1960/11/01 by Stefan Weinstock · 1 citation
Social Sciences · Arts and Humanities · #Classical Antiquity Studies #Historical, Religious, and Philosophical Studies #Ancient Mediterranean Archaeology and History #Altar #Skepticism #Art #Natural (archaeology) #Art history #Iconography #Ancient history #Classics #Philosophy #History #Archaeology #Theology
paper · doi:10.2307/298286
openalex publication_date 1960/11/01 · openalex created_date 2025/10/10 · openalex updated_date 2026/06/26
We call a monument Ara Pacis without any support from ancient tradition. It was Friedrich von Duhn who first so called it in 1879 and he justified it in the briefest fashion. He considered three sacrificial slabs and three processional slabs. He did not produce any analysis but based his case on the fact that some of those reliefs were discovered in the grounds of the Palazzo Fiano, that is on the Campus Martius, and that the Ara Pacis was built on the Campus Martius. That was all. Nevertheless, his conjecture was enthusiastically received: it was the golden age of classical archaeology, when numberless monuments were assigned to great Greek artists and great historical events and thus the foundations were laid for a more critical and sceptical study of Greek art. This scepticism destroyed many identifications but it never reached the Ara Pacis, and that I believe for special reasons. There was great excitement in the years after 1873 when Carl Humann discovered the great altar of Pergamum ; excavations began in 1878 with sensational results. Friedrich von Duhn made his ‘discovery’ in the following year and it concerned another great altar, but this time in Rome. He was clearly spellbound and so were his contemporaries. They did not ask for proof. In that atmosphere such credulity was natural. Yet however much the altar has been studied during the last eighty years the question has never been asked why it should be the Ara Pacis. My answer is that it is not. My first task, however, is to reconsider the evidence about Pax and I shall do this as if our altar did not exist. I shall return to it in the second part of my paper and end with the interpretation of a specimen relief, the sacrifice of Aeneas which seems to me the most revealing of the reliefs.