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esults were mosaics in the old Diakonikon-Baptistry
chapel of the Memorial of Moses at Siyagha
(530) and in St. George’s church at Mukhayyat
(535/6), both on Mt. Nebo, which were accomplished
by known artists:
Piccirillo (2005-6: 415-427) describes teams of
mosaicists that designate several schools or workshops
which produced mosaic pavements in the
area from the late 5th to the 8th century. Inscriptions
indicate the creation of pavements by one
or teams of two or three mosaicists.
Two teams of three mosaicists worked at Mt.
Nebo, two kilometres apart. The members of
one team, who signed their names Soel, Kaium,
and Elias in an inscription, composed the mosaics
of the the old Diakonikon-Baptistry (Piccirillo
1993: 22, 146, figs. 166,183; 1998: 274-277,
figs. 12-13,23-40). An inscription records that
mosaicists of the second team, Nauma, Kyriakos,
and Thomas, worked on the mosaic of the St.
George’s church pavement (Piccirillo 1993: 178,
figs. 244, 248; 1998: 320). This mosaic is composed
of the inhabited acanthus scroll design depicting
scenes of vintage and hunting in the medallions,
and an ornate border with personification of the
seasons and masks. The field and border design of
this mosaic is similar to that on the pavement of
the inhabited acanthus scroll in the Upper Chapel
of the Priest John at Mukhayyat, (Piccirillo 1993:
38, figs. 230-245). Especially comparable are the
renditions of the personification of Ge with the
two young offerers at her sides.
A third team of mosaicists was active in the Mt.
Nebo region and its work was based on the same
stylistic tradition. This team composed two of the
inhabited vine scroll mosaics: the lower pavement
of the chapel of Priest John and the lower
mosaic of the Kaianus Church in #Uyun Musa
Valley on Mt. Nebo (Piccirillo 1989: 335; 1993:
21, 176, 189, figs. 234-243, 271-275). Piccirillo
(1993: 21, figs. 422-423, 429, 431,434,436,440)
proposes that the same stylistic tradition is evident
in two other mosaics in the area of Esbus: the
west panel of the sanctuary in the upper church
of Massuh and the pavement in the north lower
church; their relationship is apparent in the lettering
of the inscriptions, the crow-step band, and
the same rigidity of animals and birds albeit with
inconsistency in execution.
A fourth team of mosaicists was active in the
village of Nebo and produced the two mosaics in
the church of Sts. Lot and Procopius and in the
Upper Chapel of the Priest John (Piccirillo 1998:
mosaicists, workshops, and the repertory 271
366). These two pavements have the same pattern
of chiaroscuro on bodies of animals (Saller
and Bagatti 1949: 123). Figures are similar in
the portrayal of faces, eyes, and in the work on
hands, legs, and feet (Piccirillo 1993: figs. 202,
207, 218-220; 2005-6: 415).
The mosaic of the Church of the Deacon
Thomas in #Uyun Musa on Mt. Nebo (Piccirillo
1993: 187, figs. 253-256, 265; 1998: 330-343),
has some parallel scenes, and some of the figures
are similar to those on the mosaic of Sts. Lot
and Procopius rendered in a superior quality (pls.
VII.10,11) (Piccirillo 1993: 165-6, figs. 202-207;
1998: 344-350); the Deacon Thomas figures are
less naturalistic, but some of the rendition and
colour is better).
The Madaba mosaics of the Chapel of the
Martyr Theodore, the upper Bapistery chapel
(the Cathedral church complex) and the Madaba
mosaic map can perhaps be attributed to the same
group identified as the School of Madaba (Piccirillo
1991: 121; 1993: 34, 96, 118, 174, 206,
figs. 96-97, 62-72, 103, 202, 209, 252-253; 1993a:
27, 32).
Two workshops were active in the town of
Umm al-Rasas–Kastron Mefaa in the late 6th
century at the time of Bishop Sergius, and a third
workshop operated in the 8th century (Piccirillo
1995: 397; 2002: 548). One workshop team was
responsible for four mosaic pavements; the mosaics
of the Church of Bishop Sergius (within the
castrum) and of the Church of the Rivers (the
northern of the two joined churches inside the
wall) were paved by the same mosaicists (Piccirillo
1995: 393). The two are rendered in the same
style. The nave mosaics are designed with the
similar inhabited acanthus scroll field and vine
scrolls border (Piccirillo 1993: 234, 240, figs. 365,
369, 389-392). The same team probably worked
on the mosaic of the Church of the Priest Wa"il,
which show similar technique and colour, and
similar treatment of the face and trees, although
the execution is inaccurate and more naïve (Piccirillo
1995: 397). The same workshop most likely
executed the St. Paul’s church (Piccirillo 2002:
548-549). Stylistic affinities can be found also
with other mosaics dated to the second half of
the 6th century: the mosaic of the crypt of St.
Elianus at Madaba with the rainbow technique
(Piccirillo 1993: 125, figs. 124-127; 131-136), and
the Theotokos Chapel in the monastery at #Ayn
al-Kanisah on Mt. Nebo (Piccirillo 1998: 363,
note 88) (pl. X.3). These churches were used at