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Hi all — I’ve recently launched a documentary series exploring how ancient Rome built its empire through propaganda, long before the age of social media. The first episode, Crafting Power, focuses on the reign of Augustus and the symbolic tools he used to shape public perception — from architecture and sculpture to ritual and myth. 🎥 Watch Episode 1: Crafting Power (How Roman Propaganda Built an Empire — Without Social Media) I’d love to hear your thoughts, especially on how these ancient strategies compare to modern political messaging. Also curious: what do you make of the Ara Pacis as a piece of public persuasion? Was it more ceremonial, or deeply strategic? If you enjoy Episode 1, you might also be interested in Episode 2, which explores how astrology was used to legitimize authority in Rome: 🔮 Watch Episode 2: SIgns of the TImes (How Roman Propaganda Built an Empire — Without Social Media — Episode 2) Episode 3 is coming next week and will dive into the role of spectacle and public performance in shaping Roman identity. Stay tuned! You can find them on my YouTube channel called Clashical History YouTube Channel Thanks for watching — and for keeping Roman history alive through such rich discussion.

I had a chat(gpt5) with colleagues who compared and contrasted Rome with messages of a century ago; result: "Fascists — especially Mussolini, but also the Nazis to some extent — consciously borrowed from ancient Roman propaganda, both in style and symbolism, but updated it for the 20th century’s mass media. Here are the main techniques they took: 1. Leader Cult & Godlike Imagery Roman origin: Emperors were shown as semi-divine figures blessed by the gods (Augustus with the laurel wreath, divine parentage claims, halo-like radiance in art). Portraits, statues, and inscriptions elevated them above ordinary citizens. Fascist adaptation: Mussolini styled himself as the Duce, often photographed from low angles to appear towering, like Roman statues. Nazi Germany used similar heroic imagery for Hitler — calm, visionary poses recalling imperial busts. Both adopted the idea that the leader was the embodiment of the state (l’État, c’est moi updated for the 20th century). 2. Monumental Architecture & Public Spectacle Roman origin: Triumphal arches, victory columns, grand forums, massive amphitheaters — physical proof of power and permanence. Triumph processions celebrating military victories. Fascist adaptation: Fascist Italy revived Roman-style architecture: the EUR district in Rome, the Via dell’Impero lined with imperial statues. Nazi Germany planned (and partially built) enormous classical-style structures (Speer’s plans for Berlin as Germania). Military parades and stadium rallies echoed Roman triumphs, with controlled choreography to create awe. 3. Symbols & Slogans Roman origin: The fasces (bundle of rods with an axe) as a symbol of magisterial authority and unity through discipline. SPQR (Senatus Populusque Romanus) branding on monuments, coins, and banners. Fascist adaptation: Mussolini directly adopted the fasces as the emblem of Fascism. Stylized eagles and laurel wreaths appeared in both Italian and Nazi iconography. Uniforms and standards (flags with emblems) deliberately echoed Roman military insignia. 4. Myth-Making & Historical Destiny Roman origin: Rome presented itself as the eternal city destined to rule, with a civilizing mission (imperium sine fine — empire without end). Myths (Romulus & Remus, Aeneas) reinforced divine destiny. Fascist adaptation: Mussolini claimed a “Second Roman Empire,” casting Italy’s expansion in North Africa and the Balkans as a continuation of Roman greatness. Nazi ideology similarly framed the Reich as heir to past “glorious empires” (Rome and the Holy Roman Empire), though filtered through Germanic myth. 5. Visual Control of the Enemy Roman origin: Depicting enemies as barbaric, chaotic, and effeminate in art, contrasting them with Rome’s order and virtue. Monument reliefs (like Trajan’s Column) showing disciplined legions vs. disorganized foes. Fascist adaptation: Nazi films, posters, and newsreels used similar “us vs. chaos” contrasts — disciplined German soldiers against degenerate or chaotic enemies. Fascist Italy used posters showing colonial troops as “savages” in need of Roman-style civilization. 6. Integration of Propaganda into Daily Life Roman origin: Coins carried the emperor’s face into every transaction. Inscriptions on aqueducts, baths, and roads reminded citizens who provided these public works. Fascist adaptation: Stamps, currency, schoolbooks, and civic buildings bore the leader’s face or motto. Everyday objects (radios in Germany, posters in Italy) were constant carriers of the regime’s message — like “modern coins.” If you want, I can break down exactly how Mussolini consciously modeled his speeches and rallies on Julius Caesar and Augustus — the parallels are almost one-to-one in some cases."

Thank you for sharing your work. Very interesting. I think your work is fantastic, but it's even better when you avoid making references to the modern era. Let the listeners see the parallels themselves.

Thanks so much — I really appreciate your thoughtful response. I love your point about freedman memorials along Roman roads. That kind of prideful visibility is such a rich layer of propaganda, intentional or not. Your reflections on symbolic representation and public memory tie in beautifully with the next episode, which explores how astrology was used to legitimize authority in Rome. If you're curious, here’s Episode 2: 🎥 How Roman Propaganda Built an Empire (Without Social Media) — Episode 2: Signs of the Times I’ll definitely look into posting in Romana Humanitas. Thanks again for the encouragement!

Very impressive, and especially without the omnipresent hallmarks of AI generation. It's probably worthy of posting in "Romana Humanitas" or similar section. Beforehand I had wondered what the purpose was of the Alter of Peace. One thing that works as favorable Roman propaganda to me maybe wasn't intentional. I love the prideful memorial sculptures commissioned by freedman (status identifiable from their names) along roads leaving cities or towns. It tells me about their opportunity to thrive in a tough-love system. It reminds me of the the US treasury making plans to change the portraits on future US money about a decade earlier. They announced eliminating "stuffy" founding fathers of high ideals and replace them with new-age victimology figures. There was backlash even from the left in the case of Alexander Hamilton who surprisingly had just become wildly popular in a Broadway play as rising above oppression like Roman slaves. So I guess he will stay on $ symbolizing both right and left ideals, but anyone still using paper money in years forward may also be seeing paraplegic eskimo portraits or whatever.