In a famous passage of his Metamorphoses Ovid describes the via Lactea, leading from Earth to Heaven and to the Gods of Olympus, by comparing it to the city of Rome (1.173–6). But if Heaven is like Rome, Rome too is like Heaven: in his exile poetry Ovid represents the emperor as ‘Jupiter on earth’, and it is an obvious consequence that the places inhabited by him may appear as a sort of Olympus on earth. Augustus’ house is thus described as Jupiter’s royal palace (Tr. 3.1.33–8 uideo fulgentibus armis | conspicuos postes tectaque digna deo, | et ‘Iouis haec’ dixi ‘domus est?’ quod ut esse putarem, | augurium menti querna corona dabat. | cuius ut accepi dominum, ‘non fallimur’, inquam, | ‘et magni uerum est hanc Iouis esse domum’), and this reversal of the normal spatial hierarchy becomes a standard encomiastic/panegyric trait of the Imperial age (cf. Statius’ description of Domitian’s house at Silv. 4.2.18–21, and many of Martial’s references to Domitian’s courtly world). Rome, being the seat of imperial power, thus looks like a heavenly city: a paradoxical anticipation of (or maybe a hint of?) the Christian idea that will be elaborated by Augustine.