AGAPE SIGMA-COUCH

AKA:  stibadium, triclinium, refrigerium

(See-through clothing; wine)

(More On This Subject)

Image as Artifact: A Social-Historical Analysis of Female Figures with Cups in the Banquet Scenes from the Catacomb of SS. Marcellino e Pietro, Rome; Ph.D Dissertation by Janet H. Tulloch, Dept. of Classics and Religious Studies, University of Ottawa, Canada; Jan. 16, 2001; microfiche via ILL; pp. 114-116:

P. 235; “Analysis of Inscriptions”:

P. 236:

P. 237:

P. 238:

P. 249, “Parallel funerary inscriptions highlighting the word MISCE”:

P. 302:

To me, that looks like something visible (persons second from left, and far right):

Die Katakombe „Santi Marcellino e Pietro“: Repertorium der Malereien (The Catacomb “Saints Marcellino and Peter”: Repertory of the Paintings), Deckers, 1987, Vol. 1, p. 25, illustration 15, (part of Vol. 2, “RC Lau 48”.2 [farbtafel 24, “Nr. 48” shows colored enlargements of each person except the second from left, for some reason]):

Translated from German:

15  Catacomb Saints Marcellino and Peter, chamber 48–2–, meal scene, suggestion for the former position of the bearded head (far left; irrelevant), photo assembly (1976)

The Roman Banquet: Images of conviviality, Dunbabin, 2003, p. 256, “Glossary”:

(The “C” sigma is called a “lunate” sigma.)

http://archiwum.wiz.pl/images/duze/1996/11/96113704.JPG (via http://archiwum.wiz.pl/1996/96113700.asp), CMENTARZE PIERWSZYCH CHRZEŚCIJAN:

Arcosolium dekorowane sceną agape w katakumbach św. św. Marcellina i Piotra w Rzymie; III wiek

http://pro.corbis.com/, Search # DE003148, 3rd century mosaic depicting the seven disciples in the catacombs of Saint Callixtus in Rome: “The Cubicula of the Sacraments”:

http://dsc.discovery.com/news/briefs/20050815/stibadium.html, Fancy Roman Dining Hall Found, By Rossella Lorenzi, Discovery News:

Aug. 15, 2005— Startling evidence of ancient Romans' most exclusive way of dining has been uncovered in a villa in southern Italy, local archaeologists announced.

Excavation at the residence of an aristocratic family in Faragola, in Puglia, has brought to light a rare example of a stibadium, a semicircular couch on which selected guests sat at the most fashionable dinner parties.

Complete with a fountain, which provided fresh water for the meals, the stibadium consisted of a semicircular platform of masonry that formed the basis for mattresses or bolsters on which the guests reclined.

"Only a few stibadia survive, but none of them is so lavishly decorated and well preserved as the one found at Faragola,"(Probably because the later Church destroyed all agape related sigmas/stibadia) … Decorated with carvings of dancing maenads, or Bacchantes (the female devotees of the wine-god Dionysus), the newly discovered stibadium couch was covered with "opus sectile," decorations made by using precisely cut pieces of colorful marble.

Described by Latin writers such as Quintus Aurelius Simmacus, Sidonius Apollinaris and Ausonius, the stibadium is also depicted on mosaics, such as the one showing the Last Supper in the church of St. Apollinaire, in Ravenna. … Built in the 4th century, the residence reached its height of splendor during the 5th century. … In a large room with a precious mosaic floor, guests indulged in massages. … Perhaps because of an economic crisis, the Faragola "dolce vita" ended in the 6th century, and the villa was abandoned and forgotten.

http://dsc.discovery.com/news/briefs/20050815/stibadium_zoom0.html, The Stibadia at Faragola:

Only a few stibadia survive, experts say, but none of them is so lavishly decorated and well preserved as the one found at Faragola.

http://dsc.discovery.com/news/briefs/20050815/stibadium_zoom2.html, Recreation of the Dining Room:

Most spectacular room at the villa in Faragola was the cenatio, the dining hall, recreated on a computer here.

http://dsc.discovery.com/news/briefs/20050815/stibadium_zoom1.html, Another View:

Stibadia started as a fashion for outdoor dining that then moved inside to opulent dining halls.

http://www.binnenhuisarchitectuur.nl/actueel/2004/wonenVroeger/wonen12.html:

triclinium

http://www.gymnasium.wasserburg.de/faecher/latein/2002fortbildung/, “Triclinium”:

http://www.societes-savantes-toulouse.asso.fr/samf/phototh/albpho1/photo27.htm:

