Solomon, Socrates and Aristotle: Ancient Art

Solomon, Socrates and Aristotle: Ancient Art

Solomon, Socrates and Aristotle

In Earliest Biblical Painting, Greek Philosophers Admire King’s Wisdom

Theodore Feder   •  10/02/2012
 
Excerpts: Read more at http://www.biblicalarchaeology.org/daily/ancient-cultures/solomon-socrates-and-aristotle/

Pleading for her baby’s life, a woman kneels at the feet of King Solomon in 1 Kings 3:16–28. This Roman wall painting from Pompeii is the earliest known depiction of a Biblical scene. Who commissioned this painting: a Jew, a Christian or a gentile? Photo courtesy Scala/Art Resource, NY

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).

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 converta) 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.

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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.

The painting contains all the essential narrative elements in the Biblical story without omissions or adumbrations. What’s more, it appears to have sprung whole from the artist’s imagination, as there is no known precedent in the history of art. As noted above, present are Solomon, the two mothers, the butcher block, the baby, the soldier waiting to divide it, and the onlookers who will attest to Solomon’s wisdom. The story has not received a more telling and cogent depiction in the 2,000 years since the painting’s creation.

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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.

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

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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, NaplesScala/Art Resource, NY

The Ancient Library of Alexandria: The West’s most important repository of learning

The Ancient Library of Alexandria: The West’s most important repository of learning

The Ancient Library of Alexandria: The West’s most important repository of learning

J. Harold Ellens   •  05/01/2013

J. Harold Ellens’s article “The Ancient Library of Alexandria” originally appeared in Bible Review, along with the sidebars “Greco-Roman Philosophers,” “Whither Aristotle’s Library?” “The Perils of the Alexandria Library: Two Ancient Book-Burnings,” “How to Measure the Earth” and “Alexandria Library Redux.”  

Excerpt follows; read more at http://www.biblicalarchaeology.org/daily/biblical-sites-places/biblical-archaeology-places/the-ancient-library-of-alexandria/

When Alexander the Great died in 323 B.C.E., the Ptolemaic dynasty was given control of Egypt. Ptolemy I (c. 367–283 B.C.E.) established his capital at Alexandria and immediately began to build up the city. Ptolemy’s grandest project, begun in 306 B.C.E., was the Library of Alexandria, a research center that held one million books by the time of Jesus. Scala/Art Resource, NY

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In March of 415 C.E., on a sunny day in the holy season of Lent, Cyril of Alexandria, the most powerful Christian theologian in the world, murdered Hypatia, the most famous Greco-Roman philosopher of the time. Hypatia was slaughtered like an animal in the church of Caesarion, formerly a sanctuary of emperor worship.1 Cyril may not have been among the gang that pulled Hypatia from her chariot, tearing off her clothes and slashing her with shards of broken tiles, but her murder was surely done under his authority and with his approval.

Cyril (c. 375–444) was the archbishop of Alexandria, the dominant cultural and religious center of the Mediterranean world of the fifth century C.E. He replaced his uncle Theophilus in that lofty office in 412 and became both famous and infamous for his leadership in support of what would become known as Orthodox Christianity after the Ecumenical Council of Chalcedon (451), when basic Christian doctrine was solidly established for all time.

Cyril’s fame arose mainly from his assaults on other church leaders, and his methods were often brutal and dishonest. He hated Nestorius, bishop of Constantinople, for example, because Nestorius thought Christ’s divine and human aspects were distinct from one another, whereas Cyril emphasized their unity. At the Council of Ephesus in 431, Cyril arranged for a vote condemning Nestorius to take place before Nestorius’s supporters—the bishops from the eastern churches—had time to arrive. Nor was Cyril above abusing his opponents by staging marches and inciting riots. It was such a mob, led by one of Cyril’s followers, Peter the Reader, that butchered the last great Neoplatonic philosopher, Hypatia.      ……..

One reason Cyril had Hypatia murdered, according to the English historian Edward Gibbon, was that Cyril thought Hypatia had the political ear of Alexandria’s chief magistrate, who vigorously opposed Cyril’s ambition to expel from the city those who held different religious views from his own.  Cyril was also jealous of Hypatia because scholars from all over the world crowded into her lectures in Alexandria, Athens and elsewhere. Socrates (380–450), a church historian from Constantinople, says of Hypatia:

[She] was so learned that she surpassed all contemporary philosophers. She carried on the Platonic tradition derived from Plotinus, and instructed those who desired to learn in…philosophic discipline. Wherefore all those wishing to work at philosophy streamed in from all parts of the world, collecting around her on account of her learned and courageous character. She maintained a dignified intercourse with the chief people of the city. She was not ashamed to spend time in the society of men, for all esteemed her highly, and admired her for her purity.

Hypatia’s father, Theon, was a leading professor of philosophy and science in Alexandria. He had prepared a recension of Euclid’s Elements, which remained the only known Greek text of the great mathematician’s work until an earlier version was discovered in the Vatican Library in this century.  Theon also predicted eclipses of the sun and moon that occurred in 364.

