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to Orpheus and he was not imagined as a
king; in some later illuminations a haloed
David appears.
The decorated cubic throne is different
from the usual rock or natural object
that Orpheus sits on; the Edessa square
box-like rock seat is slightly comparable
(Jesnick 1997: 141, No.71, fig. 115). The
scene is in an open landscape, different
from the usual Orpheus environment.
The animals associated with David are
unlike those of Orpheus: the giraffe is a
unique representation not found usually
on other Orpheus-type scenes; the lioness
is rendered in a unusual stance as if
wholly engrossed in the music.
The combination of the crown and the throne,
the two imperial emblems, impart to the figure of
David in Gaza a regal character, which is contradictory
to the nature of Orpheus generally depcited,
particularly his playing before the beasts.
A comparable scene to the David of Gaza is
the image of Adam in Paradise surrounded by
animals found on the mosaic pavement of the
North church (The ‘Michaelion’) of Haouarte
(dated to 486/7 or 501/2: Donceel Voûte 1988:
104, 112-114, 480, 487, fig. 71; pl. h.-t.5). Only
the upper part of the nave mosaic has survived.
It shows the scene of Adam giving names to the
animals in Paradise (Gen 2: 19-20). The figure of
Adam, inscribed ΑΔΑΜ, is seated on a throne,
his right hand in a blessing gesture. He is flanked
by a pair of trees with coiled snakes facing him
and two birds. To his left is a phoenix with radiated
head (in Christian art this became the symbold
for eternity) and a plant and an eagle are
close to the throne. To his right are a mongoose,
a large griffon, and a lion, more birds and another
animal. The phoenix and the griffon are unusual
figures in such scenes.
The scene recalls similar Orpheus depictions,
especially the snake curled around trees, but a
griffon and the phoenix appear elsewhere only
once: on the mosaic of Piazza Armerina (Jesnick
1997: 84, 90). The similarity of the figure of Adam
to the image of David of Gaza is notable in their
dress, the throne, and the choice in animals—the
lion and the snake. The later proposed date for
the Haouarte mosaic is also quite close to the date
inscribed on the Gaza mosaic.
Barash, in his comprehensive article (1980)
proposes that the David of Gaza is a combination
chapter four
of two different styles and two different iconographic
themes: the royal David, and Orpheus
charming the beasts. Complete harmony of style
has not been achieved in this allegorical combination,
probably because it had no earlier
model on which to draw. Its uniqueness suggests
it was the artist’s own invention. The crown and
throne, unknown in renditions of Orpheus, are
emphasized as ceremonial motifs expressing royal
images. All these details present the iconography
of David on the Gaza mosaic as a unique work
of art.
The artist evidently intended to render the
figure on the Gaza synagogue mosaic as King
David, as the inscription of his name proves,
though at the same time it evokes the image of
Orpheus, both being portrayed as musicians playing
and charming the animals. The two images
had much in common: they both affected semidivine
status carrying a promise of redemption
and eternal life, and David also induces Messianic
hopes. They were divine singers/players
who could charm animals and tame fierce powers
(Barash 1980: 3, 15-17; Jesnick 1997: 43). King
David’s image was clearly partly based on a familiar
type of Orpheus portrayal.
The Gaza synagogue depiction represents King
David, evoking the image of Orpheus, charming
wild beasts. The pagan world saw Orpheus as a
symbol of heavenly peace, whereas Early Christian
art depicted Orpheus as symbolizing Jesus,
the good shepherd.
David-Orpheus, Dura Europos Wall Painting
An earlier representation of King David as Orpheus
appears in the wall paintings of the Dura
Europos synagogue (Kraeling 1979: 224-5;
Hachlili 1998: 110, 247-249, figs. III-9, V-7,
pl. III- 4). On the upper part of the lower central
panel (reredos) a figure is seated on a throne in
the upper left corner. He wears a royal costume
of an ornamented long-sleeved tunic, and trousers,
white boots, a Phrygian cap, and a chlamys
over his left shoulder. In his left hand he holds a
lyre, which he strums with his right (fig. IV-13);
vestiges of the throne can be seen beside his right
shoulder; a large yellow eagle perches on the rail
of the throne (?). The figure seems to be playing
to a lion (preserved from the first stage), a possible
eagle, a monkey (?), and, a bird and is similar to
depictions of Orpheus.
Kraeling (1979: 224-5, and most scholars)
identifies the figure as King David dressed as a