27. "Naples. Musée National. un triclinium (fresque)"

http://www.bibliolab.it/I%20Romani%20a%20tavola/come.htm, I Romani a tavola:

“triclinium”

http://www.cervantesvirtual.com/portal/antigua/include/verfoto.formato?foto=fotos/iuliobriga08.jpg&pie=Museo+de+Iuliobriga.+Reproducci%26oacute%3Bn+de+un+triclinium.&volver=img_iuliobriga.shtml&titulo3=>+iuliobriga:

Museo de Iuliobriga. Reproducción de un triclinium.

http://depthome.brooklyn.cuny.edu/classics/dunkle/romnlife/trclnium.htm, TRICLINIUM:

http://www.annamariavolpi.com/_wp_generated/wpf9634815.jpg, history and origins of Italian cuisine:

A Roman Banquet in a Triclinium. During much of the dinner, each guest leaned on his left elbow, leaving the right arm free. As three men lay on the same couch, the head of one man was near the bosom of the man(or woman) lying behind him. The rule was that the number of guests should be no less than that of the Graces (3), nor exceed that of the Muses (9).

http://www.northallegheny.org/academics/forlang/introlatina1.htm, Introductio Latinae A - Pensa Longa, “Livia triclinium fecit”:

http://www.qsov.com/TheRiver4/47StPaulscatacombs.jpg (via http://www.qsov.com/TheRiver4/Malta.html), “St. Paul's catacombs (loculus and arcosolium tombs and Agape table)”:

http://members.tripod.com/Karsbo/Agape_table.jpg (via http://members.tripod.com/Karsbo/catacombs.html), St. Agatha’s Historical Complex, “Catacombs”:

The Maltese Catacombs were never meant to be hiding places during persecutions or as living quarters. … Another interesting feature in the Maltese Catacombs is the Agape Table, probably used as a table for the final farewell repast. This is round table hewn out of the live rock about 60cm or more above ground level. These tables slope gently downwards towards the circumference of the chamber. At the upper part they form the round table, flat and encircled with a rim about 6cm wide and 3cm high. Generally these tables are about 75cm in diameter. On the front part, a small section of the rim is opened. Probably this served to clean and wash the table when the meal was over.

http://www.catacombsociety.org/vom/catacombs_arch_image.html, Vaults of Memory, “Catacombs: Archives of Imagery
Rites and Rituals”:

As in more ancient periods, wine, fish, and bread were offered ritually by pagan, Jews, and Christians alike and were shared in such festal meals as the agape, a love feast at which the deceased was believed to be present; the cena pura, the holy meal before the Jewish Sabbath; the Passover feast; and the Eucharist. The sacrament of the Eucharist was established in the Last Supper, which had origins in the Passover feast (John 6:4-13) commemorating the deliverance of the Israelites (Exodus 13: 6-8). From ancient times communal banquets, including the sharing of bread, established a bond among the participants and with divine beings.
Liquids such as blood, wine, and water also had special meanings in ritual observances.

Mosaics of the Greek and Roman World, Dunbabin, 1999, p. 141, figure 144, “Piazza Armerina [Sicily], semi-circular portico … Erotes fishing”:

Ancient Mosaics, Ling, 1998, p. 118, illustration 84, “Context and Meaning”:

Pp. 119-121:

The Roman Banquet: Images of conviviality, Dunbabin, 2003, p. 8, “Introduction”:

(The “Republic” era was from c. 509 BC to 27 BC.  Early Christianity was during the “Imperial” era: c. 27 BC to 476 AD.)

The Roman Banquet: Images of conviviality, Dunbabin, 2003, p. 171, figure 100, “Banqueting in Late Antiquity | Rooms for Stibadium Dining | Argos, Villa of Falconer (between Corinth and Sparta, Greece)”:

Definite see-through material there:

P. 170 (regarding above):

The Calendar and Hunting Mosaics of the Villa of the Falconer in Argos: A Study in Early Byzantine Iconography, Gunilla Åkerström-Hougen, Text, 1974, p. 13, “Introduction | Site and Discovery”:

P. 20, “The Triclinium”:

A “thiasus” is a “Bacchic celebration” in Greek.

P. 110-111, “The Triclinium and the Sigma Table | The Thiasus” (still talking about the above mosaic):

P. 117, “The Triclinium and the Sigma Table | Addendum: On the Origin of the Sigma Table”:

P. 117, figure 74:

P. 107, “The Triclinium and the Sigma Table”:

So, there are many indications that it is Christian, which they are trying to refute.

