Propaganda in Augustan Rome

Roman Emperor Augustus employed propaganda as he ascended to power.

Augustus employed several forms of artwork and literature to promote the image of the enforcer of the Pax Romana ('Roman Peace', a.k.a. the Pax Augusta).^[1] Augustus’ wide range of propaganda targeted all aspects of Roman society: art, architecture and coinage to appeal to the general populace, and literature such as poetry and history for the wealthy upper class.

Augustus’ family, especially the women, played a pivotal role in helping to maintain the Principate. His family acted as examples of the ideal Roman citizen. This aspect is clearly enunciated through the responsibility of his wife, Empress Livia.^[2] Moreover, one of his daughters, Julia the Elder was indispensable in solidifying Augustus' bloodline in future ruling generation, ensuring the continuation of Augustus' successful legacy.^[2]

Thus, Augustus’ approach allowed for him to dominate public and private sectors of daily Roman life. Archaeological evidence and scholarly interpretations demonstrate the effectiveness of Augustus’ propaganda.

The images that Augustus desired to project aimed to idolise him in all Roman aspects, from a military with successful triumphs, to a reliable religious leader through reinforcing his divine ancestry from Julius Caesar.^[3] Most importantly, Augustus aimed to stabilise Rome from civil strife as the city had been plagued by fights for power.

The most common piece of Augustan literature is the Res Gestae Divi Augusti (The Deeds of the Divine Augustus), a document written by Augustus before his death, listing the accomplishments and recognitions he gained in his life.^[4] Thus, though the text did not influence perceptions of Augustus during his life, it did influence his legacy. This is the first line of the Res Gestae Divi Augusti:

A copy below of the deeds of the divine Augustus, by which he subjected the whole wide earth to the rule of the Roman people, and of the money which he spent for the state and Roman people...

Here, Augustus uses the term 'divine' to refer to himself, due to the emperor's religious importance in ancient Rome.^[5] His importance and actions for the state are constantly referred to throughout the Res Gestae. Augustus demonstrates his military strength through anecdotes of his conquests, building upon how he had heroically avenged his adoptive father Julius Caesar by defeating his assassins.^[5] It is said Augustus intended the Res Gestae to be located on the external wall of his mausoleum. However archaeologists have found copies in Galatia in Asia Minor and Antioch in Pisidia, which further suggests his intent to use it to influence his legacy.

Though all events written in the Res Gestae can be corroborated, Augustus chose to omit information from it. For example, Mark Antony's name is not used in the Res Gestae.^[5]

The most famous piece of poetry in Augustus' time was Virgil's Aeneid, which narrates the birth of Rome through their founder Aeneas, a surviving Trojan warrior. The poem claims that the Romans had ancestors in the Trojans, and links Augustus to the descendants of Aeneas. Virgil uses this to illustrate how integral Augustus was to Roman culture.^[5] Furthermore, Virgil uses the poem to praise Augustus and his divinity in Roman religion:

Time and again you’ve heard his coming promised-Caesar Augustus! Son of a god [Julius Caesar], he will bring back the Age of Gold to the Latian fields where Saturn once held sway, expand his empire past Garamants and the Indians to a land beyond the stars, beyond the wheel of the year, the course of the sun itself, where Atlas bears the skies and turns on his shoulder the heavens studded with flaming stars. Even now the Caspian and Maeotic kingdoms quake at his coming, oracles sound the alarm and the seven mouths of the Nile churn with fear. Not even Hercules himself could cross such a vast expanse of earth…^[6]

Additionally, another Roman author Ovid wrote a piece titled Metamorphoses, which details the history of the world through an ancient Roman lens up until the time of Julius Caesar. Augustus is also mentioned in the piece. In the Metamorphoses, Ovid emphasises the importance of .^[7]

Seeing his son’s [Augustus] good works, Caesar [Julius] acknowledges they are greater than his own and delights at being surpassed by him.^[8]

This passage notes the prosperity that Augustus brought to Rome. There are also references to Augustus' leadership in the Sibylline Books, which Ovid likely acknowledged.^[7] The fourth book, dedicated to Venus, a goddess Julius Caesar claimed he was a descendant of, emphasised the divine heritage of Augustus and solidified his position as Rome's rightful ruler.

During Augustus's time as emperor, many pieces of artwork were made of him. Oftentimes, this artwork served as means to control his public image.

During Augustus's rule, many statues were made of him. Many statues depicted him in an act of prayer or sacrifice, as Augustus was Rome's chief state priest.^[9] Statues during the Principate were placed in temples of the imperial cult, and were designed as propaganda in order to project ideas about the emperor, especially about his legitimacy. ^[10]

By restoring Rome using his building program, Augustus could physically demonstrate the prosperity he created and thereby ensure loyalty from Roman citizens. Augustus mentions in the Res Gestae that he restored eighty-two temples and repaired bridges and aqueducts, including the Theatre of Pompey. In this way, Augustus could prove that he was revitalizing the Roman empire.^[11]

Augustus effectively used his building program as a form of propaganda in itself, in order to create a perception among Romans that he was an omnipotent restorer of Rome. By securing the city, Augustus was reinforcing his image as the saviour of Rome and the bringer of prosperity and peace. Suetonius and Dio believe this garnered the support of the senatorial and equites classes as they were also encouraged to create monuments under their own names. They also garnered respect and loyalty for Augustus.

Examples of notable buildings built during Augustus's reign are the Forum of Augustus, Ara Pacis, Temple of Apollo Palatinus, and the Temple of Mars Ultor.

According to Andrew Wallace-Hadrill, there are two ways to interpret the use of Augustan coins. He uses the terms legalistic and charismatic to categorise the types of coins produced to consolidate Augustus' authority. As the majority of the Roman population was illiterate, the depiction of Augustus was paramount, especially since it would reach all corners of the empire. The coins were also another method to remind the citizens of their loyalty and service to the Principate.

As an officially recognised coin provided by the Principate, Augustus' idealised image of himself was imbued throughout the currency. These were also known as 'imperial coins', and have been used as a way to understand how the emperor intended himself to be viewed.^[12] In this way, the emperor decided how he would be portrayed, in contrast to the representation of others.^[12] Through his coins, Augustus promoted the image of him as the avenging son of Julius Caesar. Many of his coins bore the phrase 'DIVI FILIUS', which means 'son of the divine', to pay homage to his father, Julius Caesar.^[13]

This coin type, although not as significant as legalistic coinage, also had some effect in creating and maintaining the emperor's image.

An example of this is Augustus' coin in celebration of his conquest of Egypt. The symbolic victory over the so-called barbaric East established Augustus' might and force, as it allowed him to eliminate the civil strife that had continually plagued Rome after Caesar's death. This theme was also used in other types of Augustan propaganda.^[12]

The role of the imperial family, especially the women of it, was to decorate and boast Augustus's image and virtue.

This is evident in Livia's conduct. She was idealistically portrayed as a traditional Roman woman with admirable morals and ethics.^[2] Being a conservative traditionalist, Augustus proposed a series of moral reforms that reinforced the values of women's subservience and chastity.^[2] Portrayals of Livia in statues conceal her skin, depicting her as a modest and conservative woman. It can be concluded that Livia's main role in propaganda was to help Augustus uphold his moral reforms.^[2] h Julia was similarly essential in emphasising the importance of child-bearing and marriage. She was also an important subject in Augustan propaganda. Other imperial women were also expected to exhibit the same behaviour of Livia and Julia.^[2] However, after a series of marriages and divorces, Julia became known for her adulterous behaviour, clashing with Augustus' morals and was subsequently banished, as she no longer conformed to the emperor's values.