CHRIST AS ORPHEUS IN EARLY CHRISTIAN ART

Catacomb of Domitilla:

http://courses.drew.edu/CHIST-202-001/catacomb.htm, Images from Christian burial places (mostly pre-Constantine):
CATACOMB OF DOMITILLA: Christ as Orpheus:

http://libsrv.sidmore.edu/!"#S$I#/%ull/&'(&0.)p* +via http://libsrv.sidmore.edu/!"#S$I#/,-.C/I."0"1
I#C-ile2/!"#S$I#/.3/".I#C,#3T343S"2220orph,C5!!"6T21,!"C7!#830290:, Lucy Scribner Library: Visual Resources
Collections:
Site: !ome.
Date: ;rd c.
Creator:
Title:

Catacomb o% #omitilla +SS. 6ereus < 3chilleus:. 7rpheus - Christ w.
3=imals.

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

http://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%
33.'1".. A.D.):
Early Christian painting from catacomb of Domitilla!" #ome" sho$ing Orpheus%li&e Christ sitting on a roc& an' hol'ing a
syrin( panpipe!) on the left" a ram an' t$o e$es*
http://www.visart.u*a.edu/courses/arhi'0;0/slides/medieval/ear-C-cat-pt*-C.html:
Early Christian painting from catacomb (of Domitilla), Rome, showing Orpheus-like Christ sitting on a rock and
holding a syrinx (panpipe); on the left, a ram and two ewes

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

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

http://www.owl=et.rice.edu/Ahart209/Fectures/lecture21.htm (#ice 1ni-ersit2), Early Christian eath an( Sal,ation:
#epresentations of Christ:
,* Christ as -oo' .hepher'" /r' century" Cle0elan' Museum of Art)
1* Christ%Orpheus" /r' century" Catacomb of Domitilla" #ome)
/* Christ Enthroned as 2hilosopher!" c* /34" Museo 5a6ionale #omano" #ome)
7* Christ as Helios%%sun -o' mosaic!" Mausoleum of the Julii, Rome" 134%183*
http://www.owl=et.rice.edu/Ahuma10;/dis2.html (#ice 1ni-ersit2), Intro(uction to .e(ie,al Ci,ili2ation: iscussion!: Early
Christian Images, @3arl2 Christian +$ager2 before Constantine+:
Representations of Christ:
Christ as -oo' .hepher'" /r' century" Cle0elan' Museum of Art
.arcophagus of the -oo' .hepher'" #ome" 7th century
Christ%Orpheus" /r' century" Catacomb of Domitilla" #ome
Christ Enthrone' as 2hilosopher or teacher!" c* /34" Museo 5a6ionale #omano" #ome
http://www.owl=et.rice.edu/Ahuma10;/dis2II.html (#ice 1ni-ersit2), @Christ'&rpheus):

http://www.catacombsocietB.or*/vom/191.html, Vaults of .emory:
Lyrical Landscape
151. In a possible allusion to Orpheus, a shepherd tends his flock in an idyllic scene; he carries a musical instrument, a syrinx. Painted wall. Cubiculum of the Good
Shepherd, catacomb of omitilla.

Early Christian 3ainting, .ierre du 4our*uet, 1(&9, pp. 19-1&, @The Sub4ects #epresented Christ):
Early Christian 3ainting, .ierre du 4our*uet, 1(&9, %i*ure 2E:
9*ist of Plates Cataco$b of Do$itilla):


Early Christian 3ainting, .ierre du 4our*uet, 1(&9, %i*ure ;2:
9*ist of Plates Cataco$b of Do$itilla):

'he Social 1istory of Art, Hauser, 1(92, ,ol. 1, illustratio= ;9, plate 0III.1, @S. Do$itilla Cataco$b):


http://www.au*.edu/au*usta/ico=o*raphB/orpheus.html +3u*usta State 5=iversitB: +via Christian Iconography::
:
http://www.au*.edu/au*usta/ico=o*raphB/catacombs/orpheus.html:
http://www.au*.edu/au*usta/ico=o*raphB/=ewStu%%-or0=Cours/catacumbasCristia=as/orpheusCubicle.html, +catacomb #omitilla::

http://www.catacombsocietB.or*/vom/2?.html, Vaults of .emory:
A Sixteenth-Century View of the Paintings in the Catacombs
28. ocumented 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
fresco 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 the
Good Shepherd, is depicted charmin" birds and beasts with his music.
http://www.catacombsocietB.or*/vom/2(.html, Vaults of .emory:
The Same Idyllic Scene Today
29. )his recent !iew of the fresco shows the !ariations in the copy and the subse*uent destruction of much of the fresco.

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

/ui(e to Catacomb of omitillaG -asolaG .o=ti%ical Commissio= o% Sacred 3rchaeolo*B, ,atica= CitBG "=*lish editio=G 1(E'G p. ;?G
@The Cubicle of &rpheus):
.. ;(, @5ig. 16 7 The cubicle of &rpheus) +e=lar*ed::

/ui(e to Catacomb of omitillaG -asolaG .o=ti%ical Commissio= o% Sacred 3rchaeolo*B, ,atica= CitBG "=*lish editio=G 1(E'G p. i=side
bac coverG @Plan 2) ($ap of cataco$b):


http://%riarsmi=or.or*/Cvi&-2.html, Catholic 1istory: Roman catacombs:
Another fa0orite type of Our Lor' $as Orpheus" $ho by his s$eet music 're$ all creatures to hear him* The 0ine painte'
$ith 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
opinion* $or& of the first century* ;#oma .otteranea"; 5orthcote an' Bro$nlo$) Murray:s ;<an'boo& of #ome*;!

http://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"
catacomb of Domitilla" /r' century

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

http://www.utoro=to.ca/stmies/courses/Christia=itB/catacombsE.html +9-1;-02:, Initiation Art: 'he Catacombs:
B. Christian recession of Pagan salation images >
Cat* 'omitilla /r' c*!) Christ" Orpheus

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

(Shroud):

http://members.aol.com/b)w110&/maria=(?.htm, Apparitions of the 5lesse( Virgin - 6$$7 e,elopments, @8e( e-idence the
Shroud of Turin is authentic):
T$o of these papers" one by Mr* #e( Morgan an' one by Dr* an' Mrs* ?ohn ?ac&son are specifically note$orthy* Mr*
Morgan" the author of se0eral boo&s on the .hrou'" state' that he ha' 'isco0ere' in the Orpheus cubiculum of one of the
#oman catacombs" a painting on the ceiling of the profile' image of a bear'e' man $ho he says $as ?esus of 5a6areth*
The materials in the paint ha0e been ra'iocarbon 'ate' to the mi'%first to late secon' century ma&ing this the earliest
&no$n image of ?esus if his research is correct* The profile loo&s @uite similar to the characteristics so $ell &no$n on the
.hrou'* These fin'ings $ere highlighte' by C55 an' the BBC $hen they $ere presente'*
5o$ if Christ as Orpheus coul' get as much me'ia attention at the bogus Turin .hrou'*

http://members.aol.com/turi=((/co=%er.htm, Shrou( of 'urin Center: 6$$$ Shrou( of 'urin International Research
Conference***an o,er,ie8 of (e,elopments, @Art and 9istor2...):
#e( Morgan an' Isabel 2ic6e& 'escribe' their continuing research on the Orpheus cubiculum % part of the Domitilla
catacomb in #ome % $ith the painte' Christ%li&e image that li&ely 'ates to the First Century base' on ra'iocarbon 'ating
an' artistic comparisons of metho' an' style* The image in the cubiculum is 0ery similar to the image of the man on the
.hrou' of Turin*

