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104 Portrayals of the walled cities of Alexandria and Memphis appear on mosaics of the churches of St. John the Baptist and St. Peter and Paul in Gerasa (Kraeling 1938: 241-244; Biebel 1938: 341-351, pls. 67b, 69a, 75a; Avi-Yonah 1972: 119, pls. 21-23; Alföldi-Rosenbaum & Ward-Perkins 1980: 49; Duval 1986; Piccirillo 1986: 213, see also 220; Piccirillo 1993: 34, figs. 535, 556). The formula of the walled city in these mosaics is much richer in detail. The development is described by Biebel (1938: 342-349), who maintains that they are based on a landscape tradition and were introduced to the pavement to add to the beauty of the mosaic floors. The church of St. John at Khirbat al-Samra likewise has Alexandria and Memphis, preserved on the mosaic floor with some lotus flowers (Piccirillo 1993: 34, fig. 592). Cities are also represented on Jordanian mosaic floors of the 7th -8th centuries in Ma‘in, and on the border mosaic of the nave in the church of St. Stephen at Umm al-Rasas, where the cities are accompanied by boats, fishes, and plants (Piccirillo 1993: 35-37, figs. 345, 358). The motif of the walled city shows its evolution in the mosaics of Jordan were it appears on floors from the 6th to the 8th century Piccirillo further suggests that the city representations followed a formula borrowed from the Classical tradition. However, cities characterized by their landmarks might have been in pattern books from which these motifs were copied. The Crocodile and Animal Combat The crocodile and the hippopotamus are the two most characteristic animals of Egypt and they appear frequently in the Nilotic scenes (pl. V.6a,b). The hippopotamus is the animal evidently connected with the personification of the river (Meyboom 1995: 255-6, note 114). In Egypt the crocodile could be perceived as the sacred animal at the temples in the cult of a crocodile god, but its religious aspects is not reflected in the Nilotic scenes. Animal combat consists of a crocodile trying to devour a buffalo. 5 At Beth She"an a buffalo seized by a crocodile (a tiger? a lion?) is shown. Another suggestion is a lion trying to devour a bull (Hamarneh 1999: 186). At Haditha a naked 5 The earliest representation of the combat scene is in a painting from Herculanum (Alföldi-Rosenbaum & Ward-Perkins 1980: 46, Pl. 86,2). chapter five man waving a stick is shown beside an animal (destroyed—probably a crocodile) trying to seize a steer, which the herdsman is trying to save (pl. V.6c,d). Comparable scenes of combat are portrayed on 6th-century Cyrenaic church mosaics: the one in the southeast chapel of the Cathedral of Qasr el-Lebia shows on the right a boat with two men fishing and bird-catching; characteristic plants fill the space (Alföldi-Rosenbaum & Ward-Perkins 1980: 46, pls. 56-57, 85,1). The scene on the left of the panel is a crocodile attacking a cow, with a cowman grasping the cow’s tail in an attempt to save the animal. A similar scene (with two cowmen) is depicted on the 2nd-century Roman North African El-Alia mosaic (Foucher 1965: figs. 4, 9). The north aisle of the Cyrene cathedral depicts the combat of the cow and crocodile (Alföldi-Rosenbaum & Ward-Perkins 1980: 45, pl. 84,2). The south-east chapel of the cathedral depicts the combat of the cow and crocodile, with a cowman present (Alföldi-Rosenbaum & Ward-Perkins 1980: 45, pls. 64, 85,2). However, the crocodile in these Cyrenaican mosaics is portrayed differently from the Sepphoris examples; it has long legs, a small head with snapping jaws, and its upper hide is depicted like a tortoise-shell (Whitehouse 1979: 28). The scene of a crocodile trying to devour a cow or a donkey is suggested to derive from a motif by the painter Nealkes, described by pliny (N.H. 36,142) (Alföldi-Rosenbaum and Ward-Perkins 1980: 46; Meyboom 1995: 100, notes 18,19 on pp. 371-72). Nonetheless, the scene is clearly a reflection of the real hazard to life along the Nile in Egypt. Such a representation also identifies it as a Nilotic scene (Whitehouse 1979: 32; Meyboom 1995: 371, n. 19). Other episodes portray a crocodile in various activities. In the House of Dionysos at Sepphoris, a youth (hunter?) holding a stone seems to be in the process of throwing it at the crocodile, rendered with its mouth open (pl. V.6b); another youth holds a shield, and a spear which he aims at a heron (Netzer and Weiss 1994: 37; Talgam and Weiss 2004: 87-88). A crocodile attacking a fish appears in the left part of the flowing Nile on the Sepphoris Nile Festival mosaic (pl. V.6a). The somewhat similar crocodile in both mosaics is portrayed, unrealistically and schematically, with a long tail, a dog-like head with long ears, a large eye, and small legs.

