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296 Journal of Biblical Literature queror. In the lower left corner, a kneeling female prisoner with hands bound behind the back looks out in anguish at the viewer. 42 Here a standard trophy scene is employed in such a way as to highlight the military basis of imperial rule, and to make clear the dire consequences of resistance. A fourth scene from the sculptures of the Sebasteion’s third floor describes the benefits of imperialism–a fruitful earth and secure sea lanes–in mythic terms. The panel is dominated by a standing, nude Claudius with drapery billowing up above his head (fig. 10). 43 In the lower left corner an earth figure hands him a cornucopia; in the lower right a figure representing the sea hands him a ship’s rudder. The two great elements traversed by humans—earth and sea—offer their gifts to the divine emperor. In these two scenes history again is elevated to myth, but in a more generalized sense. The scenes appear to refer not to specific historical events but rather to a general process of imperial domination. When we move to the second floor of the Sebasteion’s south portico, we find the reworking of local mythology to support Roman rule. 44 The subject matter on the second floor is no longer imperial exploits but rather a selection of Panhellenic myths. Some of the figures and stories are recognizable, such as the three Graces, Apollo and a tripod at Delphi, Achilles and Penthesilea, Meleager and the Calydonian Boar, Herakles freeing the bound Prometheus, and the young Dionysos among the nymphs. Other scenes contain enough detail to indicate specific stories that are no longer recognizable, for example, a seated hero and a dog flanked by an amazon and a male figure with a crown in his hand, and three heroes with a dog. 45 The overall arrangement of scenes on the second floor does not appear to be governed by a single strong theme. The reliefs depict instead a range of myths that are perhaps gathered in clusters. One exception where there is clear development, however, is at the east end of the portico near the temple for Tiberius and Livia. Here the three panels from the first room contain overt references to Panhellenic mythology that has special significance for Aphrodisias (fig. 11). The first panel (closest to the temple) has a seated Aphrodite, the principal municipal deity, with an infant Eros on her lap; the male standing next to her is probably Anchises. The central panel from room 1 portrays the flight of Aeneas—the child of Aphrodite and Anchises—from Troy in standard terms 42 Smith, “Imperial Reliefs,” 112–15, pls. 12–13. 43 Ibid., 104–6, pls. 6–7. The publication identifies the emperor as Augustus, but Smith is now convinced that the figure’s head reflects a standard model of Claudius (personal communication). 44 From the original forty-five panels of the second story, more than thirty have been found largely intact, and fragments of most of the other panels are known. 45 Smith, “Myth and Allegory,” 95–97
Figure 10. Relief of Claudius, Land, and Sea. Courtesy of the New York University Excavations at Aphrodisias. Friesen: Myth and Resistance in Revelation 13 297 Figure 9. Relief of an emperor, crowned as a victor by a Roman figure. Courtesy of the New York University Excavations at Aphrodisias.
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Journal of Biblical Literature VOLU
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JBL 123/2 (2004) 201-218 WHAT LAWS
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Hahn and Bergsma: Ezekiel 20:25-26
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JBL 123/2 (2004) 219-234 PLOTTING A
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JBL 123/2 (2004) 235-251 THE POLITI
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Page 83 and 84: JBL 123/2 (2004) 281-313 MYTH AND S
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Book Reviews Der Bericht Nehemias:
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Book Reviews Fitzmyer presents a cl
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Book Reviews archaeological site of
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Book Reviews Davies, “How Not to
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Book Reviews its likely use and app
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Book Reviews intact or restored. Su
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Book Reviews de Vaux’s stratigrap
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Book Reviews recent analysis and in
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Book Reviews Chapter 4 investigates
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Book Reviews lowed by the dissoluti
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Book Reviews knew 1 Peter; indeed,
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Book Reviews lengthy essay on Gadar
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Book Reviews ately honoring gods an
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Book Reviews much anticipated. The
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Book Reviews learning, and a self-r
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400 Journal of Biblical Literature
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