The Ara Pacis Augustae, or Altar of Augustan Peace, consists of a central sacrificial altar enclosed by precinct walls made of
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
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. 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 and reinforcing its link to Rome’s ancestral ritual practices.
Exterior wall decoration panel 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, while more recent scholarship has examined how these images relate to Augustan ritual practice and ideological messaging.
Lower register The lower register shows a continuous
frieze of
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. 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. or
Numa Pompilius.On the opposite side, a female figure commonly interpreted as
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. The general compositions of these panels have been reconstructed through comparisons with coins, literary descriptions, and related Augustan artwork.
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
Pontifices,
Septemviri, and
Quindecimviri), Roman
magistrates carrying fasces. to show authority, attendants, and identifiable members of the imperial household (
Augustus,
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. 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. 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==