christ as orpheus in early christian art

8/12/2019 Christ as Orpheus in Early Christian Art

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y Christian Art: A !""-#$%: &rom the Rise of Christianity to the eath of 'heo osius , 3=dr> rabar, 1(&?, p. ?(, @ 2.stian Painting and Sculpture before the Peace of the Church (before AD 313) !". #o$e% Cataco$b of Do$itilla.heus'Christ ith Ani$als% detail :


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, @ *ist of +llustrations :

//www.arches.u*a.edu/A%va= eur/3!HI'0;0StudB uide.html, 'he Classical 'ra ition r* &rances Van +euren , @,edie-al Art%" A.D. :

ly Christian painting from catacomb of Domitilla!" #ome" sho$ing Orpheus%li&e Christ sitting on a roc& an' hol'ing an( panpipe! ) on the left" a ram an' t$o e$es*

://www.visart.u*a.edu/courses/arhi'0;0/slides/medieval/ear- -cat-pt*- .html :

ly Christian painting from catacomb (of Domitilla), Rome, showing Orpheus-like Christ sitting on a rock andding a syrinx (panpipe) ; on the left, a ram and two ewes


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://altreli*io=.about.com/librarB/*raphics/blDsavior1;.htm, Sa,ior .a onna /allery 0ne , @&rphes'/esus% the 0ood Shepherd +:

A 1istory of Changing Style , Cor=ell, 1(?;, p. '', @ Art in the Cataco$bs :


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&-'E, illustratio= 'E :


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://www.owl=et.rice.edu/Ahart209/Fectures/lecture21.htm (#ice ni-ersit ) , Early Christian eath an Sal,ation :resentations of Christ:

Christ as -oo' .hepher'" /r' century" Cle0elan' Museum of Art)Christ%Orpheus" /r' century" Catacomb of Domitilla" #ome)Christ Enthroned as 2hilosopher!" c* /34" Museo 5a6ionale #omano" #ome)Christ as Helios %%sun -o' mosaic!" Mausoleum of the Julii, Rome " 134%183*

//www.owl=et.rice.edu/Ahuma10;/dis2.html (#ice ni-ersit ) , Intro uction to .e ie,al Ci,ili2ation: iscussion!: Earlystian Images , @arl Christian +$ager before Constantine +:

presentations of Christ :

rist as -oo' .hepher'" /r' century" Cle0elan' Museum of Artcophagus of the -oo' .hepher'" #ome" 7th century

rist%Orpheus " /r' century" Catacomb of Domitilla" #ome

rist Enthrone' as 2hilosopher or teacher!" c* /34" Museo 5a6ionale #omano" #ome

//www.owl=et.rice.edu/Ahuma10;/dis2II.html (#ice ni-ersit ) , @Christ'&rpheus :


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y Christian 3ainting , ierre du 4our*uet, 1(&9, %i*ure 2E :

t of Plates Cataco$b of Do$itilla :


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y Christian 3ainting , ierre du 4our*uet, 1(&9, %i*ure ;2 :

t of Plates Cataco$b of Do$itilla :

ocial 1istory of Art , Hauser, 1(92, ol. 1, illustratio= ;9, plate III.1, @ S. Do$itilla Cataco$b :


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//www.au*.edu/au*usta/ico=o*raphB/orpheus.html +3u*usta State 5=iversitB +via Christian Iconography :

:

//www.au*.edu/au*usta/ico=o*raphB/catacombs/orpheus.html :


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//www.au*.edu/au*usta/ico=o*raphB/=ewStu%% or =Cours/catacumbasCristia=as/orpheusCubicle.html, +catacomb #omitilla :

//www.catacombsocietB.or*/vom/2?.html, Vaults of .emory :


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xteenth-Century View of the Paintings in the Catacombsocumented by early catacomb in!esti"ator #lonso Chac$n and interpreted by his illustrator, this watercolor ser!es as a precious record of a now much%dama"ed from the catacomb of omitilla. &i"ures of 'oses and perhaps 'icah flank a tondo encirclin" a bust of (esus. In the lunette below, Orpheus, an antecedent to theShepherd, is depicted charmin" birds and beasts with his music.

