Chapter LV - Somnia - et Diem in Urbe

 'Dreams -and a Day in the City'

Please note that this chapter may contain sexually explicit and violent images and text.

If you strongly object to any of these images please contact the blog author at vittoriocarvelli1997@gmail.com and the offending material can be removed.

Equally please do not view this chapter if such material may offend.

  PROLOGVS

 open images in a new tab to view enlarged

After a restless night for some - Markos, Patroclus, Novius and the 'boys' rise early for a morning in the city....and a surprise visit to the Ludi in the Theatre of Dionysus Eleuthereus by the Acropolis

SOMNIUM

'Dreams' - After speaking to Markos, Novius found that he was unable to sleep.

For a short while a walked aimlessly round the gardens in the moonlight.

Then, seeing Faunus obviously deep in thought with Glaux, Novius decided that rather than risking another series of complex explanations from Faunus, he would go to the villa library, and search among the many hundreds of scrolls for more information on some of the disturbing things that Faunus has spoken about.

Meanwhile, Adonios had gone to his room - intending to sleep.

He, like Archos, was now sleeping alone.

It seemed that Markos and Patroclus, now that Adonios and Archos were no longer slaves, preferred to use the slave-boys of the villa for their 'amusement'.

It seemed that for someone brought up as a Roman, sex was more alluring if the partner was in some sense 'unwilling', but unable to refuse - and sex that was between 'equals' was not so attractive.

So Adonios tried to drift off to sleep - but his thoughts kept returning to the strange ideas that Faunus had been describing over the evening 'cena' in the triclinium.

At the same time odd images of gladiators and wrestlers invaded his thoughts from previous times in the arena at  Baiae - thoughts possibly brought to the surface by Markos' mention of Roman Games at the Theatre of Dionysus Eleuthereus.

Emanations of the ONE

Soon, however, other images manifested themselves.....
swirling other worldly images of the 'ONE' - whatever that might be, and strange visions of the emanations of the Æons merged with imagined and frightening images of the Demiurge.
Sometimes Adonios imagined the Demiurge as a rather 'seedy' version of the Etruscan God of the underworld and Death - 'Charon'.

The Demiurge - in Adonios' Dream

But other images seemed to reveal the spoiled Archon as an avatar of an enthroned Zeus, or Jupiter, except that the 'fatherly', bearded face was replaced by an appalling head that was halfway between that of a reptile, or a huge insect.
And through all these strange images Plato and Socrates strolled through the Agora in Athens, carefully balancing on their outstretched palms tiny representation of the 'Forms', which would rotate vaguely, and then transform into a further forms before the first had fully materialised.

Perfection of the Cube - Platonic Form

Council of the Æons

And then the Æons emerged - in some meeting or Council - held in the magnificent halls of Olympus.
They were seemingly debating, in the presence of Glaux and Faunus, the fates of some humans - who they referred to as Markos,  Patroclus, Archos and Adonios.
And like an echoing voice, Adonios repeatedly heard his own question resounding...."Faunus....who or what are you.... really ?...."
And there was no answer...
And finally the dreams turned into a nightmare as a vision of cataclysmic destruction emerged, with Glaux, seemingly unharmed, soaring over the appalling holocaust.

Adonios' Nightmare

MANE

'Morning' - Adonios suddenly woke up with a start.

It was morning - bright and sunny - and what he thought had been the ominous noise of a horrific apocalypse was, in fact, just the slamming of a door by one of the villa slaves, and Patroclus responding by loudly swearing, as he warned the boy not to make so much noise.
Adonios was still trembling, remembering his dreams of the Demiurge and the fiery apocalypse.
 So what did it all that dreaming mean ? - if anything.
Adonios would have liked to ask Faunus, but he had probably disappeared, as he always seem to do at critical moments.

Main Garden Terrace - Villa Athena

Adonios got up and decided to have a swim in the large pool in the garden closest to the villa,
(as the Romans and Greeks didn't have soap, going for a swim in clean water was as good a way as any to get washed).
He could feel, as he walked to the pool, that already the grey and white marble paving was warming in the morning sun.
After his dream, Adonios could not help but look round to see if everything was 'normal' - and, much to his relief, it was - apparently.
The Archons, Æons, odd Platonic forms, weird visions of the Demiurge and the conflagration had all been as nothing - and just feverish thoughts and dreaming brought on by Faunus' all too graphic talk.
So Adonios had his morning swim, and then went to the triclinium for breakfast.

Now Markos had it all planned - a day out in the city - and he explained what was to happen as they all gathered for the first meal of the day
First a brisk walk into the city centre - then a session at Markos' old gymnasion - then lunch - then some relaxing shopping - finally a visit to the Theatre of Dionysus Eleuthereus for some afternoon gladiator fights.
Novius, not surprisingly, declined to come, suggesting, quite rightly, that it was a young man's 'day out'.
He was going to stay in the library, and go through some of Plato's scrolls, to follow up what Faunus had been talking about the previous day.
Faunus was no where to be seen, but Glaux was sleepily sunning himself on a tree branch near the garden terrace - so presumably he was not coming either.
And two slave-boys had been 'volunteered' by Heliodorus to do the guarding of clothes in the gymnasion, and the fetching and carrying, as needed, during the shopping.

