but he does not want Psyche to know who he is, not yet, so he only visits her at night, under the cover of darkness. As the weeks pass, Psyche longs to know what her husband looks like, but Cupid forbids it. Despite her luxurious surroundings, Psyche soon becomes lonely and Cupid allows her sisters to come visit her. Envious of her magnificent palace, they try to convince her that her husband is a vicious snake who will devour her before long. Overcome by curiosity and dread, one night she brings a lamp (and a knife, just in case) into their bedroom while her mysterious husband sleeps.

Psyche discovers Cupid, Simon Vouet, Musée des Beaux Arts, Lyon

Just as she sees him for the first time, she just happens to scratch herself on one of his arrows and is overcome with desire for him. As she covers him with kisses, a bit of oil from her lamp falls on him and awakens him (as if all the kisses wouldn't have). Furious at her for disobeying him, he flees into the night.

Cupid abandons Psyche, Joseph Heinz, National German Museum, Nuremberg

Psyche is now left alone and very much in love. She decides to go in search of her husband, visiting the temples of both Ceres and Juno. Both tell her there is only one goddess who can help her: Venus. The naive girl takes their advice and begs Venus to tell her where she can find Cupid. Venus has still not gotten over her jealousy of Psyche, so she gives her a series of impossible (and dangerous) tasks.

Psyche abandoned, Giovanni Cappelli, Galleria Museo e Medagliere Estens, Modena

After Psyche has successfully (and safely) completed all three tasks, aided every time by helpful animals and gods along the way, the furious Venus sets her on a quest that she could not possibly complete. She sends her to the Underworld to bring back a portion of Proserpina's beauty (apparently Venus had lost some of her own by stressing over the lovelorn Cupid).

Psyche alata, 2nd century AD, Capitoline Museums, Rome

Just as Psyche is about to commit suicide (the only way she can think of to reach the Underworld), the very tower she is about to throw herself off of speaks to her, telling her not only the route to reach the Underworld alive and how to get back, but also how to get past the three-headed dog, Cerberus (not to be confused with Fluffy: he likes music; Cerberus is appeased with a piece of cake) as well as other tricks of surviving the fire swamp, I mean, the Underworld (oops, wrong fairy tale).

Psyche tormented in the Underworld, 300 AD, National Archeological Museum, Napoli

Psyche has a hard time in the Underworld, as the reliefs on this ancient sarcophagus show, but she eventually survives, with a bottle full of beauty to show for her efforts. On her way to bring her trophy to Venus, she figures it can't hurt to pilfer a little beauty for herself, but when she opens it up, she finds that the bottle actually contains overpowering slumber. She collapses.

Cupid revives the fainted Psyche, Bertel Thorvaldsen, Thorvaldsen Museum, Copenhagan

Cupid, who in the mean time has forgiven her and realized he cannot live without her, rushes to her side to revive her, but quickly flies off again before she sees him. He hurries to Mount Olympus where he entreats Jupiter to allow thme to be together eternally. Jupiter agrees to Cupid's plea and Psyche is brought to Mount Olympus where the two lovers' wedding is celebrated with a banquet, and the bride is granted immortality.

Cupid and Psyche embrace, beginning of 1st century BC, Archeological Museum, Pella

So like all good fairy tales, it ends happily, except for one thing: how would you like to have Venus as a mother-in-law?

All of these gorgeous works, spanning 21 centuries and in such varied mediums as marble, terracotta, ceramic, tapestry, jewelry and oil, are all on display (along with numerous others) at this marvelous new exhibit. For practical information about the exhibit, check out my Exhibits on Now page.

While this exhibit may be temporary, you can see glorious works of art depicting these two young lovers at Villa Farnesina any time! 

All images are provided courtesy of Studio Begnini Press Office and may not be reproduced.

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