Notes on the current edition
History
1.
Cf. Zosimus, iv. 4-8.
2.
He was his cousin on his mother’s side; she was a sister of Basilina, Julian’s mother.
3.
I.e. Julian.
4.
Cf. xxiii. 3, 2.
5.
Cf. xxv. 8, 18.
6.
Probably because he thought that he would not be looked for in so important a city.
7.
The wife of Valens was Albia Dominica.
8.
Apparently so named from the Marteni, a people of Babylonia. On the
praepositi, see vol. i., Index II.
9.
See Introd., vol. i, p. xxviii.
10.
He ruled from 270-275.
11.
See Dio, lxii. 12, 13; Lamprid.,
Commodus, 6, 7.
12.
See Dio, lxxv. 14-16.
13.
They had remained quiet since the time of Constantine the Great, but were aroused to anger by the appointment of two emperors of provincial birth
14.
Cf. xxvii. 1, 2.
15.
For rest and preparation for the campaign.
16.
A soldier’s pay differed in the various branches of the army, and was increased according to his years of service; cf. Veget. ii. 21.
17.
Anastasia, wife of Bassianus Caesar; according to Zosimus, v. 9, 3, these and the Carosian baths were named from the two daughters of Valens. The other was Carosa, apparently the wife of Procopius, Socrat. iv. 9; Sozom. vi. 9.
18.
I.e. Didius Julianus. The praetorians publicly an- nounced that they would bestow the purple on the man who would pay the highest price. When Sulpicianus, prefect of the city, had promised 25,000 sesterces to each praetorian, Julianus offered 30,000 and won the prize.
19.
The
paedagogium was the apartment where pages or slaves were trained for service; cf. Pliny,
Epist. vii. 27, 13, and xxix. 3, 3, below.
20.
The language is far from clear, but the general meaning is that he resembled some grotesque actor in a stage-play or mime; Salvète (see Bibliogr. Note, vol. i.) seems to take it to be a figure painted on the curtain. In that case
through the curtain would mean
by the curtain, as it was raised at the end of a performance; cf. Virg.,
Georg. iii. 24 f.,
vel scaena ut versis discedat frontibus utque purpureas intexti tollant aulaea Britanni.
The curtain as it rises shows the figure a part at a time and the representation in a mime would be grotesque; Ammianus seems to have combined the two ideas. It is hard to see how
per aulaeum can mean
behind the curtain, as Büchele takes it, or that a figure on the stage could be seen through the curtain. Yonge omits
per aulaeum altogether.
21.
One of Ammianus’ few word-plays; cf. Sail.,
Hist. i. 55, 22, Maur.; Gell. xii. 9, 3 ff.; Treb. Poll.,
Claud. 5, 4.
22.
Val. takes
intimidius as equivalent to
timidius, com- paring Vell. ii. 37, 2,
armis infractus.
23.
See § 7, above.
24.
It was opposite the palace near the Senate House.
25.
Cf. xiv. 11, 30.
26.
Cf. Lamprid.,
Heliog. i. 5,
Scr. Hist. Aug. ii. p. 106, note,
L.C.L.
27.
A city of Apamene, north of Coelesyria
28.
Alexander Severus; cf. Jul. Cap.,
Max. 7, 8; and Lamprid.,
Alex. Sev. 61.
29.
Capit.,
Gord. 16, 2; for his cenotaph, see xxiii. 5, 7, above.