The panel to the left of the east entrance (Fig. 6.14) has as its central figure a full-breasted woman, whose face closely resembles the Livia of the south frieze. She has fruits in her lap, chubby naked babies in her arms, a miniature cow and a sheep at her feet, grain and poppies behind her. She is flanked by obviously allegorical figures of Air (riding a swan), and Water (riding a sea monster). Fresh water gushes from an amphora in the lower left corner; a saltwater harbor (indicated by waves, and perhaps the arch in the background) is at the lower right. Surely this is _Saturnia Tellus_, the fruitful earth of an Italy at peace, that Vergil sang of in the _Georgics_, rich in crops, flocks, and herds, but fruitful most of all in _men_. Of the two fragmentary panels, the west one is restored as a scene of Mars, the Shepherd, the wolf, and the twins Romulus and Remus. (The Mars was acquired from a private owner in Vienna, whose Roman art dealer had told him it came from the Palazzo Fiano.) The east one, the least well preserved of all, probably represented the goddess Roma seated upon a trophy of arms, like Britannia on an English penny. Thus one pair of end panels is symbolical, while the other is mythological; the processional frieze deals with contemporary history. The whole makes a tripartite arrangement which is artistically very satisfying. At the same time, victorious Rome, fruitful Italy, the remote founder, and the first king, are all symbolically related here, as in other Augustan monuments, to the contemporary scene and the fortunes of the dynasty. [Illustration: FIG. 6.13 Rome, Altar of Peace. Aeneas sacrificing. (MPI)] [Illustration: FIG. 6.14 Rome, Altar of Peace. Tellus or Italia. (MPI)]