//www.catacombsocietB.or*/vom/2(.html, Vaults of .emory :

Same Idyllic Scene Todayhis recent !iew of the fresco shows the !ariations in the copy and the subse*uent destruction of much of the fresco.

y Christian Art: A !""-#$%: &rom the Rise of Christianity to the eath of 'heo osius , 3=dr> rabar, 1(&?, p. ??, @ 2.stian Painting and Sculpture before the Peace of the Church (before AD 313) !3. #o$e% Cataco$b of Do$itilla.heus and Ani$als :


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to Catacomb of omitilla G asolaG o=ti%ical Commissio= o% Sacred 3rchaeolo*B, atica= CitBG "=*lish editio=G 1(E'G p. i=sidecoverG @Plan 2 ($ap of cataco$b) :


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://%riarsmi=or.or*/ vi&-2.html, Catholic 1istory: Roman catacombs :

other fa0orite type of Our Lor' $as Orpheus" $ho by his s$eet music 're$ all creatures to hear him* The 0ine painte'so much free'om an' grace of han'ling on the roof of the entrance to the cemetery of Domitilla is also" in De #ossi s

nion* $or& of the first century* ;#oma .otteranea"; 5orthcote an' Bro$nlo$) Murray s ;


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://www.owl=et.rice.edu/Ahart209/Fectures/lecture29.htm +!ice 5=iversitB , Intro uction to the 1istory of Art: Ra,enna :

Christ as the Good Shepherd " lunette mosaic" north arm cf* catacomb paintings of Orpheus=Christ $ith animals"acomb of Domitilla" /r' century

ges of the Logos in 3re-Constantinian Christian Art: 'heir 0rigin an Significance G Submitted bB: !.#ou*las Throop, or theee : 8.3.G acultB o% !eli*ious StudiesG Sept. ;0, 1(?;G 8c ill 5=iversitBG +via orldCat, micro%iche , p. 9? :

://www.utoro=to.ca/stmi es/courses/Christia=itB/catacombsE.html +9-1;-02 , Initiation Art: 'he Catacombs :

Christian recession of Pagan sal ation images >

* 'omitilla /r' c*!) Christ" Orpheus

Catacombs of St* Calli4tus St* Sebastian an omitilla , "=*le%ield, 1(1;, p. 9', @ The cataco$b of Do$itilla :

roud):

//members.aol.com/b)w110&/maria=(?.htm, Apparitions of the 5lesse Virgin - 6$$7 e,elopments , @8e e-idence theud of Turin is authentic :

of these papers" one by Mr* #e( Morgan an' one by Dr* an' Mrs* ?ohn ?ac&son are specifically note$orthy* Mr*rgan" the author of se0eral boo&s on the .hrou'" state' that he ha' 'isco0ere' in the Orpheus cubiculum of one of theman catacombs" a painting on the ceiling of the profile' image of a bear'e' man $ho he says $as ?esus of 5a6areth*

materials in the paint ha0e been ra'iocarbon 'ate' to the mi'%first to late secon' century ma&ing this the earliesto$n image of ?esus if his research is correct* The profile loo&s @uite similar to the characteristics so $ell &no$n on theu'* These fin'ings $ere highlighte' by C55 an' the BBC $hen they $ere presente'*

if Christ as Orpheus coul' get as much me'ia attention at the bogus Turin .hrou'*

//members.aol.com/turi=((/co=%er.htm, Shrou of 'urin Center: 6$$$ Shrou of 'urin International Researchference***an o,er,ie8 of e,elopments , @Art and 9istor ... :

Morgan an' Isabel 2ic6e& 'escribe' their continuing research on the Orpheus cubiculum % part of the Domitillaacomb in #ome % $ith the painte' Christ%li&e image that li&ely 'ates to the First Century base' on ra'iocarbon 'atingartistic comparisons of metho' an' style* The image in the cubiculum is 0ery similar to the image of the man on the


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://www. ea=.edu/A)tuer /ima*es/'D4BKa=ti=e/01D"ChSalvatio=alIma*erB/0E.)p* +via//www. ea=.edu/A)tuer /ima*es/'D4BKa=ti=e/01D"ChSalvatio=alIma*erB/"ChSalvatio=alIma*erBDthumbs.htm , Early Christian

ational Imagery :=* reco=structio=,us a=d biblical sce=es,=turB, catacomb o% Calli tus, !ome.