http://www.shroud.com/pd%s/=90part1.pd%, Shrou( of 'urin International Research Conference 9.ulti(isciplinary In,estigation of
an Enigma9 .ary .other of the Church Abbey) Richmon() Virginia :une 67-!") 6$$$: Report by the E(itor:
#e( Morgan from Australia then ga0e an up'ate on his research into the ba'ly 'amage' fresco portrait of Christ in the
Orpheus chamber of the Domitilla catacomb" #ome" arguing 0ery con0incingly that the location of this chamber in'icates it
to 'ate from the 0ery earliest 'eca'es of Christianity*

http://www.shroud.com/bsts''01.htm, 5ritish Society for the 'urin Shrou(:
This co=cer=ed !eCIs passio=ate i=terest i= the earlB pro%ile portrait o% Christ i= the 7rpheus
Cubiculum i= !omeIs Catacomb o% #omitilla, as copied bB the ,ictoria= artist Thomas HeaphB
the Jou=*er. I= the 8aB o% this Bear, a=d with Isabel .icKe o% Fos 3=*eles acti=* as artistic
adviser, !eCIs archaeolo*ist so= Christopher, i= the compa=B o% his %ather, made a verB
thorou*h surveB o% the 7rpheus Cubiculum a=d its %rescoes, a wor o= which !eC was able to
report with verB )usti%iable pride.

Catacombs of St. Callixtus:

http://boos.*oo*le.com/boos1hl2e=<id25sI#3333J33L<dM2N22TheOFi%eOo%OChristOasO!eprese=tedOi=O3rtN22O
N22-redericOHilliamO-arrar<pri=tsec2%ro=tcover<source2web<ots2iivv8*.8/$<si*2sHrdm"#1ce4?eCo1PDKI"h#wC-
*<sa20<oi2booDresult<res=um21<ct2resultQ..3;0,81, 'he Life of Christ as Represente( in Art (0oogle :oo; result), bB
-rederic Hilliam -arrar, 1?(', p. ;0, @+ndirect Pagan T2pes):

http://www.ea=.edu/A)tuer/ima*es/'D4BKa=ti=e/01D"ChSalvatio=alIma*erB/0E.)p* +via
http://www.ea=.edu/A)tuer/ima*es/'D4BKa=ti=e/01D"ChSalvatio=alIma*erB/"ChSalvatio=alIma*erBDthumbs.htm:, Early Christian
Sal,ational Imagery:
#rawi=* reco=structio=,
orpheus a=d biblical sce=es,
;rd ce=turB, catacomb o% CalliCtus, !ome.

http://www.edwardcarpe=ter.=et/ecpcc12.htm, 3agan an( Christian Cree(s: Chapter 6! ; 'he Se4-'aboo:
+)he Christian art of this period remained deli"htfully pa"an. In the catacombs we see the
Sa!iour as a beardless youth, like a youn" Greek "od; sometimes represented, like ,ermes the
"uardian of the flocks, bearin" a ram or lamb round his neck; sometimes as Orpheus tunin" his
lute amon" the wild animals.+ -&ootnote ./ > )he Christian art of the first four centuries
remained deli"htfully pa"an. )he Sa!iour was a beardless youth, like a youn" Greek "od;
sometimes represented, like ,ermes the "uardian of the flocks, bearin" a ram or lamb round his
neck; sometimes as Orpheus tunin" his lute amon" the wild animals. It was not till early in the
fifth century that the bearded Christ be"an to appear.
On a ceilin" in one of the chambers of the Catacombs is a paintin" showin" Orpheus with his lute
in the centre and four 0iblical sub1ects in surroundin" panels % namely, a!id with his slin",
'oses strikin" water from the rock, aniel and the lions, and Christ raisin" 2a3arus. a!id and
aniel are *uite nude fi"ures, hellenic in style; and the whole is treated in a "raceful and
decorati!e fashion.
In The masks of God volume 4 (Creative Mythology) the mytho"ist (oseph Campbell deals with
the same sub1ect and "i!es an ima"e of the catacomb picture.
&i"ure . shows an early Christian paintin" from the ceilin" of the omitilla4probable error5
Catacomb in 6ome, third century #.. In the central panel, where a symbol of Christ mi"ht ha!e
been expected, the le"endary founder of the Orphic mysteries appears, the pa"an poet Orpheus,
*uellin" animals of the wilderness with the ma"ic of his lyre and son". In four of the ei"ht
surroundin" panels, Old and 7ew )estament scenes can be identified8 a!id with his slin" -upper
left/, aniel in the lion9s den -lower ri"ht/, 'oses drawin" water from the rock, (esus resurrectin"
2a3arus. #lternatin" with these are four animal scenes, two exhibitin", amon" trees, the usual
pa"an sacrificial beast, the bull; two, the Old )estament ram. )oward the corners are ei"ht
sacrificed rams9 heads -Christ, the sacrificed +2amb of God+/, each "i!in" rise to a !e"etal spray
-the 7ew 2ife/, while in each of the corners 7oah9s do!e bears the oli!e branch tellin" of the
reappearance of land after the &lood. )he syncretism is deliberate, unitin" themes of the two
traditions of which Christianity was the product, >
.. Angels' Wings, by :. Carpenter, p. .;<.

http://research.Bale.edu/divdl/ima*es/hulme0'1.)p* +via http://research.Bale.edu:?0?'/divdl/adhoc/ob)ectdetail.)sp1ob)ectid211121:,
'he A(1oc Image an( 'e4t atabase on the 1istory of Christianity, @Christ as &rpheus):
A symbol from the first stages of Christianity" Christ as Orpheus $as a'opte' from an i'entifiable pagan mythology* In this
form" $ith lyre in han'" Christ is represente' as the tamer of all li0ing things" an' an attracti0e an' centrifugal force in the
li0es of all beings*
Bibliography:
Hulme, F. Edward. The History Principles and Practice of Symbolism in hristian !rt. "ew #or$: %acmillan & o., '()'.

'he Catacombs of St* Calli4tusG 4aru%%aG .ublished bB F.".,., ,atica= CitBG 1((;G p. '1G @The S2$bols 8ear the 3ntrance
Staircase):
.. 90G @The Area of the Popes and of St. Cecilia) <&rpheus near the entrance=:
.. 91G @The Area of the Popes and of St. Cecilia):
.. ?(G @The Area called St. ,iltiades):

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

http://collectio=.=lc-b=c.ca/100/201/;00/cd=Dclassical/html/1((E/ccb;-?.html, Classical Association of Cana(a - Soci=t=
cana(ienne (es =tu(es classi>ues, @,2tholog2):
;Christ=Orpheus figure in the iconography of the Callistus catacomb;

http://boos.*oo*le.com/boos1hl2e=<id21bFr&m8HwL0C<dM2N228a=ualOo%OChristia=O3rcheolo*BN22ON227raKioO8arucchi
N22<pri=tsec2%ro=tcover<source2web<ots2m.5w'%bEp)<si*2DE*RHuST-I-2bI4P8l1vHH)D"!5<sa20<oi2booDresult<res=um21
<ct2resultQ..32E',81, .anual of Christian Archeology +/oo*le Search result:, bB 7raKio 8arucchi, 1(;9, p. 2E', @Decorati-e
and Allegorical Paintings):

http://www.lost-historB.com/mBsteries9.php, 'he ionysian .ysteries, @&rphic Cults and 3arl2 Christianit2):
hristian catacomb in *ome, portraying +rpheus sitting with a lyre
in center panel with animals and trees,
Surrounding panels portray Biblical scenes dated ,--s !...