AMBULARE  PER  URBEM

Athenian Street Scene - Agora

'A Walk in the City' - So there was no carriage - but instead an opportunity to walk in the street.
What Adonios noticed was that Patroclus had his arm round Archos' shoulder - the first time that Adonios had ever seen him do this in public - and to look at them they certainly looked like brothers......and was that what Patroclus was finally feeling - after all that time ?
So perhaps Faunus' 'magic' was finally working, and perhaps Patroclus was finally 'finding himself' - as Faunus put it.
After all....Markos, now back to his old name...was looking so relaxed, and so much younger, and was walking closely beside Adonios - not as 'Dominus and slave', but as friends - at last.
But Adonios  wondered - would this last once they had left Athens, and returned to Baiae (and Terentius), and also maybe Rome..... or would Markos return to his old, distant and disturbed self  ?
And so, despite Adonios' speculations, they arrived at the gymnasion - and who should they meet but Faunus.
"Good morning Markos !", Faunus said in his perfect, beautiful Greek.
"It's about time you and Patroclus decided to do some proper exercise.
Your both getting flabby from spending too much time in your bunks on the voyage here, and from all the pointless sightseeing."
Now if anybody else had said that to Markos, he would be very angry, but Faunus, it seemed could get away with any cheek, and anyway, what would be the point in getting angry with someone who could simply disappear, right in front of you.
But in reality Markos was wise enough to know that such comments were only meant to hide the seriousness of the situation that Faunus knew was approaching - a situation that Markos anticipated but could not fully name or describe.
And Markos knew that Faunus was preparing him, (and the others), to face and hopefully overcome that looming event.
So... with Markos smiling they entered the main porch of the gymnasion.
"You know, Markos, I used to watch you here, when you were a little younger.
You would come here to avoid the lessons in geometry - train, and then try to steal some lunch, even although your father gave you enough coins to have a good meal.
And then you would turn up at the school, with some hopeless excuse for being late - get the pedagogue's cane across your back, and then do the lessons that you enjoyed - like Homer for instance."
As Faunus told this tale about Markos' early days in Athens, Archos and Adonios looked wide eyed and open mouthed at the youth that they had once called 'Dominus'.
"Well I think that's enough about when I was a young boy." Markos said, blushing with embarrassment.
"So did you know Markos then ?",  Archos discretely asked Faunus, fascinated.
"Well, I knew him, but he didn't know me.
I was just 'observing', as you might say.", Faunus explained.
"So did you know that you would be involved with Markos, and us, all that time ago ?", Adonios then asked, pertinently.
"You're asking too many questions......Adonios", Faunus replied.
"I see....", Adonios said glumly, realizing that Faunus was not prepared to go any further with that line of questioning.

Chapter LIV - Paratisque Omnibus Ad Mysteria Eleusinia

  'PREPARATIONS FOR THE MYSTERIES'

Please note that this chapter may contain sexually explicit and violent images and text.

If you strongly object to any of these images please contact the blog author at vittoriocarvelli1997@gmail.com and the offending material can be removed.

Equally please do not view this chapter if such material may offend.

  PROLOGVS

 open images in a new tab to view enlarged

Markos, Patroclus, Novius and the 'boys' return to the 'Villa Athena',
where they have their evening meal,
while Faunus begins to prepare them for the ceremonies at
Eleusis that shall soon begin....

VESPERUM  IN  VILLA

'Evening in the Villa' - The return to the Villa Athena was uneventful.

Faunus and the Starry Night

Archos was muttering about 'if he had been given a chisel he could have made a better statue than the 'Palladium',' - Glaux was still sulking about how he was not included in the statue of 'Athena Parthenos' - (despite the fact that he had known that at the time that Phidias had first made the statue - and yes, Glaux may only be a baby owl, but he is a very old 'baby' - if such a thing is possible) - and Novius was feeling his age after all that tramping about in the hot sun - after all, he was by no means a 'baby'.

Markos, however, was deep in thought, as was Adonios - while Faunus, as usual, was making devious plans.

At that time of the year it got dark quite early and quite quickly, and as they drew up outside the main entrance to the palatial villa, the stars were just becoming visible, and the air was becoming refreshingly cooler.

Heliodorus (who had not accompanied them all the way round the Acropolis - he had seen it all before) - helped Novius from the carriage, while Archos and Adonios scurried in, anxious to get some refreshing wine from the waiting slaves.

Glaux, still sulking, had a 'lift' from Markos, on his shoulder, while Faunus lingered in the driveway, looking wistfully up at the stars.

It was then time for a much needed bath before the evening meal.

CENA

'Evening Meal' - And so, bathed, and changed into Greek style clothes for relaxation, the small group gathered in the triclinium - where they were waited upon by the Greek slaves of the villa.

In Greco-Roman culture, 'cena' was the main meal of the day. In earlier times, it was held midday, but later began to be held in evenings. It was a focal point of social life, along with the public baths, the frequenting of which often preceded the meal. Seating during dinner was arranged in the triclinium, three couches for reclining arranged as three sides of a square, with a small table for food in the middle of all these. The cena traditionally consisted of three parts. The appetizer course often included eggs, olives, and honeyed wine. The second, main course often included a main meat dish, like roasted pig. The third and final course included desserts such as fruits or nuts. 

Interestingly, no one, (apart from the Greek 'villa slaves'), called Markos 'Master' or 'Dominus' any more - and Faunus, in his mysterious way, had made that seem quite natural - and something that had, apparently, always been the case.
And so they were all able to enjoy one another's company with Marcus, Aurarius and Petronius all using their original Greek names - while they all related to one another as free men, and not as 'master and slave' - and this was just as Faunus wanted, as he knew, in his inscrutable way, and eventually these distinctions of status and class (if everything turned out as he hoped) would no longer be appropriate.
The talk, over the appetizer (which the 'boys' someday, and somewhere, they would learn to refer to as the 'hors d'oeuvres'), was obviously about the various sights that they had seen on the Acropolis.
Of course, the 'boys' - having seen Rome, were not as impressed as many visitors were by the Athenian Acropolis.
However, on the Acropolis there was more history, more art and more beauty than there was in Rome.
Faunus asked them in turn which part of the Acropolis they had liked the most.
Patroclus favoured the Propylaea - the doors of which reminded him of the ceremonial entrance to the arena in Baiae (and maybe that indicated a touch of homesickness).
Archos like the temple of Nike - mainly because it was dedicated to the goddess of victory.
Adonios liked the unusual design of the Erectheum - and the beautiful Ionic columns.
Novius and Markos favoured the Parthenon - because of its superb proportions, and the Chryselephantine statue of 'Athena Parthenos' - even if she wasn't holding a gold statue of Glaux.
By then they were well into their main course.
At that point Markos explained to the 'boys' about the Theatre of Dionysus Eleuthereus, situated at the foot of the Acropolis.