//www.edwardcarpe=ter.=et/ecpcc12.htm, 3agan an Christian Cree s: Chapter 6! ; 'he Se4-'aboo :

e Christian art of this period remained deli"htfully pa"an. In the catacombs we see theiour as a beardless youth, like a youn" Greek "od; sometimes represented, like ermes therdian of the flocks, bearin" a ram or lamb round his neck; sometimes as Orpheus tunin" his

e amon" the wild animals.+ -&ootnote / > )he Christian art of the first four centuriesmained deli"htfully pa"an. )he Sa!iour was a beardless youth, like a youn" Greek "od;metimes represented, like ermes the "uardian of the flocks, bearin" a ram or lamb round his

k; sometimes as Orpheus tunin" his lute amon" the wild animals. It was not till early in the

h century that the bearded Christ be"an to appear.a ceilin" in one of the chambers of the Catacombs is a paintin" showin" Orpheus with his lutehe centre and four 0iblical sub1ects in surroundin" panels % namely, a!id with his slin",es strikin" water from the rock, aniel and the lions, and Christ raisin" 2a3arus. a!id andiel are *uite nude fi"ures, hellenic in style; and the whole is treated in a "raceful andorati!e fashion.

The masks of God volume 4 (Creative Mythology) the mytho"ist (oseph Campbell deals withsame sub1ect and "i!es an ima"e of the catacomb picture.


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"ure shows an early Christian paintin" from the ceilin" of the omitilla 4probable error5acomb in 6ome, third century #. . In the central panel, where a symbol of Christ mi"ht ha!en expected, the le"endary founder of the Orphic mysteries appears, the pa"an poet Orpheus,

ellin" animals of the wilderness with the ma"ic of his lyre and son". In four of the ei"htroundin" panels, Old and 7ew )estament scenes can be identified8 a!id with his slin" -upper/, aniel in the lion9s den -lower ri"ht/, 'oses drawin" water from the rock, (esus resurrectin"

3arus. #lternatin" with these are four animal scenes, two exhibitin", amon" trees, the usualan sacrificial beast, the bull; two, the Old )estament ram. )oward the corners are ei"htrificed rams9 heads -Christ, the sacrificed +2amb of God+/, each "i!in" rise to a !e"etal spraye 7ew 2ife/, while in each of the corners 7oah9s do!e bears the oli!e branch tellin" of the

ppearance of land after the &lood. )he syncretism is deliberate, unitin" themes of the twoditions of which Christianity was the product, >

Angels' Wings, by :. Carpenter, p.


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//research.Bale.edu/divdl/ima*es/hulme0'1.)p* +via http://research.Bale.edu:?0?'/divdl/adhoc/ob)ectdetail.)sp ob)ectid 11121 ,A 1oc Image an 'e4t atabase on the 1istory of Christianity , @Christ as &rpheus :

ymbol from the first stages of Christianity" Christ as Orpheus $as a'opte' from an i'entifiable pagan mythology* In thism" $ith lyre in han'" Christ is represente' as the tamer of all li0ing things" an' an attracti0e an' centrifugal force in thes of all beings*liography:me, F. Edward. The History Principles and Practice of Symbolism in hristian !rt. "ew #or$: %acmillan & o., '()'.

Catacombs of St* Calli4tus G 4aru%%aG ublished bB F.". ., atica= CitBG 1((;G p. '1G @ The S $bols 8ear the ntrancercase :

G @The Area of the Popes and of St. Cecilia


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G @The Area of the Popes and of St. Cecilia :

G @The Area called St. ,iltiades :


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an boo< of Roman Art , He=i*, 1(?;, p. 110 :

://collectio=.=lc-b=c.ca/100/201/;00/cd=Dclassical/html/1((E/ccb;-?.html, Classical Association of Cana a Soci=t=

ienne es =tu es classi>ues , @, tholog :rist=Orpheus figure in the iconography of the Callistus catacomb;

//boo s.*oo*le.com/boo s hl e=


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//www.lost-historB.com/mBsteries9.php, 'he ionysian .ysteries , @&rphic Cults and arl Christianit :

stian catacomb in *ome, portraying +rpheus sitting with a lyreenter panel with animals and trees,rounding panels portray Biblical scenes dated --s !. .

tacomb of Saints a!c"llino an# P"t"!:


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//www.au*.edu/au*usta/ico=o*raphB/orpheus.html +3u*usta State 5=iversitB +via Christian Iconography :

:

