The Good and Evil Serpent (26 page)

After 135/36 there were healing pools (not mikvaoth or baths) in the northeast section of the excavated area. The small pools also had vaulted ceilings that were most likely used for incubation and the dreams that Asclepius was alleged to have given to his devotees who needed healing. Although the excavations at Bethesda were from 1882 to 1964, with long periods of interruptions, I have been told by those involved in preparing future excavations that no reports have been published. I shall thus turn to some realia that indicate Bethesda had an Asklepieion.

Six realia found at Bethesda are important for understanding ophidian symbolism related to the Asklepieion.
²⁸⁷
First, a piece of marble contains the remains of a serpent in relief (catalogue M.S.A. 3). The fragment is 13.7 centimeters at the base, 11.1 centimeters high, and 4.1 centimeters thick. It was found west of the Byzantine Church in a channel that connects the north and south pools.
²⁸⁸
At the left are remains of two columns. To the right of them is a serpent; it is in high relief extending above the marble as much as 1.5 centimeters. The serpent is raised and curled, perhaps to indicate power and the dynamism of life. The serpent’s scales are denoted by scale-like carvings.

Second, a lamp was recovered near the Asklepieion (PB0613). In the center of the lamp is shown an enthroned Asclepius with his right hand on the head of a dog. The left side of the lamp is worn away, but one can see what appears to be a raised left hand that may have held a staff. If a serpent was once depicted on the staff, there is no longer a trace of it. This object may also be a votive offering.

Third, a marble fragment was found northeast of the Church of Saint Anne (M.S.A. 4). It is an ex-voto offering that is 14.7 centimeters wide, 13 centimeters high, and 4.7 centimeters thick. The marble shows that the carving was ornate and under the influence of the Hellenistic style. A seashell is shown below a triangular carving. Of special importance are the remains of a sheaf of wheat (perhaps) that may have been carved to celebrate harvest or spring. Kore or Persephone both come to mind. The object dates from the Roman Period, but cannot be dated precisely until we know the date of the stratum in which it was recovered.

Fourth, another ex-voto object was discovered; it is also related to the Asklepieion. The marble fragment is 10 centimeters long, 5.4 centimeters wide, and 4.8 centimeters high. The artist expertly depicted a foot with five toes within a sandal with straps. The object is clearly Roman, but its exact date is unknown. Perhaps someone left this object to thank Asclepius for healing his foot.

Fifth, a second ex-voto foot was recovered near or within the Asklepieion (M.S.A. 7). The marble is 13.3 centimeters high, 14.5 centimeters wide, and the left side is broken diagonally. These ex-voto feet seem to indicate that a devotee wanted to thank the god for healing his feet.

Sixth, a piece of marble was discovered not far from the Asklepieion (M.S.A. 5). It is 13.2 centimeters high, 11.7 centimeters wide, and 4.0 to 1.6 centimeters thick from top to bottom. The object seems to depict a nude woman. Her hair is pulled back in a bun, as she prepares for her time in a healing bath. She may be moving her right hand to remove her garment before entering the healing bath. Taking off clothes was a ritual that could symbolize the removal of impurities. The healing baths are shaped like an “L” so that one inside removing clothes would not been seen by others outside waiting their turn. Above her to the right is shown a hand descending. As in so many other ancient works of art, the hand symbolizes the presence of a god. There is no reason to suggest any god but Asclepius.

We now may introduce a magnificent example of ophidian iconography that was found over one hundred years ago by C. Clermont-Ganneau. He announced the discovery, which he called the “Vase of Bethzatha,” in a letter dated May 31, 1874.
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The object was found during excavations of caves beneath the
via dolorosa
and north of the Temple Mount.
²⁹⁰
Most likely the vase was discarded in a refuse dump along with other unwanted items.
²⁹¹
The terra-cotta vase was found in pieces, but it was “so nearly complete” that it was “possible to reconstruct it by gumming the pieces together.”
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The pottery is gray and 36 centimeters high. It sits on a low foot. The maximum circumference is 1 meter. Here are selections from Clermont-Ganneau’s description (italics are mine):

It is ornamented by two handles, each formed of a double tress elegantly twisted. On the upper part of each handle is cut a small rectangular cavity, towards which
two large serpents
appear to be turning as if to drink. They are in relief, symmetrically disposed, and climbing along the sides of the vessel; their tails are lost in the base of the handles. Immediately below each handle is sculptured in relief a Gorgon’s head.
     Further, close to either handle is twice impressed a kind of small medallion, representing a male figure, nude, upright, the left arm raised and leaning on a long lance or thyrsus; the right arm extended and pointed to the ground. The right hand appears to hold an indistinct object over another also indistinct placed upon the ground.
     The external moldings of this little figure, of which I shall speak presently, are repeated six times on one vase.
     At nearly equal distances from the two handles, and on each side of the vase, is repeated twice a second molded medallion of larger dimensions, representing a nude Mercury, whose body is seen in full, the head turned to the left. He has the petasus, and has his tunic tied across the breast and thrown behind him; he holds the
caduceus
in his left hand, and raises with his right an object which seems to be a purse—the frequent attribute of the Hermes of antiquity.
     In the circle which surrounds him are four objects, which appear to be meant for fir-cones.
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The medallion is encircled by a small border, formed by means of a molded repetition of six points arranged in a circle round a seventh central point. This ornament is reproduced in profusion on the rest of the vase. …
     I must lastly mention, in concluding this segment of the vase, a large leaf, with its branches in high relief, stamped beside one of
the serpents
. …
     This great vase, so rich in ornamentation, is nevertheless executed with a certain amount of negligence. Its form is elegant, but it wants symmetry and is not perpendicular; the handles are put on awkwardly; and the details of the moldings show carelessness. All round it may be seen the marks of the fingers which repaired the accidents produced in removing the mould. The arrangement of the figures and the symbols seems done by chance and without rigorous method. Nevertheless, such as it is, this vessel, with all its imperfections, is most remarkable from an artistic point of view.
     The profuseness in detail and the carelessness in execution, lead me to think that it is a kind of specimen, the essay of some artist wishing to make a model, which he might subsequently reproduce with greater care, perhaps in metal.
²⁹⁴

