Still frame from RTI file of the previously unseen gladiator graffito alongside a modern tracing. Courtesy Louis Autin, Marie-Adeline Le Guennec, and Éloïse Letellier-Taillefer.

Few images capture the Roman world more vividly than the clash of gladiators in the arena. These spectacles drew enormous crowds across the empire and became one of the defining features of Roman popular culture. A small graffito recently discovered in a theater corridor at Pompeii offers a rare glimpse into how ordinary people experienced the spectacle of the games. It also connects to the broader cultural environment that shaped the New Testament, as Paul’s letters and later Christian writings show.

The etching comes from a recent study of graffiti found in a passageway linking two entertainment venues in Pompeii’s theater district. Before the eruption of Mt. Vesuvius buried the city in 79 CE, this corridor was a bustling avenue for spectators moving between performances. Over time, visitors left messages on its walls—declarations of love, jokes, insults, sketches, and prayers to the goddess Venus. In total, researchers documented nearly 300 graffiti, including 79 previously unknown examples. The textual inscriptions appear in Latin, Greek, and even Safaitic script—an Ancient North Arabian script normally found in the deserts of Syria and Jordan—revealing just how interconnected the Roman world was.

The faint gladiator etching provides a rare window into how an ordinary person absorbed and reproduced the experience of watching gladiatorial combat. Although one figure is fragmentary, the scene is surprisingly dynamic—a gladiator twists as if responding to an opponent’s strike. Researchers suggest the artist was recalling a live spectacle, attempting to capture the movement of combat from memory rather than copying an existing image.

Recovering these faint marks required advanced digital techniques. The team used Reflectance Transformation Imaging (RTI), a method that captures photographs under multiple lighting angles. When combined digitally, these images reveal surface texture and shallow reliefs that are otherwise difficult to detect. This technology allowed unprecedented precision in documenting the corridor’s walls.

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Gladiatorial culture was not confined to Rome or Italy. It extended deep into the eastern provinces of the empire—including the regions associated with the Bible.

Under Herod the Great, Roman-style entertainment venues appeared across Judea. Archaeological and textual evidence points to theaters, stadiums, and arenas at sites such as Caesarea Maritima, Jerusalem, Sebaste, Jericho, and Herodium. The historian Flavius Josephus reports that Herod even organized large public games honoring the emperor Augustus. He also notes that many Jews viewed these events as foreign customs linked to pagan worship and imperial ideology, and that the violence of the arena clashed with Jewish ethics. Gladiatorial combat was nevertheless part of the Roman environment in which Second Temple Judaism and early Christianity emerged.

This context helps explain why writers like Paul frequently used arena imagery. In his letter to the Corinthians, Paul describes the apostles as a “spectacle to the world,” language drawn directly from Roman public entertainment. He even speaks metaphorically of “fighting with beasts” at Ephesus—imagery that would have resonated immediately with audiences familiar with arena spectacles.

In the generations after the New Testament, such imagery sometimes became grim reality for Christians. Early Christian traditions describe believers being executed in public arenas by wild animals. The bishop Ignatius of Antioch, writing in the early second century, expected to face death by beasts in the arena at Rome. A century later, The Passion of Perpetua and Felicity records how the Christians Perpetua and Felicity were exposed to animals before being killed in the arena at Carthage in 203 CE.

Although such persecutions were sporadic rather than constant, these accounts show that the arena was a stage not only for entertainment but also for dramatic confrontations with Roman authority. Against this backdrop, the graffito at Pompeii—etched by a spectator remembering the thrill of combat—takes on an additional dimension, reminding us how deeply the culture of spectacle permeated the Roman world in which Christianity took shape.

Lauren K. McCormick is an assistant editor at Biblical Archaeology Review and a specialist in ancient Near Eastern religions, visual culture, and the Bible. She holds degrees in religion from Syracuse University, Duke University, New York University, and Rutgers University, and completed a postdoctoral fellowship on religion and the public conversation at Princeton University.

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In the 15th-century painting Healing of the Cripple and Raising of Tabith, Masolino da Panicale depicts the most famous scene of Tabitha in the Bible: the miraculous prayer of Peter that brings Tabitha back from the dead.

Luke, the writer of Luke-Acts, tells the story of Tabitha, a disciple brought back to life after prayer from the apostle Peter. After she is washed and laid out in an upper room, Peter takes her hand and commands her to get up (Acts 9:36-42).

In seven verses, Luke presents Tabitha as much loved, and the miracle of her return to life leads many to believe (v. 42). Luke’s terse account contains praise, humor, honor, sadness, joy and insights on the faith of the early church. Tabitha is so beloved and so essential to the life of her believing community in Joppa, a port city near the heart of modern Tel Aviv, that others cannot imagine life without her. Tabitha simply cannot stay dead. Her faithful community will not permit it!

Throughout Luke’s story, Tabitha remains silent. Luke speaks for her. In what could be considered a humorous touch, her only living actions are opening her eyes, seeing Peter, sitting up, being helped up by him, and being presented alive to the believers and widows (vv. 40-41).

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Luke Honors Tabitha in the Bible

By silencing her, Luke honors her. Others give her accolades and loudly mourn her death (v. 39). Perhaps the best and truest praise one receives comes extemporaneously from others. This certainly applies to the treatment of Tabitha in the Bible.

Luke introduces her with a double name: Tabitha and Dorcas (v. 36). The Aramaic and Greek mean gazelle. Perhaps the doubling shows her ministry to Jewish and Hellenistic believers, something noted earlier in Acts 6:1 and emphasized from chapter 10 on; if so, the placement of Tabitha’s story serves as a transition in the fulfillment of Jesus’ command to his disciples to “be my witnesses in Jerusalem, and in all Judea and Samaria, and to the ends of the earth” (Acts 1:8). Perhaps her name indicates a woman of energy, grace, beauty and quick movements.

Robin Gallaher Branch has written several other Bible History Daily-exclusive character studies. Read Judith: A Remarkable Heroine, Barnabas: An Encouraging Early Church Leader and Anna in the Bible.

Luke praises her as a disciple (mathetria) who was always doing good and helping the poor (Acts 9:36); her specific designation as disciple proves that Jesus had female disciples. In fact, there are three places where the words disciple or disciples include women: Acts 9:1-2, 36; 18:24-26b.

Luke indicates that Tabitha took God’s commands about society’s most vulnerable seriously. (“Do not oppress the widow or the fatherless, the alien or the poor.” Zechariah 7:10. See also Deuteronomy 24:17, 20-21; Ezekiel 22:7; James 1:27.) Looking after the marginalized is one of God’s characteristics, too, for God is shown in Psalm 146:8-9 as lifting up those bowed down, watching over the alien and sustaining the fatherless and widow.

Luke is generally quite selective with his praise, heightening the value of the accolades given to Tabitha in the Bible. In addition to Tabitha, Luke-Acts commends a few other notable characters. Consider these examples: Luke describes Zechariah and Elizabeth as upright in the sight of God (Luke 1:6), Joseph as a good and upright man from Arimathea (Luke 23:50-51) and Barnabas as a good man and full of the Holy Spirit and faith (Acts 11:24).

Acts 9 highlights Luke’s characteristic writing style with its balance of opposites. Luke pairs Tabitha’s story of dying and being brought back to life with that of Aeneas, who is healed by Peter after being bedridden for eight years (vv. 32-35). Neither Tabitha nor Aeneas seeks a miracle. While visiting Lydda, Peter sees Aeneas and says, “Aeneas, Jesus Christ heals you” (v. 34); concerning Tabitha’s death, the disciples of Joppa urge Peter to “please come at once!” (v. 38). Acts 9:1-31 tells of Saul’s conversion and verses 32-43 close and balance the chapter with stories about Peter; like Peter, Saul becomes a great apostle of the faith. Seen another way, Acts 9 contains a man’s miraculous conversion and a woman’s miraculous restoration to life.

For more than two thousand years, Jezebel has been saddled with a reputation as the bad girl of the Bible, the wickedest of women. But just how depraved was Jezebel, really? Read Janet Howe Gaines’s article How Bad Was Jezebel? for free in Bible History Daily.

Ministry Focus

Luke’s account of Tabitha focuses on her ministry (to use a modern term) to two groups: the poor and widows. In Biblical times, the designation widow meant a woman whose husband was dead and who had no means of financial support; therefore, she needed both protection and physical, legal and financial assistance.* In other words, a widow is a woman with constant needs, and being a widow was virtually synonymous with being poor. If enfeebled, who will glean for the widows and how will they eat? If they lose their houses in order to pay their debts, where will they live? (In Mark 12:40, Jesus condemns teachers of the law specifically for devouring widows’ houses.) If they lack shelter and regular sustenance, they likely will fall ill. Who then will care for them? As they age, who will listen to them?

In a parable about helping the needy, Jesus contrasts the life-saving actions of a Samaritan with the bypassing indifference of a priest and Levite (Luke 10:25-37). Unlike these members of the established priesthood who ignored the man beaten by bandits, Tabitha purposefully sought out the poor and widows and actively looked to see how she could help meet their needs. In the first century, when female activities generally centered on daily survival for themselves and their families, Tabitha engaged the needs of her community. Her lifestyle showed that love is an active verb intent on doing good for others.

Luke concentrates on one specific part of Tabitha’s ministry: making robes and clothing for the widows. Evidently she dressed these widows fashionably, for as she lies washed and prepared for burial, they tearfully display her work to Peter with obvious pride (v. 39). These women were her friends.

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Tabitha’s lifestyle contrasts admirably with the characterization of the good wife from Proverbs 31:10-31. Both display phenomenal energy. Both extend help willingly to the poor (Acts 9:36; Prov. 31:20). Both are proficient in needlework (Acts 9:39; Prov. 31:13, 19, 21,-22, 24, 25). Both seek to do good and undertake their activities within the context of faith (Acts 9:36; Prov. 31:12, 30). The lives of both women show they were “doers,” each putting feet to her faith.

Luke’s succinct description and the outpouring of grief at her death showed how greatly the believing community and widows loved Tabitha (v. 39)—a strong indication that Tabitha herself thoroughly enjoyed her work and loved these people in return.