//www.au*.edu/au*usta/ico=o*raphB/=ewStu%% or =Cours/catacumbasCristia=as/orpheus8arcelli=us.html :

//www.ldBsi=*er.com/876SD'2;/0'DpsalmodB/01DearlBDchurch.htm :

//www.mcah. colu$bia.edu /c*i-bi=/dbcourses/item s ip 11&0, Art 1istory ? Archaeology atabase :


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solium with represe=tatio= o% the bard 7rpheusG Catacomb o% SS. ietro e 8arcelli=o, !ome

ata6 ? &rpheus :


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bta%el+color plate pa*e &9, @b) 8r. (nu$ber) >6 ? &rpheuss@ene (&rpheus scene) +:


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Fau +catalo* pai=ti=* >6:

ata


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Fau +catalo* pai=ti=* > :


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ata


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ata :


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Fau +catalo* pai=ti=* B>, @1:


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//www.hu=t%or.com/arthistorB/medieval/)ewish.htm, e8ish Art :

aps the most importa=t o% these sB=cretic ima*es is the ood Shepherd. I= pa*a= art, he was Hermes the shepherd or 7rpheus=* the a=imals, but Lews a=d Christia=s saw him as the ood Shepherd o% the Twe=tB-third salm: The Ford is mB shepherdGe is =othi=* I lac .

d Shepherd. Orants and Story of (onah, ceilin" paintin"omb of Saints Peter and 'arcellinus, 6ome,


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ata


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ata


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ata


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bta%el+color plate pa*e 19, @8r. (nu$ber) "2 :


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ata


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ata


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el+plate pa*e E, @b) 8r. (nu$ber) 1" :


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Fau +catalo* pai=ti=* 1" , @1:


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mb of $alla Placi#ia

//www.calvi=.edu/academic/clas/courses/2;1/cl2;1u11.htm (Cal-in College , ra=d !apids, 8I ), 3art II: i,ine .yths ,7rphism :

the follo"ing slides that sho" the artistic influence of #rphism upon Christianit$:

esus as goo' shepher'=Orpheus from the tomb of -alla 2laci'ia in #a0enna" ca* A*D* 734!:

://altreligion .about.com/librarB/*raphics/blDsaviors.htm o=ce true


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pheus% close up :

tacombs of P!iscilla

//pe=elope.uchica*o.edu/ThaBer/"/ aKetteer/ laces/"urope/ItalB/FaKio/!oma/!ome/DTe ts/Fa=cia=i/F36 3C/1U.htmlQima*e2;,ransformation of Rome from a 3agan into a Christian City :

st, as to symbolic images allowed in churches and cemeteries. Of Orpheus playing on the lyre, while watchingflock, as a substitute for the Good Shepherd, there have been found in the catacombs four paintings, twoefs on sarcophagi, one engraving on a gem. Here is the latest representation discovered, from the Catacombsriscilla !"###$.


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//www.siue.edu/A)Katta/is;9;/perpoe2.html, ron


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0rigins of Christian Art , ou*h, 1(E;, pp. 12;-12', @ 5ro$ Constantine to /ustinian :

;, illustratio= 10? V#io=Bsiac @satBr, ri*ht o% 7rpheusW:


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(, @ *ist of +llustrations :

ombination of abo+" an# b"lo,*:

Crucible of Christianity , ToB=bee, 1(&(, pp. ;02-;0;, illustratio= ', @ The Philosoph that 5aith +nspired: 0ree; Philosoph ino and the Church 5athers :


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stratio= E :

2, @ *ist and Sources of +llustrations The philosoph that faith inspired :

co-(a)us of C&!iacus Ostia:

erial Rome an Christian 'riumph , "ls=er, 1((?, p. 21(, illustratio= 1'9 :


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H%C &!%R%'C!S (#RM%) %*P'CE

re uiriacus is sleeping in peace;* ho $as this uiriacus" $hose sarcophagus $as $ithin the city $alls

ing the reign of Clau'ius II -othicus" in 1G AD" a bishop of Ostia" Cyriacus" $as e(ecute' in Ostia in prison*enteen con0erte' sol'iers" playing a part in the same story" $ere &ille' ad arcum ante theatrum ;near the arch in fronthe Theatre;!" clearly the Arch of Caracalla* The sarcophagus of Cyriacus uiriacus! must ha0e been transferre' to thet of the latter e(ecutions*

sarcophagus of C$riacus.

