The family group to the right of Drusus in Fig. 6.11 is also pregnant with history. The shapely woman with her hand on the small boy’s shoulder is identified as Antonia Major, Mark Antony’s daughter by Octavia. The small boy grasping a fold of his uncle Drusus’ cloak grew up to father the Emperor Nero. The girl to the spectator’s right of the small boy is his sister Domitia; her father, Lucius Domitius Ahenobarbus, later commander of the Roman army in Germany, has his hand raised over her head. The elderly background figure with the kindly, lined face is perhaps Maecenas, Augustus’ secretary of state for propaganda, the patron of Vergil and Horace. The whole atmosphere of the procession is very Italian, quite intimate and informal, without central focus. Its members face in all directions, and are so incorrigibly chatty that Octavia must command silence, finger to lips. Here, in these realistic groups, are the living likenesses of some of the men and women whose ashes later lay in Augustus’ mausoleum, of some of the men and women who made a Golden Age. Here are the pages of history made flesh, and here are all the basic ideas of the Augustan program: the pretense of the revived Republic, in the consuls and lictors; the emphasis on religion, in the _flamines_ and the veiled Pontifex; the dynastic hopes, in little Gaius; the subvention of literature, in Maecenas. The east and west ends of the enclosure each contain, on either side of the doorways, a figured panel, four in all, of which two are well preserved. The one to the right of the main (west) entrance portrays a grave, bearded figure (Fig. 6.13) offering sacrifices, with the aid of two acolytes, upon a rustic altar before a small temple containing tiny figures of the Penates as Castor and Pollux, whose connection with the _gens Iulia_ we have already noted. The sow in the lower left corner is the famous one with the thirty piglets, whose discovery was to tell Aeneas where to found his city. (What purported to be the original sow and all the piglets, pickled in brine, was on display in a Latin town in Augustus’ age.) From the sow the inference is that the bearded figure is Aeneas; he symbolized the past of Rome, and the ancestry of Augustus.