Silences

As always when reading the Biblical text, consider its silences. What does Luke leave out? Tabitha may have been a widow herself, for Luke omits any mention of her husband or family. Additionally, Tabitha may have been independently wealthy, for the home where she is laid out awaiting burial is presumably her home and has an upper room (Acts 9:39). Evidently she offered her hospitality with flair, for the disciples and widows congregate around her. Perhaps Tabitha chose to use her wealth to aid the poor and the widows (v. 36).

Luke’s description of Tabitha makes it easy to imagine her home as welcoming, open and full of people. Luke indicates that Tabitha’s home functioned as a community center for believers. Tabitha may well have presided over a house church in her home. Quite likely her home became a drop off point for donations as she served as a reliable conduit for goods and services for believers and the wider Joppa citizenry. Tabitha is one of many New Testament women who, once converted to the new faith, set about building a community.

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Joppa’s Believing Community

In contrast to the long illness of Aeneas (v. 33), Luke presents Tabitha’s sickness and death as sudden (v. 37). Luke then shifts the narrative from Tabitha to Joppa’s believing community, which mirrors Tabitha’s lifestyle of action. It too puts feet to its faith.

Upon hearing of Tabitha’s death and Peter’s sojourn in Lydda (v. 32), members of the Joppa community immediately send two men to fetch him, hoping for a miracle.

Since Lydda was 25 miles northwest of Jerusalem and a day’s journey by foot from Joppa, it is possible that Tabitha was dead a total three days before her resuscitation. The messengers say, “Please come at once,” (me okneses); the use of the subjunctive indicates a formal request and carries a sense of respect. Peter drops everything and accompanies the messengers back to Joppa (vv. 38-39). He finds the widows grieving loudly in the upper room with the body (v. 39). Not only do the widows mourn Tabitha’s loss; they have valid concerns for their own lives, now that their protector is dead.

The widows’ mourning reciprocates the love Tabitha extended to them. Arguably she met more than their clothing needs. Her hospitality and generosity probably gave them food, sanctuary, a home, a warm heart and a listening ear. Modern research shows that talking not only is crucial to health but adds to longevity. Tabitha’s outreaching kindness undoubtedly saved lives.

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The Miracle of Tabitha in the Bible

Luke records the miracle simply. It seems to happen quickly. Peter clears the upper room, perhaps because he’s distracted by the widows’ noisy grief (v. 40)! Alone with the dead body, he gets down on his knees, prays, and turns to the dead woman. Speaking to her he says, “Tabitha, get up” (v. 40). And she does!

Peter calls in the believers and widows and gives her back to them, alive. One can imagine the plethora of emotions—joy, wonder, amazement, awe, thanksgiving and even doubt—as everybody crowds in the upper room to confirm for themselves that Tabitha really is healed and alive!

Luke concludes Tabitha’s story with more silences, muzzling both Tabitha and Peter. Peter says nothing about the miracle and Tabitha says nothing about what it’s like being dead. Instead, Luke sums up the reactions of all concerned by stating a fact—her return to life became known all over Joppa—and its result—that many people believed in the Lord because of it (v. 42).

Luke then carries on with Peter’s visit to the centurion Cornelius’ home in Caesarea (Acts 10) but remains silent about Tabitha’s life. However, Luke’s silence again compliments her, for it acknowledges the obvious. We already know her character. We know what happens. This remarkable woman simply carries on doing good for the poor and serving her friends, the widows, by making them stylish robes.

Robin Gallaher Branch is professor of Biblical studies at Victory University (formerly Crichton College) in Memphis, Tennessee, and Extraordinary Associate Professor in the Faculty of Theology at North-West University in Potchefstroom, South Africa. She received her Ph.D. in Hebrew Studies from the University of Texas in Austin in 2000. She was awarded a Fulbright Fellowship for the 2002–2003 academic year to the Faculty of Theology at North-West University. Her most recent book is Jereboam’s Wife: The Enduring Contributions of the Old Testament’s Least-Known Women (Hendrickson, 2009).

Notes

* In the Bible, widowhood often serves as a textual marker to alert savvy readers of moments of significance. For more, read Robin Gallaher Branch, “Biblical Views: Groveling Grannies or Teaching Tools” as it appeared in the January/February 2013 issue of Biblical Archaeology Review.

Bibliography

Darrell L Bock, Acts: Baker Exegetical Commentary on the New Testament. (Grand Rapids: Baker Academic, 2007).

John Calvin, John 12-21. Acts 1-13. (Peabody: Hendrickson Publishers, 1993).

Stephen B. Clark, Stephen, Man and Woman in Christ: An Examination of the Roles of Men and Women in Light of Scripture and the Social Sciences. . (Ann Arbor: Servant Books, 1980).

Chalmer E. Faw, Acts. (Scottdale: Herald Press, 1993).

Beverly Roberts Gaventa, Acts. (Nashville: Abingdon Press, 2003).

M. A. Getty-Sullivan, Women in the New Testament. (Collegeville: The Liturgical Press, 2001).

Susanne Heine, Women in Early Christianity: Are the Feminist Scholars Right? John Bowden, trans. (London: SCM Press, Ltd., 1987).

Josephus. The Works of Josephus Complete and Unabridged. Wiliam Whiston, trans. (Peabody: Hendrickson Publishers, 1987).

Craig S. Keener, Miracles: The Credibility of the New Testament Accounts. Volume 1. (Grand Rapids: Baker Books, 2011).

I. Howard Marshall, New Testament Theology: Many Witnesses, One Gospel. (Downers Grove: InterVarsity Press, 2004).

C. Myers, T. Crave, & R. S. Kraemer, eds. Women in Scripture: A Dictionary of Named and Unnamed Women in the HebrewBible, the Apocryphal/Deuterocanonical Books, and the New Testament. (Grand Rapids: William B. Eerdmans Publishing Company, 2000).

Kerry Patterson, Joseph Grenny, Ron McMillan, & Al Sitzler, Crucial Conversations: Tools for Talking When Stakes are High. (New York: McGraw-Hill, 2002).

Jaroslav Pelican, Acts. (Grand Rapids: Brazos Press, 2005).

Elisabeth Fiorenza, In Memory of Her: A Feminist Theological Reconstruction of Christian Origins. (New York: Crossroads, 1983).

“Widow.” Encyclopaedia Judaica Volume 16 UR-Z Supplementary Entries. (Jerusalem: Keter Publishing House, 1972). 16:487-496.

This Bible History Daily feature was originally published in May 2013.

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Roman-period column with inscribed base found during renovation of the Great Mosque of al-Nuri in Homs, Syria. Courtesy Maamoun Saleh Abdulkarim.

Archaeology at Emesa (modern Homs, Syria) does not give a single dramatic moment of religious revolution. Instead, it offers something more historically valuable: layers. Coins, tombs, mosaics, and reused sacred spaces—including recently uncovered inscriptions on column bases—reveal the slow transformation of a powerful pagan city into a Christian and then Muslim one. For Bible readers, the site allows a glimpse into the long arc of Christianity’s development within the Roman world.

The earliest well-attested stratum at Emesa shows the dominance of pagan culture. A mosaic of Hercules reveals the city’s syncretistic religious culture, where local Syrian worship blended with broader Greco-Roman traditions. A richly furnished mausoleum—yielding a gold funerary mask and other elite grave goods—points to a powerful ruling priestly family, one of whose members, Elagabalus, would later become the Roman emperor.

Roman-period coins depict the grand Temple of the Sun housing the sacred black stone embodying the Emesan sun god Elagabal (later linked to Emperor Elagabalus), while column-base inscriptions praise divine cosmic power and royal authority linked to this deity. These Greek inscriptions, uncovered during restoration of the Great Mosque of al-Nuri, survived centuries of redevelopment. Professor Maamoun Abdulkarim of the University of Sharjah (UAE), who published the finds, explained in personal correspondence: “In my view, the Temple of the Sun should not be understood as a lost structure, but as a dynamic sacred space that was religiously redefined across successive periods.”

Roman coin minted in Homs depicting a sacred stone inside the Temple of the Sun. Classical Numismatic Group, Inc. http://www.cngcoins.com, Public domain, via Wikimedia Commons.

The strong pagan character of Emesa began changing in the third century CE. Burial practices shifted. Catacombs in the al-Shorfa area contain corridors, niches, lamps, and symbolic decoration associated with early Byzantine Christianity. Grave inscriptions emphasize themes resonant with Christian theology, like resurrection and eternal life. The evidence from Emesa is not explosive or revolutionary, but subtle. Christianity first appeared at the margins—in burial customs, naming patterns, and small communal spaces.

This layered material record mirrors what unfolds in the Acts of the Apostles. Acts describes Christianity beginning as a small, socially vulnerable movement operating within cities dominated by temples and civic cults. Paganism coexists alongside emerging Christian practices, gradually giving way to transformation.

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Geography reinforces this textual connection. Emesa lay a little more than 100 miles from Antioch, the early Christian hub where disciples were first called “Christians” (Acts 11:26). Situated on trade routes linking Antioch and Damascus, Emesa was well within the communication network of Roman Syria. Antioch served as a launching point for missionary activity. For example, Saul (Paul) departed from there on his first journey. Cities like Emesa would have made natural destinations of early Christian missions.

The archaeological silence of monumental churches at third-century Emesa suggests that Christianity had not yet reshaped public space. This was a time when Christians faced persecution under emperors like Decius, Valerian, and later Diocletian. Public Christian expression was risky and often suppressed. The decisive transformation of Emesa likely came in the fourth or fifth century. After legalization under Constantine the Great and later imperial decrees under Theodosius I, many pagan temples were repurposed for Christian worship in that time.

The Book of Acts ends with Paul preaching in Rome, leaving the future unwritten. In a sense, Emesa shows what that future looked like on the ground. Christianity did not immediately erase paganism; it infiltrated, adapted, endured persecution, and over time took root.

Lauren K. McCormick is an assistant editor at Biblical Archaeology Review and a specialist in ancient Near Eastern religions, visual culture, and the Bible. She holds degrees in religion from Syracuse University, Duke University, New York University, and Rutgers University, and completed a postdoctoral fellowship on religion and the public conversation at Princeton University.