Dionysus

Dionysus (Greek: Διόνυσος Dionysos - Bacchus to the Romans) is the god of the grape harvest, wine-making and wine, of ritual madness, fertility, theatre and religious ecstasy in ancient Greek religion and myth. Wine played an important role in Greek culture, and the cult of Dionysus was the main religious focus for its unrestrained consumption. His worship became firmly established in the seventh century BC. He may have been worshipped as early as c. 1500–1100 BC by Mycenean Greeks; traces of Dionysian-type cult have also been found in ancient Minoan Crete. His origins are uncertain, and his cults took many forms; some are described by ancient sources as Thracian, others as Greek. In some cults, he arrives from the east, as an Asiatic foreigner; in others, from Ethiopia in the South. He is a god of epiphany, and his "foreignness" as an arriving outsider-god may be inherent and essential to his cults. He is a major, popular figure of Greek mythology and religion, becoming increasingly important over time, and included in some lists of the twelve Olympians, as the last of their number, and the only god born from a mortal mother. His festivals were the driving force behind the development of Greek theatre.

Apparently Markos had discovered that a series of Games - Roman style - were to be held there over the next few days.

The Theatre of Dionysus Eleuthereus is a theatre in Athens, built at the foot of the Athenian Acropolis. Dedicated to Dionysus, the god of drama and wine (among other things), the theatre can seat as many as 17,000 people with excellent acoustics, making it an ideal location for Athens' biggest theatrical celebration, the 'Dionysia'. It was the first theatre ever built, cut into the southern cliff face of the Acropolis, and supposedly birthplace of Greek tragedy. The site has been used as a theatre since the sixth century BC. with the existing structure dating back to the fourth century BC. After Greece became a Roman province, the theatre was restored and redesigned, and as there was no amphitheatre in Athens, the Theatre of Dionysus was on occasions used for gladiatorial combats, as well as Greek style Games.

Plan of the Acropolis Showing the Position of the
Theatre of Dionysus Eleuthereus (bottom right)

"So how come we didn't see this theatre of Dionysus 'thingy' when we visited the Acropolis today ?" Archos asked, in his own inimitable way - looking obviously confused.

"Well, for the simple reason that it's round the corner from the Propylaea, where we entered the Acropolis, and you probably didn't look down into the gorge where it is situated - because we didn't go round that side of the Parthenon."

"I see.....but it is there ?...I mean down in the gorge.", Archos replied, still looking a bit confused.

"Oh yes, Archos, and it's been there a long time - and us 'Romans' have now repaired it, and given it that unmistakable Roman look.", Markos said, smiling.

"So if it's a theatre, then how can it be an amphitheatre ?", Adonios the asked, creating even more confusion.

Faunus then butted in.

"The amphitheatre, that the Romans use for their Games, is just two theatres, facing each-other, and  pushed together - and that's how they started off.

The idea was to have a larger audience, and a larger 'orchestra' - which the Romans then called the 'arena', as it was covered with sand for the fighting."

So this calls for a bit of explanation for you non-Greeks and non- Romans

The performance space was a simple circular space, the 'orchestra', where the chorus danced and sang. The 'orchestra', which had an average diameter of 23.7 meters (78 feet), was situated on a flattened terrace at the foot of a hill, the slope of which produced a natural 'theatron', literally 'seeing place'. Later, the term "theatre" came to be applied to the whole area of 'theatron', orchestra, and skené. The Greek theatres were built into the side of a hill (easier) and the seats in Greek theatres, (other than just sitting on the ground), were wooden, but around 499 BCE the practice of inlaying stone blocks into the side of the hill to create permanent, stable seating became more common. In 465 BCE, the playwrights began using a backdrop or scenic wall, which hung or stood behind the orchestra, which also served as an area where actors could change their costumes. It was known as the 'skênê' (from which the word "scene" derives). In 425 BC a stone scene wall, called a 'paraskenia', became a common supplement to 'skênê' in the theatres. A 'paraskenia' was a long wall with doorways for entrances and exits. Just behind the paraskenia was the 'proskenion'. The 'proskenion' ("in front of the scene") was beautiful, and was similar to the modern day proscenium. Greek theatres also had tall arched entrances called parodoi or eisodoi, through which actors and chorus members entered and exited the orchestra. By the end of the 5th century BC, around the time of the Peloponnesian War, the 'skênê', the back wall, was two stories high. The upper story was called the 'episkenion'. In Roman times, when Games (Ludi) were held in Greek theatres, the 'orchestra' acted as a small sanded arena "for wrestling, boxing and gladiatorial contests.

EXPLANATIONUM FAUNUM

'Explanations from Faunus' - "But any way....enough talking about the  Theatre of Dionysus, and the Games - that's all for a few days time.

At the moment I feel that we should be thinking about Eleusis, as that is one of the main reasons that we are visiting Athens.", Faunus considered , becoming serious - and Marcus and Novius nodded in agreement.

"If you remember, I was trying to tell you about the nature of the Gods - but got sidetracked by some strange comments about Hephaestus - or Vulcan, to the Romans, as you well know, Novius.", Faunus began - once again.

"Now, Archos and Adonios, as Aristarchos should have taught you, ( Aristarchos was the boy's Greek tutor), there is, of course, only one God - although God is not really the right word to use." Faunus began in his best scholarly mode.

"I know....!", Archos interrupted.

"The one 'God' is called the 'ONE' !".

Markos at this point looked annoyed, as did Glaux.

"Please, Archos....let Faunus get on with his explanations without you constant interruptions.". Markos said, sounding exasperated.

So Faunus continued......

The 'ONE'

"The ONE is ineffable, not to be described or named, for the ONE is beyond every name and category, beyond definition, utterance, conception and comprehension, and beyond all terms we may apply.

The ONE is nameless, secret, concealed, and outside the range of all thought.

The ONE is  hidden (Lat. deus absconditus), utterly unknown and unknowable.