P. 153, figure 88, “Early Christian lead vessel from Tunisia” (grape vine):

P. 153, “Summary”:

http://www.tau.ac.il/arts/projects/PUB/assaph-art/assaph4/articles_assaph4/monteagudo.pdf, The Triumph of Dionysus in Two Mosaics in Spain:

Another Spanish mosaic of the Late Empire, from Mérida, decorated with two quadrigas and figures of the Dionysiac thiasos in the central circle, also presents close analogies to the Sheikh Zouède pavement, especially in the figures of the maenads dancing with arms raised, playing castanets and cymbals, and in the panther running towards the krater (Figs. 15-16).61

http://home.pon.net/rhinoceroslodge/thiasos.htm, Thiasos Olympikos:

http://www.yale.edu/classics/titleimage2.html (Yale University), Classics:

Triclinium (Red Room) Roman
c.50 BCE
Current Site Pompeii

Imperial Rome and Christian Triumph, Elsner, 1998, p. 137 (Lullingstone, Kent):

The Origins of Christian Art, Gough, 1973, p. 138, “From Constantine to Justinian”:

Clothing material looks rather see-though:

P. 139, illustration 129, “From Constantine to Justinian”:

P. 209, “List of Illustrations”:

http://www.crossingsatcarnegie.com/web%20drapery.jpg:

Early Christian and Byzantine Art, Beckwith, 1979, p. 54, “Early Christian Art: Rome and the Legacy of the Caesars”:

Vincentius and Vibia / Sabazius / Sabbath:

I know what you’re all saying: how much the Christian agape sigma-couch scene also resembles:

http://people.clemson.edu/~elizab/womimages.html (Clemson University, SC), womimages, “Christian”:

Harper’s Dictionary of Classical Literature and Antiquities, Peck, 1965, p. 1071:

Early Christian Art: AD 200-395: From the Rise of Christianity to the Death of Theodosius, André Grabar, 1968, p. 221, “3. The Art of the Fourth Century | Pagan Tomb Paintings”:

Early Christian Art: AD 200-395: From the Rise of Christianity to the Death of Theodosius, André Grabar, 1968, p. 223, “3. The Art of the Fourth Century | Pagan Tomb Paintings | 245.  Rome.  Tomb of Vibia: Vibia led into Paradise”:

P. 324, “List of Illustrations”:

The Roman Banquet: Images of conviviality, Dunbabin, 2003, Plate XV:

The Crucible of Christianity, Toynbee, 1969, p. 321, illustration 6, “Rival Theologies: Gnosticism, Marcion, Origen”:

P. 362, “List of Sources of Illustrations | Rival theologies”:

http://ajaonline.org/archive/107.1/pdfs/1071A5S.pdf, American Journal of Archaeology, “The Christianization of Space along the Via Appia: Changing Landscape in the Suburbs of Rome | Fig. 13. Catacomb of Vibia: arcosolium of two devotees of Mithras and Sabatius”:

The Roman Banquet: Images of conviviality, Dunbabin, 2003, p. 191, “Funerary Feasts, Christian and Pagan”:

P. 190, “Funerary Feasts, Christian and Pagan”:

…

P. 203, “Conclusion”:

Image as Artifact: A Social-Historical Analysis of Female Figures with Cups in the Banquet Scenes from the Catacomb of SS. Marcellino e Pietro, Rome; Ph.D Dissertation by Janet H. Tulloch, Dept. of Classics and Religious Studies, University of Ottawa, Canada; Jan. 16, 2001; microfiche via ILL; p. 83; “FIGURE: 14”:

http://www.entheomedia.org/Mithras_notes.doc, Mithras notes, “90”:

Compare the Mithraic syncretism in the website image of Dionysos-Sabazios, which is exceedingly rich in Mystery symbolism. [9] Sabazios was a Thraco-Phrygian god, considered a foreigner by the Greeks, but identical with Dionysos. Private mystery cults of Sabazios existed in Athens as early as the fifth century, but the religion rose to prominence in Imperial Roman times. He was identified with Yahweh (Valerius Maximus 1.3.2) because of the similarity of his name to Sabaoth or sabbaton, resulting in the assimilation of certain Jewish practices. (For more on Jewish syncretism and the orgiastic and visionary associations of Sabazios, see Ruck et al., Apples, op. cit, Chap. 5, p. 148, footnote 18.) A Roman relief in the National Museum of Copenhagen depicts him in his customary Phrygian attire, with the Mithraic Sol and Luna; he holds the pinecone in one hand, a staff, growing as a sheaf of grain, in the other. To his right, is the raven, with a fillet in its beak, perched atop a stump, up which coils the serpent, so essential for his cult, and also a lizard and a frog; a turtle nearby is between the god’s legs. Beside the raven is a caduceus, and the whole stump, raven, etc. culminate in a multi-branching vine with grape clusters like pine cones and strange funnel-shaped flowers, above which is the bust of Sol, with the Eucharistic cup in his solar aura.

http://encyclopedia.jrank.org/RON_SAC/SABAZIUS.html, Online Encyclopedia, “SABAZIUS”:

From Val . Max. i . 3, 2 it has been concluded that Sabazius was identified in ancient times with the Jewish Sabaoth (Zebaoth) . Plutarch (Symp. iv . 6) maintains that the Jews worshipped Dionysus, and that the day of  Sabbath was a festival of Sabazius .

