Ara Pacis

{{Short description|Ancient Roman religious monument in Rome, Italy}} {{Infobox museum | name = Altar of Augustan Peace | native_name = Ara Pacis Augustae | native_name_lang = it | image = Ara Pacis (SW).jpg | caption = The altar as reassembled, showing original western side | coordinates = {{Coord|41|54|23|N|12|28|32|E|region:IT-62_type:landmark|display=it}} |image_size=270 |mapframe-frame-width=270 |mapframe=yes |mapframe-caption=Click on the map for a fullscreen view |mapframe-zoom=13 |mapframe-marker=monument |mapframe-wikidata=yes }}

The '''{{Lang|la|Ara Pacis Augustae|italic=no}}''' ([[Latin]], "Altar of Augustan Peace"; commonly shortened to '''{{Lang|la|Ara Pacis|italic=no}}''') is an [[altar]] in [[Rome]] dedicated to the [[Pax Romana]].<ref>{{Cite web |title=Ara Pacis (article) {{!}} Early empire |url=https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/early-empire/a/ara-pacis |access-date=2023-04-09 |website=Khan Academy |language=en}}</ref> The monument was commissioned by the [[Roman Senate]] on July 4, 13 BC to honour the return of [[Augustus]] to Rome after three years in [[Hispania]] and [[Gaul]]<ref name="Ara Pacis Augustae">{{cite AV media | url=https://class.coursera.org/romanarchitecture-001/lecture/105 | title=Ara Pacis Augustae | publisher=Yale University | people=Diana E. E. Kleiner | medium=Multimedia presentation | access-date=2014-02-16 | archive-date=2017-11-07 | archive-url=https://web.archive.org/web/20171107021218/https://class.coursera.org/romanarchitecture-001/lecture/105 | url-status=dead }}</ref><ref>''[[#refResGestae|Res Gestae Divi Augusti]]'', 8.5, 12.2</ref> and consecrated on January 30, 9 BC.<ref name="crow">{{harvnb|Crow|2006|p=5}}</ref> Originally located on the northern outskirts of Rome, a [[Roman mile]] from the boundary of the ''[[pomerium]]'' on the west side of the [[Via Flaminia]],<ref>{{harvnb|Torelli|1982}}</ref> the Ara Pacis stood in the northeastern corner of the [[Campus Martius]], the former flood plain of the [[Tiber River]] and gradually became buried under {{convert|4|m|ft}} of silt deposits. It was reassembled in its current location, now the [[Museum of the Ara Pacis]], in 1938, turned 90° counterclockwise from its original orientation so that the original western side now faces south.

==Significance== [[File:Roma6705.jpg|thumb|View of the opposite (eastern) side with Tellus Panel at the left and Roma Panel at the right]] [[File:Paul Bigot horologium ara pacis.jpg|thumb|Map showing the original location of the Ara Pacis]]

The altar reflects the Augustan vision of [[Religion in ancient Rome|Roman civil religion]].<ref name=":1" /> The lower register of its [[frieze]] depicts agricultural imagery meant to evoke prosperity, abundance, and the renewed stability associated with the [[Pax Romana]].<ref name=":1" /><ref name=":3" /> As a whole, the monument functions both as a site of civic ritual and as a propaganda statement supporting Augustus's regime.<ref name=":1" /> The inclusion of the imperial household in the processional friezes further supports Augustus's efforts to legitimize dynastic succession and reconcile monarchical power with Roman cultural expectations.<ref name=":2" />

==Structure== [[File:Plan Ara Pacis Augustae.svg|thumb|upright|Plan of the Ara Pacis. North is at the left]]

The Ara Pacis Augustae, or Altar of Augustan Peace, consists of a central sacrificial altar enclosed by precinct walls made of [[Carrara marble|Luna marble]]. The monument sits on a podium and is entered from the west, where a small staircase would have led visitors into the open-air ritual space. The design combines a traditional Roman altar layout with carved marble panels that reflect Augustan religious and political themes.