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

http://www.au*.edu/au*usta/ico=o*raphB/orpheus.html +3u*usta State 5=iversitB: +via Christian Iconography::
:
http://www.au*.edu/au*usta/ico=o*raphB/=ewStu%%-or0=Cours/catacumbasCristia=as/orpheus8arcelli=us.html:

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

http://www.mcah.colu$bia.edu/c*i-bi=/dbcourses/item1sip211&0, Art 1istory ? Archaeology atabase:
3rcosolium with represe=tatio= o% the bard 7rpheusG Catacomb o% SS. .ietro e 8arcelli=o, !ome

ie +ata<ombe @Santi .arcellino e 3ietroA: Repertorium (er .alereien ('he Catacomb ASaints .arcellino an( 3eterB:
Repertory of the 3aintings), #ecers, 1(?E, ,ol. 2, ta%el +plate pa*e: &&, @b) 8r.(nu$ber) >6 ? &rpheus):
%arbta%el +color plate pa*e: &', @nr.(nu$ber) >6 ? &rpheus):
%arbta%el +color plate pa*e: &9, @b) 8r.(nu$ber) >6 ? &rpheuss@ene (&rpheus scene)+:
!C Fau +catalo* pai=ti=*: >6:


ie +ata<ombe @Santi .arcellino e 3ietroA: Repertorium (er .alereien ('he Catacomb ASaints .arcellino an( 3eterB:
Repertory of the 3aintings), #ecers, 1(?E, ,ol. 2, ta%el +plate pa*e: 9&, @b) 8r.(nu$ber) >A):
!C Fau +catalo* pai=ti=*: >A:


ie +ata<ombe @Santi .arcellino e 3ietroA: Repertorium (er .alereien ('he Catacomb ASaints .arcellino an( 3eterB:
Repertory of the 3aintings), #ecers, 1(?E, ,ol. 2, !C Fau +catalo* pai=ti=*: >1, @1S:


ie +ata<ombe @Santi .arcellino e 3ietroA: Repertorium (er .alereien ('he Catacomb ASaints .arcellino an( 3eterB:
Repertory of the 3aintings), #ecers, 1(?E, ,ol. 2, ta%el +plate pa*e: 'E, @a) 8r.(nu$ber) B>):
!C Fau +catalo* pai=ti=*: B>, @1S:

http://www.hu=t%or.com/arthistorB/medieval/)ewish.htm, :e8ish Art:
.erhaps 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
amo=* the a=imals, but Lews a=d Christia=s saw him as the /ood Shepherd o% the Twe=tB-third .salm: TThe Ford is mB shepherdG
there is =othi=* I lacT.
Good Shepherd. Orants and Story of (onah, ceilin" paintin"
Catacomb of Saints Peter and 'arcellinus, 6ome, <th C.


ie +ata<ombe @Santi .arcellino e 3ietroA: Repertorium (er .alereien ('he Catacomb ASaints .arcellino an( 3eterB:
Repertory of the 3aintings), #ecers, 1(?E, ,ol. 2, !C Fau +catalo* pai=ti=*: BA, @1S:


ie +ata<ombe @Santi .arcellino e 3ietroA: Repertorium (er .alereien ('he Catacomb ASaints .arcellino an( 3eterB:
Repertory of the 3aintings), #ecers, 1(?E, ,ol. 2, !C Fau +catalo* pai=ti=*: "1:
ta%el +plate pa*e: 2&, @b) 8r.(nu$ber) "1):


ie +ata<ombe @Santi .arcellino e 3ietroA: Repertorium (er .alereien ('he Catacomb ASaints .arcellino an( 3eterB:
Repertory of the 3aintings), #ecers, 1(?E, ,ol. 2, !C Fau +catalo* pai=ti=*: "2, @1S:
%arbta%el +color plate pa*e: 19, @8r.(nu$ber) "2):


ie +ata<ombe @Santi .arcellino e 3ietroA: Repertorium (er .alereien ('he Catacomb ASaints .arcellino an( 3eterB:
Repertory of the 3aintings), #ecers, 1(?E, ,ol. 2, %arbta%el +color plate pa*e: ?, @8r.(nu$ber) 1B):


ie +ata<ombe @Santi .arcellino e 3ietroA: Repertorium (er .alereien ('he Catacomb ASaints .arcellino an( 3eterB:
Repertory of the 3aintings), #ecers, 1(?E, ,ol. 2, ta%el +plate pa*e: ?, @b) 8r.(nu$ber) 1"):
ta%el +plate pa*e: E, @b) 8r.(nu$ber) 1"):
!C Fau +catalo* pai=ti=*: 1", @1S:

Tomb of $alla Placi#ia

http://www.calvi=.edu/academic/clas/courses/2;1/cl2;1u11.htm (Cal-in College, /ra=d !apids, 8I), 3art II: i,ine .yths,
@9.7rphismS:
!ie" 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!:

http://altreligion.about.com/librarB/*raphics/blDsaviors.htm1o=ce2true<, Sa,ior-.a(onna /allery 0ne, @&rpheus):
9&rpheus% close up):

Catacombs of P!iscilla

http://pe=elope.uchica*o.edu/ThaBer/"//aKetteer/.laces/"urope/ItalB/FaKio/!oma/!ome/DTeCts/Fa=cia=i/F36.3C/1U.htmlQima*e2;,
'he 'ransformation of Rome from a 3agan into a Christian City:
First, as to symbolic images allowed in churches and cemeteries. Of Orpheus playing on the lyre, while watching
his flock, as a substitute for the Good Shepherd, there have been found in the catacombs four paintings, two
reliefs on sarcophagi, one engraving on a gem. Here is the latest representation discovered, from the Catacombs
of riscilla !"###$.

http://www.mediterra=ees.=et/mBthes/orphee/darember*.html, Article 0rpheus - aremberg et Saglio (67CC):
Translate' from French: Aery others are paintings of the secon' category* The figure of the hero" less personal an' less
ali0e" becomes a symbol there* In a arcosolium of the cemetery of 2riscilla" OrphBe has nothing any more aroun' him but
the animals symbolic systems" familiar $ith the Christian art: the ram" the e$e" the 'og" the 'o0e*

http://www.scalarchives.com/web/ricercaDrisultati.asp1SCDF36/2e=*<SCD.!7,285S<SCDFuo*o2CatacombsN20o%N20.riscilla,
N20!ome,N20ItalB:
Title: -resco with a=imals +cubiculum o% 7rpheus:
*ocation: Catacombs o% .riscilla
Cit2: !ome
Countr2: ItalB
PeriodCSt2le: "arlB Christia=
0enre: -resco

http://www.siue.edu/A)Katta/is;9;/perpoe2.html, ron<e9s iscussion of 3erpetua: Section '8o:
The shepher'" 0ast" $hite%haire'" sitting mil&ing sheep in the gar'en that lies abo0e the la''er" is far from any early
Christian iconography of the -oo' .hepher'* In the .anta 2riscilla catacomb%paintings" contemporary $ith 2erpetua" for
instance" the -oo' .hepher' is presente' li&e an Orpheus taming the animals: young an' beautiful" stan'in g erect"
garlan'e'*

