{Rain god}[19th February 1991]

[Redbook8:265-266][19910219:1155b]{Rain god}[19th February 1991]

19910219.1155

[continued]

‘... The wars of Marcus Aurelius’ time* ended the calm order of Antonine civilization and the column [(or arch?) of Marcus Aurelius]** (which was begun in his own reign** but finished during that of his unworthy son Commodus (AD180-92))*** makes the point unconsciously, but all the more poignantly, by being closely modelled in its external features on Trajan’s column. But whereas, on the latter, soldiers go about their tasks with order and decorum, here both Romans and barbarians display emotional instability. The figures, smaller and more contorted (resembling those on the base of the column of Antoninus Pius),**** are frequently disposed in tight little bunches. They reflect perfectly the beginning of what Professor Dodds has called an “Age of Anxiety”. One scene is especially moving. The rain is succouring Roman troops and throwing their enemies into confusion, but instead of a straightforward portrayal of this “miracle”, the sculptor has introduced a strange, dominating being, partly composed of long, streaming hairs (of rain). The British reader is reminded of the water-deity whose head appears in the head of the temple pediment at Bath (Bath Museum), instead of a Gorgoneion. In both cases we perceive one of those glimpses, alas all too rare, of daring originality in Roman art.’

#

*161-180CE

(Roman 1024J~-G~)

(2048S~)

**(180-192CE)

***(180-192CE)

****(138-161CE)

# – ibid [Encylopaedia of Visual Art 2]: 197

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{Antinous}[19th February 1991]

[Redbook8:265][19910219:1155]{Antinous}[19th February 1991]

19910219.1155

The Emperor Hadrian’s – and his sculptor’s – fixation on the young man Antinous* as the perfect type, appearing as Apollo Dionysus, Hermes, Asklepios and Sylvanus, may be seen as an example of the 2048C-S~ influence, with strong i[nner] c[ircle] (S~-C) resonances: ‘The type of Antinous with its cascading hair, delicate features, and expression of brooding melancholy is unforgettable, blending the Classical ideal with something more individual and particular’.** ‘Winckelmann called [the Antinous Mondragone] “the glory and crown of sculptures in this age as well as in all others”.’

***

*drowned 130CE

(Roman 1025J~)

(2048C-S~)

↓

cf Cézanne’s [recurrent] female [& male] bathers, c?1877-1906ff?

(T[imes] L[iterary] S[upplement] 19910215:12)

** – E[ncylopaedia of] V[isual] A[rt] 2:194

*** – ibid [Encylopaedia of Visual Art 2:194]

(See illus[tration ref at] [[Redbook8:269][19910219:1155h]{[Antinous as Apollo]}[19th February 1991],] 269)

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{Bread or Fantasies}[18th February 1991]

[Redbook8:264][19910218:1824b]{Bread or Fantasies}[18th February 1991]

19910218.1824

[continued]

‘Whoever works his land shall have bread and to spare, but anyone who chases fantasies has no sense.’

*

Ah well, there it is then (We disposed of our sheep and rotavator last year, when we thought we were going to sell – but also to give more time for the booklet).

*{Is this O[ld] T[estament] Wisdom lit[erature]?)

[Yes – Proverbs 12:11, variously translated]

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The Roman Cycle}[18th February 1991]

[Redbook8:264][19910218:1824]{The Roman Cycle}[18th February 1991]

19910218.1824

‘...The late [Roman] empire was a military dictatorship.’

*

As the first ‘half’ of Roman history involved a republic having many of the features of ancient democracy – and which started life by expelling its kings – Rome shows a reversal of the normal progression, in this respect. On the other hand there is no sign of the ‘inner’ circle qualities of Love and Revelation (early) and Harmony (late); but Rome starts with Law and disintegrates into chaos, which is the classic outer circle.

The republicanism of the first half, and the military dictatorship in the second half, may be accounted for in terms of the ‘mainstream’ 2048 year cycles during this period of c[irca] 512BCE-512CE: ie the first semicircle** is 2048G~→R~→C, and the second is 2048C→S~→M~. An interesting example of cycle interference patterns?

*– E[ncyclopaedia] B[ritannica] 20:351

**[Of the cycle of Roman history, presumably]

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{Augustus Capricornus}[16th February 1991]

[Redbook8:263][19910216:1220i]{Augustus Capricornus}[16th February 1991]

19910216.1220

[continued]

‘[On the Gemma Augustea]* A Capricorn, his birth-sign, above his head, the goddess Roma seated beside him, and other features, identify the Emperor [Augustus]** as no ordinary mortal but the beloved companion of the gods.’

***

*[All square brackets per ms]

**[(born 63) reigned 27bce-14ce (death)]

***[Encylopaedia of Visual Art 2:185]

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{The Altar of Peace [continued (3)]}[16th February 1991]

[Redbook8:263][19910216:1220h]{The Altar of Peace [continued (3)]}[16th February 1991]

19910216.1220

[continued]

‘Excudent alii spirantia mollius aera

(Credo equidem), vivoa ducent de marmore voltus,

Orabunt causas melius, caelique meatus,

Describent radio et surgentia sidere dicent:

Tu regere imperio populos, Romane, memento

(Hae tibi erunt artes), pacisque imponere morem,

Parcere subiectis et debellare superbos.’