===Altar=== The central altar preserves fragments of scenes illustrating the lex arae, or the rules for sacrifices performed there. The surviving reliefs show attendants leading animals for sacrifice, carved in a style common in the late Republic as seen in works like the [[Altar of Domitius Ahenobarbus]]. These scenes focus on depicting the actual ritual rather than decorative detail, highlighting the altar’s practical role within Augustan religious ceremonies.

The interior walls of the precinct feature a frieze of [[Bucranium|bucrania]] (ox skulls) alternating with garlands of fruit and flowers. These motifs were commonly used in Roman sacred art and often referred to ceremonial offerings and ritual purity.<ref name=":3">{{harvnb|Zanker|1990|p=117}}</ref> The lower part of the wall is carved to imitate wooden planks, connecting the monument to earlier altars traditionally placed at the boundaries of Rome’s pomerium<ref>Torelli, 29–30.</ref> and reinforcing its link to Rome’s ancestral ritual practices.

===Exterior wall decoration=== [[File:Ara_Pacis,_Tellus_panel.jpg|thumb|upright|Ara Pacis: the so-called [[Tellus (goddess)|Tellus]] panel]] [[File:RomaAraPacisDecorazioneVegetale.jpg|thumb|upright|Sculpted detail of the {{lang|la|Ara Pacis|italic=no}} (Altar of Peace), 13–9 BC]]

The exterior decoration of the Ara Pacis Augustae is divided into two main zones: the lower register, which contains the vegetal frieze, and the upper register, which features the processional and mythological panels. Together, these elements communicate both the natural prosperity associated with the Pax Augusta and the human and divine figures who supported Augustus’s political authority. Early interpretations emphasized fertility and cosmic symbolism,<ref name=":0">{{Cite journal |last=Van Buren |first=Albert W. |date=1913 |title=The Ara Pacis Augustae |url=https://doi.org/10.2307/296027 |journal=Journal of Roman Studies |volume=3 |pages=134–141 |doi=10.2307/296027 |issn=0075-4358}}</ref> while more recent scholarship has examined how these images relate to Augustan ritual practice and ideological messaging.<ref name=":1">{{harvnb|Holliday|1990|p=542}}</ref>

'''Lower register'''

The lower register shows a continuous [[frieze]] of [[Acanthus (plant)|acanthus]] scrolls filled with animals, small birds, insects, and mythological creatures. Scholars often interpret the twisting vines as symbols of growth, abundance, and the renewed prosperity associated with Augustus's rule.<ref name=":0" /> The careful and dense carvings create a decorative base for the more symbolic scenes above and it links the natural world to the altar's broader themes of peace and stability. [[File:Ara Pacis relieve 19.JPG|thumb|upright|[[goddess Roma|Roma]], the personification of Rome]]'''Upper register'''

'''Mythological panels:''' The upper register on the east and west sides contains four mythological scenes that relate to Rome’s origins, divine protection, and Augustan ideology. One well-preserved panel shows a seated female figure surrounded by children, vegetation, and personifications of breezes, plants, and animals. Scholars have proposed various identifications for her, such as [[Pax (goddess)|Pax]], Italia, [[Venus (mythology)|Venus]], or [[Tellus (mythology)|Tellus]], reflecting ongoing debate about the altar's symbolic emphasis on fertility, abundance, and civic harmony.<ref name=":2">{{Cite journal |last=Rehak |first=Paul |date=2001 |title=Aeneas or Numa? Rethinking the Meaning of the Ara Pacis Augustae |url=https://doi.org/10.2307/3177206 |journal=The Art Bulletin |volume=83 |issue=2 |pages=190 |doi=10.2307/3177206 |issn=0004-3079|url-access=subscription |hdl=1808/7063 |hdl-access=free }}</ref>

Another panel portrays a bearded figure performing a sacrifice. This figure was traditionally identified as [[Aeneas]], the Trojan ancestor of Rome’s founders, but modern scholars argue that he may instead represent [[Numa Pompilius]], Rome’s second king, whose association with peace and religious rites aligns closely with the altar's themes.<ref>{{Cite journal |last=Rehak |first=Paul |date=2001 |title=Aeneas or Numa? Rethinking the Meaning of the Ara Pacis Augustae |url=https://doi.org/10.2307/3177206 |journal=The Art Bulletin |volume=83 |issue=2 |pages=190 |doi=10.2307/3177206 |issn=0004-3079|url-access=subscription |hdl=1808/7063 |hdl-access=free }}</ref> [[File:Ara Pacis relieve 11.JPG|thumb|Relief showing a sacrifice performed by [[Aeneas]] or [[Numa Pompilius]].]]On the opposite side, a female figure commonly interpreted as [[Roma (personification)|Roma]] sits on a pile of captured weapons (war trophy), symbolizing victory and the peace that made the Pax Augusta possible.