%obbio P&xis 'C(!istain )ift*

Early Christian Art, H. -. ,olbach, 1(&1, p. 2? +it is actuallB re%erri=* to plate ?'::
Early Christian Art, H. -. ,olbach, 1(&1, plate ?', @:obbio% Sand Colo$bano. +-or2 p2Dis (ith &rpheus% end of +Eth centur2):

http://boos.*oo*le.com/boos1id2-C&w6BrC57?C<p*2.32&'<dM2N227rpheusOa=dO/reeO!eli*io=N22ON22%i*.
O1?N22Q..32&',81, 0rpheus an( /ree< Religion +/oo*le 4oo result:, bB Hilliam $eith Chambers /uthrie, F. 3lderli=, 1((;, p.
2&', @&rphis$ and Christianit2. &rpheus in Christian art% co$parison of doctrines):

'he 0rigins of Christian Art, /ou*h, 1(E;, pp. 12;-12', @5ro$ Constantine to /ustinian):
.. 12;, illustratio= 10? V#io=Bsiac @satBr,S ri*ht o% 7rpheusW:
.. 20(, @*ist of +llustrations):

'Combination of abo+" an# b"lo,*:

'he Crucible of Christianity, ToB=bee, 1(&(, pp. ;02-;0;, illustratio= ', @The Philosoph2 that 5aith +nspired: 0ree; Philosoph2 in
Philo and the Church 5athers):
Illustratio= E:
.. ;&2, @*ist and Sources of +llustrations The philosoph2 that faith inspired):

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

Imperial Rome an( Christian 'riumph, "ls=er, 1((?, p. 21(, illustratio= 1'9:
.. 220:

http://www.ostia-a=tica.or*/re*io2/E/E-1.htm, Regio II - Insula VII - 0ratorio cristiano (II)VII)6):
To the south%east of the theatre are the scanty remains of a little Christian chapel" e(ca0ate' in ,C,4* It must ha0e been
appro(imately nine metres long* 2art of an apse has been preser0e'* The masonry opus 0ittatum! has been 'ate' to the
si(th to eighth century AD* A pa0ement of small pieces of marble may belong to an earlier chapel" from the en' of the
fourth or the early fifth century AD* The chapel $as built on top of 5ymphaeum II"AII"8 an' on streets" but at a much
higher le0el* In this perio' many streets in the north part of Ostia $* coast of Italy! ha' been raise' $ith earth an' rubble*
Aroun' the chapel fragments of sarcophagi an' one complete sarcophagus $ere foun'* The latter has a relief of Orpheus as
2astor Bonus -oo' .hepher'!" an' on the li' the inscription:
H%C &!%R%'C!S (#RM%) %*
P'CE
;<ere Duiriacus is sleeping in peace;* Eho $as this Duiriacus" $hose sarcophagus $as $ithin the city $allsF
During the reign of Clau'ius II -othicus" in 1GC AD" a bishop of Ostia" Cyriacus" $as e(ecute' in Ostia in prison*
.e0enteen con0erte' sol'iers" playing a part in the same story" $ere &ille' ad arcum ante theatrum ;near the arch in front
of the Theatre;!" clearly the Arch of Caracalla* The sarcophagus of Cyriacus Duiriacus! must ha0e been transferre' to the
spot of the latter e(ecutions*
)he sarcophagus of C$riacus.

http://www.mediterra=ees.=et/mBthes/orphee/darember*.html, Article 0rpheus - aremberg et Saglio (67CC):
Translate' from French: It is the latter type $hich a'opte' the Christian sculptors* On a sarcophagus of Ostie fig* 3,/G!"
OrphBe" in #oman costume of time" is characteri6e' more only by the 2hrygian cap" e@ui0alent con0entional of the thrace
bonnet) it plays only for one 'o0e an' a ram" moreo0er 0ery attenti0e) the scene lea0es a 0ery mystical impression* .ame
characters on sarcophagi of Oporto Torres an' Cacarens" on a py(is of Briou'e" a seal of .palato*
This rea'y 'oesnHt match the abo0e* Maybe embellishe'" or maybe on other si'e of sarcophagus* .ame for belo$*
2ossibly either coul' be a 'ifferent sarcophagus:

http://1;'.((.1E0.?0/Apm/.82//$/-iles/;D3udio/;D2D09D#ateie=/D;00D920.html, +tra=slated %rom /erma=: 0rpheus in figurati,e
representations:
Orpheus-Christ-Mithras as good Shepherd from Porto Torres, Sardinien, 300?

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

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

http://www.huma=u=der*rou=d.com/archive/apollo=ius.html, Apollonius of 'yana the Da2arene:
"Another emperor, Alexander Severus, with questionable taste, set the image of Apollonius in his
private chapel or solarium, among his tutelary deities, in company with Orpheus, Abraham and Christ
(hough this reference has been quoted by many writers, it appears very improbable that early !oman
emperors, prior to Constantine, who was the first to accept Christianity, had statues of Abraham or
Christ in their chapels" his statement is obviously a Christian interpolation" #forgery$ he
statue of Orpheus is the only one we can believe to have existed side by side with that of
Apollonius" As %isler has shown, even in the Catacombs of the early Christians there was no
representation of &esus, while Orpheus is represented as the central ob'ect of (orship" )t is
probable that Orpheus was considered as the founder of the religion of which Apollonius was the
apostle"*

http://www.stpetersbasilica.or*/#ocs/LF8/Sai=t.eters-2.htm, Saint 3eterEs:
It $as brought about by the emperor:s alarm at the apparently 'isrupti0e effect the Christians $ere ha0ing upon the imperial
authority" an' by his belate' attempt to re0i0e the state religion* Ale(an'er .e0erus $ho came to the throne in 111 ha' been
eclectic in his tastes* <e built a chapel in $hich to set up the images of Orpheus" Abraham" Apollonius an' Christ*

http://%riarsmi=or.or*/Cviii'-'.html, &R0. '1E A/E 0& 'FELVE '0 '1E A/E 0& '1IR'G: '1E 31GSICAL EVEL03.ED' 0&
:ESHSI:
The statues of ?esus" one of $hich $as fashione' by the ;$oman $ith the flo$ of bloo'; at 2aneas Eusebius" <* E*" 0ii" I!"
an' the other $hich $as set up along $ith the busts of Abraham" Orpheus" an' Apollonius" in the oratory of Ale(an'er
.e0erna Lampri'ius" Ale(* .e0*" 1C!" $oul'" perhaps" if they still e(iste'* be more satisfactory* But they are lost" an'"
moreo0er" $e fear that the latter" $hich $as fashione' @uite late" bet$een the years 14I an' 1/3" $oul' only correspon'"
li&e those of Abraham an' Orpheus" to an i'eal instea' of representing a reality*

http://e=.(i;ipedia.org/wii/Ico=D+art:, Icon, @+cons in Christianit2):
The earliest writte= records available o% Christia= ima*es treated lie ico=s are i= a pa*a= or /=ostic co=teCt. 3leCa=der Severus +3.#.
222X2;9: ept a domestic chapel %or the ve=eratio= o% ima*es o% dei%ied emperors, o% portraits o% his a=cestors, a=d o% Christ,
3pollo=ius, 7rpheus a=d 3braham +Fampridius, Fi%e o% 3leCa=der Severus CCiC.:.

http://www.ccel.or*/s/scha%%/e=cBc/e=cBc0&/htm/iii.lvii.iv.htm (Christian Classics 3thereal *ibrar2), :ESHS C1RIS') 3IC'HRES
AD I.A/ES 0&, @++. *iterar2 Data on the &ldest Pictures of /esus):
(4) The Emperor Alexander Severus had a picture of Jesus; it must have been, however, only an ideal portrait, like those of
Apollonius, Abraham, Orpheus, and others, which were also included in his lararium (Lampridius, Vita Alex. Sev. xxix.).