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Pergamon’s strategic location along both land and sea trading routes contributed to its prosperity. Pilgrims from all over the Mediterranean region would flock to the city to engage in commerce or to visit the famous Ascelpion, a center of medical treatments.

Perched atop a windswept mountain along the Turkish coastline and gazing proudly—almost defiantly—over the azure Aegean Sea sit the ruins of ancient Pergamon. Although the majority of its superb intact monuments now sit in Berlin’s Pergamon Museum, enough remains of the acropolis for the visitor to sense the former greatness of the city that once rivaled Alexandria, Ephesus and Antioch in culture and commerce, and whose scientific advancements in the field of medicine resonate through the corridors of today’s medical treatment facilities.

Juxtaposed sharply against this image of enlightened learning is that of “Satan’s Throne,” as described by the prophet John of Patmos (Revelation 2:12–13), which some scholars interpret as referring to the Great Altar of Pergamon, one of the most magnificent surviving structures from the Greco-Roman world.¹

The modern visitor approaches the site from the steep and winding road that leads from the modern Turkish city of Bergama just a few miles away. Upon reaching the ruins, the commanding panoramic view from Pergamon’s 1,000-foot-high perch makes it easy to understand how this city once dominated the entire region.

It was a proud city in its time, and it had reason to be so. Its monuments and building were constructed of high-quality white marble in the finest Hellenistic style, and its library rivaled that of the famed library of Alexandria in Egypt. In the mid-second century A.D., it became known throughout the Mediterranean world as a center of ancient medicine, largely due to the presence of the eminent Roman physician Galen (c. 129–200 A.D.), who was born in ancient Pergamon.

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Pergamon rose to prominence during the years of the Greek empire’s division following the death of Alexander the Great in 323 B.C. His short-lived empire was partitioned among his generals, with General Lysimachus inheriting the then-settlement of Pergamon and its wealth. Due largely to its strategic position along land and sea trading routes and in part to the wealth of the Attalid kings who ruled the kingdom, the city enjoyed centuries of prosperity that continued when it passed peacefully to Rome’s control in 133 B.C. From that point on, Pergamon’s fate was inextricably linked to that of Rome, and it rose and fell in tandem with the great Roman Empire.

Pergamon’s strategic location along both land and sea trading routes contributed to its prosperity. Pilgrims from all over the Mediterranean region would flock to the city to engage in commerce or to visit the famous Ascelpion, a center of medical treatments. Biblical Archaeology Society.

The oldest and arguably most beautiful section of Pergamon is also its highest. The acropolis of Pergamon rises triumphantly over the ruins of the city that cascades down the steep slopes to the valley below. One of the most dramatic structures of the acropolis was what scholars believe to be the Temple of Zeus, the massive foundations of which are all that remain on the southern slope of the site. The altar believed to be associated with the temple, known today as the Great Altar of Pergamon, was moved to Berlin in the 19th century by German archaeologists, who evidently had an easy time getting permission for its removal from the indifferent authorities of the Ottoman empire.

Walking north from the Temple of Zeus and site of the Great Altar of Pergamon, one encounters the remains of the Temple of Athena, constructed at the end of the fourth century or beginning of the third century B.C., and dedicated to the city’s patron goddess. Just beyond that to the northwest is the magnificent structure that was the city’s famous library. While the estimated 200,000 documents of both papyrus and parchment may be rather high (Seneca estimates that approximately 40,000 volumes were catalogued in the larger library of Alexandria), it was certainly one of the largest collections of written material in the ancient world and was famous throughout the Mediterranean. It also housed one of the most extravagant wedding gifts of all time: Mark Antony is said to have presented Cleopatra with a sizable portion of the Pergamon library’s collection, in part to restore Alexandria’s own collection that went up in flames during Julius Caesar’s occupation of the city.

The Great Altar of Pergamon is considered to be one of the greatest surviving monuments from antiquity. Now located in the Pergamon Museum in Berlin, Germany, the altar is thought by many scholars to be the “throne of Satan,” referred to by the prophet John in the Book of Revelations. (Revelation 2:12–13) Honza78, CC BY-SA 4.0, via Wikimedia Commons.

The best-preserved ancient sacred structure on ancient Pergamon’s acropolis is the Temple of Trajan, built during the reign of Emperor Hadrian (117–138 A.D.) and dedicated to his deified predecessor. Towering imposingly over the surrounding structures and ruins, its commanding presence is a testament to the strength of the imperial cult.

Read “Who Is Satan?“ and “How the Serpent Became Satan“ in Bible History Daily.

The Temple of Trajan, or the Trajaneum. The towering structure attests to the strength of the imperial cult in the city. After Augustus became the first emperor of the Roman Empire, Pergamon was authorized to become the first imperial cult center in the east.

It is hard to imagine, gazing up at its enormous height, that this was actually one of the smaller sacred structures in the temple precinct of the acropolis. The sheer size and majesty of the building against the dramatic backdrop of the valley below and the ocean and sky beyond is truly awe-inspiring.

Every ancient Greek city worth its name boasted a theater. A place for both entertainment and civic gatherings, the theater was a focal point of public life in the Greco-Roman world. The architecture of the nearly intact theater of Pergamon not only attests to the city’s importance but also provides what is surely one of the most spectacular—and dizzying—settings of the ancient world. Cascading sharply down the precipitous slope of the acropolis toward the sea, the theater is one of the steepest of its kind. The 10,000 visitors would have had to carefully navigate the 80 rows of horizontal seating, lest they take a fatal tumble to the stage more than 120 vertical feet below. Like many ancient Greek theaters, the theater at Pergamon is an acoustic marvel: An actor (or tourist) speaking normally on the stage can be heard even at the top of the cavea (seating structure).

During the second century A.D., Pergamon’s fame as a center of healing and medical science eclipsed its reputation for anything else. Its most celebrated citizen during this period was the physician Galen, whose work and research was largely responsible for providing the foundation from which modern western medicine was to spring. The asclepion at ancient Pergamon was one of the most famous in the ancient world, and this ancient version of a medical spa attracted pilgrims from all over the Mediterranean region who came seeking the restorative powers of its thermal waters and medical treatments for various ailments and injuries.

Given the fact that the city represented the epitome of Hellenistic culture, traditions and religion in both its pursuits and its very architecture, it is perhaps not surprising that early Christians viewed it as a bastion of all that was anathematic to Christian beliefs. In the Book of Revelation, John conveys a message from the risen Christ to seven Christian congregations in Asia Minor, all of which are located in modern Turkey. Pergamon’s congregation was one of these, and Christ’s message to the faithful praises them for adhering to their faith while living in the place “where Satan dwells.” Antipas, a Christian bishop of Pergamon, was believed to have been martyred here at the end of the first century A.D., around the time when many scholars believe the Book of Revelation was composed. The execution of their bishop certainly would not have endeared the city to its Christian inhabitants, and the Biblical reference to the city is reflective of the general tension between Christian and pagan communities at the end of the first century A.D.

Overcoming vertigo, the author stands in the middle tier of the three-tiered theater of Pergamon, the steepest known theater from the Greco-Roman world.

As part of the Roman Empire, Pergamon’s decline mirrored that of the empire as a whole. Like the rest of the region, it eventually came under Byzantine and then Ottoman rule. By the late 19th century, excavations had begun at the ancient site, and today it draws people from all over the world. Climbing up to the peak of the acropolis, the modern visitor can easily sense the echo of Pergamon’s glorious past, which can still be heard among the beauty of its marble ruins today.

Notes

1. See Adela Yarbro Colins, “Satan’s Throne,” BAR, May/June 2006.

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Sarah Yeomans is an archaeologist specializing in the Imperial period of the Roman Empire with a particular emphasis on ancient science and religion. Currently pursuing her doctorate at the University of Southern California,  A native Californian, Sarah holds an M.A. in archaeology from the University of Sheffield, England, and a M.A. in art history from the University of Southern California. She has conducted archaeological fieldwork in Israel, Italy, Turkey, France, and England and has worked on several television and film productions, most recently as an interviewed expert on The Story of God with Morgan Freeman. She is a Provost Fellow at the University of Southern California and is the recipient of a Research Fellowship from the American Research Institute of Turkey (ARIT) as well as a Mayers Fellowship at the Huntington Library and Museum in Los Angeles. Her current research involves ancient Roman medical technology and cult, as well as the impact of epidemics on Roman society. She is generally happiest when covered in dirt, roaming archaeological sites somewhere in the Mediterranean region.

This Bible History Daily article was originally published on July 16, 2013.

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The presepio (nativity scene) is a centuries-old craft and one of Naples’s best-known traditions. This Neapolitan presepio was displayed in Rome. Photo: Howard Hudson / Wikimedia Commons.

One of the most familiar images of the Christmas season is the nativity scene—the well-known depiction of Jesus’ birth—displayed in an array of public and private settings, including churches, parks, store windows and on fireplace mantles.

The scene, first assembled by St. Francis of Assisi in 1223, is iconographic, meaning its various elements are intended primarily to depict theological—not historical, nor even literary—truths. It harmonizes two very distinct stories: Luke’s birth of Jesus in a stable, visited by shepherds, and attended by an angelic host and Matthew’s Magi, who are led by a star to the home of Jesus’ family sometime before Jesus’ second birthday.

To most people viewing the nativity scene, it depicts the birth of Jesus as it happened, with farm animals, shepherds, angels and Magi crowding the Bethlehem stable. But the combination is apocryphal, in the wide sense that the complete scene is not an accurate reflection of what the Biblical texts say about Jesus’ birth and in the narrow sense that such harmonization of Matthew and Luke is a common feature of noncanonical Christian infancy gospels.

Actually, these gospels not only combine the Biblical stories, they enhance them, with additional traditions about the birth of Jesus that circulated in antiquity. Of course most Christians throughout history were unaware of this distinction; before widespread literacy, Christians told the story of Jesus’ birth without awareness of which elements were based on Scripture and which were not.

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The Christian Apocrypha are rich with tales of the birth of Jesus. The earliest and most well-known of these are the stories found in the Protevangelium (or “Proto-Gospel”) of James. Composed in the late second century, this text combines the infancy narratives of Matthew and Luke with other traditions, including stories of the Virgin Mary’s own birth and upbringing. The Protevangelium was exceptionally popular—hundreds of manuscripts of the text exist today in a variety of languages, and it has profoundly influenced Christian liturgy and teachings about Mary.