//www.mediterra=ees.=et/mBthes/orphee/darember*.html, Article 0rpheus - aremberg et Saglio (67 ) :

nslate' from French: It is the latter type $hich a'opte' the Christian sculptors* On a sarcophagus of Ostie fig* 3,/G!"h e" in #oman costume of time" is characteri6e' more only by the 2hrygian cap" e@ui0alent con0entional of the thracenet) it plays only for one 'o0e an' a ram" moreo0er 0ery attenti0e) the scene lea0es a 0ery mystical impression* .ameracters on sarcophagi of Oporto Torres an' Cacarens" on a py(is of Briou'e" a seal of .palato*


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s rea'y 'oesnHt match the abo0e* Maybe embellishe'" or maybe on other si'e of sarcophagus* .ame for belo$*sibly either coul' be a 'ifferent sarcophagus :

//1;'.((.1E0.?0/Apm/ 82/ $/ iles/;D3udio/;D2D09D#ateie=/D;00D920.html, +tra=slated %rom erma= 0rpheus in figurati,eesentations :

heus-Christ-Mithras as good Shepherd from Porto Torres, Sardinien, 300?

"xan#"! S"+"!us '///0/12 A.D.*:

Clash of /o s: A Reinterpretation of Early Christian Art , 8athews, 1((;, p. &? :

//www.huma=u=der*rou=d.com/archive/apollo=ius.html, Apollonius of 'yana the Da2arene :

ther emperor, Alexander Severus, with questionable taste, set the image of Apollonius in histe chapel or solarium, among his tutelary deities, in company with Orpheus, Abraham and Christgh this reference has been quoted by many writers, it appears very improbable that early !oman

erors, prior to Constantine, who was the first to accept Christianity, had statues of Abraham or

st in their chapels his statement is obviously a Christian interpolation #forgery$ hee of Orpheus is the only one we can believe to have existed side by side with that oflonius As %isler has shown, even in the Catacombs of the early Christians there was nosentation of &esus, while Orpheus is represented as the central ob'ect of orship )t is


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able that Orpheus was considered as the founder of the religion of which Apollonius was thetle *

://www.stpetersbasilica.or*/#ocs/LF8/Sai=t eters-2.htm, Saint 3eter s :

as brought about by the emperor s alarm at the apparently 'isrupti0e effect the Christians $ere ha0ing upon the imperial

hority" an' by his belate' attempt to re0i0e the state religion* Ale(an'er .e0erus $ho came to the throne in 111 ha' beenectic in his tastes* rabar, 1(&?, p. 2?E,ocume=ts :


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Foman s Encyclope ia of .yths an Secrets , 4arbara . al er, 1(?;, pp. E'9-E'? :

tacomb of 3i)na Ran#anini:

//www.catacombsocietB.or*/vom/190.html, Vaults of .emory :


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venly Pastures tial pastures in funerary art ser!ed as symbols of the kin"dom of hea!en. Prefi"ured by Orpheus of pa"an mytholo"y, a!id si"nified the (udaic shepherd andthe Christian shepherd in catacomb renderin"s of Paradise.

Vanished Pastoral SceneOn the !andali3ed rear wall in the =i"na 6andanini catacomb, !esti"es of an arboreal scene su""est Orpheus, tamer of beasts, a theme common to Christian

ombs. )his >> !iew of cubiculum II in the =i"na 6andanini catacomb is from a work by )h?ophile 6oller, 2es Catacombes de 6ome, I, plate @=, b. -See no. Aecent !iew of the same./

al" an4oni H&-o)"um:

//www.u=i- oel=.de/phil-%a /i%a/Kpe/dow=loads/1((E/11(pd%/11(0?1.pd%, .ARCEL C1IC0'EAH '1E 0R31ICB 'A5LE'SC'E ID A R0.AD CA'AC0.5 (C* !%" A J) :

st commentators of the gnostico%Christian iale Man6oni hypogeum pay 0irtually no hee' to $hat they ha0e calle' Jthe i'yllicoral sceneH" or Kust a JfarmH 'isplaye' in Chamber JCH , > In a monument of syncretism such as the iale Man6oni hypogeum" ainiscence of orphic tenets is e0en more feasible than one of


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co in the iale Man6oni


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//www.amaKo=.com/*p/product/01(?1'?9'2/10;-'0';E'&-'2E'22' v *la=ce