The depiction of a putto riding a crocodile, and another crocodile with a fish in its mouth, appears in the Nilotic scene on the border mosaic at Sarrîn (Balty 1990: pl. XXXII, 2, general plan). A crocodile is depicted in the waves of the river in the Nilotic scene at the nave mosaic of Zay al- Gharby (Piccirillo 1993: 324, fig 677). A crocodile is portrayed on the bottom of the Nilotic mosaic panel, and another is on the mosaic border of the late 5th- or early 6th-century mosaic at Jiyé (Ortali-Tarazi and Waliszewski 2000: fig. 3). A crocodile with a duck standing on its back appears on the nave mosaic pavement of the East Church at Qasr-el-Lebia, and is considered part of Nilotic repertoire (Alföldi-Rosenbaum & Ward-Perkins 1980: 124-126, Fig.10, panel D5; Maguire 1987: 45). For the Romans the crocodile seems to have been symbolic of Egypt, and it is often portrayed so as to highlight the animal’s savage nature. 6 For the Christians of the Justinian age the crocodile possibly came symbolize the powers of evil (Alföldi- Rosenbaum 1975: 152; Alföldi-Rosenbaum & Ward-Perkins 1980: 51). Sailing Boats A sailing boat is portrayed at Beth She"an and Haditha (pl. V.7). On the Beth She"an mosaic the boat, with a small sail, is laden with three wine vessels, and a man standing close to the mast holds the sail’s rope. The boat at Haditha is loaded with wine-jars, and two naked figures (putti, pygmies?) are seated in it, one holding the oars. Similar to the Haditha boat is the sailing boat with two figures, one a fisherman holding a fishhook with a caught fish (pl. VII.20a), portrayed in a round medallion on the mosaic of the north aisle at Beth Loya (Patrich and Tsafrir 1993: 269, pl. XIXb). The boat and figures fishing are frequently portrayed as part of a Nilotic scene (Alföldi-Rosenbaum & Ward-Perkins 1980: 46). Often the boat’s prow has a bird or animal head on it (see Friedman 1999 for ships on mosaics). Two sailboats, one with two figures, destroyed, are depicted in the Nile’s waves on the nave mosaic of Zay al-Gharby (Piccirillo 1993: 324, figs. 660, 676). Ships with fishing putti, naked, with caps on their 6 For Whitehouse 1979: 26-30, the animal’s appearances suggests a pttern book or zoological illustrations rather than observation from nature; on the ritual killing of crocodile iconographic elements of nilotic scenes 105 heads, appear in the Nilotic scenes on the border of the 8th-century church mosaic of St. Stephen at Umm Al-Rasas (Piccirillo 1993: figs. 345, 358). A similar boat with a sail and three wine jars is rendered on the mosaic pavement of the Byzantine church in Sorân in Syria (Donceel-Voûte 1988: figs. 295, 297,298). A boat with two rowing figures is portrayed on the mosaic panel at Jiyé (Ortali-Tarazi and Waliszewski 2000: fig. 3). The boat carrying wine in the mosaic portrayals may reflect two traditions, one of Egypt as a wine producing area and the other of the Nile as a kind of highway, the river being Egypt’s main transport route (Whitehouse 1979: 50-52). Versluys (2002: 280) surmises that the boat was perhaps filled with offerings to the River Nile, made at the peak of the flood. Water Plants, Fishes, and Birds Nilotic water plants such as lotus, papyrus, and oleander fill the space in a similar manner in all the pavements and represent and distinguish the Nilotic landscape (pl. V.8). The lotus is featured with an erect stem, circular bell-like leaves, and cup-like flowers, and is the most distinctive plant in these scenes; it appears not as the Egyptian lotus but as the sacred lotus of Buddhism, introduced into Egypt from India probably during the Persian period (Whitehouse 1979: 9-22). The lotuses depicted at Tabgha (fig. V-2) have shapes different from the actual plants, and may be confused with papyrus plants. They probably derive, though not directly, from illustrated botanical manuscripts (Schneider 1937: 59-60; Whitehouse 1979: 20-21). The oleander appears in Sepphoris and Tabgha similarly (figs. V-2, pl. V.3). At Sepphoris the lotus is in the main stream, seemingly to symbolize the Nile, while the oleander is scattered all over the mosaic and might represent the river valley and banks. Fishes A number of fishes are depicted swimming in the Nile streams on the Haditha and Sepphoris pavements (pls. V.2,3,8). In the House of Leontis at Beth She"an (pl. V-1) one fish swims in the Nile stream in the lower left corner. Fishes are and hippopotamus see Meyboom (1995: 325-6, notes 169, 170).

