By Hans Peter L'Orange
During this learn, initially released in Norway as Fra Principat Til Dominat, Professor L'Orange units down the essence of his idea at the an important interval of transition from decentralization to standardization in civic and cultural life-a interval no longer in contrast to our own.
"This narrow quantity provides an admirably succinct research of 1 of the good turning issues in Western artwork and civilization."--Art Bulletin
"L'Orange has distilled for the non-specialist reader's profit the essence of these very important experiences of late-antique artwork, and the ideologies informing it, for which he has lengthy been famed."--Classical evaluation
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Additional info for Art Forms and Civic Life in the Late Roman Empire
The century of the soldieremperors, it had become accepted practice for armies to proclaim the emperors; the senate with its investiture could only confirm the fact. In the divided Empire it was not sufficient, however, that only a single provincial army supported the election of an emperor, as, after the death of Numerian (pp. ), the eastern armies were responsible for the election of Diocletian. D. 285). One would expect the Emperor at this point to repay his debt with a declaration of loyalty to the imperial army; Diocletian's first governmental declaration, on the contrary, was a proclamation of his sovereignty.
It looks through our elusive, changing, discordant, physical world and immerses itself in the higher absolutes, the unchangeable symmetry, in the realm of eternity. 33 BLANK PAGE THE GREAT CRISIS AND ITS SOLUTION UNDER DIOCLETIAN BLANK PAGE I. THE REFORMS OF DIOCLETIAN DIOCLETIAN IOCLETIANUS-in private life called Dioclesbegan his reign by administering justice in his own person: with his own hand he executed the man considered guilty of murdering the ruling emperor in the East, Numerian. On the high tribunal, before the eyes of the assembled army, he stabbed Aper, the Commander of the Praetorian Guard.
13. Late antique architectural ornament, ca. D. 300 16). Spiritlike and seemingly bodiless, the saints float past ·our eyes against a homogeneous background of symbolic palms of victory, each as a uniform element in an endless row: equal in height, with the same figure and with the same step, in the same venerable pallium costume, varied only in its detail, bearing the wreath of martyrdom, haloed, each of a singularly solemn, wideeyed ·type which, for the beholder in Antiquity, was associated with the idea of man become divine (pp.