A fourth, now-fragmentary panel also depicts a female figure linked with themes of foundation and peace, although its poor preservation makes the original composition uncertain.<ref>{{Cite journal |last=Rehak |first=Paul |date=2001 |title=Aeneas or Numa? Rethinking the Meaning of the Ara Pacis Augustae |url=https://doi.org/10.2307/3177206 |journal=The Art Bulletin |volume=83 |issue=2 |pages=190 |doi=10.2307/3177206 |issn=0004-3079|url-access=subscription |hdl=1808/7063 |hdl-access=free }}</ref> The general compositions of these panels have been reconstructed through comparisons with coins, literary descriptions, and related Augustan artwork.<ref name=":0" /><ref>{{Cite journal |last=Klemm |first=Alfred |date=2003-03-01 |title=Die Sonne, der Obelisk und die Ara Pacis Augustae/ The Sun, the Obelisk, and the Ara Pacis Augustae |url=https://doi.org/10.1515/zna-2003-2-301 |journal=Zeitschrift für Naturforschung A |volume=58 |issue=2-3 |pages=1–2 |doi=10.1515/zna-2003-2-301 |issn=1865-7109|doi-access=free }}</ref> [[File:RomaAraPacis ProcessioneNordParticolare.jpg|thumb|Ara Pacis: detail of the processional frieze showing priests at right and the Germanic hostage/guest (north face).]] [[File:RomaAraPacis ProcessioneSudParticolare.jpg|thumb|Ara Pacis: processional frieze showing members of the Imperial household (south face)]]

'''Processional friezes:''' The long processional friezes on the north and south walls depict a state ceremony held for the dedication of the altar. The figures are advancing toward the west side, where the sacrificial ritual would have taken place. The procession includes members from major priestly colleges (the [[Pontifex maximus|Pontifices]], [[Epulones|Septemviri]], and [[Quindecimviri sacris faciundis|Quindecimviri]]), Roman [[Magistrate|magistrates]] carrying fasces. to show authority, attendants, and identifiable members of the imperial household ([[Augustus]], [[Marcus Vipsanius Agrippa|Agrippa]], [[Livia]], [[Tiberius]], and Julia). The participants of the procession represent the religious and political power structure that supported Augustus and legitimized his rule. Women and children appear prominently in these scenes, a notable change from earlier Roman public monuments. Scholars often interpret their presence as reinforcing Augustus's social and moral reforms, particularly his emphasis on family life and generational continuity.<ref name=":1" /> The inclusion of several foreign children has been interpreted as a representation of Rome's expanding empire and integration of diversity under the Roman rule.<ref name=":2" /> The figures are carved in a naturalistic manner, with overlapping poses, and the artists use differences in clothing, hairstyles, and gestures to distinguish individuals and groups without relying on inscriptions.

==Excavation and conservation== [[File:Ara Pacis Roma 04.JPG|thumb|Section of the interior frieze, showing a damaged original section amid the modern reconstruction.]]{{external media | width = 210px | float = right | video1 =[http://smarthistory.khanacademy.org/ara-pacis.html Ara Pacis], [[Smarthistory]]<ref name="smarth">{{cite web | title =Ara Pacis | publisher =Smarthistory at Khan Academy | url =http://smarthistory.khanacademy.org/ara-pacis.html | access-date =December 17, 2012 }}</ref> }}Fragmentary sculptures from the Ara Pacis were first rediscovered in 1568, when portions of the frieze were uncovered beneath the [[Palazzo Peretti]] in Lucina (also known as [[Palazzo Fano-Almagià]]), near the basilica [[San Lorenzo in Lucina]] and the modern Via del Corso. Many of these early finds were eventually moved to collections such as the [[Villa Medici]], the [[Vatican Museums|Vatican]], the [[Uffizi]] and the [[Louvre]].

Further fragments were found in 1859 during excavations beneath the [[Cinema Nuovo Olimpia|Teatro Olimpia]], another property belonging to the Peretti family. Scholars recognized that these newly uncovered pieces belonged to the same monument as the earlier finds.

A major turning point happened in 1903, when, after [[Friedrich von Duhn]]'s identification of the reliefs as belonging to the Ara Pacis (1879–81), the Ministry of Public Education received a formal request to continue the excavations. Progress was made possible by the generosity of Edoardo Almagià, who gave permission for the exploration and funded the work. However, the excavations soon encountered structural risks to the [[Cinema Nuovo Olimpia|Teatro Olimpia]]. After recovering 53 fragments, approximately half of the surviving material, the excavation was called to a halt for safety reasons.

Urban redevelopment plans also influenced the site's history. In 1909, the Italian government approved the demolition of several buildings surrounding the [[Mausoleum of Augustus]] to bring the mausoleum back to view.<ref>{{Cite web|url=http://www.cittasostenibili.it/industriale/industriale_Scheda_7.htm|title=Scheda 6 FORMAZIONE DELLA CITTA' INDUSTRIALE XIX secolo}}</ref> After the First World War, in 1918, Oreste Mattirolo, the President of the ''Piedmontese Society of Archaeology and Fine Arts'', proposed assembling all known fragments to reconstruct the altar.<ref> BOLLETTINO della SOCIETÀ PIEMONTESE DI ARCHEOLOGIA E BELLE ARTI 4 (Jan-Dec. 1920), 1-28 --translated into English by Gaius Stern at academia.edu; {{Cite book|title=The Third Rome, 1922-43: The Making of the Fascist Capital|last=Kallis|first=Aristotele|year=2011}}</ref>

Demolition of buildings around the mausoleum officially began in 1932, part of broader transformations occurring throughout Rome at the time.<ref>{{Cite book|title=Il mondo classico nell'immaginario contemporaneo|last=Coccia|first=Benedetto|publisher=Apes|year=2008|pages=142}}</ref> In February 1937, the Italian Cabinet ordered the excavation and reconstruction of the Ara Pacis for the 2000th anniversary of the birth of Augustus. Engineers employed innovative techniques, including freezing approximately seventy cubic meters of soil under what was by then the [[Cinema Nuovo Olimpia]], to safely extract the remaining fragments.

Since the reconstruction had to be completed by 23 September 1938, and because only limited ancient material and documentation survived (primarily a few Roman coins), the project required significant artist intervention. The Italian artist [[Odoardo Ferretti]] assisted in designing the missing portions, allowing the fragments to be assembled into the monument's modern form.

=== Protective pavilion === In 1938 the finally reconstructed Ara was placed near the [[Mausoleum of Augustus]], and a big pavilion was built around it by architect [[Vittorio Ballio Morpurgo]] as part of [[Benito Mussolini]]'s attempt to create an ancient Roman "theme park" to glorify [[Kingdom of Italy#Fascist regime (1922–1943)|Fascist Italy]].<ref name="crow" /> Several dozen buildings surrounding the Mausoleum were levelled to free up space around the monument. This led to a great number of complaints from locals, starting a long series of arguments and criticisms of the Ara Pacis project. These arguments are ongoing despite the original pavilion being replaced by a new one in 2006, known as the "[[Museum of the Ara Pacis|Ara Pacis museum]]".

=== Museum of the Ara Pacis ===

The historic Fascist style building around the Altar, locally known as "teca del [[Vittorio Ballio Morpurgo|Morpurgo]]", was pulled down in 2006, and replaced by a glass and steel structure in modern style, designed by architect [[Richard Meier]]. The new cover building, which has been named "[[Museum of the Ara Pacis|Ara Pacis museum]]", now stands on the same site as Mussolini's structure.<ref name="crow" /> This new structure is much bigger than the previous one and it is divided into multiple rooms and sections besides the main one containing the altar.

Meier's building construction caused new arguments and criticism, after the ones which accompanied the first building construction, both from Roman inhabitants and foreign observers, probably due both to political memory tied to the pre-existing pavilion and to the visual impact of the new pavilion, which in the opinion of many is in stark contrast with surrounding historical buildings.

[[Nicolai Ouroussoff]], of ''[[The New York Times]]'' called the building "a contemporary expression of what can happen when an architect fetishizes his own style out of a sense of self-aggrandizement. Absurdly over-scale, it seems indifferent to the naked beauty of the dense and richly textured city around it."<ref>{{Cite news|last=Ouroussoff |first=Nicolai |author-link=Nicolai Ouroussoff |title=An Oracle of Modernism in Ancient Rome |url=https://www.nytimes.com/2006/09/25/arts/design/25paci.html?_r=1&oref=slogin |work=The New York Times |date=2006-09-25 |access-date=2007-02-28}}</ref> Former mayor [[Gianni Alemanno]], backed in July 2008 by culture undersecretary Francesco Maria Giro, pledged to tear down the new structure.<ref>{{Cite news|url=https://www.theguardian.com/artanddesign/2008/aug/13/architecture.art|title=I just don't get modern art, says Italy's culture minister|work=[[The Guardian]]|access-date=2008-08-13|first=Tom|last=Kington|date=13 August 2008 |location=London}}</ref><ref>{{Cite news|last=Sanderson |first=Rachel |author2=Mills, Don |title=Modern building stirs Roman passions |pages=A.19 |work=[[National Post]] |date=2006-04-22}}</ref><ref>{{cite news |title=Rome mayor vows to remove museum |url=https://news.bbc.co.uk/2/hi/europe/7379564.stm |quote=The city of Rome's newly elected right-wing mayor has caused waves by vowing to rip down a controversial museum created by a US architect. Gianni Alemanno said the Ara Pacis Museum, which encases a 2,000-year-old sacrificial altar, "will be removed". |work=[[BBC News]] |access-date=2008-08-17 |date=2008-05-02}}</ref> He later changed his stance on the building and has agreed with Mr. Meier to modifications including drastically reducing the height of the wall between an open-air space outside the museum and a busy road along the Tiber river. The city plans to build a wide pedestrian area along the river and run the road underneath it. "It's an improvement," says Meier, adding that "the reason that wall was there has to do with traffic and noise. Once that is eliminated, the idea of opening the piazza to the river is a good one." The mayor's office said Alemanno hopes to complete the project before the end of his term in 2013.<ref>[http://www.timesofmalta.com/articles/view/20100408/world/modern-scar-housing-roman-altar-to-be-modified.301780 ''Times of Malta'', press release] (accessed July 6, 2016)</ref>

==Gallery of reliefs== <gallery> File:Ara pacis Louvre.JPG|{{center|Ara Pacis relief in the [[Louvre Museum, Paris]].}} File:Ara Pacis relieve 25.JPG|{{center|Ara Pacis relief}} File:Ara Pacis relieve 26.JPG|{{center|Ara Pacis relief}} File:Ara Pacis relieve 27.JPG|{{center|Ara Pacis relief}} File:Ara Pacis relieve 28.JPG|{{center|Ara Pacis relief}} </gallery>

==See also== *{{annotated link|Temple of Hadrian}} *{{annotated link|Roman Forum}} *Naming of asteroid {{MoMP|100731|100731 Ara Pacis}} *[[Imperial cult (Ancient Rome)|Imperial cult]] *[[List of Ancient Roman temples]]

