Abstract

The significance of religious rituals often reaches beyond their strict religious intentions. Specifically a procession, performed in front of the public, is a most effective instrument of disseminating a message to the crowds. Consequently, this ritual, as is well known, has often been used not only in religious but also in secular contexts; a procession under the cloak of religion can even become a politically useful medium to avoid popular disturbances on peaceful terms. This was the case in ancient Ephesus, where Roman power conflicted with Greek culture from the middle of the first century B.C. onwards. In the beginning of the second century A.D. the public religious life in the city of Ephesus was to a great extent characterized by processions relating to the cult of Artemis Ephesia. The one traditionally performed on the birthday of the goddess called to mind the Greek origin of the city; it was strictly associated with the religious sphere bringing about a close relationship between the goddess and her adherents. The other, artificially created by a Roman, was entirely secular, and spread its message every fortnight in the streets of Ephesus. It referred to the political field of action and intended to strengthen the Roman rule over the city. The Greek origin of Ephesian culture was later included in the message of the procession, reminding the Greeks not to rebel against Roman rule.

Highlights

  • In an epigram dating from the beginning of the first century B.C., the poet Antipater from Sidon gives evidence to the temple of Artemis Ephesia as being one of the seven world wonders:

  • We know that the temple of Artemis Ephesia played an important role as an asylum, opening its gates to fugitives of all classes of society (Oster 1990: 1717)

  • The hospitality of the temple towards slaves and political turncoats of all kinds in combination with its financial power, and its attractive force as a resort of pilgrims made it a dangerous centre of political unrest in the eyes of the Romans (Oster 1990: 1717-1719) the Emperor Augustus, introducing a period of intensified Romanisation of Ephesus on various levels (Knibbe 1981: 757-762; Knibbe and Alzinger 1980: 815-818), began a period of Roman infiltration in the temple of Artemis Ephesia. He so-to-say invited the goddess to the sacred heart of her city (Knibbe and Alzinger 1980: 817) in transplanting an important part of the male sacred hierachy from the temple, located outside the city wall, to the new-built town hall in the centre. (Knibbe and Alzinger 1980: 760-761). He allowed the Ephesians to erect an Augusteum in the precinct of the temple, making himself the consort of the goddess (Knibbe 1981: 761); by these clever moves he managed to put the temple in control of Roman power — and in a most flattering way

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Summary

LILIAN PORTEFAIX

The significance of religious rituals often reaches beyond their strict religious intentions. Ignatius names himself Theophorus (i.e. God bearer) in the preface to all his letters; whether this was his second proper name given by birth has been much discussed among scholars (Schoedel 1985: 35-36) It cannot be excluded, that Theophorus only points to the fact that Ignatius regarded his journey from Antioch tol Rome in the context of a procession ending up with his own death; in such a case we may imagine the Bishop of Antioch in the front of the procession described in the Ephesian letter triumphantly leading his fellow Christians on their way leading up to the Kingdom of God. To conclude: in the beginning of the second century A.D. the public religious life in the city of Ephesus was to a great extent characterized by processions relating to the cult of Artemis Ephesia.

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