Jack stared for a moment, and then it clicked. ‘It’s Latin. “Arepo, the sower, holds the wheels carefully.”’
‘Some kind of code?’ Costas said.
‘Not exactly,’ Jeremy murmured. He quickly took out a notebook and pencil from his pocket and scribbled down some words, then ripped out the sheet and handed it to Costas. ‘It’s a word square, a puzzle. Rearrange the letters and this is what you get.’ Costas held up the paper so Jack and Morgan could see it too:
Costas whistled. ‘Clever.’
‘But not Everett’s idea,’ Jack said. ‘It’s ancient Roman, found scratched on an amphora sherd in Britain.’
‘That sounds familiar,’ Costas said. ‘Ever since the graffiti of St Paul from our shipwreck off Sicily, I’m beginning to look at humble old pots in a whole new light.’ He took a step forward and peered into the vestibule. ‘And speaking of which, that looks familiar too. I think I see a chi-rho symbol.’
‘Two of them, in fact,’ Morgan said. ‘One on the floor, one on the wall.’
They filed inside. The room was simple, austere, in keeping with the exterior of the villa, the plastered walls painted matt red in the Roman fashion. There were no windows, but instead a series of apertures just below the ceiling artfully designed to let shafts of light fall on the middle of the floor and on the wall opposite the entranceway, on the centrepieces of the two decorations in the room. The floor decoration was another mosaic, but this time polychrome. It covered almost the entire width of the room, perhaps eight feet across. The tesserae were each about half an inch square and the palette was limited, no more than half a dozen colours. The mosaic was executed in a bold, linear style with stark images and little subtlety of shading. A series of concentric circles advanced inwards, abstract patterns of tendrils, meanders and scrolls divided by bands of white. In the centre was the image that Costas had seen, a chi-rho monogram inside a medallion about two feet across, surmounted by the head and torso of a human figure. The chi-rho symbol appeared behind the head, as if it were a halo.
‘Extraordinary,’ Jack murmured. ‘Hinton St Mary, in Dorset. It’s almost identical to the famous mosaic.’
‘Another British villa?’ Costas asked.
Jack nodded absently, then squatted down, absorbed in the detail. ‘The Hinton St Mary mosaic wasn’t excavated until the 1960s, but the medallion design was probably replicated by the Roman mosaicist and Everett must have known of it from somewhere else. He’s even used the same materials,’ he murmured. ‘Brick for red, limestone for white, sandstone for yellow, shale for grey. He had access to plenty of other colours around here, quartzes, greens and blues, the colours you see in the Getty Villa mosaics, but he stuck to a British palette.’
‘I take it that’s Christ?’ Costas said.
‘Good question,’ Morgan replied.
Jack got up. ‘I didn’t think there was any dispute,’ he said. ‘Pretty standard fourth-century representation. Clean shaven, square faced, long hair, wearing something like a Roman toga. It was pure fantasy, of course. Nobody knew what he looked like. This could as easily have been an image of the first Christian emperor, Constantine the Great, or one of his successors. In fact, the emperors might not have discouraged the confusion of their images with Christ.’
‘That’s the problem,’ Morgan said.
‘What do you mean?’
‘Well, some of the early Christians in Britain seem to have distanced themselves from the Roman Church, to have seen themselves as part of another tradition that drew strength from their own pagan ancestry. You have to ask yourself whether the owner of that villa at Hinton St Mary would have wanted an image of Christ so similar to the image of the emperor on the coins in his purse. And the educated British elite of the late Roman period would have known what people from Judaea looked like. The idea that Jesus should have been clean shaven, almost cherubic, is preposterous. He was a fisherman and carpenter from the sun-scorched Sea of Galilee. But look again. The long hair, those almond eyes, that cloak that might be a toga, might be a gown. Forget about the identification. What does that image say to you?’
‘It’s a woman!’ Costas exclaimed.
Morgan nodded. ‘For the earliest British Christians, then for later followers of Pelagius like Everett, Jesus’ companion Mary was a powerful part of the story. Not for the Pelagians were the androgynous images you see in some late Roman art, of Christ seemingly embodying both man and woman. They saw the iconography of Christ in the Roman tradition reduced to a mere decorative motif, as imperial propaganda. For the Pelagians, it was Jesus the man, and Mary the woman. And remember where we are. It’s an appropriate image for a convent of St Mary Magdalene.’
‘Fascinating,’ Jack murmured.
‘And you’ll recognize the painting.’
Jack looked up from the mosaic to the wall. He saw another chi-rho symbol, painted in black on a light blue background, with the Greek letters alpha and omega on either side. The symbol and the letters were surrounded by a dark blue wreath, and Jack could make out other, smaller Greek letters among vine tendrils swirling decoratively around the flowers and leaves of the wreath. Below the symbol was a small cross with ornate finials in the Armenian tradition, and below that the Latin words Domine Iumius.
‘“Lord, we come”,’ Jack translated. ‘Apart from that inscription and the Armenian cross, it’s a version of another famous mosaic, from Lullingstone in Kent,’ he said. ‘Everett really had a thing for Romano-British villas, didn’t he?’
Morgan nodded. ‘It’s not just these images we’re meant to be looking at, it’s the setting. Everett wanted us to see art like this in its original context, just as Getty did. And whereas Getty was inspired by Herculaneum, Everett was fuelled by the archaeological discoveries of the nineteenth century in England, a rediscovery of the Romano-British and early Christianity which had excited him as a young man. He realized that early Christian worship in Britain had taken place in private houses, in villas, probably much as it had done in Herculaneum. Everett called this room the scholarium, the learning place. Not a church, not a chapel, but a learning place. A place where people could gather and read the Gospels. A place which had no pulpit, no special place for preachers or priests.’
‘A place where he might have envisaged one day revealing his great secret,’ Costas said.
Jeremy had been pensive, but now spoke quietly. ‘It shows the absurdity of those centuries of conflict between the different denominations, Rome and the Pelagians, Catholic and Protestant. Here, in this Catholic convent in the California hills, he found a place where he could express his convictions with total freedom, create a place where he could get closer to Jesus and his teachings than anywhere before.’
Jack looked around, nodding slowly. Over the years he had learned to accept his own instincts about art, to trust his own sensibility and not force himself to find beauty out of obligation. This place felt familiar to him, somehow touched his own past. The relationship with nature, the choice of colours, the use of light and shade, reflected a particular adjustment to the world that seemed to gel with Jack’s own, with the landscapes of his ancestry. But there was more to it than that. Moving from the great monuments of Christianity, from St Peter’s in Rome and St Paul’s in London, to the intimacy of this place, Jack had begun to sense that he was looking at two different versions of truth, of beauty. He looked again at the face in the mosaic, and thought of Jesus the man, Mary the woman. So much Christian tradition had been wrapped up in high art, creating images that were awesome, remote, unattainable. Yet there was another beauty, one crudely fashioned, perhaps, but with a power wrought through intimacy with men and women themselves, not a creation of idealized forms. Being here today had helped Jack to crystallize these feelings, and to navigate a mystery that was becoming more complex and fascinating the more they delved into it.