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188 identical but they wear different garments. Three of the personifications hold a cornucopia in their left arm. That of Spring is filled with a bunch of grapes, Autumn’s is full of flowers tumbling out, and Winter holds a cornucopia from which water flows. Summer holds a sheaf of corn. Four seasons are depicted on the mosaic of St. George’s church (Saller and Baggati 1949: 72, 101-2, pl. 27; Piccirillo 1998: 323, figs. 125-126; 130,132). Four busts of women lie in the square panels alternating with a meander pattern on the border of the nave field. The personifications of Winter and Summer are on the east side of the border, Autumn and Spring on the west side. All are in frontal pose. The portrayed women wear richly decorated tunics and cloaks concealing the arms. They are adorned with jewellery and accompanied by their attributes. Winter has curly hair, and florets decorate the two upper corners. Summer, wearing earrings, has a turreted crown on her head, like Tyche, and ears of corn (these are comparable to the personifications at the Hippolytus Hall). Olive-tree twigs placed in the two upper corners characterize Autumn. Spring wears a tunic and a pall; in her left hand she holds a cornucopia full of fruit. Bishop Sergius church originally had personifications of the four seasons at the corners of a vine scroll border, but only one, in the southeast corner, survived the iconoclast crisis; it shows the bust of a young woman wearing a mantle and holding a cornucopia in her left hand (Piccirillo 1993: 39, 234, fig. 332). The mosaic at the Hall of the Seasons at Madaba portrays three female busts depicted in acanthus scrolls in the corners of the mosaic border. They have elongated faces and long hair; one is adorned with a ribbon, the other two have crowns on their heads (Piccirillo 1993: 39, 76, fig. 35, 41-42). Of the four seasons that originally decorated the mosaic in St. Peter and Paul Church at Gerasa, only the name of Summer survived (Biebel 1938: 335, 485). One of the intercolumnar spaces of the southern row in Priest Wa"il church at Umm al-Rasas is rendered with four busts of women (disfigured) identified as seasons. Each holds a cornucopia from which water flows; they are depicted between images of buildings, towers, and houses (Piccirillo 1993: 39, 243, fig. 397). chapter eight A comparable depiction of the seasons appears on the 3rd-century mosaic floor at Zliten in North Africa (Hanfmann 1951: II, 112, no. 135 and p. 148). The seasons are winged female busts, each with a wreath on her head matching the season (fig. VIII-5). The four seasons each, in a compartment, appear on the mosaic at Deir es Sleib church in Syria; horses in various postures are rendered in the other four compartments (fig. VIII-6) (Hanfmann 1951: II, 121, No. 192; Donceel-Voûte 1988: fig. 35). The four seasons, the four winds and the twelve months are among the figures decorating the aisles of the St. Christoph’s church mosaic at Qabr Hiram in Phoenicia (fig. VIII-7) (Hanfmann 1951: II, 117-120, no. 193; Donceel-Voûte 1988: 412-415, figs. 402, 404; 1995: fig. 12). The seasons are rendered as winged female busts presented in couples, Spring and Winter in the north aisle and Summer and Autumn in the south aisle. All are enclosed in round medallions, among many other pairs of figures, animals, birds, and fishes in medallions. The representations of the seasons with their specific attributes described are comparable to those found on the Roman-Byzantine pagan mosaic floors of the 2nd-5th centuries. Most are winged busts, usually crowned with a wreath (Hanfmann 1951: I, 192-96). Though their symbols are similar, they are not identical with those of the Jewish zodiacs and the Christian examples. Spring’s common attribute on mosaic designs is the plate or basket of fruit or the shepherd’s crook. Spring holding a plate of fruit is depicted on several mosaics: on the 4th-century Daphne mosaic floor (Hanfmann 1951: II, 64, No. 23), on the south aisle (mosaic II) of the Petra church (pl. VIII.2 c; Waliszewski 2001: 251-252, 319), on the floor of Qabr Hiram church (fig. VIII-7a) (Hanfmann 1951: II, 117-120, n. 193), and on the synagogue pavements of Hammath Tiberias and Sepphoris. Spring on the El-Maqerqesh mosaic a bird is rendered on the plate (pl. VIII.2b); a similar bird appears on the Beth "Alpha synagogue mosaic. Several Spring personifications hold a cornucopias full of fruit in their hands: at Hippolytos Hall, at St. George’s church, and at Priest Wa"il’s church. Spring is comparable in jewellery, wreath, and dress at Hammath Tiberias, Caesarea (the winged Spring), and in the Petra church south aisle (pl. VIII.2). The shepherd’s
personification of natural forces 189 Figure VIII-5. The four seasons on the mosaic of Zliten, North Africa. Figure VIII-6. The four seasons on the mosaic of Deir es-Sleib church, Syria.