The depiction of a putto riding a crocodile, and<br />

another crocodile with a fish in its mouth, appears<br />

in the Nilotic scene on the border mosaic at Sarrîn<br />

(Balty 1990: pl. XXXII, 2, general plan).<br />

A crocodile is depicted in the waves of the river<br />

in the Nilotic scene at the nave mosaic of Zay al-<br />

Gharby (Piccirillo 1993: 324, fig 677). A crocodile<br />

is portrayed on the bottom of the Nilotic mosaic<br />

panel, and another is on the mosaic border of<br />

the late 5th- or early 6th-century mosaic at Jiyé<br />

(Ortali-Tarazi and Waliszewski 2000: fig. 3). A<br />

crocodile with a duck standing on its back appears<br />

on the nave mosaic pavement of the East Church<br />

at Qasr-el-Lebia, and is considered part of Nilotic<br />

repertoire (Alföldi-Rosenbaum & Ward-Perkins<br />

1980: 124-126, Fig.10, panel D5; Maguire 1987:<br />

45).<br />

For the Romans the crocodile seems to have<br />

been symbolic of Egypt, and it is often portrayed<br />

so as to highlight the animal’s savage nature. 6<br />

For the Christians of the Justinian age the crocodile<br />

possibly came symbolize the powers of evil<br />

(Alföldi- Rosenbaum 1975: 152; Alföldi-Rosenbaum<br />

& Ward-Perkins 1980: 51).<br />

Sailing Boats<br />

A sailing boat is portrayed at Beth She"an and<br />

Haditha (pl. V.7). On the Beth She"an mosaic<br />

the boat, with a small sail, is laden with three<br />

wine vessels, and a man standing close to the<br />

mast holds the sail’s rope. The boat at Haditha<br />

is loaded with wine-jars, and two naked figures<br />

(putti, pygmies?) are seated in it, one holding the<br />

oars. Similar to the Haditha boat is the sailing<br />

boat with two figures, one a fisherman holding<br />

a fishhook with a caught fish (pl. VII.20a), portrayed<br />

in a round medallion on the mosaic of<br />

the north aisle at Beth Loya (Patrich and Tsafrir<br />

1993: 269, pl. XIXb).<br />

The boat and figures fishing are frequently portrayed<br />

as part of a Nilotic scene (Alföldi-Rosenbaum<br />

& Ward-Perkins 1980: 46). Often the boat’s<br />

prow has a bird or animal head on it (see Friedman<br />

1999 for ships on mosaics). Two sailboats,<br />

one with two figures, destroyed, are depicted<br />

in the Nile’s waves on the nave mosaic of Zay<br />

al-Gharby (Piccirillo 1993: 324, figs. 660, 676).<br />

Ships with fishing putti, naked, with caps on their<br />

6 For Whitehouse 1979: 26-30, the animal’s appearances<br />

suggests a pttern book or zoological illustrations rather than<br />

observation from nature; on the ritual killing of crocodile<br />

iconographic elements of nilotic scenes 105<br />

heads, appear in the Nilotic scenes on the border<br />

of the 8th-century church mosaic of St. Stephen<br />

at Umm Al-Rasas (Piccirillo 1993: figs. 345, 358).<br />

A similar boat with a sail and three wine jars is<br />

rendered on the mosaic pavement of the Byzantine<br />

church in Sorân in Syria (Donceel-Voûte<br />

1988: figs. 295, 297,298). A boat with two rowing<br />

figures is portrayed on the mosaic panel at Jiyé<br />

(Ortali-Tarazi and Waliszewski 2000: fig. 3).<br />

The boat carrying wine in the mosaic portrayals<br />

may reflect two traditions, one of Egypt as a<br />

wine producing area and the other of the Nile as<br />

a kind of highway, the river being Egypt’s main<br />

transport route (Whitehouse 1979: 50-52). Versluys<br />

(2002: 280) surmises that the boat was perhaps<br />

filled with offerings to the River Nile, made<br />

at the peak of the flood.<br />

Water Plants, Fishes, and Birds<br />

Nilotic water plants such as lotus, papyrus, and<br />

oleander fill the space in a similar manner in all<br />

the pavements and represent and distinguish the<br />

Nilotic landscape (pl. V.8). The lotus is featured<br />

with an erect stem, circular bell-like leaves, and<br />

cup-like flowers, and is the most distinctive plant<br />

in these scenes; it appears not as the Egyptian<br />

lotus but as the sacred lotus of Buddhism, introduced<br />

into Egypt from India probably during<br />

the Persian period (Whitehouse 1979: 9-22). The<br />

lotuses depicted at Tabgha (fig. V-2) have shapes<br />

different from the actual plants, and may be confused<br />

with papyrus plants. They probably derive,<br />

though not directly, from illustrated botanical<br />

manuscripts (Schneider 1937: 59-60; Whitehouse<br />

1979: 20-21). The oleander appears in Sepphoris<br />

and Tabgha similarly (figs. V-2, pl. V.3). At Sepphoris<br />

the lotus is in the main stream, seemingly<br />

to symbolize the Nile, while the oleander is scattered<br />

all over the mosaic and might represent the<br />

river valley and banks.<br />

Fishes<br />

A number of fishes are depicted swimming in<br />

the Nile streams on the Haditha and Sepphoris<br />

pavements (pls. V.2,3,8). In the House of Leontis<br />

at Beth She"an (pl. V-1) one fish swims in the<br />

Nile stream in the lower left corner. Fishes are<br />

and hippopotamus see Meyboom (1995: 325-6, notes 169,<br />

170).

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