Early Christian Art: A !""-#$%: &rom the Rise of Christianity to the eath of 'heo(osius, 3=dr> /rabar, 1(&?, p. 2?E,
@#ocume=tsS:

'he FomanEs Encyclope(ia of .yths an( Secrets, 4arbara /. Haler, 1(?;, pp. E'9-E'?:

Catacomb of 3i)na Ran#anini:

http://www.catacombsocietB.or*/vom/190.html, Vaults of .emory:
Heavenly Pastures
Celestial 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 and
(esus the Christian shepherd in catacomb renderin"s of Paradise.
The Vanished Pastoral Scene
150. On 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
catacombs. )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. .A
fro a recent !iew of the same./

3ial" an4oni H&-o)"um:

http://www.u=i-oel=.de/phil-%a/i%a/Kpe/dow=loads/1((E/11(pd%/11(0?1.pd%, .ARCEL C1IC0'EAH) '1E A0R31ICB 'A5LE'S
E3IC'E ID A R0.AD CA'AC0.5 (C* !%" AJ):
Most commentators of the gnostico%Christian Aiale Man6oni hypogeum pay 0irtually no hee' to $hat they ha0e calle' Jthe i'yllic
pastoral sceneH" or Kust a JfarmH 'isplaye' in Chamber JCH, > In a monument of syncretism such as the Aiale Man6oni hypogeum" a
reminiscence of orphic tenets is e0en more feasible than one of <omeric epic*
Fresco in the Aiale Man6oni <ypogeum

http://www.mcah.columbia.edu/dbcourses/lei=/lar*e/4ISC7A;?.)p* +via http://www.mcah.columbia.edu/c*i-bi=/dbcourses/item1
sip211&0:, &resco 8ith 1omeric scenes in the 1ypogeum of the Aurelii on Viale .an2oni) Rome:

http://www.amaKo=.com/*p/product/01(?1'?9'2/10;-'0';E'&-'2E'22'1v2*la=ce<=22?;199, 'he 0rphic 3oems (1ar(co,er) by
.* L* Fest, @Custo$er #e-ie(s):
I ha!e been workin" on my own book on Gnostic Christianity, in search of answers concernin" the pu33lin"
relationship between Orphism and early Christianity. Be know, for example, that there were Orphic ima"es painted
on the walls of the 6oman catacombs, one of which became a much copied ima"e of (esus as the Good Shepherd.

5"!usal"m 6 C(!istian O!-("us:

http://research.Bale.edu:?0?'/divdl/eio=/ob)ectdetail.)sp1ob)ectid2'?E' (Fale 1ni-ersit2), Image atabase for 5iblical Stu(ies)
Gale i,inity School, @/erusale$ &rpheus):
)itle + (escription: ?erusalem Orpheus
,ocation + Proenance: Istanbul" Tur&ey
#-.ect )$pe: image % mosaic
Co$$entar2: This is a picture o% the 7rpheus mosaic, discovered i= Lerusalem but =ow residi=* i= a= Ista=bul museum. -ou=d i= a
chapel =ear the #amascus /ate, the mosaic depicts 7rpheus plaBi=* a= i=strume=t a=d surrou=ded bB a=imals a=d other %i*ures. The
mBtholo*ical %i*ure o% 7rpheus was o%te= associated with the moti% o% Lesus as the /ood Shepherd i= earlB Christia= art +see, %or
eCample, artwor i= the !oma= catacombs:. This mosaic dates to the later &th ce=turB C". This detail o% the mosaic depicts 7rpheus
himsel% with the *od .a=+a #io=Bsia= SatBr: a=d a ce=taur below him.
Bibliography
The !e" #n$y$lopedia of %r$heologi$al #&$a'ations in the (oly )and, vol. 2:

http://www.calvi=.edu/academic/clas/courses/2;1/orph&.)p* +via http://www.calvi=.edu/academic/clas/courses/2;1/cl2;1u11.htm:
(Cal-in College, /ra=d !apids, 8I), 3art II: i,ine .yths, @A.&rphis$):
1* Christian Orpheus from a sepulchral oratory in ?erusalem" 'ating from the fifth century A*D* L$hen Christians
controlle' the cityM!:

O!-(ic %o,l:

An Illustrate( Encyclope(ia of .ysticism an( the .ystery Religions, -er*uso=, 1(EE, p. 1;E, @&rphic $2steries):

http://www.metahistorB.or*/$u=dali=i-orce.php, .etahistory:
The cosmos is heale' through $hat has been most 'eeply $oun'e'" human se(uality*
The -nostic early Christian! .uccotash: Orphic ceremonial bo$l sho$ing si(teen na&e' a'epts" eight men an' eight
$omen" in a circle $ith their feet touching* ;The .anctum of the Einge' .erpent"; Orphic bo$l" 144%/44 CE* In ?oseph
Campbell" Creati0e Mythology" p* CG*!
The Aeon .ophia" acting $ithout a consort" plunge' from the 2leroma" but it is also .ophia" no$ 9groun'e'+ on Earth" $ho
connects humanity to the cosmic .ource* The most 'irect an' 'ynamic form of connection $as effectuate' in the ecstatic
streaming of Nun'alini 'uring the sacre' orgia* These rites $ere practice' to protect the circle of a'epts the -nostic cell of
si(teen mystai" sho$n abo0e! from the me''lesome pran&s of the Archons* <igh Archontic immunity <AIF! is perhaps
$hat $e nee' to'ay" facing as $e 'o the ra0ages of <IA on the planet" not to mention se(ual mores gone to $rac& an' ruin*
Eith unusual can'or" Tobias Churton asserts that -nostics thought ;intercourse is goo' for your spiritual 'e0elopment*;
The /nostics" p* 3C!
For it is by a &iss that the perfecte' hearts" the a'epts" concei0e an' gi0e birth* For this reason $e also &iss one another* Ee
recei0e a conception of our humanity from the grace foun' in each other****
.piritual lo0e is all $ine an' fragrance*; The /ospel of Philip!
About the times of the Christ%Orpheus catacomb paintings* 2aul or'ere' this <oly Niss in #om* ,G:,G) , Cor* ,G:14) 1
Cor* ,/:,1) , Thes* 3:1G) , 2eter 3:,7*