Two other ceramic fragments were found near this vase. They seem to have been made in the same workshop as the Vase of Bethzatha. A Gorgon mask was detected and a “little male figure leaning on a spear” that was “probably obtained from the same mould.”
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There is no reason to doubt that these objects and the vase indicate a local workshop.

Given what we now know about the wealth and grandeur of Jerusalem before 70
CE
, it seems that the “Bethzatha Vase” may antedate 70. It dates from sometime between 63
CE
and 325
CE
; it is surely closer to the earlier date than the latter. It was conceivably made long before 135/36
CE
when Jerusalem became Aelia Capitolina. Clermont-Ganneau was convinced that it belonged to Aelia Capitolina.
²⁹⁶
The object has never received a proper publication and scholarly assessment.
²⁹⁷
In fact, most scholars do not know about this object, the “Bethzatha Vase,” that is now stored in London at the Palestine Exploration Fund building.
²⁹⁸

The serpents on this vase face each other at the top of the rim, just above where the handle joins the body of the vase. The heads are rounded and triangular; thus, they are reminiscent of vipers or cobras. Two small circles indicate the eyes and the skin is depicted by tiny indentations and linear strokes. Each serpent seems to have four curves, perhaps to symbolize its dynamism and elusiveness. Clermont-Ganneau thought that “the four serpents which are proceeding to drink … the drops which have escaped from the
simpulum
,
²⁹⁹
appear to represent the
genii loci
, and remind me of the serpentine form of the ‘AyaBoSdiLKov, to which in so many ancient monuments libations are offered.”
³⁰⁰
It is not clear that the serpents are about to drink. They are also headed to the rim of the vase and may have signified the powers that protect the contents of vessels.

The idea that serpents on vessels indicate that they are seeking water was articulated not only by Clermont-Ganneau, but also by Kenyon and Joines. It is possible that the “water” was a symbol of votive offering for the serpent. The importance of water in the Asclepian cult is clarified by Festus, who wrote that a temple was built on an island in the Tiber by Rome for Asclepius “because sick people are aided by physicians particularly through water
[a medicis aqua maxime sustententur].”
³⁰¹

I am persuaded, however, that the primary symbolic meaning of the ophidian iconography is protection. Indeed, one should continue reading Festus, who states in the next sentence that “the serpent is the guardian of this temple because it is a most vigilant beast and this faculty is especially appropriate in safeguarding the health of invalids.” Note, furthermore, that in antiquity in the Levant and in Greece and Rome the serpent, often as a dragon, symbolizes the one who guards the water that comes out of the earth or the treasure that the human desires. This is clear from abundant sources, for example, from the story in the
Hymn of the Pearl
in which a large serpent guards the pearl, from a quotation by Artemidorus (“The serpent … lies on guard over treasures”),
³⁰²
and from another statement by Festus (“serpents … lying near treasures to guard
[thesauris custodiae]
them”).
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It is enlightening to read that E. J. Edelstein and L. Edelstein concluded their authoritative and thorough study of the Asclepian cult with the following words:

Figure 44
. Bethzatha Vase with Many Serpents. Bethzatha Asklepieion. Jerusalem. Early Roman Period. Courtesy of Dr. R. L. Chapman III and the Palestine Exploration Fund. AP 4149. JHC

To determine the meaning of the serpent in connection with Asclepius is very difficult. That the snake indicated the rejuvenation which the god perfected, or his shrewdness, or his medical knowledge cannot be denied entirely. But it seems more plausible that the animal symbolized the mildness and goodness of Asclepius, his guardianship over men.
³⁰⁴

Thus, the serpents were placed on the vase probably not to indicate that they needed a drink of water or were seeking water. They were placed there—I am persuaded—to symbolize their protection of the liquid that is vital for human life. The vessel, moreover, may have contained wine. The serpents would thus protect it from turning bad.

Clermont-Ganneau stated that his letter would be accompanied by “two photographs.”
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No photographs appear in the publication of his announcement of this monumental discovery, but see the photography supplied in my illustrations.

It is conceivable that the object was associated with the Asclepian cult that was located just east of where it was discovered—that is, inside Stephen’s Gate to the north and where the author of the Gospel of John places the five-porticoed Bethzatha or Bethesda (Jn 5:1–2). There is abundant evidence that Bethzatha was a popular site for healing in the Roman Period.
³⁰⁶
An Asclepian cult, not necessarily an Asklepieion with sleeping quarters, may have been located at the pools of Bethzatha.