The Protevangelium was transmitted in the West as part of the Gospel of Pseudo-Matthew, which added to it tales of the Holy Family’s sojourn in Egypt and, in some manuscripts, stories of Jesus’ childhood taken from the Infancy Gospel of Thomas. Other Pseudo-Matthew manuscripts incorporate a different telling of Jesus’ birth from an otherwise lost gospel that scholars call the Book about the Birth of the Savior.

In the East, the Protevangelium was translated into Syriac and expanded with a different set of stories set in Egypt to form the Life of the Blessed Virgin Mary, which was later translated into Arabic as the Arabic Infancy Gospel. Another Syriac reworking of the Protevangelium lies behind the Armenian Infancy Gospel. Christians in the East also expanded on Matthew’s Magi traditions creating the Revelation of the Magi, the Legend of Aphroditianus, and On the Star (erroneously attributed to Eusebius of Caesarea), each of which in their own way narrates how the Magi became aware that the star heralded the birth of a king.

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This small tripartite painting, The Nativity with the Prophets Isaiah and Ezekiel, is part of a massive altarpiece known as the Maestà. Composed of many individual paintings, the Maestà was commissioned by the Italian city of Siena in 1308 from the artist Duccio di Buoninsegna. It contains elements of the birth of Jesus from Christian Apocrypha, including the cave, the ox, the ass and the midwife. Photo: Courtesy National Gallery of Art, Washington.

If readers of these apocryphal texts could see the modern nativity scenes, they would be surprised to find the baby Jesus in a stable: In the infancy gospels, the birth takes place in a cave outside of Bethlehem, the same location given also by Justin Martyr (in his Dialogue with Trypho 78), who died around 165 C.E. They might have expected also to see a midwife in the scene; indeed, she does appear regularly in Eastern Orthodox depictions of the nativity, helping Mary bathe the newborn.

As the Protevangelium tells it, Joseph left Mary in the cave and went into Bethlehem to find a midwife. But as Joseph and the midwife approached the cave, they saw a bright cloud overshadowing it. The cloud then disappeared into the cave and a great light appeared, which withdrew and revealed the baby Jesus. Each of the later expansions of the Protevangelium narrate this scene in their own unique way, but they all endeavor to show that Jesus was not born in a natural manner, thus allowing Mary to remain physically a virgin after the birth.

So superhuman is Jesus that some texts report that he could be perceived in multiple forms. The Armenian Infancy Gospel, for example, reports that the Magi each saw him in a different way: as the Son of God on a throne, as the Son of Man surrounded by armies, and as a man tortured, dead and resurrected.

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The apocryphal accounts agree with Luke that the shepherds visited the Holy Family shortly after Jesus’ birth. In the Western texts, the family then moves from the cave to a stable and places the baby in a manger. There an ox and an ass bend their knees and worship him, fulfilling the prophecy of Isaiah 1:3, “The ox knows its owner, and the donkey its master’s crib” (see Pseudo-Matthew 14 and Birth of the Savior 86). Though an apocryphal embellishment, the animals became a common ingredient in subsequent depictions of the nativity and may be observable in nativity scenes today.

Tony Burke challenges the assertion that Christian apocrypha were truly rejected, suppressed and destroyed throughout Christian history. Read more >>

Most often, the cave remains the scene of subsequent events, including the circumcision (from Luke 2:21) and the visit of the Magi. The Magi are typically depicted in art and iconography as three richly-adorned Persian kings. However, Matthew calls them only “magi from the East” (Matthew 2:1) and does not say how many there were. The writers of the apocryphal texts did their best to clarify these matters. In the Revelation of the Magi, there are at least twelve Magi—the same number is given in other Syriac traditions—and they came to Bethlehem in April (not December) from a land in the Far East called “Shir,” perhaps meant to be understood as China. The Armenian Infancy Gospel says there were three kings, and they were accompanied by 12 commanders, each with an army of 1,000 men, which would make for a very crowded stable indeed.

Many of the texts continue the story of the Magi and tell what happened when they returned to their home country: In the Life of the Blessed Virgin (=Arabic Infancy Gospel) they bring back one of Jesus’ swaddling bands, which they worship because it has miraculous properties; in the Revelation of the Magi they share the vision-inducing food (some kind of magic mushrooms?) given to them by the star; and in the Legend of Aphroditianus they return with a painting of Jesus and his mother. None of these apocryphal Magi traditions are featured in nativity scenes today, but some of them influenced medieval art and literature.

Christians of all times and places have delighted in the story of Jesus’ birth, so much that they have yearned to learn more about the first Christmas than is found in the Biblical accounts. The Christmas nativity scene is the outcome of efforts by creative and pious writers to fill in blanks left by Matthew and Luke and to combine multiple traditions, Biblical and non-Biblical, into one enduring image. The nativity scene is a timeless representation of when God became man; it is also a testament to human imagination and the art of storytelling.

This Bible History Daily article was originally published on December 10, 2014.

Tony Burke is an associate professor in the Department of the Humanities at York University and the author of Secret Scriptures Revealed: A New Introduction to the Christian Apocrypha (London: SPCK, 2013). Burke’s research interests include the study of Christian biographical literature of the second century (infancy gospels), children and the family in Roman antiquity, curses and non-canonical Jewish and Christian writings. Follow his work at www.tonyburke.ca.

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The TAU researchers analyzed multi-spectral images of 16 Hebrew inscriptions, which were written in ink on ostraca (broken pottery pieces), using a computer software program they developed. The ostraca, which date to 600 B.C.E., according to the researchers, were excavated from the Judahite fortress at Arad in southern Israel.

When was the Hebrew Bible written? Ostraca with Hebrew inscriptions excavated from the Iron Age fortress at Arad in Israel may provide clues, say researchers from Tel Aviv University. Photo: Michael Cordonsky, courtesy Tel Aviv University and the Israel Antiquities Authority.

The researchers say they were able to identify at least six different handwriting styles on the inscriptions, which contained instructions for the movement of troops and lists of food expenses. A TAU press release notes that “the tone and nature of the commands precluded the role of professional scribes.”

“The results indicate that in this remote fort, literacy had spread throughout the military hierarchy, down to the quartermaster and probably even below that rank,” state Faigenbaum-Golovina, Shausa and Sober in their paper.

“Now our job is to extrapolate from Arad to a broader area,” explained TAU Professor of Archaeology Israel Finkelstein, who heads the research project, in the TAU press release. “Adding what we know about Arad to other forts and administrative localities across ancient Judah, we can estimate that many people could read and write during the last phase of the First Temple period. We assume that in a kingdom of some 100,000 people, at least several hundred were literate.”

Israel Museum curators have called “Gabriel’s Revelation” the most important document found in the area since the discovery of the Dead Sea Scrolls. Read the original English publication of “Gabriel’s Revelation” along with Israel Knohl’s BAR article that made scholars around the world reconsider links between ancient Jewish and Christian messianism in the free eBook Gabriel’s Revelation.

So when was the Hebrew Bible written? What does literacy in the Iron Age have to do with it?

Scholars have debated whether the texts of the Hebrew Bible were written before 586 B.C.E.—when the Babylonians destroyed Jerusalem, razed the First Temple and exiled the Jews—or later on, in the Persian or Hellenistic period. If literacy in Iron Age Judah was more widespread than previously thought, does this suggest that Hebrew Bible texts could have been written before the Babylonian conquest?
The Tel Aviv University researchers think so, based on their study of the ostraca from Arad.

Not quite, says epigrapher Christopher Rollston, Associate Professor of Northwest Semitic languages and literatures at the George Washington University. In a lengthy blog post analyzing the TAU study, Rollston contends that there is not enough information from these ostraca to make estimates about the literacy of Iron Age Judah. Rollston points out that, according to a publication by Yohanan Aharoni, the original excavator at Arad, the 16 ostraca came from different strata dated across the seventh and early sixth centuries—and therefore do not all date to 600 B.C.E. Moreover, we cannot tell how many of these inscriptions were written at the Arad fortress and how many came from elsewhere.

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“Rather than arguing on the basis of 16 ostraca (that ended up at Arad) that we have a ‘proliferation of literacy,’” Rollston says, “I would simply conclude that we have some readers and writers of inscriptions at Arad. That’s all we can say.”

Rollston notes that he and others have argued, however, that there is enough epigraphic evidence from ancient Israel to conclude that “already by 800 B.C.E. there was sufficient intellectual infrastructure, that is, well-trained scribes, able to produce sophisticated historical and literary texts.”

“Additional detailed, sophisticated and substantive scholarly arguments for the early dating of the Torah have been made by William Schniedewind, author of How the Bible Became a Book, and Seth Sanders, in The Invention of Hebrew,” observes Candida Moss, Professor of New Testament and early Christianity at the University of Notre Dame, in The Daily Beast.

This Bible History Daily feature was originally published on April 15, 2016.

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All-access members, read more in the BAS Library:

The Hebrew Bible Contains the Oldest Surviving History

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The Question of Israelite Literacy

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Map of New Testament Jerusalem, outlining the Old City walls and subsequent enclosures added by Herod the Great and Agrippa I. Click map to enlarge. Map courtesy James Tabor.

On Wednesday Jesus began to make plans for Passover. He sent two of his disciples into the city to prepare a large second-­story guest room where he could gather secretly and safely with his inner group. He knew someone with such a room available and he had prearranged for its use.

Christian pilgrims today are shown a Crusader site known as the Cenacle or “Upper Room” on the Western Hill of Jerusalem that the Crusaders misnamed “Mount Zion.” This area was part of the “Upper City” where Herod had built his palace. It is topographically higher than even the Temple Mount.

It was the grandest section of ancient Jerusalem with broad streets and plazas and the palatial homes of the wealthy. Bargil Pixner and others have also argued that the southwest edge of Mt Zion contained an “Essene Quarter,” with more modest dwellings and its own “Essene” Gate mentioned by Josephus – see his article “Jerusalem’s Essene Gateway“.