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294 glossary
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Ψ ή φ ο ς ס פ י ס פ Ancie
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contents To my beloved granddaughte
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contents CONTENTS List of Color Pla
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contents C Pastoral and Rural Scene
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list of color plates xi LIST OF COL
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list of color plates xiii V.4 Nilom
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list of color plates xv Mt. Nebo; g
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list of color plates xvii Authority
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list of figures xix LIST OF FIGURES
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list of figures xxi Figure IV-15. D
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list of figures xxiii Figure VIII-5
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list of figures xxv LIST OF TABLES
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foreword xxvii FOREWORD התדיב
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One of the most significant and fru
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pavement at Caesarea the word is sp
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mosaic pavements adorning buildings
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Introduction: Jewish Figurative Art
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Figure II-3. Beth "Alpha synagogue:
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to the Sefer HaRazim Yahoweh reside
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ut all served as repositories for t
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pomegranates and cups (Hachlili 200
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open ark with scrolls is depicted,
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are rendered in non-identical symme
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pavements of Samarian synagogues an
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of two columns surmounting an arche
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A group of ancient synagogues disco
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the zodiac panel and its significan
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the bust of the season Nisan (Sprin
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The Summer attributes, the sickle a
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Table III-1. Comparative chart of t
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Figure III-12. Part of a stone ceil
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A Roman villa at Odos Triakosion in
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the four seasons, representing the
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iblical narrative themes and images
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Noah’s Ark biblical narrative the
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Jonah biblical narrative themes and
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Nilotic scenes are a recurrent them
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iconographic elements of nilotic sc
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I.1 Masada mosaic pavements: a. ant
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I.3 Jerusalem, Upper City, pavement
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II.1 Torah shrine panels on synagog
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II.3 Comparable shrines on Jordan m
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III.1 Hammath Tiberias synagogue zo
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III.3 Beth "Alpha synagogue zodiac
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III.5 Sun God on synagogue pavement
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III.7 Zodiac signs on synagogue pav
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III.9 Zodiac signs on synagogue pav
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III.11 The four seasons on synagogu
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IV.1 Binding of Isaac on synagogue
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IV.3 David-Orpheus on the Gaza syna
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IV.5 The Orpheus mosaic, Jerusalem.
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IV.7 Sepphoris synagogue, The Conse
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V.1 Nilotic scene at Beth Leontis,
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V.3 Nilotic scene at Sepphoris Nile
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eagle. Another Nilotic scene appear
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shown standing on the river bank as
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The depiction of a putto riding a c
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Table V.1. Nilotic Elements on Byza
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Nile Festival mosaic, with the addi
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The ‘inhabited scroll’ became o
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donkey. Lively animal chase scenes
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naturalistic in execution, and unli
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which contains objects flanked by s
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Figure VI-7. Group II: Jerusalem, t
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the outer ones; the second survivin
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Table VI-1a. Composition and Repert
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Group III consists of the mosaics e
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the ‘inhabited scrolls’ mosaic
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Figure VI-13. Beth She"an, Monaster
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Figure VI-15. Sede Nahum mosaic fra
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Table VI-2a. (Cont.) Mosaic Date ce
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Table VI-2b. (Cont.) Mosaic Date ce
Page 199 and 200: In the south aisle of St. George ch
Page 201 and 202: four amphorae in the centre of the
Page 203 and 204: On Jordanian mosaics, in the acanth
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Page 211 and 212: Rural activities and pastoral scene
Page 213 and 214: Table VII.1. Vintage scenes on vine
Page 215 and 216: Figures Treading Grapes and the Pre
Page 217 and 218: The forerunners for these vintage s
Page 219 and 220: Snake and Mongoose Confrontation Th
Page 221 and 222: Table VII.2. Animal chase and comba
Page 223 and 224: iconographic aspects of rural life
Page 225 and 226: scenes are found in the mid-5th- to
Page 227 and 228: Table VII.3. Big Game Hunting scene
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Page 237 and 238: the cathedral at Madaba (Piccirillo
Page 239 and 240: 443, 455-6, 466) holds that this ty
Page 241 and 242: Personification is a common theme o
Page 243 and 244: Rivers of Paradise, but only two of
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Page 249: the seasons with deliberate differe
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Page 257 and 258: while in mosaics of the Greek East
Page 259 and 260: Moon, as the partner of Sun, is a b
Page 261 and 262: Animals in a repeated antithetic sy
Page 263 and 264: designs of symmetrical antithetic a
Page 265 and 266: (Ovadiah 1987: 105) and at the Naha
Page 267 and 268: a bear, a lion and a destroyed anim
Page 269 and 270: long-horned deer drinking from a sp
Page 271 and 272: iconoclasm on mosaic pavements of s
Page 281 and 282: A significant subject in ancient ar
Page 283 and 284: These compositions with division in
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Page 289 and 290: Some scholars propose that depictio
Page 291 and 292: V.5 City representations: a. Beth L
Page 293 and 294: V.7 The sail boat: a. Beth Leontis,
Page 295 and 296: VI.1 Gaza synagogue pavement.