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//www.calvi=.edu/academic/clas/courses/2;1/orph&.)p* +via http://www.calvi=.edu/academic/clas/courses/2;1/cl2;1u11.htm-in College , ra=d !apids, 8I ), 3art II: i,ine .yths , @.&rphis$ :

Christian Orpheus from a sepulchral oratory in ?erusalem" 'ating from the fifth century A*D* $hen Christianstrolle' the city !:


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-(ic %o,l:

llustrate Encyclope ia of .ysticism an the .ystery Religions , er*uso=, 1(EE, p. 1;E, @ &rphic $ steries :


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//www.metahistorB.or*/$u=dali=i orce.php, .etahistory :

cosmos is heale' through $hat has been most 'eeply $oun'e'" human se(uality*

-nostic early Christian! .uccotash: Orphic ceremonial bo$l sho$ing si(teen na&e' a'epts" eight men an' eight

men" in a circle $ith their feet touching* ;The .anctum of the inge' .erpent"; Orphic bo$l" 144%/44 CE* In ?osephmpbell" Creati0e Mythology" p* G*!

Aeon .ophia" acting $ithout a consort" plunge' from the 2leroma" but it is also .ophia" no$ 9groun'e'+ on Earth" $ho


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nects humanity to the cosmic .ource* The most 'irect an' 'ynamic form of connection $as effectuate' in the ecstaticaming of Nun'alini 'uring the sacre' orgia* These rites $ere practice' to protect the circle of a'epts the -nostic cell ofeen mystai " sho$n abo0e! from the me''lesome pran&s of the Archons*


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G Alabaster bo$l" Orphic cultic initiation" late #oman

//%arms.bBu.edu/displaB.php table tra=scriptsbecause thou mo0est in a circle" ; an' ;e(horts the rea'ers to in0o&e the 'i0ine cosmicer" the sun $hich rules the infinite cosmic space o0er the hea0en of fi(e' stars> carrying the rea'er s thoughts bac& toprimor'ial age before the birth of the cosmos*; ,/G For the rites in the circle ;ta&e place in the supercelestial spaceon' the starry hea0ens*; ,/8 Leisegang conclu'es that the many pagan 0ersions of the thing ;all bear $itness to thesteries" to the 'i0erse yet al$ays interrelate' forms of the original Orphic%Dionysian cult>that e(ten'e' 'eep into theistian $orl'*; ,/ > ,/ * Ibi'*" 13 *

://www.%ol e ir e=.d /sti%ter/hadersl/ oldi=*/harte/bo*/1-0;.htm :

mall alabaster bo$l 'ate' bac& to the /th%3th cent*A*C* from .yria or Asia Minor ,/ > ,/ #*Delbruec& * ollgraff: ;Anhic Bo$l;"?


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&4antin" us"um At("ns:

cture 1istory of Art: Festern Art 'hrough the Ages , 1(E(, p. 'E, @ @antine Art 0reece% Tur;e and +tal +:

:

//www.culture.*r/2/21/21'/21'0'm/00/lm0'm012.)p* +via http://www.culture.*r/2/21/21'/21'0'm/e21'0'm1.html , 5y2antine anstian .useum :

lptural group sho"ing #rpheus. Orpheus" seate' on a tree trun&" is playing the lyre" $ith $il' an' tame animalsming a perforate' cro$n aroun' him* On the base a lion mangles an antilope* 2robably a funerary stele" symbolising


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ist gathering his follo$ers* Date' in the 7th century*

y Christian Art: A !""-#$%: &rom the Rise of Christianity to the eath of 'heo osius , 3=dr> rabar, 1(&?, p. 10', @ 2.stian Painting and Sculpture before the Peace of the Church (before AD 313) 1 1. 0reece. #elief: &rpheus. @antineu$% Athens +:


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-("us0%acc(us Amul"t:

://www.dar star1.co.u /ds(.html, 'he Celestial Cross an the 'alisman of 0rpheus :

e ob)ect i= Muestio= is a third-ce=turB amulet, a picture o% which theB %ou=d @tuc ed awaB i= the appe=dices o%old academic boo . The dati=* o% the amulet is importa=t, because it pre-dates the Cou=cil o% 6icaea,