http://www.mBstae.com/restricted/streams/*=osis/puri%B.html, Re(empti,e 3urification:
This ;rebirth; is 'epicte' on an Orphic bo$l 'ating from the 1n' or /r' century AD!* Insi'e aroun' the rim" a ring of
na&e' figures % male an' female % are sho$n in the .anctum of the Einge' .erpent* > ;.tan'ing in the bo$l of the $inge'
serpent" $e are insi'e that sacramental chalice" 'rin&ing $ith our eyes" so to say" the into(icant" there symboli6e' as $ine"
of the mystery of the substance of our being*; % ?oseph Campbell" reati0e %ythology

http://www.a$a@on.co$/eCec/obidos/t*/detail/-/01(?1'?9'2/102-01E;'((-91(1;2(1v2*la=ce, 'he 0rphic 3oems (1ar(co,er))
GCusto$er #e-ie(s):
'.2. Best really knows his stuff, and there are many reasons why I stron"ly recommend this !olume. I ha!e been
workin" on my own book on Gnostic Christianity, in search of answers concernin" the pu33lin" relationship between
Orphism and early Christianity. Be know, for example, that there were Orphic ima"es painted on the walls of the
6oman catacombs, one of which became a much copied ima"e of (esus as the Good Shepherd. In the fifth century
this chan"ed when the ima"e on the Shroud of )urin became more widely known in Christendom.
#nother pu33le is the remarkable artifact from the C%<th centuries, usually referred to as the Ophite bowl. It was
analy3ed by ,ans 2eise"an" as early as the .DC;s -see )he 'ysteries, edited by (oseph Campbell, 0ollin"en/. #
picture of this ama3in" cult bowl is reproduced in )he 'ysteries, and also in )he Grail 2e"end by 'aries%2ouis !on
&ran3 and :mma (un". I recall how stunned I was after readin" 2eise"an"9s incisi!e analysis %% which pro!ed that the
bowl was Orphic in ori"in. Bhy was I stunnedE 0ecause the bowl is a !irtual replica of the famous bowl%like 6ose of
ante9s Paradisio, which is a thorou"hly Christian ima"e.

http://www.e=theomedia.or*/ede='.htm, ConKuring E(en: Art an( the Entheogenic Vision of 3ara(ise:
L/GM Alabaster bo$l" Orphic cultic initiation" late #oman

http://%arms.bBu.edu/displaB.php1table2tra=scripts<id29(<mp2T, 'he Early Christian 3rayer Circle:
The special obKect of Leisegang:s stu'y" an alabaster Orphic bo$l 'epicting a prayer circle" bears an inscription beginning
$ith ;an in0ocation of the celestial force $hich mo0es the outermost sphere" encompassing all the other spheres of
hea0en;)
,/3
the thir' line rea's" ;:>because thou mo0est in a circle":; an' ;e(horts the rea'ers to in0o&e the 'i0ine cosmic
po$er" the sun $hich rules the infinite cosmic space o0er the hea0en of fi(e' stars>LcarryingM the rea'er:s thoughts bac& to
the primor'ial age before the birth of the cosmos*;
,/G
For the rites in the circle ;ta&e place in the supercelestial space
beyon' the starry hea0ens*;
,/8
Leisegang conclu'es that the many pagan 0ersions of the thing ;all bear $itness to the
mysteries" to the 'i0erse yet al$ays interrelate' forms of the original Orphic%Dionysian cult>that e(ten'e' 'eep into the
Christian $orl'*;
,/I
> ,/I* Ibi'*" 13C*

http://www.%oleire=.d/sti%ter/hadersl/oldi=*/harte/bo*/1-0;.htm:
A small alabaster bo$l 'ate' bac& to the /th%3th cent*A*C* from .yria or Asia MinorL,/M > L,/M #*Delbruec& O E*Aollgraff: ;An
Orphic Bo$l;"?<. 37",C/7"pp*,1C%/C* <*Leisegang: ;Das Mysterium 'er .chlange;" E#A5O.%?ahrbuch" ,C/C" pp*,3,%13,

Du!a0Eu!o-os:

'he 04for( Companion to Christian Art an( Architecture, 1((&, p. 10', @Christ 2. Portraits and #epresentations of Christ):

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

A 3icture 1istory of Art: Festern Art 'hrough the Ages, 1(E(, p. 'E, @:2@antine Art C 0reece% Tur;e2 and +tal2+:
:

http://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 an(
Christian .useum:
Sculptural group sho"ing #rpheus. Orpheus" seate' on a tree trun&" is playing the lyre" $ith $il' an' tame animals
forming a perforate' cro$n aroun' him* On the base a lion mangles an antilope* 2robably a funerary stele" symbolising
Christ gathering his follo$ers* Date' in the 7th century*

Early Christian Art: A !""-#$%: &rom the Rise of Christianity to the eath of 'heo(osius, 3=dr> /rabar, 1(&?, p. 10', @2.
Christian Painting and Sculpture before the Peace of the Church (before AD 313) 1.1. 0reece. #elief: &rpheus. :2@antine
,useu$% Athens+:
.. ;20, @*ist of +llustrations):

http://harpB.uccs.edu/*ree/hellsculpt.html +5=iversitB o% Colorado:, 1ellenistic /ree< Sculpture, @7rpheus a=d the a=imals +3the=s,
6atio=al 8useum:S

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

http://www.darstar1.co.u/ds(.html, 'he Celestial Cross an( the 'alisman of 0rpheus:

The ob)ect i= Muestio= is a third-ce=turB amulet, a picture o% which theB %ou=d @tuced awaB i= the appe=dices o%
a= old academic boo.S The dati=* o% the amulet is importa=t, because it pre-dates the Cou=cil o% 6icaea,
which saw the establishme=t o% moder= Christia= doctri=e u=der the auspices o% the "mperor Co=sta=ti=e. The
amulet itsel% is =ow lost, havi=* disappeared %rom the 8useum o% 4erli= i= the Seco=d Horld Har. However, a
plaster cast still eCists, showi=* a %i*ure u=der*oi=* cruci%iCio=, with accompa=Bi=* /ree words. -ree a=d
/a=dB eCplai= the implicatio=s o% their %i=d: @*t sho"s a $ru$ified figure "hi$h most people "ould immediately
re$ognise as +esus, -et the .ree/ "ords name the figure 0Orpheus Ba$$hus1, one of the pseudonyms of
Osiris-2ionysus, To the author of the boo/ in "hi$h "e found the pi$ture, this amulet "as an anomaly, 3ho
$ould it possibly ha'e belonged to? 3as it a $ru$ified Pagan deity or some sort of .nosti$ synthesis of
Paganism and Christianity?4
http://www.darstar1.co.u/ds1E.html, Dibiruan Symbols, @The 3muletS:
The seco=d piece o% evide=ce was the Talisma= o% 7rpheus, a ;rd Ce=turB amulet showi=* the cruci%ied %orm o%
I7rpheus 4acchusI, represe=ti=* the dBi=* a=d risi=* *od 7siris-#io=Bsus +9:. 3top this .a*a= Cruci%iC ca= be
%ou=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
mB proposal that the "arlB Christia= cults had at their core a remarable celestial ima*erB which was later
eradicated bB the !oma= Church.

