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Mosaic II). Similarity is also noted between the
donkeys (AC22 in Mosaic I and AC9 in Mosaic
II). The vase in Mosaic II B19 has similar details
to two vessels on Mosaic I: the amphora in A1
and the bowl in A5.
Mosaic III with three flanking pairs of standing
animals also has some affinities with Mosaic I.
The ostriches in the central medallions are similar
to the ostrich in A3 of Mosaic I. The deer with
long branched antlers in the bottom medallions of
Mosaic III is quite similar to the deer with short
horns in A17 of Mosaic II.
From these similarities it seems that the mosaics
at Petra were fashioned by the same workshop,
yet perhaps by different craftsmen.
Waliszekowski (2001: 242) maintains that the
variations are proof of the work of more than one
artist. He furter (2001: 258-9) assumes that the
team of local mosaicists utilized iconography and
traditional patterns that occur also in other pavements;
the mosaicists of Mosaic II might have had
some links especially with Judaea. He concludes
that several teams of mosaicists were employed
to create the pavements. This would explain the
iconographic differences between the mosaics
with no chronological difference between parts.
However, he dates Mosaics II and III slightly
older than Mosaic I as a result of decorating in
phases, and dates all the Petra church mosaics
to around 550.
The mosaic pavements at Petra, especially
Mosaic I, had similarities with mosaics in the
Gaza region such as Be"er Shem#a and Ma#on in
the style and pose of the animals (see Chap. VI,
pp). The heraldic animals with different postures
that characterize the Petra Mosaic I occur on the
mosaic at Be"er Shem#a. The same tendency in
which one of the flanking animals crouches while
the other stands might indicate common themes
and stylistic choice by the artists. The submissive
nature of the animals rendered at Petra, Be"er
Shem#a and Shellal (pl. VI.20) is entirely different
from the animals at the earlier mosaics at Gaza
and Jabaliyah, which are rendered in an attacking
and chasing pose.
C. Workshops and Mosaicists
The following discussion is meant to substantiate
that similar stylistic and technical idiosyncrasies,
and execution of the same theme or motifs,
may identify a workshop, an artist, or a team of
chapter twelve
craftsmen. Sometimes the work is composed by a
single master-craftsman with his son or an apprentice.
A comparison of the mosaic pavements of
various structures in the Beth She"an (Scythopolis)
area and the Gaza region proves that specific
artists or workshop was employed simultaneously
by the various communities.
Mosaicist/s from Beth She’an
In two buildings excavated in Beth She"an (Scythopolis),
evidence from two mosaic pavements in
one of them and three in the other attest that they
were executed by the same artist/s or workshop
(Hachlili 1988: 390).
The building with the two pavements is a mansion
complex, the House of Leontis (I): (1) the
mosaic of the long room, and (2) the mosaic of
the small synagogue. The building with the other
three pavements is the Christian Monastery of
the Lady Mary (II): (3) the mosaic of Hall A, (4)
the mosaic of the Chapel Room G, and (5) the
mosaic of Room L.
I. The House of Leontis, discovered in the western
part of Beth She"an (probably the Jewish quarter
of the town) (fig. XII-4), was excavated by two
archaeologists on different dates. The earlier excavation
(1964) discovered three rooms of a mansion
built of basalt walls around a central court;
only the floor of room 3 is paved with a mosaic
in its centre (8.50x 3.20); according to a Greek
inscription Kyrios Leontis donated the money
for it. Because of the menorah integrated into
this mosaic the building was considered Jewish
(Zori 1966: 124, 132 fig. 3; Adler 2003: 18-23).
The later excavation (1970-73) unearthed a small
room in the south part of the building, probably a
small synagogue or a prayer room (Bahat 1981).
Adler (2003: 90-103) suggests that the structure
was possibly a Jewish public complex containing
a synagogue, a lodging/inn, and water installations.
Yet the building could originally have been
a private dwelling and was later presented to the
community, but with some sections still kept private.
The complex is known as Beth Leontis or
the House of Leontis and small synagogue B.
The two mosaic pavements in this complex are
as follows (fig. XII-4).
1. Long room 3 in the north-west part of the
building is decorated with a mosaic pavement
divided into three panels (fig. V-1). The upper
panel shows two scenes from the Odyssey: