Side opposite Augustus
original north side
16th and 17th C. Drawings of Slabs
from the Processional Frieze
Beginning in the late 16th century, drawings were made recording these figural reliefs on blocks of marble that had recently been discovered. We now recognize that these drawings represent sections of the processional reliefs originally on the north and south sides of the Ara Pacis Augustae. However, there are no known ancient images of these reliefs and, during the Middle Ages and Renaissance, the original location of the Ara Pacis has been totally forgotten. Thus, even though these blocks were discovered near the original location of the monument, no one associated these reliefs with the Ara Pacis.
Nevertheless, the quality and importance of the reliefs was recognized and these drawings were done partly to document these impressive new discoveries. The drawings made in the 16th and 17th centuries usually agree closely in their imagery. Although they do not have the usual characteristics of documentary drawings, the Codex Vaticanus drawings have the fewest changes and most accurately record the reliefs as rediscovered (Codex Ursinianus by Ligorio and Panvinius; Vatican Library, Rome, Codex 3439.) As such, they are invaluable in helping us distinguish original carving from later additions and other changes.
In the drawings of slabs reproduced on this thumbnail page, we can note that 3 important heads in the 17th c. drawings are blank in the 16th c. drawings. This indicates that these new heads were either added in the drawings or, more likely, had already been added to the reliefs themselves before the 17th century drawings.
Drawings of reliefs from the original north side are illustrated on this page. Drawings of reliefs from the original south side with Augustus are illustrated in that section of this website.
TO ZOOM IN ON THE LARGE IMAGES, USE THE BUTTONS AT TOP-LEFT.
Tips for using this website
Late 16th century drawing (ca. 1568-1580 CE) by an anonymous artist of the fragment now in the collection of the Lourve, Paris (cf. 2 photos at right). Codex Ursinianus by Ligorio and Panvinius, 3439. Vatican Library, Rome. Photo: German Archaeological Institute, Rome. Reproduced with appreciation.
|
Original marble fragment in the colllection of the Louvre, Paris, originally at left of processional frieze. This photo taken with severe side lighting. "Plate XXII Ara Pacis: Roman Famiies in Procession on North Side". "Paris (Louvre) Alinari" Scanned from Toynbee, The Ara Pacis Reconsidered and Historical Art in Italy, London: British Academy, 1953, pl. 22. © The British Academy 1953. Reproduced by permission from Proceedings of the British Academy, vol. 39; with appreciation.
|
Taken by soft, diffused light - zoom in for detail. Original marble fragment in the Musée du Louvre, Paris (Inventaire Cp 6468, n. usuel Ma 1088, acquired 1863). Because it has almost no recarving and only slight restoration, the Louvre fragment is an especially important section of the processional frieze (cf. ompare image at far left). photo July 2012
|
Late 16th century drawing (ca.1568-1580 CE) by an anonymous artist, showing the slab which is now the first full slab from left of frieze. This drawing shows the artist attempting to record the fragment accurately, not adding missing portions (cf. 2 images at right), though not recording lower legs and feet. Codex Ursinianus by Ligorio and Panvinius, 3439. Vatican Library, Rome. Photo: German Archaeological Institute, Rome. Reproduced with appreciation.
|
Drawing by anonymous artist (ca. 1620-1657) of slab now reconstructed as first full slab from left of frieze. This drawing shows one foreground head not in the more accurate drawings at left. This head may already have been added to the relief itself or possibly was invented by the artist. Dal Pozzo-Albani Album II, f.22, n.8277. Royal Library, Windsor Castle. Scanned from J. M. C. Toynbee, The Ara Pacis Reconsidered and Historical Art in Roman Italy. London: Geoffrey Cumberledge, 1953. Proceedings of the British Academy (BSA/ ProcBritAc). Vol. 39 (1953), pl.xxxb. © The British Academy 1953. Reproduced by permission from Proceedings of the British Academy, vol. 39; with appreciation.
|
First full, complete slab from the left of frieze as now reconstructed on Ara Pacis. Any missing foreground heads have by now been added (cf. 2 early drawings at left). photo May 2010
|
Late 16th century drawing (ca. 1568-1580 CE) by an anonymous artist; showing the left of the 2 slabs now at center of frieze. This drawing shows the artist attempting to record the fragment accurately, not adding missing portions. Codex Ursinianus by Ligorio and Panvinius, 3439. Vatican Library, Rome. Photo: German Archaeological Institute, Rome. Reproduced with appreciation. |
Late 16th century drawing (ca. 1568-1580 CE) by an anonymous artist of right portion of 2 slabs at center of frieze. Codex Ursinianus by Ligorio and Panvinius, 3439. Vatican Library, Rome. Photo: German Archaeological Institute, Rome. Reproduced with appreciation.
|
The 2 joined slabs now at center of the frieze, as now installed on the Ara Pacis. The 2 drawings at left indicate which portions were original. Compare also the image below. photo May 2010
|
|
Drawing by anonymous artist (ca. 1620-1657) of the 2 slab at center of frieze as now installed on the Ara Pacis. The 2 earlier drawings (images immediatelty above) indicate that 3 major heads had been added either to the relief or in this drawing. The photo at right above shows which heads were added even later. Dal Pozzo-Albani Album II, f.23, n. 8278. Royal Library, Windsor Castle. Scanned from J. M. C. Toynbee, The Ara Pacis Reconsidered and Historical Art in Roman Italy. London: Geoffrey Cumberledge, 1953. Proceedings of the British Academy (BSA/ ProcBritAc). Vol. 39 (1953), pl.xxxa. © The British Academy 1953. Reproduced by permission from Proceedings of the British Academy, vol. 39; with appreciation. |
|
