1. See pp. 75-76, above. [BACK]

2. See index to BR cups, sv. Ara Pacis. [BACK]

3. Simon 1986, fig. 285; see further pp. 225-26 nn. 68-69 below for bibliography; see p. 226 n. 69 above on the cognate Augustan and early Tiberian coinage. The Belvedere altar composition, in fact, is echoed exactly on Tiberius' accession issues, leading one to assume that these and the altar panel both depend on a more grandly scaled public composition, in painting or relief. [BACK]

4. This sort of double vision is only possible because we can look at a human being or animal in a moment of action and guess with some accuracy how that motion is going to be continued, and we can extend this sense of an immediate future to visual depictions of a human being in an action pose (as in the victim group of BR II:1: "that man is going to hit that victim on the head with that axe"). When the opportunity for such double vision is afforded, it is an example of something not possible in literary art; for while literary art can be evocative in many ways denied to visual art, especially of other works of art, it cannot give the sense that the pattern of words one sees/hears is about to shift into a different alignment of the same words. [BACK]