Book Reviews

I first came across the Alexamenos graffito back in Bible college in the early 2000s. It was one of those “fun facts” that gets dropped into a church history lecture and sticks with you — the ancient Roman equivalent of someone spray-painting an insult on a wall. I filed it away, thought it was fascinating, and largely forgot about it for two decades. Then, recently, I discovered something about it I had never known. There’s a response to it. Scratched in a different room, in a different hand. So I started digging into this more to verify the information and discovered more historical curiosities surrounding the graffiti than I ever knew existed which contextualises the image so much more than it just being a random insult using a donkey. A Crude Drawing on a Wall Sometime around the late second to early third century AD, someone scratched a picture into the plaster wall of a building on the Palatine Hill in Rome — part of what had once been a paedagogium, a kind of boarding school for imperial page boys. The building was eventually sealed off when the street was walled up to support extensions above it, which is why the graffiti survived at all. It wasn’t rediscovered until 1857. The image is rough, almost childlike. To the left, a young man — clearly a Roman soldier or guard — raises one hand in a gesture of worship. Before him is a cross. And on that cross is a crucified figure with the head of a donkey. Below it, written in Greek: Alexamenos worships his god. It is, in the most literal sense, a mocking cartoon. Someone who knew a Christian named Alexamenos decided to ridicule him for his faith. The message is clear enough: your god is an animal, a criminal, a joke. You’re worshipping a crucified fool. But here’s the thing I discovered: the donkey head wasn’t as random as I always thought it was. It wasn’t some strange personal insult conjured from nowhere. Without knowing the background, it looks bizarre, and possibly random. Why a donkey? Once you understand the cultural context, though, it makes complete sense. The person who drew it was reaching for a well-worn, widely recognised slur — the ancient equivalent of an internet meme that any Roman would have immediately understood. Where the Donkey Slur Came From The story starts not with Christians but with Jews. A first-century Egyptian-Greek writer named Apion (who was no friend of Judaism) spread the claim that inside the Jerusalem Temple, Jews kept a golden donkey’s head as a sacred object of worship which was apparently discovered when Antiochus Epiphanes destroyed the temple in 167 BC. It was a fabrication, and a fairly outrageous one, but it circulated widely enough that the Jewish historian Josephus felt compelled to write an entire refutation of it. His work Against Apion systematically dismantles Apion’s claims, calling the donkey story a shameless invention. But mud sticks, and in the Roman world, where anti-Jewish sentiment was common currency, the slur took on a life of its own. When Christianity began to spread — seen by most Romans as simply a strange Jewish offshoot — the same accusation got recycled and redirected. By the second and third centuries, it was Christians specifically who were being accused of donkey-worship, and the charge had made its way into popular culture. Tertullian, writing around 197–200 AD in his Ad Nationes, Book I.14 and Apology, describes a caricature being paraded around the streets of Carthage: a figure dressed in a toga, one foot holding a book, with donkey’s ears and hooves. It was labelled Onokoitēs by the pagans: “the donkey-begotten” (or literally “he who lies in an ass’s manger” as an insult to Christ). Tertullian writes about it with weary exasperation, sarcasm, and the tone of someone tired of having to address the same ridiculous smear again and again. So the Alexamenos graffito wasn’t an original insult. It was someone deployin...