Of  the ONE  no words can tell.

The ONE generates or causes existence, not through the intermediary of another, or an opposite, not by creation, reproduction or evolution, but by a unique manifestation that brings into existence a complex chain of being, forming a descending hierarchy of spiritual entities.

The divine attributes of the ONE , that is, the abstract qualities constitute the ONE's thoughts and designs, which lie hidden, known to the ONE, but unknown to themselves.

Then the ONE  gave them existence, and they flowed out from the divine source.

The externalization of the divine attributes in this manner constitutes the first stage of a long process resulting from the overflow or outpouring of the fullness (the 'pleroma' which contains the αἰθήρ) of the ONE.

The entities that initially emerged from this process are known as the 'Æons', a class of sentient non-physical beings of varying attributes and powers.

Their own qualities, the regions they occupy, the dimensions in which they function, and the time-span of their operations, all likewise become actualized, take on independent existence, and form links in the chain of emanation.

These 'Æons' are known as the 'Gods' by sentient beings.

Each Aeon is a hypostasis of the emanation from the ONE. 

Now you must be careful with this word 'Æon', because a lot of nonsense is talked about 'Æons' by people who do not have any real knowledge of such things.

To put it fairly simply the word Æon originally meant 'life', or 'vital force' and, as Novius will gather, it is a Latin transliteration from the 'koine' Greek word ὁ αἰών (ho aion).

The important things to remember is that the Æons are the emanations of the ONE.

The Æons formed, in their own spiritual likeness, a race of sentient physical beings - known to themselves as the 'Noble Race'."

"That's us....", Archos whispered to  Adonios, and Glaux gave Archos a withering look.

Faunus ignored the comment and continued.

The 'Pleroma'

"The Æons, anxious to assist the 'noble race', incarnated at various times through 'gateways in the stars' - taking on 'human-like' form - but 'perfected'.

The 'ONE' exists in a mode beyond human understanding known as the 'Pleroma' - the fullness, and 'Pleroma' is separated from 'Topos' (the material worlds) by the Katapetasma (καταπέτασμα), the curtain or veil, which bears upon it imprints of the secret patterns (ikons) of creation - the ineffable Forms."

"Now listen carefully boys,", Novius added, "as this takes us back to Plato.".

"Indeed...", Faunus agreed.

"The Forms inhabit the ontological world of all possible existing entities, and the mighty Æons were the creators of the Forms - the greatest Æons creating the highest Forms, and the lesser being responsible for the lesser Forms.

Spiral Galaxy

Tetra-Gammadion - the Sigil of Creation
Ancient Greek Mosaic - Island of Kos

From the secret patterns of the Forms the creation of the material universe was set in motion by the will of the ONE - and the motion of creation was in the form of a spiralling circle - which even now is echoed, in the microcosm, in the forms of the basic particles of matter, and in the macrocosm, by the forms in the stars, and the symbol of creation is represented by the Tetra-Gammadion - the Sigil of Creation.

"But  Faunus, what, may I ask, has all this got to do with us attending the Mysteries at Eleusis ?", Markos asked, trying to be as polite as possible.

"Well, the point is that it is suggested - although I may not say definitely, because of the strict and solemn oath of secrecy surrounding the mysteries, that at certain points  during the ritual some of the Gods make an appearance.

Now if this is the case - and I am not saying one way or the other, remember - then this explanation may well help you to understand more fully the significance of what is happening, and what you are experiencing.", Faunus said.

"Well, put like that. Markos - I think that Faunus is making a lot of sense." Novius added, looking very serious.

"Wow !.....", Archos said quietly, while Glaux gave the impression that he was not in any way impressed.

"So, can I ask a question ?",  Adonios asked.

"Of course...", Faunus replied, regretting a little that he had been a little 'sharp' with the boys at the beginning of his explanation.

"Now my small experience of things is that while some things are good, there are an awful lot of very bad things in the world.

So if everything around us has been made by these Æons - sort of on behalf of the ONE - does that mean that they are not really very good 'gods' ?", Adonios said, trying to be careful not to upset Faunus - after all, he had a nasty suspicion that Faunus himself might be one of those Æons in disguise.

"Well that's a good question, the answer to which which I was intending to explain - eventually.", Faunus replied, smiling.

"And I think that this might bring us to the Demiurge....am I right, Faunus ?", Novius suggested.

"You are indeed !", Faunus replied.

"The Demi-what ?", Archos blurted out, forgetting himself for a moment.

"The Demiurg, Archos - and Novius is right.", Faunus agreed.

"The word demiurgus is a Latinized form of the Greek δημιουργός.

It was originally a common noun meaning 'craftsman' or 'artisan', but gradually it came to mean 'creator'.

The Demiurge

The name comes from Plato's 'Timaeus', in which the Demiurge is presented as the creator of the many worlds.

This Archon - whom we call δημιουργό, the Demiurge, - formed the material worlds (formed - not created - only the ONE can create) from the plane of Foundation, (the astral planum) where the ineffable Forms were the template for all possibilities.

The vision of the Demiurge, however, was only able to perceive the Forms as in a clouded, distorted mirror, and the glory of the πλήρωμα (the fullness of the eternal Forms) was hidden from him.

The Demiurge, using as models the reflected distortions that fell onto his domain, sought to duplicate the divine originals.

In this manner he fashioned the many worlds, whose main elements are time (chronos), space (kenos) and change (rheos).

Out of space was formed matter (hyle), and from this the Demiurge formed, from the distorted patterns on the Katapetasma, the cosmos and all worlds an all living creatures including sentient humans.

Time was made in imitation of the 'eternal present' prevailing in the plērōma.

The objects and creatures in the sphere of the demiurge, however, are mere caricatures, like the impress of imperfect seals, and the fruit of misshapen ideas.

They are as illusive as shadows, and incomplete.

That is why the worlds are spoken of as counterfeit (antimimos), and the demiurge is known by the wise as the 'ape of God' (simia Dei).