http://www.wilso=salma=ac.com/)esusDsimilar1.html, Filson9s Almanac on go(s an( men 8ith similarities to :esus) A/ods a=d
saviours, .a*e 2, 3Dploring their si$ilarities to /esus Christ+:
Orpheus crucifie'" apparently on an anchor" from the co0er of Fre&e an' -an'y:s boo& The ?esus Mysteries

http://www.%reerepublic.com/%orum/a;b;a'E;'9%?'.htm, o 3arts of the /ospels come from 3agan .ythologyJ, @Fi%e eve=ts
shared bB Lesus a=d o=e other *odma=S:
Crucifixion & resurrection:
5o$ let us a'' in those uni@ue items posite' by Fre&e an' -an'y* Ee shoul' first note the most ob0ious" for it graces the
co0er of their $or&: Base' on ;a small picture tuc&e' a$ay in the appen'ices of an ol' aca'emic boo&; though $hat the
cite is for this boo&" $e are not tol'!" they feature a 'ra$ing of ;a thir'%century CE amulet; $ith a 'epiction of a crucifie'
figure $hich names ;Orpheus Bacchus; as the figure" another name for D* Accor'ing to Fre&e an' -an'y" this sho$s that
;To the initiate'" these $ere both names for essentially the same figure*;
http://www.a$a@on.co$/eCec/obidos/IS46N;#0E229;&E&;/o=tarioco=sulta=3/002-'9?'&;?-192??9&, 'he :esus .ysteries +boo::

http://www.teto=ics.or*/boos/)esmBstrvw.html, 5oo< Re,ie8s: 'imothy &re<e an( 3eter /an(yEs A'he :esus .ysteriesB:
the ?esus Mysteries thesis e(plains it 0ery neatly* Our thesis certainly 'oesn:t rest on it in any $ay* It is after all from the
/r' century CE if the 'ating is right" $hich $e ha0e not challenge'!* Our thesis is an attempt to e(plain a 0ast bo'y of
other$ise pu66ling information*

http://altreligion.about.com/librarB/weelB/aa092(02a.htm, 'he .ysterious (ying /o(:
# talisman bearin" the crucified likeness of Osirus%ionysus is inscribed OrpheusF0acchus.
http://altreligion.about.com/librarB/*raphics/blDsaviors.htm1o=ce2true<, Sa,ior-.a(onna /allery 0ne, @:acchus crucified):
Abo0e" BacchusHs name is Orpheus PQRSTU!*
http://altreligion.about.com/librarB/*lossarB/sBmbols/blde%scruci%iedbacchus.htm, Crucifie( 5acchus:
)his unusual amulet dates from the third century. It is intended as a ma"ical charm, and depicts a crucified fi"ure
labeled Orpheus%0acchus. #bo!e the fi"ure is a crescent moon, and se!en stars, the meanin" of which is unknown.
http://altreligion.about.com/librarB/*lossarB/sBmbols/blde%saleCame=os.htm, Ale4amenos:

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

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

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

http://www.iidb.or*/vbb/archive/i=deC.php/t-?(?E&.html, &re<e?/an(y9s L0rpheus crucifie(L amuletJ:
curious and much%discussed seal or amulet in 0erlin.4.G5 )he desi"n on this seal -fi". .D/, which is dated in the third or fourth centuries
#.., shows a crucified man. #bo!e the cross are a crescent moon and se!en starts, and across and below it is the le"end O6&:OS
0#HHIHOS.

http://www.)ehovahs-wit=ess.com/10/&;'9?/(E'2E?/post.ashC, @Dion2sus):
they feature a drawin" of +a third%century C: amulet + with a depiction of a crucified fi"ure which names +Orpheus 0acchus+

http://www.%reerepublic.com/%orum/a;b;a'E;'9%?'.htm, o 3arts of the /ospels Come &rom 3agan .ythologyJ, @Cruci%iCio= <
resurrectio=S:
An ancient Greek amulet has been preserved from the 3rd century BCE. It shows a man being crucified on a
oman cross. !he caption reads "Orpheus Bacchus" one of the pseudonyms of #siris$%ionysus.

http://web2.iad%w.=et/capella/a*uide/*reeroo.htm, 'he /ree< roots of Christianity:
#rpheus Bacchus depicted on the cross in late #rphism 0earlier stories of his death hae him -eing torn apart -$
angr$ "omen1.
Bacchus "as another name for (ion$sus "ho "as #rpheus2 alter ego in #rphism.


Pan Pi-"s 'o! Pan 7lut"*:

Christ-7rpheus is ma=B times depicted holdi=* the pa= pipe:

http://1;moo=s.com/drums/ima*es/panHpipe.)p*:

http://homepa*e2.=i%tB.com/Em1lot/pictures/panpipe-Ke=.L./

http://www.mrc.spps.or*/;0Sep200'&.html, .usical Instrument Collection:

Pan Pipes "ere named after the (ion$sian sat$r Pan:
http://www.all(ords.co$/word-pa=pipes.html, panpipes:
Etymology: ,Cc: name' after 2an" the -ree& go' of pastures" floc&s an' $oo's" $ho repute'ly in0ente' them*

http://www.eaudreB.com/mBth/satBr.htm, Satyr:
2rone to 'rin&ing" partying an' lusting after $omen* In -ree& mythology" the go' of the $oo's" 2an" is a satyr*

http://www.%actbites.com/topics/.a=-pipes, 3an pipes:
Pan is %amous %or his seCual prowess, a=d is o%te= depicted with a= erect phallus +pe=is:.

http://www.mala.bc.ca/A)oh=stoi/euripides/euripides.htm, Euripi(es: 'he 5acchae) M"M 5C:
DIO5V.W.: As long as you 'on:t 'o a$ay $ith
those places $here the nymphs all congregate"
$here 2an plays his music on his pipes*
2E5T<EW.: Vou mention a goo' point* I:ll use no force
to get the better of these $omen*
I:ll conceal myself there in the pine trees*
DIO5V.W.: Vou:ll fin' Kust the sort of hi'ing place
a spy shoul' fin' $ho $ants to hi'e himself"
so he can ga6e upon the Maena's*
2E5T<EW.: That:s goo'* I can picture them right no$" ,,I4
in the $oo's" going at it li&e rutting bir's"
clutching each other as they ma&e s$eet lo0e*
http://www.ans(ers.co$/rutti=*, rut:
3 co=ditio= or period o% mammalia= seCual activitB, such as estrus. > 3 re*ular period o% seCual eCciteme=t i= %emale mammals:
estrus, heat, seaso=. See seC/aseCual.

Ancient /reece: 'he 'ra(itions of /ree< Culture, #,#, #irected bB Pi=o= !amos, 1((', @Art +n Ancient 0reece+:
9The panpipes $ere use' in the Dionysian ceremonies" as it $as more in the Dionysian spirit*+
http://www.sheeKBart.com/view/&'?&9&/, Eleusinian ance:
ionysus the re!elin"
'ad di!ine wino
)ake us throu"h
)o the fields of :leusis
7aked we children
6un and lau"h
)he God is
#mon" us, the
:cstasy of insanity
)imeless and surreal
2ost in the
,ills of #rcadia
Chasin" Old Goat &oot
'aster of pan%pipes
Be dance lau"hter,
)he maenadIuJ;.Ds music
#nd ionysus spirit
Propel us, and
'ake us, the ancient
6hythm the melody
0eyond time, make
'erry my sweet,
Be shall be
&ore!er mad
#t Play in :leusis
In 1olly old
#rcadia,
In the arms of ionysus
#nd merry dance
Of Pan.
0eneath the stars
#nd abo!e the sun
)hrou"h the !enerable
)rees, we the
'ad ones
6un, dance, fall,
#nd fly.
Sky for cloak
#nd breath for robes
Be touch the spirit
In :leusis
Ia ionysus
Ia PanK

http://www.isisboos.com/details.asp1item28J01 +via http://www.isisboos.com/statuarB-'E.asp:, 3an +Y90::
P'*: The /oat-%ooted /od, divi=e *uardia= o% %loc a=d %ields a=d sBmbol o% .rimal 8ale=ess. 3 moder= i=terpretatio= bB 7bero= Pell.

