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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 impact 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 present energy. ''Imperium and Cosmos'' makes a speciality of Augustus' Mausoleum and Ustrinum (site of his cremation), the Horologium-Solarium (a giant sundial), and the Ara Pacis (Altar to Augustan Peace), all of which remodeled the northern Campus Martius right into a tribute to his lifestyles and an unlimited memorial for his deification after loss of life. Rehak heavily examines the inventive imagery on those monuments, delivering various illustrations, tables, and charts. In an research firmly contextualized by way of a radical dialogue of the sooner types and motifs that encouraged those Augustan monuments, Rehak indicates how the princeps used those on such an extraordinary scale as to actually increase himself above the typical citizen.

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The monuments, individually and collectively, thus became subjects for reflection and discussion, inviting the same sort of ecphrasis that smaller works of art like sculpture and painting do. The structures literally became a means for evaluating and assessing Augustus and his achievements. , for the Greek world, Bulloch et al. ). While the construction of the Mausoleum and Horologium-Solarium represented lavish outlays of effort, skill, and resources, all the monuments play with concepts of time—past, present, future—in order to commemorate Augustus.

Sequence of buildings in the Campus Martius Date Building Builder th century th century    ?    /  – ca.      ca. –   Temple of Vulcan Ara Martis Villa Publica Apollo in Circo/Medicus Temple of Bellona Jupiter Stator Jupiter Fulgur Volcanus in Campo Ferona in Campo Juturna Juno Curritis Temple of Neptune Hercules Custos Circus Flaminius Juno Regina Hercules and Muses Lares Permarini Castor and Pollux Porticus Octavia Porticus Metelli (enclosing Juno Regina and Jupiter Stator) Porticus Minucia Vetus (enclosing Lares Permarini) Fortuna Huiusce Diei Tomb of Sulla Theater of Pompey Tomb of Julia Amphitheatrum of Statilus Taurus Saepta Julia (Ovile) Hercules and Muses Romulus Numa Pompilius          –  ca.

Field of Dreams Architectural traces of Agrippa’s Pantheon survive under the preserved Hadrianic structure; these suggest the existence of a wide porch facing north, fronting a circular building open to the sky, rather than with a vaulted roof. On the assumption that the Augustan building faced north, several scholars have suggested that the Pantheon was oriented toward another circular structure  Roman feet to the north ( m): the Mausoleum of Augustus, which is approximately contemporary (Davies ).

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