| Toroazul Painting and Fine Arts |
Drawing the ARA PACIS Page Two |
The Altar of Peace (ARA PACIS) underlines how much the language of ROME
has to do with the human figure and with ornament. If this monument were itself as plain
and devoid of figures as most modern buildings and memorial sites, it is doubtful that it
would have been spared by Time to carry itself across the ages. This is why the study of the
Altar and of many other Roman sites mandates the skillful reading and rendering in freehand
drawing techniques of the figures that act out in gesture the monuments' very essence.
has to do with the human figure and with ornament. If this monument were itself as plain
and devoid of figures as most modern buildings and memorial sites, it is doubtful that it
would have been spared by Time to carry itself across the ages. This is why the study of the
Altar and of many other Roman sites mandates the skillful reading and rendering in freehand
drawing techniques of the figures that act out in gesture the monuments' very essence.
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| Pencil study of the processional figures of Agrippa, Livia, and young boy, with acanthus pilaster ... (details from the south wall of the ARA PACIS) |
The Bulls Heads (Bucrania), garlands, and
delicate palmettes located in the interior
walls of the ARA PACIS
delicate palmettes located in the interior
walls of the ARA PACIS
| Pencil study of the procession of Augustus as High Priest, and Agrippa, Livia, and children --- from the Altar |
| My special thanks to Dottoressa Orietta Rossini, Curator in charge of the Ara Pacis, for kindly permitting me to draw the Monument during January 2013. |