Page 297 and 298: VI.3 Jerusalem ‘Armenian’ churc
Page 299 and 300: VI.6-8 Petra Church: North Aisle mo
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VI.8
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VI.10 The church of the Deacon Thom
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VI.12 Amphorae depicted on inhabite
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VI.14 Bird of prey on inhabited vin
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VI.16 Baskets on inhabited vine scr
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VI.18 Vine leaves and bunches of gr
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VI.20 Subdued animals: a. Be’er S
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VII.2 Transporting grapes: a. El Ha
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VII.4 Flute player: a. Beth She’a
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VII.6 Snake and mongoose confrontat
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VII.8 Dog chasing hare/rabbit on ch
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Inhabited Vine Scrolls Pavements A
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similar in the general depiction of
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etween synagogue and church 233 Fig
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part are evidently connected: almos
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etween synagogue and church 237 Fig
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Mukhayyat (Bagatti 1949: 99, pl. 29
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time. They might have contained gen
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Artists, workshops and schools of m
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• The same artisans are mentioned
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1933: 146, No. 23, 8; 1934: 73 =198
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characteristically mixed origin of
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The Sepphoris Mosaicists The Seppho
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on horseback spearing a leopard wit
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Odysseus fighting the monster Scyll
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Figure XII-6. Hall A mosaic, Monast
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mosaicists, workshops, and the repe
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Dating The Monastery was dated by i
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connections with Egypt, and perhaps
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different themes based on comparabl
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esults were mosaics in the old Diak
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Jews toartists and craftsmen. Among
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epeated use was supplemented by fre
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of designs from general pattern boo
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concluding remarks, comments, and o
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list of sites 289 LIST OF SITES Sit
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Site Date Centuries CE Jordan (Arab
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VII.10 Jabaliyah Diakonikon mosaic
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VII.12 Hunter/soldier on foot with
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VII.14 Feline with cub: a. Gaza syn
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VII.16 Shepherd: a. Be’er Shem‘
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VII.18 Figure leading camel: a. Kis
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VII.20 Fishing: a. Beth Loya, two e
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VIII.2 Seasons: a. Caesarea: Spring
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VIII.4 Beth She’an monastery, Hal
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IX.2 Flanking birds: a. Beth Shean,
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IX.4 a. Huseifa, unidentical menoro
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X.2 Susiya synagogue: a. panel Tora
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X.4 Jabaliyah church, north aisle.
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XI.2 Crosses on mosaic pavements: a
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XI.4 Tabgha, Church of the Multipli
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XII.2
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XII.4 Beth Leontis, Beth She’an:
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XII.6 Similarities between animals:
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XII.8 Similarities between animals
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glossary 293 GLOSSARY Aedicula Ston
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list of sites 295 ABBREVIATIONS ACR
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Abel, F. M. 1924 Décourvertes réc
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1969 Antike Mosaiken in Kilikien, I
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2001 The Nilometer, in Measuting an
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The Art of Byzantium and the Mediev
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1995 The Activity of the Mosaicists
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1971 The Secret of the ‘En Gedi I
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