These worlds includes the natural, physical dimension in which sentient beings live, as well as dimensions, invisible to many, of incorporeal beings.

Sentient beings share the many worlds not only with the material elements, with plants and animals, but also with the etheric and astral entities in the non-material planes, and with spirits and daemons, and all the powers and principalities dwelling under the dominion of the Demiurge - who is often described as 'the god of this world'.

And so, when the Demiurge had completed his work of imitation (mimesis) he became blinded by arrogance, and he announced to his creatures that he was the ONE God.

The  Æons allowed this imperfect creation because the ineffable ONE had permitted this copy of his πλήρωμα, and who can question the actions of the ONE ?

All created sentient beings, and even the Powers, Dominions, Thrones, Dominations and Archons sense that they, and the creation in which they find themselves, is lacking in completeness, fullness and perfection.

They feel always their imperfection - as poor copies of the eternal Forms.

All sentient beings, however, sense the perfection that they believe, and the great Æons know, certainly exists, and this perfection is the source of all the strivings and the hopes of those sentient beings - for their true reality must inevitably exist in the πλήρωμα, the great Fullness - which is the world of the ineffable, and eternal Forms created by the ONE."

Faunus had finished speaking - and there was a sudden, almost palpable silence in the room as those who had bee listening pondered the words of the, apparently young, 'faun'.

Finally Adonios spoke.....

"Faunus....who or what are you.... really ?"

Faunus looked intently at Adonios.

"That, my dear friend, I cannot tell you - and it is probably better that none of you know."

TRISTE BONUM NOCTE

'A Sad Good Night' - Novius shifted uneasily on his couch.

"That, Adonios, I think is probably enough.

Faunus has told us much - and I myself would now like to go to my bed and ponder on the many things that he has said.", and with that Novius rose to his feet.

"So, Markos, if you don't mind, I shall retire for the night".

"Of course, Novius - and sleep well.", Markos replied, rising from his own couch, and gesturing to the others that it was time to leave the triclinium.

Faunus, taking a very hungry looking Glaux, disappeared (literally) through the door leading to the villa gardens.

Novius, before retiring to his small suite, followed - needing to clear his head by taking the night air.

And it was another one of those beautiful autumnal Athenian nights, with the sky studded with glittering stars.

Marcus and Novius

Markos, unobtrusively followed Novius.

Novius, hearing Markos footsteps, turned and sighed.

"You know, Markos, I really miss him.", Novius said softly.

"Who ?", Markos replied, somewhat puzzled.

"Why, Gnaeus, your adoptive father, of course.

He was a real true friend.", Novius replied sadly.

"And how do you think I feel ?", Markos answered.

"I just wish he was here with us now.".

Novius patted Markos on the shoulder.

"Of course, my boy."

"But I am worried...."Novius continued.

"Ever since Glaux flew in to Gnaeus' study, the night that he died, things have never been the same.

And now, the way that Faunus is talking, I sense that something very terrible is approaching.

Something that we cannot stop...or avoid.

And even Faunus, although he hides it well, is fearful.".

Novius then shook his head, turned and went back into the seeming security of the villa.

  'and the story continues -

After a restless night - Markos, Patroclus, Novius and the 'boys' rise early for a morning in the city....and a surprise visit to the Ludi in the Theatre of Dionysus Eleuthereus by the Acropolis

CHAPTER LV

'SOMNIA - ET DIEM IN URBE'

(Dreams - and a Day in the City)

link to be completed soon

Please note that this chapter may contain sexually explicit and violent images and text.

If you strongly object to any of these images please contact the blog author at vittoriocarvelli1997@gmail.com and the offending material can be removed.

Equally please do not view this chapter if such material may offend.

Chapter LIII - Deorum

'THE GODS'

Please note that this chapter may contain sexually explicit and violent images and text.

If you strongly object to any of these images please contact the blog author at vittoriocarvelli1997@gmail.com and the offending material can be removed.

Equally please do not view this chapter if such material may offend.

 PROLOGVS

open images in a new tab to view enlarged

Wisdom hath builded her house, she hath raised up her pillars.

She hath killed her beasts; she hath mingled her wine; she hath furnished her table.

She hath sent forth her maidens: she crieth upon the high places of the city,

"Whosoever is ignorant, let him come hither.  As for him that wanteth understanding - 

Come, eat of my bread, and drink of the wine which I have mingled.

Forsake the foolish, and live - and go in the way of understanding."

'Book of Proverbs' - Chapter 9

While the 'Book of Proverbs' of the 'Septuagint' is superficially part of Hebrew scripture, it valorizes the Hellenistic concept of 'Wisdom', as exemplified in the embodiment of 'Wisdom' in the person of the Goddess Athena - known to the Romans as Minerva - as Faunus shall doubtless explain to us later......

The world of the Greeks was filled with Gods, led by the towering Olympians, such as Zeus, Hera, Apollo, Poseidon, Athena, and other great figures in Classical Mythology.

Alongside worship of these Divine inhabitants of Olympus were hundreds of cults focused on local deities and heroes.

People prayed to these gods for the same reasons that many people still pray: for health and safety, for prosperity, for a good harvest, for safety at sea.

Mostly they prayed as communities, and through offerings and sacrifice they sought to please the inscrutable deities who they believed controlled their lives.
In addition to the formal and public religious ceremonies, there were also many rites which were open to and known only by the initiated who performed them, the most famous example being the 'Mysteries of Eleusis'.
In these closed groups, members believed that certain activities gave spiritual benefits, amongst them an answer to the mystery of the 'after-life'.
Places could also acquire a divine connection.

Dodona

Delphi

The great oracles such as that of Apollo at Delphi and Zeus at Dodona may well have begun as places considered particularly good to receive signs from the gods.
Such places became hugely important centres with their oracles consulted by both individuals and city-states so that their proclamations might help to guide future conduct.  
   

MERIDIEM  PRANDIUM

'Lunch' - And so they returned to the 'Villa Athena' in order to have lunch.