== References and notes == {{reflist}}

==Bibliography== * {{Cite journal | last=Crow | first =Charlotte | title =The Ara Pacis | journal =History Today | volume =56 | issue =6 |date=June 2006}} * {{Cite book | ref=refResGestae | last=Augustus | title=[[s:Res Gestae (Anon)|Res Gestae Divi Augusti]] |trans-title=The Achievements of the Deified Augustus |others=c. 14 AD }} * {{Cite journal |last=Galinsky|title=Venus in a relief of the Ara Pacis Augustae|journal=American Journal of Archaeology|volume=70|year=1966|issue=3|pages=223–243|doi=10.2307/501892|jstor=501892|s2cid=191379048 }} * {{Cite journal |last=Holliday|title=Time, History, and Ritual on the Ara Pacis Augustae|journal=The Art Bulletin|volume=72|issue=4|date=December 1990|pages=542–557|doi=10.2307/3045761|jstor=3045761}} * {{Cite journal|last=Sieveking|title=Zur Ara Pacis|journal=Jahresheft des Österreichischen Archeologischen Institut|volume=10|year=1907|language=de}} * {{Cite journal|last=Rehak|title=Rethinking the Meaning of the Ara Pacis Augustae|journal=The Art Bulletin|volume=83|year=2001|doi=10.2307/3177206|jstor=3177206|hdl=1808/7063|hdl-access=free}} * {{Cite book | ref=refWomen, Children, and Senators on the Ara Pacis Augustae | first=Gaius | last=Stern | title=[[Women, Children, and Senators on the Ara Pacis Augustae]] |place=Berkeley, CA| year=2006}} * {{Cite book | isbn=9780472081240|title=The power of images in the Age of Augustus|others=Translated by Alan Shapiro|first=Paul|last=Zanker|place=Ann Arbor, Mich.|publisher=University of Michigan Press|year=1990}} * {{Cite book |url=http://www.oxfordreference.com/view/10.1093/acref/9780192801463.001.0001/acref-9780192801463-e-187?rskey=vwaHo9&result=1&q=Ara%20Pacis |access-date=2 February 2013 |chapter=Āra Pācis |year=2007 |author= |title=Oxford Dictionary of the Classical World |editor-last=Roberts |editor-first=John |isbn=9780191727061 |publisher=Oxford University Press |archive-url=https://web.archive.org/web/20150504055011/http://www.oxfordreference.com/view/10.1093/acref/9780192801463.001.0001/acref-9780192801463-e-187?rskey=vwaHo9&result=1&q=Ara%20Pacis |archive-date=4 May 2015 |url-status=dead }} Subscription required. * {{cite book|isbn=0472081713|first=Mario|last=Torelli|publisher=University of Michigan Press|year=1982|title=Typology and Structure of Roman Historical Reliefs|location=Ann Arbor}} * {{cite book |first=Georges|last=Dumézil|title=L'Idéologie tripartie des Indo-Européens: réponse à MM. Walter Pötscher et Martin van den Bruwaene|publisher=Latomus|location=Brussels|year=1958|url=https://books.google.com/books?id=rLAUAAAAIAAJ|author-link=Georges Dumézil}} * {{cite book|title=Jupiter Mars Quirinus|isbn=2070220680|first=Georges|last=Dumézil|publisher=Gallimard|year=1941}} * {{cite journal|first=G.|last=Freibergs|title=Indo-European Tripartition and the Ara Pacis Augustae: An Excursus in Ideological Archeology|journal=Numen|volume=33|issue=1|date=June 1986|pages=3–32|doi=10.1163/156852786x00075}} * {{cite journal|first=Nancy|last=de Grummond|title=Pax Augusta and the Horae on the Ara Pacis Augustae|journal=American Journal of Archaeology|volume=94|year=1990|issue=4|pages=663–677|doi=10.2307/505125|jstor=505125}} * {{cite journal|title=Pax and the 'Ara Pacis'|first=Stefan|last=Weinstock|journal=The Journal of Roman Studies|volume=50|issue=1–2|year=1960|pages=44–58|doi=10.2307/298286|jstor=298286|s2cid=161690264 }}

==Further reading== {{Library resources box |by=no |onlinebooks=yes |others=yes |about=yes |label=Ara Pacis Augustae |viaf= |lccn= |lcheading= |wikititle= }} * Conlin, Diane Atnally (1997). ''The Artists of the Ara Pacis: The Process of Hellenization in Roman Relief Sculpture'' (Studies in the History of Greece and Rome). University of North Carolina Press. * Peter J. Holliday (December 1990), "Time, History, and Ritual on the Ara Pacis Augustae" ''The Art Bulletin'' '''72'''.4. pp. 542-557. {{doi|10.2307/3045761}}. * Rossini, Orietta (2006). ''Ara Pacis'', Milan, Electa. {{ISBN|88-370-4379-1}}. * Sebastiani, Alessandro (2023). ''Ancient Rome and the Modern Italian State. Ideological Placemaking, Archaeology, and Architecture 1870–1945'', Cambridge, Cambridge University Press. {{ISBN|978-1009354103}}.