Jesus tells his two disciples to “follow a man carrying a jug of water,” who will enter the city, and then enter a certain house. The only water source was in the southern part of the lower city of Jerusalem, the recently uncovered Pool of Siloam. This mysterious man apparently walked up the slope of Mt Zion and entered the city–likely at the Essene Gate. The house is large enough to have an upper story and likely belonged to a wealthy sympathizer of Jesus, perhaps associated with the Essenes. Later this property became the HQ of the Jesus movement led by James the brother of Jesus – see Pixner’s article “The Church of the Apostles Found on Mt Zion”.

Later Christian tradition put Jesus’ last meal with his disciples on Thursday evening and his crucifixion on Friday. We now know that is one day off. Jesus’ last meal was Wednesday night, and he was crucified on Thursday, the 14th of the Jewish month Nisan. The Passover meal itself was eaten Thursday night, at sundown, as the 15th of Nisan began. Jesus never ate that Passover meal. He had died at 3 p.m. on Thursday.

The confusion arose because all the gospels say that there was a rush to get his body off the cross and buried before sundown because the “Sabbath” was near. Everyone assumed the reference to the Sabbath had to be Saturday—so the crucifixion must have been on a Friday. However, as Jews know, the day of Passover itself is also a “Sabbath” or rest day—no matter what weekday it falls on. In the year a.d. 30, Friday the 15th of the Nisan was also a Sabbath—so two Sabbaths occurred back to back—Friday and Saturday. Matthew seems to know this as he says that the women who visited Jesus’ tomb came early Sunday morning “after the Sabbaths”—the original Greek is plural (Matthew 28:1).

As is often the case, the gospel of John preserves a more accurate chronology of what went on. John specifies that the Wednesday night “last supper” was “before the festival of Passover.” He also notes that when Jesus’ accusers delivered him to be crucified on Thursday morning they would not enter ­Pilate’s courtyard because they would be defiled and would not be able to eat the Passover that evening (John 18:28). John knows that the Jews would be eating their traditional Passover, or Seder meal, Thursday evening.

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Reading Mark, Matthew, and Luke one can get the impression that the “last supper” was the Passover meal. Some have even argued that Jesus might have eaten the Passover meal a day early—knowing ahead of time that he would be dead. But the fact is, Jesus ate no Passover meal in 30 CE. When the Passover meal began at sundown on Thursday, Jesus was dead. He had been hastily put in a tomb until after the festival when a proper funeral could be arranged.

There are some hints outside of ­John’s gospel that such was the case. In Luke, for example, Jesus tells his followers at that last meal: “I earnestly wanted to eat this Passover with you before I suffer but I ­won’t eat it until it is fulfilled in the kingdom of God” (Luke 22:14–16). A later copyist of the manuscript inserted the word “again” to make it say “I ­won’t eat it again,” since the tradition had developed that Jesus did observe Passover that night and changed its observance to the Christian Eucharist or Mass. Another indication that this is not a Passover meal is that all our records report that Jesus shared “a loaf of bread” with his disciples, using the Greek word (artos) that refers to an ordinary loaf—not to the unleavened flatbread or matzos that Jews eat with their Passover meals. Also, when Paul refers to the “last supper” he significantly does not say “on the night of Passover,” but rather “on the night Jesus was betrayed,” and he also mentions the “loaf of bread” (1 Corinthians 11:23). If this meal had been the Passover, Paul would have surely wanted to say that, but he does not.

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As late as Wednesday morning Jesus had still intended to eat the Passover on Thursday night. When he sent his two disciples into the city he instructed them to begin to make the preparations. His enemies had determined not to try to arrest him during the feast “lest there be a riot of the people” (Mark 14:2). That meant he was likely “safe” for the next week, since the “feast” included the seven days of Unleavened Bread that followed the Passover meal. Passover is the most family-­oriented festival in Jewish tradition. As head of his household Jesus would have gathered with his mother, his sisters, the women who had come with him from Galilee, perhaps some of his close supporters in Jerusalem, and his Council of Twelve. It is inconceivable that a Jewish head of a household would eat the Passover segregated from his family with twelve male disciples. This was no Passover meal. Something had gone terribly wrong so that all his Passover plans were changed.

Jesus had planned a special meal Wednesday evening alone with his Council of Twelve in the upper room of the guesthouse in the lower city. The events of the past few days had brought things to a crisis and he knew the confrontation with the authorities was unavoidable. In the coming days he expected to be arrested, delivered to the Romans, and possibly crucified. He had intentionally chosen the time and the place—Passover in Jerusalem—to confront the powers that be. There was much of a private nature to discuss with those upon whom he most depended in the critical days ahead. He firmly believed that if he and his followers offered themselves up, placing their fate in ­God’s hands, that the Kingdom of God would manifest itself. He had intentionally fulfilled two of Zechariah’s prophecies—riding into the city as King on the foal, and symbolically removing the “traders” from the “house of God.”

At some point that day Jesus had learned that Judas Iscariot, one of his trusted Council of Twelve, had struck a deal with his enemies to have Jesus arrested whenever there was an opportunity to get him alone, away from the crowds. How Jesus knew of the plot we are not told but during the meal he said openly, “One of you who is eating with me will betray me” (Mark 14:18). His life seemed to be unfolding according to some scriptural plan. Had not David written in the Psalms, “Even my bosom friend, in whom I trusted, who ate of my bread, has lifted the heel against me” (Psalm 41:9). History has a strange way of repeating itself. Over a hundred years earlier, the Teacher of Righteousness who led the Dead Sea Scroll community had quoted that very Psalm when one of his inner “Council” had betrayed him.

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Ironically our earliest account of that last meal on Wednesday night comes from Paul, not from any of our gospels. In a letter to his followers in the Greek city of Corinth, written around a.d. 54, Paul passes on a tradition that he says he “received” from Jesus: “Jesus on the night he was betrayed took a loaf of bread, and when he had given thanks, he broke it and said, ‘This is my body that is broken for you. Do this in remembrance of me.’ In the same way he took the cup also, after supper, saying, ‘This cup is the new covenant in my blood. Do this, as often as you drink it, in remembrance of me’” (1 Corinthians 11:23–25).

These words, which are familiar to Christians as part of the Eucharist or the Mass, are repeated with only slight variations in Mark, Matthew, and Luke. They represent the epitome of Christian faith, the pillar of the Christian Gospel: all humankind is saved from sins by the sacrificed body and blood of Jesus. What is the historical likelihood that this tradition, based on what Paul said he “received” from Jesus, represents what Jesus said at that last meal? As surprising as it might sound, there are some legitimate problems to consider.

Read Andrew McGowan’s article “The Hungry Jesus,” in which he challenges the tradition that Jesus was a welcoming host at meals, in Bible History Daily.

The Catacombs of Santa Priscilla features a fresco in the Greek Chapel of a banquet dating to the 3rd century – possibly referencing the Eucharistic banquet – with seven figures including a young man breaking bread and a veiled woman. Image courtesy James Tabor.

At every Jewish meal, bread is broken, wine is shared, and blessings are said over each—but the idea of eating human flesh and drinking blood, even symbolically, is completely alien to Judaism. The Torah specifically forbids the consuming of blood, not just for Israelites but anyone. Noah and his descendants, as representatives of all humanity, were first given the prohibition against “eating blood” (Genesis 9:4). Moses had warned, “If anyone of the house of Israel or the Gentiles who reside among them eats any blood I will set my face against that person who eats blood and will cut that person off from the people” (Leviticus 17:10). James, the brother of Jesus, later mentions this as one of the “necessary requirements” for non-­Jews to join the Nazarene community—they are not to eat blood (Acts 15:20). These restrictions concern the blood of animals. Consuming human flesh and blood was not forbidden, it was simply inconceivable. This general sensitivity to the very idea of “drinking blood” precludes the likelihood that Jesus would have used such
symbols.

The Essene community at Qumran described in one of its scrolls a “messianic banquet” of the future at which the Priestly Messiah and the Davidic Messiah sit together with the community and bless their sacred meal of bread and wine, passing it to the community of believers, as a celebration of the Kingdom of God. They would surely have been appalled at any symbolism suggesting the bread was human flesh and the wine was blood. Such an idea simply could not have come from Jesus as a Jew.

So where does this language originate? If it first surfaces in Paul, and he did not in fact get it from Jesus, then what was its source? The closest parallels are certain Greco-­Roman magical rites. We have a Greek papyrus that records a love spell in which a male pronounces certain incantations over a cup of wine that represents the blood that the Egyptian god Osiris had given to his consort Isis to make her feel love for him. When his lover drinks the wine, she symbolically unites with her beloved by consuming his blood. In another text the wine is made into the flesh of Osiris. The symbolic eating of “flesh” and drinking of “blood” was a magical rite of union in Greco-­Roman culture.

Read Jonathan Klawans’s Bible Review article Was Jesus’ Last Supper a Seder? and his updated article Jesus’ Last Supper Still Wasn’t a Passover Seder Meal online for free in Bible History Daily.

We have to consider that Paul grew up in the Greco-­Roman culture of the city of Tarsus in Asia Minor, outside the land of Israel. He never met or talked to Jesus. The connection he claims to Jesus is a “visionary” one, not Jesus as a flesh-and-blood human being walking the earth. See my book, Paul and Jesus for a full elaboration of the implications of Paul’s visionary revelations. When the Twelve met to replace Judas, after Jesus had been killed, they insisted that to be part of their group one had to have been with Jesus from the time of John the Baptizer through his crucifixion (Acts 1:21–22). Seeing visions and hearing voices were not accepted as qualifications for an apostle.

Second, and even more telling, the gospel of John recounts the events of that last Wednesday night meal but there is absolutely no reference to these words of Jesus instituting this new ceremony of the Eucharist. If Jesus in fact had inaugurated the practice of eating bread as his body, and drinking wine as his blood at this “last supper” how could John possibly have left it out? What John writes is that Jesus sat down to the supper, by all indications an ordinary Jewish meal. After supper he got up, took a basin of water and a cloth, and began to wash his disciples’ feet as an example of how a Teacher and Master should act as a servant—even to his disciples. Jesus then began to talk about how he was to be betrayed and John tells us that Judas abruptly left the meal.