*

‘Others shall shape bronzes more smoothly so that they seem alive (yes, I believe it), shall mould from marble living faces, shall better plead their cases in court, and shall demonstrate with a pointer the motions of the heavenly bodies and tell the stars as they rise: you, Roman, make your task to rule nations by your government (these shall be your skills), to impose ordered ways upon a state of peace, to spare those who have submitted and to subdue the arrogant.’

**

‘... to impose the way of peace, to spare the conquered and crush the proud.’

***

* – Virgil, Aeneid VI:847

** – tr[anslation] in O[xford] D[ictionary of] Quotations, 558

*** – tr[anslation] in E[ncylopaedia of] V[isual] A[rt] 2:178

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{The Altar of Peace [continued]}[16th February 1991]

[Redbook8:262][19910216:1220g]{The Altar of Peace [continued]}[16th February 1991]

19910216.1220

[continued]

‘On the Altar of Peace,** erected to celebrate peace in the Roman world: Italy, or Mother Earth, between personifications of air and water.’

*

– or* Peace? (– [this image is] a neo-Attic relief on one of the end walls of the Ara Pacis)***

****

*– E[ncylopaedia of] V[isual] A[rt] 2:184

**[See last previous entry]

***[Altar of Peace]

****re the (Greek and Roman) Orders of Architecture, see IX. [] 225

[continued]

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{The Altar of Peace}[16th February 1991]

[Redbook8:261-263][19910216:1220f]{The Altar of Peace}[16th February 1991]

19910216.1220

[continued]

‘Few compositions so clearly challenge us with the basic problems of Roman Art as the “Ara Pacis”.* It is supremely harmonious, and marries baroque and classicizing tendencies with great skill. It is the consummate expression of the Roman mission. “**to spare the conquered and to put down the proud”.*** The historical context of its erection is known. Yet, for all that, it is the work of Greeks and unknown Greeks at that.’

***

*(Altar of Peace)

**(“to impose the way of peace, ”)

[See next entry but one for full translation]

***(Erected to celebrate the way of peace after more than a generation of violence)

**** – E[ncylopaedia of] V[isual] A[rt] 2:183

[continued]

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{Virgil’s Prophecy of the Renewal of Ages}[16th February 1991]

[Redbook8:261][19910216:1220e]{Virgil’s Prophecy of the Renewal of Ages}[16th February 1991]

19910216.1220

[continued]

‘Sicelides Musae, paulo maiora canamus!

Non omnis arbusta iuvant humilesque myricae;

Si canimus silvas, silvae sint consule dignae.

‘Ultima Cumaei venit iam carminis aetas;

Magnus ab integro saeclorum nascitur ordo:

Iam redit et Virgo, redeunt Saturnia regna;

Iam nova progenies caelo demittitur alto.’

*

‘Sicilian Muses, let us sing of rather greater things. Not everyone likes bushes and low tamarisks; if we sing of the woods, let then be woods of low consular dignity.

‘Now has come the last age according to the oracles at Cumae; the great series of lifetimes starts anew. Now too the virgin goddess returns, the golden days of Saturn’s reign return, now a new race descends from high heaven.’

**

‘We have reached the last era of Sybilline song. Time has conceived, and the great sequence of the ages starts afresh. Juistice, the Virgin, comes back to dwell with us, and the rule of Saturn is restored.’

***

Written c42-37BCE by Virgil, 70-19BCE.****

* – Virgil, Eclogue IV.1

(written c42-37BCE)

** – Tr[anslation per] O[xford] D[ictionary of] Quotations, p559

*** – Tr[anslated by] E.V. Rieu

(quoted in E[ncylopaedia of] V[isual] A[rt] 2:183)

****cf IX: [] 357

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{Roman Law [continued]}[16th February 1991]

[Redbook8:260][19910216:1220d]{Roman Law [continued]}[16th February 1991]

19910216.1220

[continued]

‘The code [of the Twelve Tables],* however, also displays the distinguishing {feature} of judicial law: the assurance to every citizen of the exercise of his rights.’

**

*[Square brackets per ms, presumably reflecting insertion into source text]

**– ibid [Encyclopaedia Britannica 20: 314]

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{Roman Law}[16th February 1991]

[Redbook8:260][19910216:1220c]{Roman Law}[16th February 1991]

19910216.1220

[continued]

‘Rome recognised neither the rule of the strongest nor the right of the conqueror over the vanquished in warfare. The Romans’ respect for legal obligations permitted them to conduct only a war that was “pium justum que” (“pious and just”), so that the gods would aid the Roman army to victory. Piety, good faith and justice* were interrelated and, in the minds of the Romans, were needed to guide their struggles and justify their conquests.’

**

*

**– ibid [Encyclopaedia Britannica 20]: 314

[& see last ts entry but one, [Redbook8:259][19910216:1220]{Roman Virtues}[16th February 1991]]

[continued]

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