http://homepa*e.mac.com/cparada//8F/.a=.html (0ree; ,2tholog2 *in;), 3an

'he .acmillan Visual ictionary, 1((2, p. 9;&, @,1S+C T#AD+T+&8A* ,1S+CA* +8ST#1,38TS panpipe):

".*.:

http://www.owl=et.rice.edu/Ahuma10;/dis2II.html (#ice 1ni-ersit2) +via http://www.owl=et.rice.edu/Ahuma10;/dis2.htmlQT1&:, @Christ'
&rpheus):

%%. Early Christian Imagery before Constantine >
Representations of Christ: >
/* Christ%Orpheus" /r' century" Catacomb of Domitilla" #ome

http://www.au*.edu/au*usta/ico=o*raphB/catacombs/christ-loc.html (Augusta State 1ni-ersit2) +via
http://www.au*.edu/au*usta/ico=o*raphB/*oodShepherd.html:, Christ as the /oo( Shepher(:
3astoral scene of Christ ami( his floc<
This is a (all painting placed in the $iddle of the ITor ,aranciaI staircase in the #o$an cataco$bs.

http://www.=ewsou=d.or*.Bu/29/ST5#I"S.html, Scenes 8ith .usical Instruments in 5y2antine an( 3ost-5y2antine Art:
In the art of omitillaLs Catacombs -C
rd
century/ we disco!er Christ%Orpheus with a panpipe,


http://altreli*io=.about.com/librarB/*raphics/blDsavior1E.htm, Sa,iors an( .a(onnas /allery, @Another Christ'&rpheus h2brid):
mirror image of belo$!

http://i=%o.)post.com/C001/Suppleme=ts/-riuli/aMuileia.html +The Lerusalem .ost:, A>uileia - one of the most important Roman
cities:
Inside the basilica there9s an ama3in" M;; s*uare meter mosaic floor datin" from the <th century. )his is the lar"est
intact early Christian mosaic floor in Bestern :urope today.
)he "ood sheperd % detail from the M;; s*uare meters mosaic under the 0asilica in #*uliea

http://pro.corbis.com/, Search Q "F009?((, etail Sho8ing :esus Christ as the /oo( Shepher( 8ith Animals from an Early
Christian &loor .osaic 8ith Christian an( 3agan 'hemes, Christia= art, Lesus Christ:

http://pro.corbis.com/, Search Q "F009?(?, etail Sho8ing :esus Christ as the /oo( Shepher( 8ith Animals from an Early
Christian &loor .osaic 8ith Christian an( 3agan 'hemes, Christia= art, Lesus Christ:

Early Christian Art: A !""-#$%: &rom the Rise of Christianity to the eath of 'heo(osius, 3=dr> /rabar, 1(&?, p. 2(, @2>.
AJuileia% Cathedral of :ishop Theodore. The 0ood Shepherd):


Early Christian Art: A !""-#$%: &rom the Rise of Christianity to the eath of 'heo(osius, 3=dr> /rabar, 1(&?, p. 29(, @3. The
Art of the 5ourth Centur2 Sarcophagus #eliefs 2!>. Sarcophagus of the 0ood Shepherd):
.. 2&0, @3. The Art of the 5ourth Centur2 Sarcophagus #eliefs 2!6. Sarcophagus of the 0ood Shepherd% detail: Eintaging
Cupids. ,useo *aterano% #o$e+:

http://o=li=e.elcami=o.edu/art2/earlBcristia=.html, Early Christian Art:
The shepherd ima*e derives %rom such cross cultural sources as: /ree o%%eri=* %i*ures such as the archaic
statue o% the @Cal% 4earerS, classical pastoral sBmbols o% 7rpheus who tamed the a=imals with the music o% his
lBre, as well as =umerous literarB metaphors %rom the poet ,ir*il, a=d most o% all %rom both the 7ld a=d 6ew
Testame=t +Loh= 10, 8att. 1?, .salm 2;:. Hhile the believers represe=t the sheep, the sheep sBmbol also
%ollows the model o% Christ i= his sacri%ice. There%ore, this co=cept mer*es with the theme o% the @Famb o% /odS.


92an pipes+ may also be calle' 9ree' pipes*+

Ot("!:

http://altreligion.about.com/librarB/*raphics/blDsavior20.htm, Sa,ior-.a(onna /allery 0ne, @/esus):

http://altreligion.about.com/librarB/*raphics/blDsaviors.htm1o=ce2true<, Sa,ior-.a(onna /allery 0ne, @&rpheusC/esus% the 0ood
Shepherd):

http://www.calvi=.edu/academic/clas/courses/2;1/orphE.)p* +via http://www.calvi=.edu/academic/clas/courses/2;1/cl2;1u11.htm:
(Cal-in College, /ra=d !apids, 8I), 3art II: i,ine .yths, @9.7rphismS:
/* ;.ermon on the Mount; from a Christian tomb in #ome) note the similarity in pose bet$een ?esus an' Orpheus!:
7* Orpheus as A'am in 2ara'ise an i0ory 'iptych from ca* A*D* 744" possibly of #oman origin::

http://www.arsmar.com/ceDart.htm, 'he Catacombs of Rome, @The Art of the Cataco$bs):
The statues foun' in the catacombs pre'ominantly are of ?esus" represente' as the -oo' .hepher'* The artistic mo'el $as
the pagan figure of +rpheus" $ith the flute to his si'e an' a lamb o0er his shoul'er* Although the Christians 'i' not a'orn
the catacombs $ith the miria' of statues the pagans ha'" they 'i' a'apt +rpheus to represent ?esus as the -oo' .heper': ;I
am the -oo' .hepher'* I &no$ my sheep an' my sheep &no$s me*; L-ospel of ?ohn" Ch*,4 0er*,7 M:

The .ood Shepherd ,atica= 8useums

http://www.*oldclipart.com/members/crestsBmbols.htm, Christian Symbols: 0rigins an( .eanings:

Pa)an a!t 'to com-a!" to C(!istian a!t*:

'he 04for( 1istory of Classical Art, 4oardma=, 1((;, p. ;19, @+illustratio=: 312):
.. ;1&, Illustratio= 312':% @Ani$al catalogue $osaics ? J:H 8ea Paphos% C2prusI:

http://www.pd.astro.it/costellaKio=i/%oto*ra=di/or%eo.htm +via http://www.pd.astro.it/othersites/costellaKio=i/costellaKio=i/lirapa*.htm:,
@&rfeo e la sua *ira) (translated fro$ +talian: &rpheus and his *2re):

http://pro.corbis.com/, Search Q !H00&(&&, Roman .osaic epicting 0rpheus Charming the Animals an( Rural Scenes:
'osaic broken into scenes of daily life. )he Orpheus mosaic is from 2eptis 'a"na near the palaestra.

o!" On T(is Sub8"ct

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