Mark’s gospel is very close in its theological ideas to those of Paul. It seems likely that Mark, writing a decade after ­Paul’s account of the last supper, inserts this “eat my body” and “drink my blood” tradition into his gospel, influenced by what Paul has claimed to have received. Matthew and Luke both base their narratives wholly upon Mark, and Luke is an unabashed advocate of Paul as well. Everything seems to trace back to Paul. As we will see, there is no evidence that the original Jewish followers of Jesus, led by Jesus’ brother James, headquartered in Jerusalem, ever practiced any rite of this type. Like all Jews they did sanctify wine and bread as part of a sacred meal, and they likely looked back to the “night he was betrayed,” remembering that last meal with Jesus.

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What we really need to resolve this matter is an independent source of some type, one that is Christian but not influenced by Paul, that might shed light on the original practice of Jesus’ followers. Fortunately, in 1873 in a library at Constantinople, just such a text turned up. It is called the Didache and dates to the early 2nd century CE. It had been mentioned by early church writers but had disappeared until a Greek priest, Father Bryennios, discovered it in an archive of old manuscripts quite by accident. The title Didache in Greek means “Teaching” and its full title is “The Teaching of the Twelve Apostles.” It is a type of early Christian “instruction manual” probably written for candidates for Christian baptism to study. It has lots of ethical instructions and exhortations but also sections on baptism and the Eucharist—the sacred meal of bread and wine. And that is where the surprise comes. It offers the following blessings over wine and bread:

With respect to the Eucharist you shall give thanks as follows. First with respect to the cup: “We give you thanks our Father for the holy vine of David, your child which you made known to us through Jesus your child. To you be the glory forever.” And with respect to the bread: “We give you thanks our Father for the life and knowledge that you made known to us through Jesus your child. To you be the glory forever.”

Notice there is no mention of the wine representing blood or the bread representing flesh. And yet this is a record of the early Christian Eucharist meal! This text reminds us very much of the descriptions of the sacred messianic meal in the Dead Sea Scrolls. Here we have a messianic celebration of Jesus as the Davidic Messiah and the life and knowledge that he has brought to the community. Evidently this community of Jesus’ followers knew nothing about the ceremony that Paul advocates. If ­Paul’s practice had truly come from Jesus surely this text would have included it.

There is another important point in this regard. In Jewish tradition it is the cup of wine that is blessed first, then the bread. That is the order we find here in the Didache. But in ­Paul’s account of the ­“Lord’s Supper” he has Jesus bless the bread first, then the cup of wine—just the reverse. It might seem an unimportant detail until one examines ­Luke’s account of the words of Jesus at the meal. Although he basically follows the tradition from Paul, unlike Paul Luke reports first a cup of wine, then the bread, and then another cup of wine! The bread and the second cup of wine he interprets as the “body” and “blood” of Jesus. But with respect to the first cup—in the order one would expect from Jewish tradition—there is nothing said about it representing “blood.” Rather Jesus says, “I tell you that from now on I will not drink of the fruit of the vine until the kingdom comes” (Luke 22:18). This tradition of the first cup, found now only in Luke, is a leftover clue of what must have been the original tradition before the Pauline version was inserted, now confirmed by the Didache.

More by James Tabor in Bible History Daily

That Other “King of the Jews”

Can a Pre-Christian Version of the Book of Revelation be Recovered?

The “Strange” Ending of the Gospel of Mark and Why It Makes All the Difference

The Making of a Messiah

Understood in this light, this last meal makes historical sense. Jesus told his closest followers, gathered in secret in the Upper Room, that he will not share another meal with them until the Kingdom of God comes. He knows that Judas will initiate events that very night, leading to his arrest. His hope and prayer is that the next time they sit down together to eat, giving the traditional Jewish blessing over wine and bread—the Kingdom of God will have come.

Since Jesus met only with his Council of Twelve for that final private meal, then James as well as Jesus’ other three brothers would have been present. This is confirmed in a lost text called the Gospel of the Hebrews that was used by Jewish-­Christians who rejected ­Paul’s teachings and authority. It survives only in a few quotations that were preserved by Christian writers such as Jerome. In one passage we are told that James the brother of Jesus, after drinking from the cup Jesus passed around, pledged that he too would not eat or drink again until he saw the kingdom arrive. So here we have textual evidence of a tradition that remembers James as being present at the last meal.

In the gospel of John there are cryptic references to James. Half a dozen times John mentions a mysterious unnamed figure that he calls “the disciple whom Jesus loved.” The two are very close; in fact this unnamed disciple is seated next to Jesus either at his right or left hand. He leaned back and put his head on Jesus’ breast during the meal (John 13:23). He is the one to whom Jesus whispers that Judas is the betrayer. Even though tradition holds that this is John the fisherman, one of the sons of Zebedee, it makes much better sense that such intimacy was shared between Jesus and his younger brother James. After all, from the few stories we have about John son of Zebedee, he has a fiery and ambitious personality—Jesus had nicknamed him and his brother the “sons of Thunder.” They are the two that had tried to obtain the two chief seats on the Council of Twelve, one asking for the right hand, the other the left. On another occasion they asked Jesus for permission to call down fire from heaven to consume a village that had not accepted their preaching (Luke 9:54). On both occasions Jesus had rebuked them. The image we get of John son of Zebedee is quite opposite from the tender intimacy of the “disciple whom Jesus loved.” No matter how ingrained the image might be in Christian imagination, it makes no sense to imagine John son of Zebedee seated next to Jesus, and leaning on his breast.

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Late that night, after the meal and its conversations, Jesus led his band of eleven disciples outside the lower city, across the Kidron Valley, to a thick secluded grove of olive trees called Gethsemane at the foot of the Mount of Olives. Judas knew the place well because Jesus often used it as a place of solitude and privacy to meet with his disciples (John 18:2). Judas had gone into the city to alert the authorities of this rare opportunity to confront Jesus at night and away from the crowds.

It was getting late and Jesus’ disciples were tired and drowsy. Sleep was the last thing on Jesus’ mind, and he was never to sleep again. His all-­night ordeal was about to begin. He began to feel very distressed, fearful, and deeply grieved. He wanted to pray for strength for the trials that he knew would soon begin. Mark tells us that he prayed that if possible the “cup would be removed from him” (Mark 14:36). Jesus urged his disciples to pray with him but the meal, the wine, and the late hour took their toll. They all fell asleep.

Dr. James Tabor is Chair of the Department of Religious Studies at the University of North Carolina at Charlotte where he is professor of Christian origins and ancient Judaism. Since earning his Ph.D. at the University of Chicago in 1981, Tabor has combined his work on ancient texts with extensive field work in archaeology in Israel and Jordan, including work at Qumran, Sepphoris, Masada, Wadi el-Yabis in Jordan. Over the past decade he has teamed up with with Shimon Gibson to excavate the “John the Baptist” cave at Suba, the “Tomb of the Shroud” discovered in 2000, Mt Zion and, along with Rami Arav, he has been involved in the re-exploration of two tombs in East Talpiot including the controversial “Jesus tomb.” Tabor is the author of the popular Taborblog, and several of his recent posts have been featured in Bible History Daily as well as the Huffington Post. His latest book, Paul and Jesus: How the Apostle Transformed Christianity has become a immediately popular with specialists and non-specialists alike. You can find links to all of Dr. Tabor’s web pages, books, and projects at jamestabor.com.

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The post The Last Days of Jesus: A Final “Messianic” Meal appeared first on Biblical Archaeology Society.

There is a very intriguing story, unique to the Gospel of John, about a wedding attended by Jesus and his disciples at the Galilean village of Cana (John 2:1–11). Within the Gospel of John the story functions in a theological and even allegorical manner—it is the “first” of seven signs, the “water into wine” story, but that is not to say it lacks any historical foundation.

The story is part of an earlier written narrative that scholars call the “Signs Source,” now embedded in the Gospel of John much like the Q source is embedded in Matthew and Luke. Many scholars consider the Signs Source to be our most primitive gospel narrative, earlier than, and independent from, the Gospel of Mark.

Most readers of John’s gospel concentrate on the long “red letter” speeches and dialogues of Jesus with the lofty language about him as the “Son” sent from heaven, in cosmic struggle with “the Jews” who are cast in a pejorative light. Such elements are apparently a much later theological overlay, as they are absent from this primitive narrative source.

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The work, at least according to this “Signs Source,” was originally written to promote the simple affirmation that Jesus was the Messiah, the anointed King of the line of David, and to explain how his death was part of the plan of God. This narrative source is written in a completely different style from the later material now in John’s gospel. It moves along from scene to scene with vivid details and in gripping narrative flow.

The elements of the Cana story are fascinating. Jesus and his disciples, who have been down in the Jordan valley with John the Baptist, return to the area to join the wedding celebration. Jesus’ mother Mary (though unnamed in John) and his brothers are already there (2:12), so it seems to be some kind of “family affair.”

Indeed, Mary seems to be at some level officially involved in the celebration as a kind of co-hostess since she takes charge of things when the wine planned for the occasion, unexpectedly runs out, indicating either that the crowd was larger than expected or that things became quite festive, or both. Mary turns to Jesus and the rest of the story is well known to everyone—he miraculously turns six stone vessels, filled initially with water, into the finest wine.

But beyond the “miracle” or the “sign,” a number of other quite interesting questions arise.

First, one has to ask: Why would the lack of wine be a concern of Mary, Jesus’ mother?

And what do we know about Cana?

And most importantly, whose wedding was this and why were Jesus and his family present in the first place?

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What do we know about Cana?

Let’s begin with Cana itself. What do we know about it?

Most tourists are taken to the traditional site of Cana (Kefr Kenna) near Nazareth on the road to Tiberias that the Franciscans maintain. The problem is that this location has no Roman-period ruins and most certainly is not the place mentioned in the New Testament. Its veneration began sometime in the Middle Ages.

An alternative site, Khirbet Qana, is 8 miles northwest of Nazareth and 12 miles west of the Sea of Galilee. It is high on a hill overlooking the Bet Netofa valley. This location has much more evidence in its favor.

