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iblical narrative themes and images: representation, origin, and meaning 79
Figure IV-15. David with Goliath’s weapons, pavement at
Meroth Synagogue.
ינמ ןועמש רב ןדוי ‘Yudan Son of Shimeon Mani’,
which may refer to a donor (Naveh 1989: 305) or
may be the artist’s signature or the name of the
figure itself (Ilan and Damati 1985: 54-55).
Most likely David is represented, surrounded
by the weapons taken from Goliath after his victory
(as suggested by the late Prof. Yadin and followed
by the excavators Ilan and Damati 1985:
55 and note 12; Talgam 1987: 149-151). David
removing Goliath’s armour is recorded in Jewish
legends (Ginzberg 1947, IV: 88). The posture of
the figure at Meroth is similar to that of King
David depicted in the Gaza-Maiumas mosaic,
including the set of the right hand and a small
part of the left hand which has survived (pl. IV.3).
This sitting posture of the figure suggests that he
was playing a lyre or cithara, which originally
the figure might have clasped (pl. IV.6); but see
Talgam (1987: 151), who argues that the space
next to the figure is too small to accommodate a
lyre and suggests the possibility of a palm branch
held by the figure to symbolize victory in a fashion
similar to other Hellenistic-Roman depictions.
Several renditions of David show him with similar
attire and with some of the weapons: on a silver
bowl from Cypros (Kitzinger 1977: figs. 195, 197)
David and Goliath are depicted with a shield similar
to the shield at Meroth.
The figure at Meroth probably represents
David in a description scheme combining the
customary portrayal of the Orpheus posture, sitting
and holding a cithara, with the addition of
the seized weapons surrounding David to signify
his victory over his enemy. David’s defeat of Goliath
could possibly represent hope of redemption
and victory over the enemies of Israel (Naveh
1989: 305).
The most likely interpretation for the Meroth
figure is that it represents David, primarily since
depictions on synagogue mosaic pavements show
biblical or mythological personalities, whereas
local individuals have not yet been found portrayed
on a synagogue mosaic.
Daniel in the Lions’ Den
Daniel in the Lions’ Den (Daniel 6, 15-24) is a
fairly popular theme in Jewish and especially early
Christian art. Daniel, like Orpheus, exercised
magical power by which he charmed the lions
(Mathews 1993: 77-78). The scene appears on
the mosaic pavements of the Na#aran and Susiya
synagogues. The illustration is apparently based
on the biblical narrative:
Then the king gave the order for Daniel to be
brought, and thrown into the lion-pit. But he
said to Daniel: ‘Your God whom you serve at
all times, may save you’. A stone was brought,
and put over the mouth of the pit, and the king
sealed it with his signet, and with the signets of
his nobles so that no attempt could be made to
rescue Daniel. The king went to his palace, and
spent the night fasting; no woman was brought
to him and sleep eluded him. He was greatly
agitated and at the first light of dawn, he rose
and went to the lion-pit. When he came near
he called anxiously, ‘Daniel, servant of the living
God, has your God whom you serve continually,
been able to save you from the lions?’ Daniel
answered ‘Long live the King! My God sent his
angel to shut the lions’ mouths, and they have not
injured me; he judged me innocent and moreover
I had done your majesty no injury’. The king was
overjoyed and gave orders that Daniel should be
taken out of the pit. When this was done no trace
of injury was found on him, because he had put
his faith in his God. (Dan. 6: 16-24)
The 6th-century Na#aran synagogue hall mosaic
pavement is decorated with the Daniel scene depicted
within the Torah shrine panel on its lower