This 8 page article, with extensive text on each of 7 pages, elaborates the meaning of polychrome on the Ara Pacis Augustae more broadly than any previous publication. In the first section, the author carefully recounts the evidence for colored pigments on the monument, the color of each and its location. In the following sections, Foresta describes the associative meanings of the large, park-like Northern Campus Martius, on which the Ara Pacis Augustae and other major monuments of Augustus were located. Here he provides quotes from Strabo, Suetonius, and especially Virgil to show the significant similarities between the northern Campus Martius and the Elysian Fields. He notes that the marble Augustan buildings stood on the green carpet of the Northern Camous Martius just as the figurative reliefs on the Ara Pacis stood on the larger base of the lush green acanthi reliefs. Foresta convincingly argues the "value of color not only within the narrow confines of the decoration of the altar but more broadly within the complex system of topographcial references in the area".

A survey of Italian architecture from the late 19th century to 2010. The author restates the valid criticisms of the 2006 Museo dell'Ara Pacis, designed by Richard Meier, such as the lack of ramps to allow more direct viewing of the processional friezes and the steel and opaque glass sunshades that throw so-called "zebra stripes" when their is intense sun on sections of the monument. Unfortunately, more like a newspaper critic than an architectural historian, she takes an aggressive position throughout: "Meier indeed scrawled his name triumphantly on a travertine slab near the entrance". The lack of a single observation mentioning any of the succeses of the new building calls her objective judgment into question. Ghirardo criticises the "function" of the new building, nowhere mentioning that it achieves its main function with the highest world-class standards, the preservation of the Ara Pacis from the extreme urban pollution which was the main reason for the new building. There is no mention of the flowing exterior staircase or fountain, both popular gathering places for the public. She writes that Rome did not need the building enlarged into a small museum with its own auditorium, without noting the major success of its contemporary exhibitions and public programs. One small black-white photo by the author including a detail of the Valentino exhibition and corner of the monument.

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In the process, the Swetnam-Burland developes the original context in Egypt and the meaning to educated Egyptians. At several points in her article, the author provides a valuable, basic chronology of the obelisk from first guarying to the present day. 589ccfa754

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