My colleague and friend, the late Professor Doug Edwards, began excavating there in 1998, and Tom McCollough has carried on his work as time has allowed. What they have found seems fairly decisive, including Second Temple period tombs, houses and possibly a beth midrash or synagogue. Evidence of Christian veneration at this site dates back to the sixth century C.E.

Khirbet Qana

Right after the wedding, according to John 2:12, Jesus goes to Capernaum and with him are his disciples, but also his mother and his brothers. I think that implies the whole family, including the brothers (and thus the sisters) were not only at the wedding but are now traveling with him. They go to Capernaum, where he sets up a kind “residence” or operational HQ, according to the tradition that Mark has received (see Mark 2:1; 3:19; 9:33 and the references to the house and being “at home”).

Mark knows nothing of Cana but John mentions it again when Jesus returns from a trip to Judea, where he stirred up a considerable amount of trouble and needs some place to “lay low.” He and his disciples go back to Cana (John 4:46). Why go back there if the first visit was just for a wedding and had no connection to him? I think this is important in that it seems to become for Jesus a kind of “safe house” or place of operations when he needs to retreat to Galilee, much like Capernaum.

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Peter Richardson of the University of Toronto has written a significant academic article on this point titled “What Has Cana to Do with Capernaum?” (New Testament Studies 48 (2002), pp. 314–331) that I highly recommend. He argues that the significant differences on geographical matters between the Synoptics with their sources and John with its sources—especially the question of Jesus’ “place”—should not be resolved simply in favor of Mark. Cana as a place in John is as significant as Capernaum in Mark. In fact, Richardson argues that Cana served as an operational base for Jesus according to the tradition that John reflects.

It is interesting to note that during the Jewish Revolt, Josephus, commander of the Jewish forces in Galilee, made Cana his strategic headquarters for a time (Life 86). Its prime location, overlooking Sepphoris and the cities of the Bet Netofa Valley, made it an ideal location. Also, Jewish tradition locates the priestly family of Eliashib, mentioned in 1 Chronicles 24:19 as one of the 24 orders of Cohanim or priest, as from Cana.

John indicates the connection in the last chapter of his gospel, where he says that the disciple Nathanael, mentioned only in the Gospel of John is from Cana in Galilee (21:2). Nathanael is mentioned earlier in the Gospel of John as an early follower or disciple, associated with Andrew of Bethsaida (1:45). He is most often identified as one of the Twelve, under his father’s name, Bar-Tholomew or “Bar Tolmai” in Aramaic, in Mark’s list of the disciples (Mark 3:18). I find this identification likely.

Given this background all we can do is speculate. I think we can assume that Mary, the mother of Jesus, is somehow involved in the wedding, and since we know Jesus and his disciples—as well as his brothers—are there, it is not a passing event but some kind of family affair. And since he returns to the place when things get heated for him and his disciples in Judea, it is a safe place for him, and one to which he is connected. So whose was the wedding? Or can we even make a wild guess?

Whose Wedding is it?

Many have suggested that the wedding at Cana was that of Jesus. I find this unlikely. Even though the account is very “allegorical” as it comes to us in John, and it is accordingly hard to derive historical material therefrom, the way in which Jesus shows up with his disciples, when his mother and brothers are already there, indicates to me that the wedding is of someone else.

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Why is Mary Involved in Preparations?

My own guess would be that it is the wedding of either one of his brothers or sisters, since Mary is involved—not, as I read it, as the hostess, but as one concerned with the provisions for the wedding. Since the wedding is held in Cana, my guess is that it could very well be the wedding of one of Jesus’ brothers, perhaps James, to a sister or daughter of Nathanael, thus accounting for it being held in that village. Cana then becomes a place to which Jesus can return, and as with Capernaum, it served as a kind of “home” for him.

Regardless, I do think, as Richardson has argued, that we should take John’s references to geographical locations as rooted in some of the earliest traditions we have related to the life of Jesus–even predating Mark.

I have of late become persuaded that Jesus well might have been married, and this represents a change of mind for me that I have detailed in our book The Jesus Discovery. If such be the case, it seems impossible to tell whether he would have been married long before this point in his life, perhaps in his 20s, or whether he chose not to be married into his adult life, and only subsequently did so closer to the end.

Dr. James Tabor is Professor of Christian Origins and Ancient Judaism in the Department of Religious Studies at the University of North Carolina at Charlotte.

Since earning his Ph.D. at the University of Chicago in 1981, Tabor has combined his work on ancient texts with extensive field work in archaeology in Israel and Jordan, including work at Qumran, Sepphoris, Masada, Wadi el-Yabis in Jordan. Over the past decade he has teamed up with with Shimon Gibson to excavate the “John the Baptist” cave at Suba, the “Tomb of the Shroud” discovered in 2000, Mt Zion and, along with Rami Arav, he has been involved in the re-exploration of two tombs in East Talpiot including the controversial “Jesus tomb.”

Tabor is the author of the popular Taborblog, and several of his recent posts have been featured in Bible History Daily as well as the Huffington Post. His latest book, Paul and Jesus: How the Apostle Transformed Christianity, has become immediately popular with specialists and non-specialists alike.

You can find links to all of Dr. Tabor’s web pages, books, and projects at jamestabor.com.

This Bible History Daily article was first republished in Bible History Daily from James Tabor’s blog on November 16, 2015.

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The post Mark and John: A Wedding at Cana—Whose and Where? appeared first on Biblical Archaeology Society.

Is it possible that the earliest existing picture of a scene from the Bible also includes the philosophers Socrates and Aristotle as onlookers? It is not only possible; I believe that is the case.

The earliest depiction of a Biblical scene comes from a site that is perhaps better known to some for its erotic art than for its religious devotions: Pompeii. The city was buried in volcanic ash in 79 A.D. following the eruption of nearby Mt. Vesuvius. It was a devastating tragedy for Pompeii’s residents but a boon to modern scholars and art historians.

In the building known as the House of the Physician, excavators found a wall painting clearly depicting King Solomon seated on a raised tribunal and flanked by two counselors. As described in the Bible, two women have come to the Israelite monarch, each claiming to be the mother of the same infant. When Solomon orders the baby to be divided in half, the real mother, shown at the foot of the dais, pleads with him to spare the child and announces her willingness to relinquish her claim. The other woman is shown standing by the butcher block on which the infant has been placed. As a soldier raises an axe to do the king’s bidding, she seizes what she believes will be her portion, saying, according to the Biblical text, “Let it be neither mine, nor thine, but divide it.” It is obvious who the real mother is. The child is given to her unharmed as soldiers and observers look on, marveling at Solomon’s wisdom (1 Kings 3:16–28).

Pleading for her baby’s life, a woman kneels at the feet of King Solomon and relinquishes her claim to the contested child, thus identifying herself as the real mother of the infant in 1 Kings 3:16–28. Nearby a soldier prepares to follow the king’s order to cut the baby in two, while another woman, also claiming to be the mother, stands ready to take her half. This Roman wall painting from the House of the Physician in Pompeii is the earliest known depiction of a Biblical scene—a surprising find in a city better known for its brothels and erotic art than its religious paintings. So who was the person that commissioned this painting: a Jew, a Christian or a gentile? Photo: Scala/Art Resource, NY.

The wall painting has now been removed and is on exhibit at the Museo Nazionale in Naples. While it is therefore well known to scholars, it has not previously been noted that this is the earliest depiction of a full-fledged Biblical scene known to us!

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Was the painting commissioned by a Jew, an early Christian, a so-called God-fearer (gentiles who adopted many Jewish customs and beliefs, but did not convert^a) or simply an educated Roman?

There is good evidence that Jews lived in Pompeii. Kosher brands of the locally popular fish sauces were packed there and appropriately labeled Kosher Garum and Kosher Muria (garum castum, muria casta).¹ A two-word inscription, Sodoma Gomora, also survives from a house front in Pompeii and may have been written by a Jew or, less likely, by an early Christian, either before the eruption of Vesuvius or by a digger soon afterwards. It is perhaps more affecting to imagine its having been hastily written in the midst of the eruption by someone who analogized the town’s impending fate with that of the two doomed Biblical cities.

Wondering at the wisdom of King Solomon’s decision, two onlookers in the lower left corner of the painting observe the proceedings. Author Theodore Feder believes these clearly depicted figures represent the great Greek philosophers Socrates and Aristotle. With the creation of the Septuagint in the third century B.C., the Greek translation of the Hebrew Bible spread throughout the Greco-Roman world. The presence of these men in a Biblical scene suggests that the owner of this house was a gentile who wanted to draw a parallel between the Classical Greek sages and the wisdom of the Hebrew Bible. Photo: Alinari/Art Resource, NY

My own feeling, however, is that it is more likely that the painting of Solomon displaying his wisdom was commissioned by a non-Jew. True, the Second Commandment’s prohibition against depicting the human form was not always obeyed by Jews in the Roman era.² But the injunction was particularly strong in the years leading up to the Jewish rebellion against Rome in 66 A.D., when protests against graven and painted images received a strong political as well as religious impetus. On stylistic grounds, the painting can be dated from the period immediately preceding the Vesuvius eruption in 79 A.D.

In any event, it is clear that the work reflects the influence of the Hebrew Bible. The Torah (the Pentateuch or Five Books of Moses) was translated into Greek beginning in about 270 B.C., and the rest of the Bible was added in the immediately following centuries. According to one account, King Ptolmey II Philadelphus of Egypt wanted a copy of the Hebrew Bible for his great library in Alexandria.^b More likely, it was made by Jews for the Jews of Alexandria who did not know Hebrew. According to a traditional story, 70 scholars were isolated from each other on an island in Alexandria and instructed to prepare a Greek translation. When they were finished, all Greek copies were identical. Hence, this Greek translation of the Hebrew Bible is still known as the Septuagint.^c The Greek translation became available not only to the many Greek-speaking Hellenized Jews of the Mediterranean world, but to non-Jews as well. This text served as both a literary and iconographic source-book for Jew and gentile alike. Although the owner of the House of the Physician could in theory have been either a Jew, a so-called God-fearer, an early Christian or a Roman gentile, he was most likely a gentile, based simply on demographic grounds. In short, gentiles were more numerous, more likely to attain wealth, and under no prohibition with regard to depicting the human form.

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Socrates has long been considered one of the founders of Western philosophy. Museo Pio Clementino at the Vatican. Alinari/Art Resource, NY

Over the years, a bald head, beard and flat nose became iconic features for depicting Socrates. The similarity to the figure in the Pompeian painting is so striking that he must be Socrates. Museo Archeologico Nazionale, Naples Scala/Art Resource, NY

Among the onlookers are two figures in the lower left corner of the composition who are more fully delineated than the very lightly sketched group of figures immediately behind them. The features and poses of these two witnesses reflect surprise, wonder and admiration.

I believe these two figures are stand-ins for Socrates and Aristotle, introduced as a way of associating the wisdom of Solomon with that of the Greek philosophers. Put another way, their presence in the composition attests to the respect Greek philosophy could accord to Hebrew wisdom. Such a juxtaposition in art of wise men from the two civilizations was unprecedented, has rarely been done since, and is of great cultural and historical significance.

The standing figure on the left has the bald head, flattened nose, and beard that almost always characterizes depictions of Socrates.

The figure to the right stands with his right leg thrust forward; his chin rests on his unsupported right arm in a classic thinker’s pose. He would be more natural if he were pictured seated. His features, however, correspond to a prototype for Aristotle: a full head of curly hair, little or no beard in this case and a regular profile. It is likely that the painter modeled Aristotle on a seated prototype derived from a Greek original that was copied in Roman times. A surviving example is the seated Aristotle from the Galleria Spada in Rome. There the pose is almost identical to the standing Aristotle of the Pompeian wall painting; the left leg is thrust forward and the head rests on an upraised arm which is in turn supported by Aristotle’s bent knee.

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The Pompeian painter likely modeled his portrayal of the great philosopher Aristotle on an existing statue like this one but modified it to a standing position as seen in the completed painting. Scala/Art Resource, NY

The association of Jews with Greek wisdom and philosophy, though rare, was not entirely unknown in Hellenistic literature. In one of the earliest Greek references to the Jews, Clearchus of Soli (c. 300 B.C.), a disciple of Aristotle, quotes Aristotle as saying that the Jews are descended from Indian philosophers.³ In a similar vein, Theophrastus (372–288 B.C.) remarks that “being a race of philosophers, they converse with each other about divinity, and during the night they view the stars, turning their eyes to them and invoking their God with prayers.”⁴ This could serve as a still-accurate portrayal of synagogues in the modern era, where evening prayers (Maariv in Hebrew) are traditionally begun at sundown with the appearance of the first stars.

Numenius of Apamaea (Syria), a second-century A.D. Platonist, praised the Jews for worshiping an incorporeal God and declared that Plato had been but “a Moses in Attic garb,” here, too, making an association between the great thinkers of both cultures.⁵

The owner of the House of the Physician approved the depiction of this scene and likely proposed the subject matter to the painter. In selecting an episode from the Hebrew Bible, the patron departed from the canon of classical religious subject matter and elevated one from the Scriptures of a people whose influence at the time was spreading throughout the empire and would one day, in its Christian formulation, pervade it.

Theodore Feder is president and founder of Art Resource, the world’s largest photo archive of fine art, as well as president of the Artists Rights Society. He is author of Great Treasures of Pompeii and Herculaneum (Abbeville Press) and numerous articles.

Notes

1. August Mau, Pompeii, Its Life and Art, trans. Francis W. Kelsey (New York: Macmillan, 1902), p. 16.

2. See Harold H. Ellens, “The Library of Alexandria: The West’s Most Important Repository of Learning,” Bible Review 13:01.

3. On Sleep, quoted by Josephus, Against Apion I, 176–182.

4. On Piety, cited by Poryphry, third century A.D., in On Abstinence, 2.26. Meyer Reinhold and Louis Feldman, Jewish Life and Thought Among Greeks and Romans (Minneapolis: Fortress Press, 1996), primary readings, p. 7.

5. Salo Wittmayer Baron, A Social and Religious History of the Jews, vol. 2 (New York: Columbia Univ. Press, 1937), p. 157.

a. See Louis H. Feldman, “The Omnipresence of the God-Fearers”; Robert S. MacLennan and Thomas Kraabel, “The God-Fearers—A Literary and Theological Invention”; and Robert Tannenbaum, “Jews and God-Fearers in the Holy City of Aphrodite,” all in BAR, September/October 1986.

b. See Jacob Neusner, Symbol and Theology in Early Judaism (Minneapolis: Fortress Press, 1991), pp. 211, 216. Also, Erwin R Goodenough, Jewish Symbols in the Greco-Roman Period, 13 vols. (Princeton, NJ: Princeton Univ. Press, 1953–1968).

c. Philo of Alexandria gives a full account of its composition in his “Life of Moses” (2.6: 31–37, 44) See also Leonard J. Greenspoon, “Mission to Alexandria: Truth and Legend About the Creation of the Septuagint, the First Bible Translation,” Bible Review 05:04.

“Solomon, Socrates and Aristotle” by Theodore Feder originally appeared in Biblical Archaeology Review, September/October 2008.

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This Roman theater played an important role in the riot at Ephesus against Paul and the early Christians, according to Luke’s account in Acts 19. Photo: Jordan Pickett.

In Acts 19, Luke describes a frenzied riot at Ephesus, a city in the Roman province of Asia in modern-day Turkey:

About that time no little disturbance broke out concerning the Way. A man named Demetrius, a silversmith who made silver shrines of Artemis, brought no little business to the artisans. These he gathered together, with the workers of the same trade, and said, “Men, you know that we get our wealth from this business. You also see and hear that not only in Ephesus but in almost the whole of Asia this Paul has persuaded and drawn away a considerable number of people by saying that gods made with hands are not gods. And there is danger not only that this trade of ours may come into disrepute but also that the temple of the great goddess Artemis will be scorned, and she will be deprived of her majesty that brought all Asia and the world to worship her.”

When they heard this, they were enraged and shouted, “Great is Artemis of the Ephesians!” The city was filled with the confusion; and people rushed together to the theater, dragging with them Gaius and Aristarchus, Macedonians who were Paul’s travel companions. Paul wished to go into the crowd, but the disciples would not let him; even some officials of the province of Asia, who were friendly to him, sent him a message urging him not to venture into the theater. (Acts 19:23–31)

The so-called Beautiful Artemis statue was one of four statues of Artemis excavated at Ephesus in 1956. Measuring 5.7 feet tall, the statue dates to the Hadrianic–early Antonine periods (c. 117–150 C.E.). On either side of Artemis are female deer, and the zodiac signs appear on her upper chest. Rows of oval pendants—possibly representing bulls’ scrota—hang from her chest. These attributes, according to BAR author James R. Edwards, may represent “Artemis’s ultimate trophies in taming and subjugating the quintessential symbols of virility.” According to the silversmith Demetrius in Acts 19, the mission of Paul at Ephesus threatened the reputation of Artemis’s cult. Photo: Jordan Pickett.

According to Acts, the riot would have occurred at the end of the missionary visit of Paul at Ephesus (around 55 or 56 C.E.). How accurate is Luke’s description of Ephesus at this time? In “Archaeology Gives New Reality to Paul’s Ephesus Riot” in the July/August 2016 issue of Biblical Archaeology Review, James R. Edwards, the Bruner-Welch Professor Emeritus of Theology at Whitworth University, describes how archaeological evidence fills in the historical context for Luke’s account of the riot at Ephesus.

In the Roman period, Ephesus was an important commercial center. Excavations conducted by the Austrian Archaeological Institute since 1895 have shown that the ancient city—which rivaled Antioch as the third-largest city of the Roman world—boasted a harbor, various civic structures, bath complexes, a theater and the Temple of Artemis, one of the Seven Wonders of the Ancient World.

Four times the size of the Athenian Parthenon, the famous Temple of Artemis had 127 gleaming marble columns that stood 60 feet tall and were topped with Ionic capitals. It was the Temple of Artemis, the silversmith Demetrius argued in Acts 19, that was being threatened by “the Way” (the early Christian movement) and Paul’s missionary effort. In saying that “gods made with hands are not gods” (Acts 19:27), Demetrius alleged, Paul was harming the silversmith industry that made little shrines used as dedicatory offerings to Artemis and tarnishing the reputation of the Artemis cult at Ephesus. However, a 16-line Greek inscription discovered during excavations showed that a century after the mission of Paul at Ephesus, in the late second or early third century, the silversmith trade and the cult of Artemis were still thriving.

When the anger that Demetrius incited reached a fever pitch, the rioters were said to have rushed into the city’s theater, dragging in Paul’s travel companions Gaius and Aristarchus. Excavations have uncovered the theater, which is set into a steep hillside at Ephesus. Massive in scale, the semicircular Roman theater held 25,000 seats and was one of the largest in the ancient world.

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According to BAR author James R. Edwards, Luke’s account of the riot at Ephesus in Acts “contains a wealth of historical detail, some of which—proconsuls, standing courts and a city secretary—were common throughout the Roman Empire. But many more details—the immense temple commemorating the Artemis cult, the Artemis figure peculiar to Ephesus who was believed to have ‘fallen from heaven’ (Acts 19:35), guilds of silversmiths, Asiarchs and the city of Ephesus itself: its greatness, its theater and its honor as neōkoros, ‘temple guardian’—all are unique to Ephesus and the Roman province of Asia.”

To the right, one can see the single column that remains from the Temple of Artemis at Ephesus. Considered one of the Seven Wonders of the Ancient World, the massive temple was the largest building in the Hellenistic world. Photo: Jordan Pickett.

Explore more of the archaeology that shines new light on Luke’s account—from statues of the goddess Artemis to inscriptions and monumental building remains—by reading the full article “Archaeology Gives New Reality to Paul’s Ephesus Riot” by James R. Edwards in the July/August 2016 issue of BAR.

BAS Library Members: Read the full article “Archaeology Gives New Reality to Paul’s Ephesus Riot” by James R. Edwards in the July/August 2016 issue of Biblical Archaeology Review.

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This Bible History Daily feature was originally published on July 14, 2016.

The post Biblical Riot at Ephesus: The Archaeological Context appeared first on Biblical Archaeology Society.