Apollo, from victory to heralding a new era: the advent of the Augustan Principate
During the second century BC, Apollo became the undisputed god of victory and triumph in the Roman ruling class' ideology. It remains difficult, however, to detect instances of more personal relationships between the god and figures belonging to Rome's political scene, even though we know that such philosophical beliefs as Pythagorism[1], played an undoubted part in the dissemination of Apollonism. By contrast, those two aspects – the victory – promoting ideology and the private cult – were brought together under Augustus' Principate. In the 1st century BC, Octavian-Augustus[2] made the god one of the underpinning principles of Principate ideology: Apollo, Actium's victor was given pride of place near the imperial residence on the Palatine. Set up as Rome's protector he became on the occasion of the 17 BC Secular Games the herald of a new era.
There is ground to believe that Octavian sought the patronage of Phoebus[3]-Apollo as early as his triumviral days, as attested by some representations of the god on some of Octavian's coinage and the episode of the « Banquet of the Twelve Gods »
related by Suetonius[4] in his Life of Augustus (70), during which the future emperor reportedly took on the god's likeness. What were Octavian's reasons for choosing Apollo? Some refer to the long-standing relation his Iulii family maintained with the god; they point out that the first (431 BC) temple had been dedicated by Consul Cnaeus Iulius. The thesis according to which Octavian may have sought to set Apollo, the god of civilisation and measure against Dionysius, Mark Antony's god and the epitome of drunkenness and Eastern excesses has also been well rehearsed. However in the thirties/forties BC, Octavian was not alone in seeking Apollo's patronage since, as evidenced by some Roman coinage, Brutus[5] had done so before him and even Mark-Antony[6] appears as Sol-Apollo on some coins.
In 31 the victory at Actium over Antony and Cleopatra[7]' s fleet marked a turning point in the relation between the god, a would-be Augustus and the imperial ideology in the making. Indeed the victory of Octavian's fleet was attributed to the local god, Apollo who had a sanctuary in the Actium peninsula on the southern flank of the entrance to the Ambracian Gulf. In the description of the battle Virgil sets on Aeneas' shield in his Eaneid, Apollo Actius' intervention is key to routing the barbarian hordes lead by Antony and Cleopatra. After the victory Actium was the site of significant commemorative activity: Apollo's old temple at Actium was rebuilt and in arsenals hard by, were dedicated ten whole war ships, spoils of the sea battle. On the opposite side of the bay the town of Nicopolis was built under the patronage of Apollo. To the north of that city, a hill dedicated to Apollo was the site of games in honour of the god. On the very site of Octavian's camp a monument celebrating his victory was erected: an open air sanctuary set on terraces with an altar surrounded by a portico and which boasted a monumental inscription honouring the gods who granted victory to Octavian (Mars Neptune and perhaps Apollo too are mentioned) as well as an array of bronze naval rams from ships seized from the enemy.
In Rome, in the new the temple of Apollo Palatinus, some of the decorative details also celebrated the victory over Antony and Cleopatra. This sanctuary was dedicated in 36, after the victory at Naulochus over Sextus Pompey[8] but it was consecrated only in 28 after the victory of Actium. In front of the temple, on a pedestal decorated with naval rams, stood a statue of Apollo which we know thanks to some coinage. The temple doors with reliefs sculpted in ivory as described by Propertius[9] depicted the defeat of the Galatians at Delphi and the massacre of Niobe[10]' s sons. The first episode almost certainly alludes to the barbarian hordes lead by Antony, the second to the rightful punishment incurred for his hubris by the defeated triumvir, as identified to Niobe's kin. Still, while the temple on the Palatine is a clear statement of the pre-eminence given the god in the Roman Pantheon, his place in Augustan ideology goes way beyond a mere celebration of values set by Rome in victory and triumph.
To start with, the temple's topography, with its direct access from Augustus' home unearthed in archaeological digs points up the fact that Apollo was the god of Augustus' very house while he, according to a tradition reported by Suetonius (Life of Augustus, 94,4) was the god's son. Furthermore, other elements in the temple decoration ferry a political message focussed on the future. As illustrated by Caius Antistius Vetus' denarius (16 BC), the statue of Apollo Actius before the temple shows him sacrificing at an altar, his right hand pouring a libation out of a patera and a lyra his left hand: Apollo is, through sacrificial practice and religious piety, the guarantor of harmony and pacification after fratricidal civil strife. This message was echoed in the cult statue of Apollo Citharoedus inside the cella. Atop the temple Apolllo was enthroned on a quadriga, represented there as the sun god, master of time initiating a new era. We have here the Augustan myth of the golden age celebrated by poets, a myth that is propounded afresh in the celebration of the ludi saeculares[12] in 17 BC.
The myth of a new golden age and the role played therein by Apollo-Sol bear the hallmark of early Hellenistic Stoicism[13]. The trace of beliefs pertaining to this « religious philosophy »
among the ruling classes as from the end of the 2nd century BC can be seen in the coinage of some members of the Populares[14] group who anticipated the advent of the golden age in conjunction with the reign of the Sun superseding that of Saturn. During the triumviral era too, coinage showed Apollo assimilated to the sun and circa 40 BC Virgil's 4th Eglog proclamed the advent of a new era, under the reign of Apollo (Tuus iam regnat Apollo). This general trend of beliefs found itself « institutionally »
acknowledged in the ideology of the Augustan Principate wherein Apollo, the Princeps and millenarist beliefs in the birth of a new world were closely bound together.
At the celebration of the Secular Games in 17 BC, the last day of the festivities was given over to the recitation of Horace[15]'s Carmen Saeculare by a choir of 54 young people before the temple of Apollo Palatinus following the ceremonial sacrifices in the honour of Apollo and Diana. The millenarist ideology in which framework the Carmen Saeculare give Apollo-Sol and Diana-Luna a major role to play find a perfect illustration in the breastplate reliefs on the famous statue of Augustus of Prima Porta also dating back to 17 BC. The decoration, deliberately organised in a circular pattern, revolves around the episode of the Parthians' return of the standards from Crassus[16] and Antony's armies to Rome in 20 BC. It is dominated at the centre by the image of the sky god – right above which is the head of Augustus' statue – with Sol hurtling across the sky on his quadriga preceded by Luna and Aurora. On a lower register Apollo is found astride a griffin along with Diana and her deer, as clear counterparts to Sol and Luna above, in the same way as the Earth goddess offsets the Sky figure.
Introduced in Rome as early as the 5th century BC as a healing god, Apollo became a victory granting god as from the Second Punic War. Since the 2nd century BC up until the Augustan Principate it was the celebration of the values of victory and triumph that underpinned the bond between the god and the Roman ruling class, as amply illustrated by a rich iconographic record. The god of the Delphi oracle, slayer of the Celts in 279, further served to epitomise the fight against the Gaulish threat for one and, for that matter, against any arising from such « barbarian »
peoples as dwelt in Cisalpine Gaul. In the 1st century BC Octavian-Augustus placed the god at the heart of Principate ideology: Apollo, Actium's victor gets pride of place near the imperial residence on the Palatine hill. He had become Rome's tutelary god and on the occasion of the Ludi Saeculares in 17 BC, he was hailed as the harbinger of a new era.