Novius had borrowed some scrolls - and Heliodorus was lumbered with them - but that was something that he would just have to get used to.

Glaux, of course, was having a fine time.

Athens was the city of Athena - and he was Athena's owl - and when they left their carriage, and walked in the street, there were many admiring glances which were directed towards Glaux, who was proudly sitting on Faunus' wrist.

No one, of course, recognised Markos, who was simply taken to be a wealthy young Athenian aristocrat out for a morning stroll with his friends - and that's just the way Markos, and Faunus, for that matter, wanted it.

After a chat about the gymnasion, and the similarities that it had to the gymnasion and the ludus back at Baiae during their meal, Archos (Aurarius, remember?) asked Markos if they would still be going to the Acropolis.

When Markos replied in the affirmative, Archos looked a little downhearted.

"Now Archos - if I may use your new name - please remember that the temple of Athena on the Acropolis is the representation, in Athens, of the Goddess - and so there is a special connection between Athena and our Glaux.", Faunus explained - and Glaux fluffed up his feathers, and tried to make himself look as tall and imposing as possible - which was not easy for a little, fluffy chap like Glaux.

The Parthenon was built under the general supervision of the artist Phidias, who also had charge of the sculptural decoration. The architects Ictinos and Callicrates began their work in 447 BC, and the building was substantially completed by 432, but work on the decorations continued until at least 431. Although the Parthenon is architecturally a temple, and is usually called so, it is not a temple. The Parthenon never hosted the cult of Athena Polias, patron of Athens: the cult image, which was bathed in the sea and to which was presented the peplos, was an olive-wood xoanon (a primitive wooden image of a deity), located at an older altar on the northern side of the Acropolis. The colossal statue of Athena by Phidias was not related to any cult. Also, it did not have any priestess, altar or cult name. The Parthenon should then be viewed as a grand setting for Phidias' votive statue rather than a cult site, and there were many treasures stored inside the temple, such as Persian swords and small statue figures made of precious metals.

"So Faunus - can you explain to me.....is this Athena, after which this city is named - and who seems to be a special friend of Glaux - the same Goddess as Minerva, who people talk about in Rome, but not in  Baiae, or here in Athens.", Archos asked, probably trying to 'trip up' Faunus with an awkward question.

Glaux nodded, and Markos smiled.

"Yes indeed.....

You see we are now calling you Archos, because it's your Greek name, and we are in Greece, but when you were in Rome, you were known as Aurarius, which is a Latin name - and Latin, of course, is the language that the Romans speak - well most of the time - and so, 'Athena' is the Greeks name for the Goddess, and 'Minerva' is the Latin name for the Goddess.", Faunus explained.

"And Athena is the goddess of....?", Archos asked quizzically.

"Well, this is where it gets difficult.

Yes, Athena is commonly described as the Goddess of Wisdom, but although the Gods and Goddesses are shown as beautiful people..."

"But not Hephestus...", Adonios interrupted.

"Well...not Hephestus...", Faunus agreed.

"You must understand that they are not people...."

"No, they are Gods and Goddesses...", Adonios interrupted again.

"Now Adonios - do you want to explain this, or shall I ?", Faunus asked gently.

"No....sorry.

You go on - I won't  interrupt again.", Adonios said, looking sheepish.

"So how come she's the Goddess of War as well as Wisdom ?", Archos then asked, making Faunus begin to regret the whole business of discussing Athena - and Glaux, who was beginning to look a little bit annoyed -  was thinking in his amazing 'owl brain' that the boys were not being very respectful.

Athena and Glaux

Now this is what Faunus would have liked to say - had the boys given him half the chance..... 'Athena, often given the epithet Pallas - is the Goddess of wisdom, handicraft, and warfare, - who was later syncretized with the Roman goddess Minerva. Athena was regarded as the patron and protectress of various cities across Greece, particularly the city of Athens, from which she most likely received her name. She is usually shown in art wearing a helmet and holding a spear. Her major symbols include the owl (Glaux), olive trees, snakes, and the 'Gorgoneio' - (the Gorgon Head amulet, used  by the Olympian deities Athena and Zeus. It was assumed, among other godlike attributes, as a royal 'aegis' to indicate 'divine birth' or protection, by rulers of the Hellenistic age. Marcus had given Petronius a gold Gorgon head ring when they visited Rome). Athena was known as 'Polias' (derived from 'polis', meaning 'city-state'), and her temples were usually located atop the Acropolis in the central part of the city. The Parthenon on the Athenian Acropolis is dedicated to her, along with numerous other temples and monuments. As the patron of craft and weaving, Athena was known as 'Ergane'. She was also a warrior goddess, known as Athena 'Promachos'. Her main festival in Athens was the Panathenaia, which was celebrated during the month of Hekatombaion in midsummer and was the most important festival on the Athenian calendar.'

So that's roughly what Faunus eventually managed to say - with numerous interruptions - but Archos still had one more - very pertinent question.

"If she's the Goddess of Wisdom....then why is she also the Goddess of War ? I thought Ares was the God of War.."
And they all looked to Faunus to see how he would answer that conundrum.

"Good question...", Faunus replied, possibly - the others thought -  trying to evade the issue.

"It's something that most people misunderstand - but the significance is really simple.

Wisdom is something that is not easily acquired.

To obtain Wisdom we must fight for it....it's a struggle (in Greek 'agónizomai' ) like the struggle of two contestants in the pankration - which is a fight - a kind of warfare.

To obtain true knowledge you must be a warrior - as you may well find at Eleusis."

The boys nodded, realizing just how wise Faunus really was.

Having rested a while after their meal, the group, once again, took to their two carriages and drove to the foot of the Acropolis.

INVESTIGANDI  ACROPOLI

Panorama of the Acropolis

'Exploring the Acropolis' - The Acropolis, of course,  had undergone some changes since Greece had become part of the Roman Empire - the Empire now ruled by Markos' friend, Vespasian.

