Walking through an ancient city such as Ephesus, one would encounter a plethora of monuments, inscriptions and statues on a scale not familiar to a modern person who is used to sky-scrapers and plain old pavement. Among these were dedications to Roman imperial authorities, such as an emperor or a governor, and monuments erected by or for local notables in the city, such as the monument for C. Vibius Salutaris which you see to your left. There were also many buildings and monuments relating to the gods at Ephesus, some of which I have discussed before.

There are numerous artefacts pertaining to gods and goddesses in the “Ephesus Museum” at Vienna. One might encounter a god like Hermes at various points in one’s travel through the city. Thus, for instance, archeologists have recovered a now headless statue of Hermes (above). But they have also found a bodiless head of Hermes (left). This messenger god Hermes also appears more than once at Ephesus in his other, less humanoid form as protector of those that travel (right).

Central to honouring any deity in the ancient Mediterranean was sacrifice. And so one would find altars on which to make offerings to certain deities, especially animal sacrifices, in the many temples and shrines in Ephesus. One of the altars that is now at Vienna possesses an interesting relief that depicts the goddess Nike (”Victory”) proceeding forward with an animal for sacrifice. Quite often Greeks (and Romans) would depict their gods engaged in the very activities that devotees engaged in. Thus deities are often pictured holding a libation bowl in their statues. Libation bowls were used by worshippers to honour a god or goddess with a drink offering.

Although not from Ephesus specifically, the museum at Vienna also happens to have a statue of a native Anatolian goddess (with many local “incarnations”), the Great Mother or Cybele as she was called by Greeks and Romans. Cybele was, in many cases, a goddess associated with the wild and with mountains in particular. Quite often she is pictured seated on a throne or standing with lions on either side as in this statue. Cybele was also known for her secretive “mysteries“.

I recently re-watched Pink Floyd’s “Live at Pompeii” (originally 1972) film which has now been released as a director’s cut DVD (also with the original version included). The live concert was recorded (with no audience, I might add) in the amphitheatre at Pompeii, with excellent results in sound. The new director’s cut version of the film adds considerable Roman archeological material as background (the original version had some). In particular, “Set the Controls for the Heart of the Sun”, which is mesmerizing to begin with, is now interspersed with shots of the paintings from the Villa of the Mysteries (Villa Item), which pertain to the mysteries of the god Dionysos (Dionysus) or Bacchus (which you can read about here). If you do like Pink Floyd’s music or you are interested in Roman archeology and the mysteries, then it’s well worth a watch. It also has the track “Madame Nobs” (recorded in a studio, not Pompeii) which is a blues tune with harmonica and live howling dog accompaniment (my son enjoys that the most).

Once again, the satirical “wit” at the Daily Show with Jon Stewart shows a familiarity with the history of religions in the reference to Michael Jackson’s victory celebration as the Boy-cchanalia. I will not engage the Michael Jackson issue, but thought I’d say a few words about the Bacchanalia incident that ultimately provided us with our word for wild drunken orgies (Bacchanalia is now in most English dictionaries with a definition along those lines, though you will rarely hear it used these days).

Back in the time of Augustus (c. 20 BCE), the Roman historian Livy recounted the story of a controversy from two centuries earlier (186 BCE) involving the worshippers of Bacchus (Dionysos) in Rome and the surrounding area in Italy. In the process of explaining why the Roman leaders (consuls) had suppressed the worship of that imported, foreign deity, Livy goes into great detail concerning the incidents that supposedly led up to the suppression. In the process he draws on a common stock-pile of charges (including human sacrifice and wild orgies) attributed to foreign or “barbarian” peoples, charges which are echoed in the accusations against the early Christians in later times as well (see earlier post). Livy has the character Hispala describe these Dionysiac mysteries or secretive rituals as follows:

From the time when the rites were held promiscuously, with men and women mixed together, and when the license offered by darkness had been added, no sort of crime, no kind of immorality, was left unattempted. There were more obscenities practiced between men than between men and women. Anyone refusing to submit to outrage or reluctant to commit crimes was slaughtered as a sacrificial victim. To regard nothing as forbidden was among these people the summit of religious achievement
(Livy, History of Rome 39.13; trans. by H. Bettenson, Livy: Rome and the Mediterranean [Harmondsworth: Penguin Books, 1976]).