Hypatia, who was born about 355, collaborated with her father from early in her life, editing his works and preparing them for publication. According to one authority, she was “by nature more refined and talented than her father.”7 The extant texts of Ptolemy’s Almagest and Handy Tables were probably prepared for publication by her.8

Such scientific and philosophical enterprises were not new or surprising in Hypatia’s Alexandria, which already boasted a 700-year-old, international reputation for sophisticated scholarship. Founded in 331 B.C.E.9 by command of Alexander the Great, the city contained almost from its beginnings an institution that would remain of immense importance to the world for the next 2,300 years. Originally called the Mouseion, or Shrine of the Muses, this research center and library grew into “an institution that may be conceived of as a library in the modern sense—an organization with a staff headed by a librarian that acquires and arranges bibliographic material for the use of qualified readers.”   ….

Indeed, the Alexandria Library was much more. It “stimulated an intensive editorial program that spawned the development of critical editions, textual exegesis and such basic research tools as dictionaries, concordances and encyclopedias.”11 The library in fact developed into a huge research institution comparable to a modern university—containing a center for the collection of books, a museum for the preservation of scientific artifacts, residences and workrooms for scholars, lecture halls and a refectory. In building this magnificent institution, one modern writer has noted, the Alexandrian scholars “started from scratch”; their gift to civilization is that we never had to start from scratch again.

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Notes

a. The best-known book collected from a non-Greek culture and translated into Greek at the library was the Hebrew Bible, known in its Greek form as the Septuagint (LXX). It seems to have reached the state of a largely completed and official Greek text between 150 and 50 B.C.E. Philo Judaeus (30 B.C.E.–50 C.E.) obviously knew and worked with a Greek version of the Hebrew Bible.

1. Maria Dzielska, Hypatia of Alexandria, trans. F. Lyra (Cambridge, MA: Harvard Univ. Press, 1995), p. 93. Cf. J. Harold Ellens, The Ancient Library of Alexandria and Early Christian Theological Development, Occasional Papers 27, Institute for Antiquity and Christianity (Claremont: Claremont Graduate School, 1993), pp. 44–51.

See also Edward A. Parsons, The Alexandrian Library, Glory of the Hellenic World: Its Rise, Antiquities, and Destructions (London: Cleaver-Hume, 1952), p. 356.

++++++  Much more at http://www.biblicalarchaeology.org/daily/biblical-sites-places/biblical-archaeology-places/the-ancient-library-of-alexandria/

Biblical Archaeology Society

Biblical Archaeology Society

Try the Latest Technology for Yourself

Biblical Archaeology Society Staff   •  10/14/2011

Bruce Zuckerman

Bruce Zuckerman

In Biblical Archaeology Review (BAR)’s November/December 2011 issue, Biblical scholar and digital imaging expert Bruce Zuckerman introduces readers to RTI (Reflectance Transformation Imaging), a revolutionary imaging technology that is changing the way scholars read and interpret ancient texts.

In “New Eyeballs on Ancient Texts,” Zuckerman explains why RTI images, created by merging a series of pictures taken with multiple light sources at different angles and distances around an object, are much more powerful than standard digital photographs. When viewed on a computer, RTI images of ancient texts can be virtually manipulated to reveal subtle details invisible to the naked eye, such as the thickness of a letter inked on a Dead Sea Scroll or the impressed signs of an ancient and worn cuneiform tablet.

But, as Zuckerman writes, “it’s hard to explain what an RTI image looks like in mere words,” which is why we’ve put together this guide to help you better understand RTI and experience these impressive images for yourself.

New Eyeballs on Ancient Texts

RTI images can help reveal hidden details in ancient texts, such as this 4,000-year-old cuneiform tablet (top). In an RTI image (bottom), almost all of the tablet’s wedge-shaped characters can be clearly discerned.

First, click here to download the InscriptiFact standalone RTI image viewer developed by the West Semitic Research Project (WSRP).*

Next, click here to download some RTI images to your computer. The WSRP has made these three RTI image files available especially for BAR readers. The first image (Coin_10534_Obv) is a first-century C.E. Jewish coin dated to the third year of the First Jewish Revolt; the second image (DSS_SOC1Q34BISDobv) is a fragment of a Dead Sea Scroll containing an ancient Jewish prayer of atonement; and the third image (USCARC_6711_OBV) is a 4,000-year-old administrative tablet written in early cuneiform.

To download and save an image to your computer, click on the file name and, when directed, save the file to an easily accessible location on your hard drive, such as the desktop. The RTI files will be downloaded to your computer as compressed .zip files, so it may take a few minutes to complete each image download. You should then “unzip” the files once they are downloaded to your computer.

Now you can start viewing the images. Open the InscriptiFact viewer and click “Open” in the viewer’s menu bar. Navigate to the location where you saved the downloaded RTI image onto your computer’s hard drive and then click the Open button. The RTI image will then appear in a window within the viewer. At this point, you can begin experimenting with a variety of tools (especially those found under “Options” and “Effects” in the menu bar) that allow you to virtually manipulate the artifact image. Click below to watch a YouTube video that details the viewer’s various tools and how they work.

PLEASE NOTE: Neither the Biblical Archaeology Society nor the West Semitic Research Project will address or resolve questions, problems, error messages or any other issues that arise out of reader attempts to access, download, save, view or otherwise use the InscriptiFact RTI viewer or the RTI images.

If you want to learn more about RTI and its uses, you can also watch the informative YouTube video below that details how art conservators with the Fine Arts Museums of San Francisco are using RTI to better understand and conserve centuries-old paintings within their collections.

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