Acropolis Athens - open in new tab to view and enlarge

During the Hellenistic and Roman periods, many of the existing buildings in the area of the Acropolis were repaired, due to damage from age, and occasionally, war. Monuments to foreign kings were erected, notably those of the Attalid kings of Pergamon Attalos II (in front of the North West corner of the Parthenon), and Eumenes II, in front of the Propylaia. These were rededicated during the early Roman Empire to Octavian Augustus, and Agrippa, respectively. Eumenes was also responsible for constructing a stoa on the South slope, not unlike that of Attalos in the Agora below. During the Julio-Claudian period, the Temple of Rome and Augustus, a small, round edifice, about 23 meters from the Parthenon, was to be the last significant ancient construction on the summit of the rock.

This was not the first time by any means that Glaux had been to the Acropolis, but regardless, he fluttered from one building to another, perching on a pediment here and a statue there - looking generally excited.

Of the new Roman additions to the Propylaea (broad steps and a monument to Agrippa) Glaux did not approve, and neither did Faunus.

The word 'propylaea' means a 'monumental gateway', and the Propylaea to the Acropolis in Athens is  prototypical of such gateways - and that, not surprisingly, was the way our little group of 'tourists' entered the Acropolis.

To use the word 'tourist' might seem strange, but in the relatively settled Roman Empire 'tourism' was a thriving business - as is indicated by the vast numbers of Latin and Greek graffiti recording various visits, and defacing numerous monuments all over the classical world.

The Propylaea and Temple of Nike - Athens

And while modern readers may be surprised at the prevalence of 'tourism'  (as we call it) in the ancient world, those viewing the images of the Acropolis, as it was at the time of this story, may be surprised that those beautiful building, constructed in the main of gleaming white Pentelic marble, had many ornamental details painted in what we might consider to be 'gaudy' colours.

And surprised for the following reason - when Europeans finally got down to investigating and appreciating the Classical past, they found the ruins of many building, such as those on the Acropolis.

Time and decay, however had stripped the building of their original, pristine colours, and it was assumed that the Classical world was filled with pale and ethereal white marble buildings.

It was only with the introduction of modern methods of scientific analysis that traces of pigment were found on most classical buildings.

There are problems with these discoveries, however, and there continues to be considerable 'debate', (to put it politely), as to the intensity of the colours used on buildings and sculptures - with some 'experts' favouring the 'fairground' and 'comic cartoon' effect, while others suggest more subtle, pastel washes. 

And we are still left with the puzzle of why very valuable, and in many cases rare marbles, would be polished to mirror like finishes, only to have paint slapped on them.

So here we take a middle course, with some colour - but hopefully not too much.

After entering the Propylaeum, they went into the side chambers to view the famous paintings which were on display.

There are no known examples of Greek or Roman 'easel' paintings - and our only knowledge of Greek painting is from ceramics and wall paintings.

They then left by a doorway to the right which led up to the temple of Athena Nike.

Temple of Athena Nike - Athens

The temple is named after the Greek Goddess, Athena Nike. It was built around 420 BC, and is the earliest fully Ionic temple on the Acropolis. It is a tetrastyle (four column) Ionic structure with a colonnaded portico at both front and rear façades (amphiprostyle), designed by the architect Kallikrates. It is in a prominent position on a steep bastion at the south west corner of the Acropolis to the right of the Propylaea. In contrast to the Acropolis proper, the Victory Sanctuary of Athena Nile is entered through the Propylaea Propylaea's south-west wing and from a narrow stair on the north. The sheer walls of its bastion were protected on the north, west, and south by the Nike Parapet, named for its frieze of 'Nikai' celebrating victory, and sacrificing to their patroness, Athena Nike. Nike means 'victory' in Greek, and Athena was worshipped in this form, as goddess of victory in war and wisdom.

"Not a good place for people who don't like heights !", Archos commented, looking over the parapet to the steep gorge below.
"True - and many years ago they had to build the parapet in front of you to stop people falling over the edge....", Faunus explained. (which is true)
"Falling, or being pushed ?", Archos replied with a grin.
"Who knows....", Markos said - not really wanting to look over the edge.
Faunus then led the way, but not to the Parthenon, which he wanted to keep as the highlight of the visit, but instead to the Erechtheion.

The Erectheum  - Athens

The Erechtheion (Erectheum in latin)  is a temple on the north side of the Acropolis which is dedicated to both Athena and Poseidon. The temple was built between 421 and 406 BC. Its architect was Mnesicles, and it derived its name from a shrine dedicated to the legendary Greek hero Erichthonius. The sculptor and mason of the structure was Phidias, who was employed by Pericles to build both the Erechtheum and the Parthenon. The need to preserve multiple adjacent sacred precincts explains the

Cross Sectional Elevation of the Erectheum - North - South

complex design. The main structure consists of four compartments, the largest being the east 'cella', with an Ionic portico on its east end. The entire temple is on a slope, so the west and north sides are about 3 m (9 ft) lower than the south and east sides. It is built entirely of marble from Mount Pentelikon, with friezes of black limestone from Eleusis which bear sculptures executed in relief in white marble. It has elaborately carved doorways and windows, and its columns are ornately decorated  and are painted, gilded and highlighted with gilt bronze and multi-colored inset glass beads. The Erectheum (in Latin) was associated with some of the most ancient and holy relics of the Athenians: the 'Palladion', which was a xoanon (a wooden effigy fallen from heaven - not man-made) of Athena Polias (Protectress of the City); the marks of Poseidon's (Neptune) trident, and the salt water well (the "salt sea" - see below) that resulted from Poseidon's strike; and the sacred olive tree that sprouted when Athena struck the rock with her spear in her successful rivalry with Poseidon for the city. 