To read more about Dionysos’ mysteries, go here. For some photos of Dionysos or Bacchus, go here or here.

Down in a dusty basement of the British Museum, where few will ever see it, is a very interesting monument involving an association devoted to Zeus Hypsistos (”Most High”; GIBM IV.2 1007; from Panormos, near Kyzikos in Asia Minor).

The “three-storey” relief on this monument depicts the gods to whom the association was devoted, with Zeus (left) alongside Artemis (middle) and Apollo (right). All three deities hold out a libation bowl in their right hands, symbolic of the libations (drink-offerings) which humans offer in honour of these figures.

When the members of associations or guilds in the Roman empire gathered together for a meal, much more than simply satisfying the appetite or merely socializing was going on. Things that we moderns might separate into the categories of “social” and “religious” were intimately intertwined in antiquity, and the sacrificial meal is a case in point. The main way to honour the gods or goddesses was to make offerings of food or animal sacrifices, and in the majority of cases this, by default, included the accompanying meal of the worshipers.

In fact, in some cases it was even imagined that the god threw the banquet and was present with devotees as they shared in a communal meal. One banquet invitation on papyrus (ancient paper made from plants in Egypt) shows that the (Greco-Egyptian) god Sarapis sometimes sent out personal invitations for dinner: “The god calls you to a banquet being held. . . tomorrow from the 9th hour” (trans. by G.H.R. Horsley, New Documents Illustrating Early Christianity, vol. I no. 1). And this is one of those rare cases when an upper-class author (in this case Aelius Aristides of Smyrna) happens to clarify how the members of an association devoted to Sarapis might think about their god’s presence, whether in Egypt or in Asia Minor:

“And mankind exceptionally makes this god [Sarapis] alone a full partner in their sacrifices, summoning him to the feast and making him both their chief guest and host, so that while different gods contribute to different banquets, he is the universal contributor to all banquets and has the rank of mess president for those who assemble at times for his sake . . . he is a participant in the libations and is the one who receives the libations, and he goes as a guest to the revel and issues the invitations to the revelers, who under his guidance perform a dance.” Orations 45.27-28; trans. by Charles A. Behr, P. Aelius Aristides: The Complete Works. Leiden: E.J. Brill, 1981 (second century

Quite well-known is the book of Revelation’s (aka John’s Apocalypse) condemnation of “worshiping the beast” in his writing to the Christians in Asia Minor:

[The beast rising from the sea] was given authority over every tribe and people and language and nation, and all the inhabitants of the earth will worship it, everyone whose name has not been written from the foundation of the world in the book of life of the Lamb that was slaughtered (13:7-8 [NRSV]).

Scholars have for a long time recognized in this a reference to worship of the Roman emperor, with the emperor being cast as a chaotic beast in this passage. In the Greek part of the empire (including Asia Minor), in particular, the emperor and the imperial family were granted honours equivalent to those offered traditional deities, like Zeus or Artemis. They were referred to as the “revered ones” (Sebastoi), the Greek equivalent of the title “Augusti”. This worship included temples in their honour as well as sacrifices at both the city and the provincial levels.

Yet quite often those who have studied these “imperial cults” tend to see them as primarily political and lacking in religiosity, or as “public” rather than “private”. This problematic view is partly due to the neglect of the many monuments and inscriptions set up by small, informal groups or associations at the local level in many cities of Asia Minor. Many of these groups worshiped the emperors without anyone imposing that on them. One such association at Pergamum was called the “hymn-singers” (hymnodoi). Once in a while they participated in special provincial celebrations in honour of god Augustus and his heirs, but they also engaged in special “mysteries” that lasted three days in honour of the “revered ones” within their local meetings. Similarly, an association at Ephesus in the time of emperor Domitian had “mysteries and sacrifices” which they performed each year “to Demeter…and to the Sebastoi gods”.

If you want to read more about John’s Apocalypse in relation to imperial cults, go here. If you want to read more about the associations specifically and their imperial mysteries, go here. For a short overview of the types of imperial cults, go here.