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ich saw the establishme=t o% moder= Christia= doctri=e u=der the auspices o% the "mperor Co=sta=ti=e. Theulet itsel% is =ow lost, havi=* disappeared %rom the 8useum o% 4erli= i= the Seco=d orld ar. However, aster cast still e ists, showi=* a %i*ure u=der*oi=* cruci%i io=, with accompa=Bi=* ree words. re e a=ddB e plai= the implicatio=s o% their %i=d: @*t sho"s a $ru$ified figure "hi$h most people "ould immediatelyognise as +esus et the .ree/ "ords name the figure Orpheus Ba$$hus1, one of the pseudonyms ofris-2ionysus To the author of the boo/ in "hi$h "e found the pi$ture, this amulet "as an anomaly ho

ld it possibly ha'e belonged to? as it a $ru$ified Pagan deity or some sort of .nosti$ synthesis ofanism and Christianity?4 ://www.dar star1.co.u /ds1E.html, Dibiruan Symbols , @The 3mulet :

e seco=d piece o% evide=ce was the Talisma= o% 7rpheus, a ;rd Ce=turB amulet showi=* the cruci%ied %orm o%pheus 4acchus , represe=ti=* the dBi=* a=d risi=* *od 7siris-#io=Bsus +9 . 3top this a*a= Cruci%i ca= beu=d seve= stars i= a cresce=t %orm a=d a= uptur=ed cresce=t i= their ce=tre. This evide=ce le=ds crede=ce to proposal that the "arlB Christia= cults had at their core a remar able celestial ima*erB which was laterdicated bB the !oma= Church.

://www.wilso=salma=ac.com/)esusDsimilar1.html, Filson9s Almanac on go s an men 8ith similarities to esus ods a=dours, a*e 2, ploring their si$ilarities to /esus Christ +:

heus crucifie'" apparently on an anchor" from the co0er of Fre&e an' -an'y s boo& The ?esus Mysteries

//www.%reerepublic.com/%orum/a;b;a'E;'9%?'.htm, o 3arts of the /ospels come from 3agan .ythologyJ , @Fi%e eve=tsed bB Lesus a=d o=e other *odma= :

cifixion & resurrection:

let us a'' in those uni@ue items posite' by Fre&e an' -an'y* e shoul' first note the most ob0ious" for it graces the


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er of their $or&: Base' on ;a small picture tuc&e' a$ay in the appen'ices of an ol' aca'emic boo&; though $hat theis for this boo&" $e are not tol'!" they feature a 'ra$ing of ;a thir'%century CE amulet; $ith a 'epiction of a crucifie'

ure $hich names ;Orpheus Bacchus; as the figure" another name for D* Accor'ing to Fre&e an' -an'y" this sho$s thatthe initiate'" these $ere both names for essentially the same figure*;

//www. [email protected]$ /e ec/obidos/IS46N;#0E229;&E&;/o=tarioco=sulta=3/002-'9?'&;?-192??9&, 'he esus .ysteries +boo :

://www.te to=ics.or*/boo s/)esmBstrvw.html, 5oo< Re,ie8s: 'imothy &re


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o0e" BacchusHs name is Orpheus PQRS U!*

://altreligion .about.com/librarB/*lossarB/sBmbols/blde%scruci%iedbacchus.htm, Crucifie 5acchus :

unusual amulet dates from the third century. It is intended as a ma"ical charm, and depicts a crucified fi"ureled Orpheus%0acchus. #bo!e the fi"ure is a crescent moon, and se!en stars, the meanin" of which is unknown.

://altreligion .about.com/librarB/*lossarB/sBmbols/blde%sale ame=os.htm, Ale4amenos :

crude "raffiti cartoon from the early second century, may be the oldest depiction of Christ.

://www.world-mBsteries.com/*wDdpratt;.htm, 'he 0rigins of Christianity , @!ei=ve=ti=* the pa*a= *odma= :

re. This /r'%century amulet sho$s a crucifie' figure $hom most people $oul' imme'iately recogni6e as ?esus* Vet the& $or's name the figure Orpheus Bacchus %% one of the pseu'onyms of Osiris%Dionysus*

//www.iidb.or*/vbb/archive/i=de .php/t-?(?E&.html, &re


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//www.%reerepublic.com/%orum/a;b;a'E;'9%?'.htm, o 3arts of the /ospels Come &rom 3agan .ythologyJ , @Cruci%i io=

christ as orpheus in early christian art

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