So, practice the Sabbath every seven days.  Got it.

http://en.wikipedia.org/wiki/Sabazius, Sabazius, “Jewish connection”:

The first Jews who settled in Rome were expelled in 139 BCE, along with Chaldaean astrologers by Cornelius Hispalus under a law which proscribed the propagation of the "corrupting" cult of "Jupiter Sabazius," according to the epitome of a lost book of Valerius Maximus: …

By this it is conjectured that the Romans identified the Jewish Yahveh Sabaoth ("of the Hosts") as Sabazius.

This mistaken connection of Sabazios and Sabaoth has often been repeated. In a similar vein, Plutarch naively maintained that the Jews worshipped Dionysus, and that the day of Sabbath was a festival of Sabazius.^[15] No modern reader would confuse Yahweh with Dionysus or Sabazius.

I have to agree with that last sentence.

http://books.google.com/books?id=LsjagvvkveEC&printsec=frontcover&dq=%22Witchcraft+in+the+Middle+Ages%22&sig=_7aPn9aR9O1Hc7bYOFQIImKvUuw#PPA88,M1, Witchcraft in the Middle Ages –Google Books Result, by Jeffrey Burton Russell, 1984, p. 88:

http://www.sungaya.de/schwarz/griechen/sabazius.htm, Griechische Mythologie (Greek Mythology), “Sabazius”:

Diesen Beinamen trug der Gott Dionysos besonders bei den Thrakern. Den Sabazius-Dienst soll ihnen der Orpheus aus Ägypten gebracht haben.

Translated from German:

The God Dionysus particularly carried this nickname with the Thracians. The Orpheus from Egypt is to have brought them the Sabazius service.

Also called refrigerium:

http://www.askwhy.co.uk/christianity/0795PagansChristians.php, Pagans and Christians 1, “The Feast of the Dead”:

This refrigerium sometimes was preceded by the Eucharist but often was not and the clergy showed their disapproval by staying away. It would quite often degenerate into drunkenness and gluttony, as it had already done as the messianic meal in the time of Paul the Apostle, impelling him to lay down the rules which became the Eucharist. The first Christians apparently saw it as akin to Dionysian festivities, but despite Paul’s instructions, evidently the agape kept its separate existence, which only declined towards the end of the first millennium.

http://www.catacombsociety.org/vom/catacombs_arch_image.html, Catacombs: Archives of Imagery: Rites and Rituals:

Hence the representations of the comforting refrigerium or agape in the catacombs might have prefigured heavenly banquets for the blessed in the hereafter. Peter and Paul were commemorated with such refrigeria or memorial repasts observed in the triclia in the catacomb of S. Sebastiano.

http://www.mcah.columbia.edu/dbcourses/klein/large/BISCO~30.jpg (via http://www.mcah.columbia.edu/cgi-bin/dbcourses/item?skip=1160), Fresco of banquet scenes in the attic of the mausoleum of Clodius Hermes; Complex of S. Sebastiano, Rome

The Origins of Christian Art, Gough, 1973, p. 47, “Paganism baptized : Christian art before Constantine”:

http://bible.tmtm.com/wiki/Inscriptions,_Early_Christian_(Catholic_Encyclopedia), Inscriptions, Early Christian (Catholic Encyclopedia), “SEPULCHRAL INSCRIPTIONS”:

The prayers inscribed thus early on the sepulchral slabs reproduce in large measure the primitive liturgy of the funeral service. They implore for the dead eternal peace (see PAX) and a place of refreshment (refrigerium), invite to the heavenly love-feast (Agape), and wish the departed the speedy enjoyment of the light of Paradise, and the fellowship of God and the saints.

http://www.vaticanradio.org/cinesebig5/santuari/PICS/Catac40big.jpg (via http://www.vaticanradio.org/cinesebig5/santuari/40catacombe.html), Catacombe dei Santi Marcellino e Pietro, “refrigerium”:

http://www.vaticanradio.org/cinesebig5/santuari/PICS/Catac39big.jpg (via http://www.vaticanradio.org/cinesebig5/santuari/40catacombe.html), Catacombe dei Santi Marcellino e Pietro:

