When we deal with religious phenomena, we are not always fortunate enough to find explanatory texts. That is particularly true of the mystery religions and thus should be expected when we look at the materials concerning Isis, Sarapis and Demeter at Antioch of Syria. But in this instance we are faced with special problems. First, the texts are so meager that we are forced to turn to the artifacts in order to grasp at all the influence of these religions within the third largest city of the ancient world. Second, and more important, the effort to collate all the artifacts is at present impossible. The reports of the excavations in Antioch from 1932–39 were only published in a shortened preliminary form. For that we must be thankful, but it does mean that exact locations and dates of certain finds are quite difficult to obtain. Furthermore, the collections of materials primarily are divided between the McCormick Art Museum at Princeton University, the Louvre in Paris, and the local museum in Antakya, Turkey. Separate pieces, however, are scattered over the world. The materials at Princeton and Paris are accessible, but those at Antakya are limited in most instances to the ones on display. The major difficulty in retrieving the excavated materials comes not from bureaucratic obstinacy in Turkey. I received significant assistance from both Selhattin Asim, cultural director of the Hatay region, and Nizamettin Bati, director of the museum, during two visits to Antakya in 1976 and 1977. The major problem lies in the fact that the serial numbers recorded in Antakya bear no resemblance to those published in the preliminary reports. Literally hundreds of artifacts are housed in the Antakya museum which have not been studied in any thorough way. If this serial number conundrum could be broken, much more light could be shed on conditions in Antioch. For now, only preliminary studies of available pieces can be offered. Within such studies, arguments from silence are quite questionable. The task in this article is to discuss the texts and artifacts known to me in order to correct some inaccuracies of interpretation and to add color to the picture of Hellenistic religion in Antioch of Syria.
Hypocrisy in The Man in Black: A Critical Analysis
