Wilson, R. J A. (2006). Aspects of iconography in Romano-British mosaics:. Britannia 37. Vol 37, pp. 295-336.
Title The title of the publication or report |
Aspects of iconography in Romano-British mosaics: | ||||
---|---|---|---|---|---|
Subtitle The sub title of the publication or report |
the Rudston `aquatic' scene and the Brading astronomer revisited | ||||
Issue The name of the volume or issue |
Britannia 37 | ||||
Series The series the publication or report is included in |
Britannia | ||||
Volume Volume number and part |
37 | ||||
Page Start/End The start and end page numbers. |
295 - 336 | ||||
Biblio Note This is a Bibliographic record only. |
Please note that this is a bibliographic record only, as originally entered into the BIAB database. The ADS have no files for download, and unfortunately cannot advise further on where to access hard copy or digital versions. | ||||
Publication Type The type of publication - report, monograph, journal article or chapter from a book |
Journal | ||||
Abstract The abstract describing the content of the publication or report |
The author argues that the fourth-century Rudston `aquatic' mosaic is likely to show Oceanus at the centre rather than Neptune, and the dominant position of the head on the floor suggests that the inspiration for it derives, however remotely, from North African models where the scene was common. This is made more plausible by the fact that African influence is also detectable on the famous Venus mosaic by the same mosaicist in an adjacent room in the same building. At Brading, the central figure in the main reception room -- a half-naked man with stick, globe and sundial -- is identified, not just as a generic `philosopher' type, but specifically as the third-century b.c. astronomer and poet, Aratus, on the basis of comparanda on mosaics, tapestry, silverware and in an illustrated manuscript of his work, the Phaenomena. It is further suggested that the key to reading the damaged larger part of the Brading floor above Aratus might be a Latin translation of his work, possibly that by Avienus c. a.d. 350, if the mosaic is indeed approximately of that date rather than earlier, and that the subject-matter of the panels alluded to constellations described in the poem. A very tentative attempt is made to identify what might have been depicted in the panels, on the basis of the mythology behind the constellations as explained in Latin adaptations of the poem: those of Perseus and Andromeda are illustrated in the surviving panel, and possibly Phaethon and Eridanus, Hercules and the serpent in the Garden of the Hesperides, and conceivably Pegasus at a spring were shown in the other three. It is also suggested that these unusual scenes might have been based on an illustrated manuscript of the work in the possession of the dominus at Brading. Be that as it may, the mosaic does appear to provide further evidence of the depth of classical learning displayed by at least some members of the Romano-British rural élite in the fourth century a.d. | ||||
Year of Publication The year the book, article or report was published |
2006 | ||||
Locations Any locations covered by the publication or report. This is not the place the book or report was published. |
|
||||
Source Where the record has come from or which dataset it was orginally included in. |
BIAB
(The British & Irish Archaeological Bibliography (BIAB))
|
||||
Created Date The date the record of the pubication was first entered |
08 Dec 2006 |