The above looks more like a wet T-shirt kind of thing; which can strike the same kind of enthusiasm.  I don’t think they’d wear such shapely attire today.

http://www.aug.edu/augusta/iconography/newStuffForXnCours/catacumbasCristianas/xPeterPaul.html, Christ Between Peter and Paul:

Catacomb of Saints Marcellinus and Peter on the Via Labicana

“This cemetery is also called "ad duos Lauros" from the ancient name of the locality which is at the third milestone on Via Labicana; and sometimes "Sub Augusta" since it is near to an imperial villa belonging to Constantine.
Here are buried the martyrs, Marcellinus the priest and Peter the exorcist, celebrated by pope Damasus (366-384) in a poem written in their honour, and placed near to their tomb. The pope attested to having heard the story of their martyrdom from the mouth of the executioner himself, "Tuos triumphos percussor retulit Damaso mihi cum puer essem". Christ with the book of the Gospels is seated between Peter and Paul. Below, the Lamb is standing in the centre on a hill, from which flow out the four symbolic rivers of Scripture. To the sides are the most venerated Martyrs, with their names: Gorgonius, Peter, Marcellinus, Tiburtius, all acclaiming the Lamb."

http://www.etss.edu/hts/hts1/martyrs.gif (via http://www.etss.edu/hts/hts1/info5.htm), The Time of Martyrs and Heroes:

Painting from the 4th shrine of two Roman Martyrs, Peter and Marcellinus. Little is known of either man except that Marcellinus was a priest and Peter, possibly, an exorcist. They died around 304 AD, during the Diocletian persecution. In the painting, Christ is shown seated between the apostles Pater and Paul. Below, with the Lamb of God between them are Peter and Marcellinus with two other martyrs, Gorgonius and Tibertius.

Compare:

http://www.wga.hu/frames-e.html?/html/b/botticel/5allegor/10primav.html, BOTTICELLI, Sandro, “Primavera, c. 1482”:

Venus is standing in the centre of the picture, set slightly back from the other figures. Above her, Cupid is aiming one of his arrows of love at the Three Graces, who are elegantly dancing a roundel. The garden of the goddess of love is guarded by Mercury on the left. Mercury, who is lightly clad in a red cloak covered with flames, is wearing a helmet and carrying a sword, clearly characterizing him as the guardian of the garden. The messenger of the gods is also identified by means of his winged shoes and the caduceus staff which he used to drive two snakes apart and make peace; Botticelli has depicted the snakes as winged dragons. From the right, Zephyr, the god of the winds, is forcefully pushing his way in, in pursuit of the nymph Chloris. Next to her walks Flora, the goddess of spring, who is scattering flowers.

(See http://www.abm-enterprises.net/artgall1/botticelli-primavera.jpg for some great detail.)

http://ci.nii.ac.jp/naid/110000169386/en/ (formally: http://www.nii.ac.jp/kiyo-portal/sokuho/articles/ncid/AN00063303/20001225_42.html):

( Agape and Irene : an Interpretation about the wall painting of Refrigerium scenes in the SS.Pietro e Marcellino catacomb at Rome )

http://dlibrary.acu.edu.au/staffhome/dacasey/Fractio%20Panis.htm (also http://www.womanpriest.org/theology/casey_02.htm), The “Fractio Panis” and the Eucharist as Eschatological Banquet:

The argument is then made that these scenes are in fact memorial meals or refrigeria. [fig. 4, 4a]

(http://dlibrary.acu.edu.au/staffhome/dacasey/Fractio%20Panis/8.jpg):

[fig. 4a]

And so the clear Roman elements of say these banquet scenes from the first half of the third century are used to interpret others. [figs. 5 & 6]

http://www.1911encyclopedia.org/Agape, The Encyclopædia Britannica, 1911, “AGAPE”:

The history of the agape coincides, until the end of the 2nd century, with that of the eucharist, and it is doubtful whether the following detailed account of the agape given in Tertullian's Apology (c. 39) is to be regarded as exclusive of an accompanying eucharist: "It is the banquet (triclinium) alone of the Christians that is criticised. Our supper (coena) shows its character by its name. It is called by a word which in Greek signifies love (i.e. agape). Whatever it costs, it is anyhow a clear gain that it is incurred on the score of piety, seeing that we succour the poorest by such entertainments (refrigerio).

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See my webpage: Council of Laodicea under EARLY CHRISTIAN SEX ORGIES for more corresponding Christian information on this subject.

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