Year: 2024
Type: article
Abstract: The recent discovery of a painting depicting a hooded young man in the “House of the Painters at Work” in Pompeii necessitates a numismatic analysis to clarify the identity of the character. Francesca Ghedini initially identified the child as Telesphorus, but her interpretation is influenced by modern culture rather than ancient thought. The scientific debate on Telesphorus suggests his cult originated in Pergamum, linked to the Galatians in Anatolia. However, this hypothesis is flawed as the Genii Cucullati are Celtic protective spirits, not related to Telesphorus, who symbolizes recovery from illness and prosperity. The Pompeii painting emphasizes Telesphorus’ role as a bringer of prosperity, surrounded by fruits. The analysis of coinage featuring Telesphorus shows the spread and chronology of his depiction, starting from Pergamum with bronze coins featuring Athena and Telesphorus. Coins from various periods and regions including Hadrian, Marcus Aurelius, and Caracalla, depict Telesphorus in different forms, often alongside Asclepius and Hygieia. The study reveals that the image of Telesphorus became prominent during the Antonine age and peaked under Caracalla, who sought relief from his ailments and guilt. Telesphorus is consistently depicted as a child, refuting the erroneous linkage to the hooded Celtic spirits. The coinage spans regions such as Mysia, Aeolis, Phrygia, and others, underscoring the cult’s diffusion from Pergamum across a culturally homogeneous area between Europe and Asia.
Source: THE UKRAINIAN NUMISMATIC ANNUAL
Author: Daniele Castrizio
Institution: University of Messina
Language: English
Topic: Classical Antiquity Studies
Subfield: Anthropology
Field: Social Sciences
Domain: Social Sciences
Open Access status: diamond
OpenAlex ID: W4406059799