Roman Domestic Art and Early House Churches (Wissenschaftliche Untersuchungen Zum Neuen Testament)

In contrast to most studies of earliest Christianity that focus on texts, David Balch inquires into the visual world of the culture in which early Christians lived and worshipped. Jews and Christians outside Israel lived in Greek and Roman houses and apartment buildings. During earlier Republican and later Imperial periods, artists painted frescoes on the walls of their patrons' houses. Beginning in the mid-1700s, archaeologists began unearthing brilliantly colored domestic paintings, often of Greek (rarely of Roman) myths and tragedies, especially in Pompeii, Herculaneum, and Rome. The author inquires how visual representations seen daily might influence the understanding of Jewish and Christian scriptures read and heard in those same spaces as well as the meaning of rituals performed in domestic worship. Scenes from the tragedies of Euripides as well as visual representations of contemporary gladiatorial games make suffering, sacrifice, and death surprisingly present in Roman houses, themes not first introduced by Christian preaching or the Eucharist. Further, David Balch includes not only recent studies of domestic art, but also of Roman domestic architecture (domus and insulae) by British (Wallace-Hadrill), American (Clarke, Leach), German (Zanker, Dickmann), and Italian (Maiuri, Pappalardo) scholars, studies that affect descriptions of the social history of early Christianity. Cover Foreword Table of Contents List of Plates Abbreviations Introduction A. Names and functions of rooms in Roman domus and insulae B. Styles of Roman domestic art C. Would Roman domestic art be seen outside Rome and Campania? D. How spiritual was Roman domestic art, and are domestic rituals of mystery cults symbolized in Pompeian domus/insulae? E. How private or public were Roman houses? F. The seven chapters in this book Chapter I: Rich Pompeian Houses (domus), Shops for Rent, and the Large, Multi-Story Building (insula) in Herculaneum as Typical Spaces for Pauline House Churches Introduction A. Wealthy Pompeian domus B. The large Insula (so-called apartment house) in Herculaneum (Insula Orientalis II.4–18) C. Shrines for household gods (lararia) D. Julia Felix’s entertainment complex (Villa di Giulia Felice), the influence of Isis, and protective gorgoneia Conclusions Chapter II: The Suffering of Isis/Io and Paul’s Portrait of Christ Crucified (Gal 3:1): Frescoes in Pompeian and Roman Houses and in the Temple of Isis in Pompeii Introduction A. Greco-Roman domestic, tragic art B. Roman “Egyptomania”: frescoes of Io/Isis in houses, a Market, and the Isis Temple C. Io’s suffering in literary sources D. Two Frescoes of Io E. Suffering portrayed in the rituals of Isis (and Eleusis) Conclusion: The cross in early Christian art and ritual Chapter III: Paul’s Portrait of Christ Crucified (Gal. 3:1) in Light of Paintings and Sculptures of Suffering and Death in Pompeian and Roman Houses A. Iphigenia B. Laocoon C. The Dying Gauls/Galatians D. The crucifix on the Palatine Conclusion: comparisons and contrasts Chapter IV: Zeus, Vengeful Protector of the Political and Domestic Order: Frescoes in Dining Rooms N and P of the House of the Vettii in Pompeii, Mark 13:12-13, and I Clement 6:2 Abstract A. The fourth style of Roman painting in Nero’s Golden House B. The fourth style in the House of the Vettii (VI 15,1) in Pompeii C. A first century CE Christian interpretation (ekphrasis) of Dirce D. Theoretical reflections Chapter V: “A Woman Clothed with the Sun” and the “Great Red Dragon” Seeking to “Devour her Child” (Rev 12:1, 4) in Roman Domestic Art Introduction: comments on the ethnic political, economic, and aesthetic environment in Asia A. The myth of the woman bearing a son threatened by a monster 1. Egyptian texts, including two new ones from the temple at Edfu 2. The pregnant Io (Greek)/Isis (Egyptian)/Venus (Roman) in domestic art, an Imperial visual representation B. The combat myth of cosmic revolt The epiphany of Apollo and the sun-torch-chariot in Roman domestic art Conclusions and Theses Chapter VI: From Endymion in Roman domus to Jonah in Christian Catacombs: From Houses of the Living to Houses for the Dead. Iconography and Religion in Transition Introduction: selected second century CE Roman sepulchral and domestic mosaics of Endymion and third century sarcophagi of Jonah A. Endymion Visually represented in wall frescoes and in a stucco chapel in a Pompeian domus 1. The Casa del Sacello Iliaco (I 6,4) 2. The Temple of Isis (VII 7,28) and the House of Octavius Quartio (II 2,2) in Pompeii 3. Preliminary conclusions B. Jonah as Endymion in Christian catacombs and among North African fish in the earliest remaining mosaic in a Christian church (Aquileia) 1. The mosaic pavement of Jonah among North African fish in the early Christian basilica in Aquileia 2. Patristic (literary) interpretations of Jonah Conclusions Chapter VII: Values Visually Represented in 194 Pompeian Dining Rooms A. Preliminary observations 1. How many triclinia are found in domus, insulae, and thermopolia? 2. Are mythological frescoes exhibited primarily by the wealthy? B. Roman Imperial ideology visually represented in Pompeian triclinia C. Divine will and human obedience visually represented in Pompeian triclinia D. Isis imagery in Pompeian triclinia E. Poets visually represented in Pompeian triclinia F. Briefly: portraits, popular art, and dining scenes visually represented in Pompeian triclinia 1. Portraits in Pompeian triclinia 2. Popular/plebeian art in triclinia 3. Banquet scenes visually represented in Pompeian domus and caupona Conclusions Credits for Visual Representations Introduction: Chapter I: Chapter II: Chapter III: Chapter IV: Chapter V: Chapter VI: Chapter VII: Credits for Original Publication of Chapters I–VI Chapter I: Chapter II: Chapter III: Chapter IV: Chapter V: Chapter VI: Bibliography Glossary Index of Ancient Authors/Texts, including Biblical text Biblical texts Index of Modern Authors Index of Architectural Structures and their Decorations Catacombs Dinner Ware Frescoes Graffiti Mosaiacs Papyrus Reliefs Sarcophagi Statues (p. 196) Stucco Synagogue Pompeii, Herculaneum, And Rome Have Yielded Hundreds Of Wall Paintings From Domestic Buildings. Greek Myths And Tragedies, Especial By Euripides Were Visually Represented. Balch Presents An Interdisciplinary Study Inquiring What Earliest Jews And Christian In Such Houses Might Have Been Seeing As They Read And Interpreted Scripture And Performed Core Rituals, Especially The Eucharist. This Recent Study Of Roman Domestic Architecture Suggests New Perspectives On The Social History Of Early Christianity.--publisher. Rich Pompeian Houses (domus), Shops For Rent, And The Large, Multi-story Building (insula) In Herculaneum As Typical Spaces For Pauline House Churches -- The Suffering Of Isis/io And Paul's Portrait Of Christ Crucified (gal 3:1) : Frescoes In Pompeian And Roman Houses And In The Temple Of Isis In Pompeii -- Paul's Portrait Of Christ Crucified (gal. 3:1) In Light Of Paintings And Sculptures Of Suffering And Death In Pompeian And Roman Houses -- Zeus, Vengeful Protector Of The Political And Domestic Order : Frescoes In Dining Rooms N And P Of The House Of The Vetti In Pompeii, Mark 13:12-13, And I Clement 6:2 -- A Woman Clothed With The Sun And The Great Red Dragon Seeking To Devour Her Child (rev 12:1, 4) In Roman Domestic Art -- From Endymion In Roman Domus To Jonah In Christian Catacombs : From Houses Of The Living To Houses For The Dead -- Iconography And Religion In Transition -- Values Visually Represented In 194 Pompeian Dining Rooms. David L. Balch. Includes Bibliographical References (p. [243]-267) And Indexes. System Requirements For Accompanying Cd-rom: Adobe Acrobat Reader ; Cd-rom Drive.