The Orpheus funerary mosaic from Jerusalem in the Archaeological Museum at Istanbul

The Late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, respectively 4 m2 and 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by L.H. Vincent. The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context. He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos, Chiron [Chi-Rho] and Pan [Παν(τοκράτωρ)]. The frequently used Christian funerary formula of resting in peace, with Christ or the Lord, corresponds perfectly with the mood created around the mythical bard. Orpheus’ universal role as singer and musician, moving even the hardest of hearts and extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect he does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem. (Author's abstract.)