 Erectheum - the Caryatid Porch - Athens

On the north side, of the Erectheum there is another large porch with six Ionic columns, and on the south, the famous 'Porch of the Maidens', with six draped female figures ('caryatids') as supporting columns. A caryatid (Greek: Καρυάτις, plural: Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head. The Greek term karyatides literally means "maidens of Karyai", an ancient town of Peloponnese. Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis: "As Karyatis she rejoiced in the dances of the nut-tree village of Karyai, those Karyatides, who in their ecstatic round-dance carried on their heads baskets of live reeds, as if they were dancing plants"

So they wandered round the Erectheum, and Novius pointed out the marks of Poseidon's trident in the rock

Novius explained to Archos and Adonios that Pausanias had written - 

'And in the interior there is sea-water in a well. But this is no great marvel, for it is found in other inland regions as well, as for example Aphrodisias in Caria. However, the well on the Acropolis is remarkable for the noise of waves it produces when the south wind blows, and on the rock is the imprint of a trident. These phenomena are said to have appeared as evidence in support of Poseidon’s (Neptune) claim to the land.'

Now although we might imagine people in ancient time to be superstitious and credulous - that would apply only to the foolish and poorly educated - as it still does even in 'our world'.

Archos and Adonios were far from credulous and poorly educated, thanks to their Latin and Greek tutors, and although they willingly accepted Faunus as (what we would call) a 'supernatural being', along with Glaux, they were not going to be 'duped' by a few marks in stone, or a plaster lined cistern full of salty water - so, they were not particularly impressed, - although they did admire the graceful and imaginative architecture of the Erectheum.

Equally, the much vaunted Athenian 'Paladion' (Paladium in Latin), did not impress them.

The 'Palladium' or 'Palladion' of Troy (Ilium), and later Rome, was a cult image of great antiquity on which the safety of Troy, and later Rome was said to depend. The wooden statue (xoanon) of Pallas Athena that Odysseus and Diomedes stole from the citadel of Troy was later taken to the future site of Rome by Aeneas. The Roman story is related in Virgil's 'Aeneid', and other works.  It was regarded as one of the 'pignora imperii', sacred tokens or pledges of Roman rule (imperium). Some said it was only a copy of the true Palladion which was still in Athens (see below). 

The Athenian Palladion was kept on the Acropolis in Athens. The goddess Athena was worshipped in Athens under many names and cults, the most illustrious of which was of the 'Athena Poliás', 'protectress of the city'. The cult image of the Poliás was a wooden effigy, often referred to as the "xóanon diipetés" (the 'carving that fell from heaven'), made of olive wood and housed in the east-facing wing of the Erechtheum Temple in the classical era. Considered not a man-made artefact, but of divine provenance, it was the holiest image of the goddess, and was accorded the highest respect. It was placed under a bronze likeness of a palm tree, and a gold lamp burned in front of it. The centrepiece of the grand feast of the Panathenaea was the replacement of this statue's woollen veil with a newly woven one. It was also carried to the sea by the priestesses, and ceremonially washed once a year, in the feast called the Plynteria ("washings").  It disappeared at the end of the Roman Empire.

They then left the Erectheum, and made their way to their final 'port of call' which was to be the famed Parthenon.
As has been previously explained, the Parthenon it is not a temple.
It did contain a colossal statue of Athena by Phidias, but it did not have any priestess, altar or cult name.
Because of this the Parthenon could be viewed more as a 'museum', or a 'treasury', rather than a temple, and within its walls were stored  many treasures, such as paintings, Persian swords and small statue figures made of precious metals.
Having already seen the building from the outside, when they first entered the Acropolis, the 'boys' were by then keen to view the interior.

Chryselephantine Statue of Athena - Parthenon Athens

"Wow !.. She's big !", Archos spluttered, as they entered the cella (naos).
Glaux turned his back in disgust.
Faunus explained, apologetically.
"Glaux is upset because she's holding a 'winged victory' in her hand - rather that a golden sculpture of him.
I think, probably Phidias is 'doomed' for that elementary mistake.", Faunus said, giving  wicked smile.

Chryselephantine sculpture (from Greek χρυσός, chrysós, gold, and ελεφάντινος, elephántinos, ivory) is sculpture made with gold and ivory. Chryselephantine cult statues enjoyed high status in Ancient Greece. Chryselephantine statues were built around a wooden frame, with thin carved slabs of ivory attached, representing the flesh, and sheets of gold leaf representing the garments, armour, hair, and other details. In some cases, glass paste, glass, and precious and semi-precious stones were used for detail such as eyes, jewellery, and weaponry. Construction was modular so that some of the gold could be removed and melted for coin or bullion in times of severe financial hardship, to be replaced later when finances had recovered. For example, the figure of Nike held in the right hand of Pheidias' (see below) 'Athena Parthenos' was made from solid gold with this very purpose in mind. The two best-known examples, both from the Classical period, are those sculpted by Phidias: the 13 m (40 ft) tall standing statue of Athena Parthenos in the Parthenon at Athens, and the 12 m (36 ft) seated statue of Zeus in the temple at Olympia, considered as one of the Seven Wonders of the Ancient World.

Phidias (Greek: Φειδίας - c. 480 - 430 BC) was a Greek sculptor, painter, and architect. His statue of Zeus at Olympia was one of the Seven Wonders of the Ancient World. Phidias also designed the statue of the goddess Athena on the Athenian Acropolis, namely the Athena Parthenos.

The 'tour' ended with an inspection of the treasury at the western end of the building - and then they left the Parthenon, and the Acropolis, passing through the Propylaea, and down the long wide staircase - probably feeling as hot, tired and satiated with images and facts, as all previous, and later visitors were, and are, and shall be.
It had, indeed been a tiring afternoon.
But Faunus had his reasons for the visit........

  'and the story continues -

Markos, Patroclus, Novius and the 'boys' return to the 'Villa Athena', where they have their evening meal, while Faunus begins to prepare them for the ceremonies at 
Eleusis that shall soon begin....

CHAPTER LIV

PARATISQUE OMNIBUS AD MYSTERIA ELEUSINIA
('Preparations for the Mysteries')

Please note that this chapter may contain sexually explicit and violent images and text.

If you strongly object to any of these images please contact the blog author at vittoriocarvelli1997@gmail.com and the offending material can be removed.

Equally please do not view this chapter if such material may offend.