THIS TWO-VOLUME BOOK HAS shown that the Templum Pacis, a building paid for ex manubiis (“from the proceeds of war”) but dedicated to Peace, was visually and ideologically connected to a number of Augustan monuments. Its plan was designed having in mind not only the layout of the porticoes of Pompey the Great but also some details from the Porticus of Octavia and the Porticus of Livia (Augustus’ sister and wife, respectively); the elevation borrowed the architectural orders and the attic story from the nearby Forum of Augustus (the corresponding dimensions and measurements can hardly be interpreted other than as deliberate references to the architecture of the Augustan monument); there are also subtle references in the ornamentation, as in the altar and the actual Temple of Peace (the axial hall), both restored by Domitian, which alluded to the Ara Pacis Augustae and, possibly, to the (Domitianic) Pantheon; the Forma Urbis, which must have existed before the Severan version that survives in fragments, echoed Agrippa's Orbs Pictus in the Porticus Vipsania and, in a certain way, the Res Gestae Divi Augusti; the cultural importance of the architectural complex, exemplified by the Library of Peace, is attested to by the conscious decision to build a replica of the Library of Apollo (note that both library halls should be credited to Domitian). Previous studies have failed to notice all these connections, which I have identified and discussed in detail for the first time. The numerous architectural and sculptural quotations and references show how the Flavian emperors com- peted with public spaces and monuments. Both Vespasian and Domitian were influenced by the art and architecture that was created for the official programs of the Forum of Augustus, the Ara Pacis Augustae, and the complex temple-library of Apollo on the Palatine Hill, which were used as models in Rome and in several cities of Italy and the western provinces of the empire. The Templum Pacis, if seen in three dimensions instead of relying on its plan only, shows a close connection with the Forum of Augustus; in particular, the existence of an attic story demands a reconsideration of its entire ideological program. Although the two monuments were inward-looking spaces and each was strictly closed off from the next, they were adjacent to one another and there must have been a dialogue between Mars (alluding to war) and Peace.