==External links== {{Commons}} * [https://arapacis.it/en Official web site of the Ara Pacis Museum of Rome, English version] * [http://cdm.reed.edu/ara-pacis/ Comprehensive, high quality photo documentation of the Ara Pacis Augustae] * [https://penelope.uchicago.edu/Thayer/E/Gazetteer/Places/Europe/Italy/Lazio/Roma/Rome/_Texts/PLATOP*/Ara_Pacis.html Samuel Ball Platner, ''A Topographical Dictionary of Ancient Rome'': Ara Pacis] * [https://arachne.uni-koeln.de/arapacis/index.html Browser with high-quality images] * [https://penelope.uchicago.edu/Thayer/E/Gazetteer/Places/Europe/Italy/Lazio/Roma/Rome/Ara_Pacis/home.html Several pages with photos of the sculpture] * [http://employees.oneonta.edu/farberas/arth/arth200/politics/roman_imp_sculpt.html "Roman Power and Roman Imperial Sculpture"] * [https://web.archive.org/web/20070205084911/http://travel2.nytimes.com/2006/09/25/arts/design/25paci.html "An Oracle of Modernism in Ancient Rome"] by Nicolai Ouroussoff, ''The New York Times'', September 25 2006 * [http://cdm.reed.edu/ara-pacis/bibliography.php/ Ara Pacis Bibliography annotated with links] * [[Moreno Maggi]], [https://web.archive.org/web/20130618042827/http://www.morenomaggi.com/portfolio-richard-meier ''A black and white photographic insight about Richard Meier's Ara Pacis in Rome''] * [https://web.archive.org/web/20140718080738/http://www.go-2-nice-places.com/2014/06/altar-of-augustan-peace.html Ara Pacis photos] * "Ara Pacis", [https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/early-empire/a/ara-pacis Smarthistory essay] by Dr. Jeffrey Becker. * High-resolution 360° Panoramas and Images of [https://mcid.mcah.columbia.edu/art-atlas/ancient-and-early-christian-sites-rome/ara-pacis Ara Pacis | Art Atlas] * [http://www.engramma.it/eOS2/index.php?id_articolo=38 Riferimenti diretti all'Ara Pacis Augustae nelle fonti letterarie e iconografiche antiche. Una galleria, in “La Rivista di Engramma” n. 58 giugno/agosto 2007] {{Webarchive|url=https://web.archive.org/web/20170708160729/http://www.engramma.it/eOS2/index.php?id_articolo=38 |date=2017-07-08 }} * [http://www.engramma.it/eOS2/index.php?id_articolo=1801 Simona Dolari, Riscoperta e fortuna dei rilievi dell'Ara Pacis nell'età della Rinascita, in “La Rivista di Engramma” n. 75 ottobre/novembre 200] {{Webarchive|url=https://web.archive.org/web/20170615101803/http://www.engramma.it/eOS2/index.php?id_articolo=1801 |date=2017-06-15 }} 9 * [http://www.engramma.it/eOS2/index.php?id_articolo=1803 Simona Dolari, Ara Pacis 1938. Storia di una anastilosi difficile, in “La Rivista di Engramma” n. 75 ottobre/novembre 2009] {{Webarchive|url=https://web.archive.org/web/20170615094228/http://www.engramma.it/eOS2/index.php?id_articolo=1803 |date=2017-06-15 }} * Castriota, David, ''The Ara Pacis Augustae and the Imagery of Abundance in Later Greek and Early Roman Imperial Art'', Princeton University Press, 1995, [https://web.archive.org/web/20121123075403/http://bmcr.brynmawr.edu/1995/95.09.05.html ''Bryn Mawr Classical Review'' 95.09.05], reviewed by [[Jas Elsner]]. * {{cite book |first=M. |last=Lucentini |title=The Rome Guide: Step by Step through History's Greatest City|date=31 December 2012 |publisher=Interlink |isbn=9781623710088 |url=https://books.google.com/books?id=laMDAQAAQBAJ}}

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