Horned Moses in the context of "Aquila of Sinope"

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⭐ Core Definition: Horned Moses

The Horns of Moses are an iconographic convention common in Latin Christianity whereby Moses was presented as having two horns on his head, later replaced by rays of light. The idea comes from a translation, or mis-translation, of a Hebrew term in Jerome's Latin Vulgate Bible, and many later vernacular translations dependent on that. Moses is said to be "horned", or radiant, or glorified, after he sees God who presents him with the tablets of the law in the Book of Exodus.

The use of the term "horned" to describe Moses in fact predates Jerome, and can be traced to the Greek Jewish scholar Aquila of Sinope (fl. 130), whose Greek translations were well known to Jerome. The Hebrew qāran may reflect an allegorical concept of "glorified", or rings of light. Horns tend to have positive associations in the Old Testament, and in ancient Middle Eastern culture more widely, but are associated with negative forces in the Book of Revelation in the New Testament. These considerations may have influenced the translators in their choices, for Aquila as a positive, or for Jerome, as a negative.

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Horned Moses in the context of Moses (Michelangelo)

Moses (Italian: Mosè [moˈzɛ]; c. 1513–1515) is a sculpture by the Italian High Renaissance artist Michelangelo, housed in the Basilica of San Pietro in Vincoli in Rome. Commissioned in 1505 by Pope Julius II for his tomb, it depicts the biblical figure Moses with horns on his head, based on a description in chapter 34 of Exodus in the Vulgate, the Latin translation of the Bible used at that time. Some scholars believe the use of horns may often hold an antisemitic implication, while others hold that it is simply a convention based on the translation error.

Sigmund Freud's interpretations of the statue from 1916 are particularly well-known. Some interpretations of the sculpture including Freud note a demotic force, but also as a beautiful figure, with an emotional intensity as God's word is revealed. The delicacy of some of the features such as Moses' flowing hair are seen as a remarkable technical achievement, but Freud argues that Michelangelo goes beyond mere skills to provoke curiosity in the viewer, asking why Moses plays with his hair, and why he is presented with horns and flowing hair.

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