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depicted in a stereotyped manner, have been
found at various sites widely separated in distance
and time. The zodiac is an example of this phenomenon.
The zodiac scheme appears in the same
formal rendition on the synagogue mosaic floors
at Hammath Tiberias (late 4th century), Huseifa
and Sepphoris (late 5th century), and Beth "Alpha
and Na#aran (6th century). The zodiac design on
all these mosaics consist of a square frame containing
two concentric circles containing the same
themes: the sun god (or the Sun) in a chariot;
twelve radial units, each containing one of the
zodiac signs and bearing its Hebrew name; the
personifications of the four seasons in the corners
of the square frame (pls. III.1-4; figs. III-3, 4). Yet
there are differences in the depiction and in the
execution of the figures in each zodiac design, a
circumstance that underlines the development of
a distinctive scheme and model for decoration of
synagogues distant in date, and indicates dependence
on some common source, presumably a
sketch book.
A similar pattern book source may be ascribed
to the comparable Torah shrine panels containing
the Ark, or the Torah shrine accompanied by a
pair of menoroth and ritual objects, which ornament
the mosaic pavements of the synagogues
at Beth "Alpha, Hammath Tiberias, Na#aran,
Sepphoris, and Susiya (pls. II. 1,2; figs. II-8-10).
A comparable panel depicted on the mosaic of
the Upper chapel of Priest John at Mukhayyat
(pl. II.3a) might have relied on a similar source.
The popularity of the inhabited scroll composition
might also imply the possible existence of
pattern books (Dauphin 1978a: 408-410). The
consistent design with the recurrent themes, episodes,
and objects (pl. VI.1-11; figs VI-1-18), and
as noted above, the uniform size of animals and
objects on the inhabited scroll pavements, with
disregard for the actual proportions, is further justification
for positing the existence of such sketch
books; it suggests that the mosaicists did not interpret
the drawings but simply copied them.
The same recurring vignettes of the farming
scenes rendered within the inhabited scrolls design
may also designate a common source based on
a model book. The widespread use of zoological
and botanical subjects that could hardly have
been known at first hand from nature also confirms
that many themes and motifs were codified
into pattern books. Episodes such as animal chase
and battle, and hunting of big game (pl. VII.5-13),
show distinct conventions, which are already noted
chapter twelve
in earlier mosaics in North Africa and Syria; they
apparently indicate the use of a similar source,
plausibly a pattern book. Personifications such as
Earth, the Four Rivers of Paradise and the seasons
might also have relied on pattern-book models.
The artists used these models with a great
deal of freedom in composition, scale, traditional
scenes, particular figures, specific features, and
various details, which in many instances vary
widely. Numerous repertory elements and designs
such as scenes of hunting and vintage, the zodiac
design and some biblical scenes were created by
different artists in different periods, indicating that
the mosaicist’s apparent task was to take a basic
scheme and enhance it, and add his own idiosyncratic
and original style and features.
These books were no doubt passed on from
generation to generation within the same artist
families, which may explain the time range of
some of the themes (Dauphin 1978a: 408). Piccirillo
(1991: 129) presumes the existence of handbooks
with drawings compiled in the imperial
centres. Dunbabin (1999: 302) believes that ‘some
of the repetition of motifs… can be accounted
for in other ways, but that nevertheless collections
of models or patterns in some form must
have existed’.
From an analysis of the existing material
it is possible to surmise that the pattern books
were arranged according to several criteria and
would have been composed in a schematic form
for border designs, the general field, catalogues
or sketch-books for animals, birds, and human
scenes, with themes such as village life, grape harvesting,
and hunting.
These model books (presumably made of papyrus,
parchment, or wooden boards) probably contained
designs, motifs, and patterns, and were
inherited by the artists’ families or the workshops.
This might explain the time range of some of the
themes. It is also quite evident that many of the
motifs chosen from these model books apparently
appealed to the local communities. The use of
such books would tend to speed the process of
preparing and executing the mosaic pavement,
and it could also explain the popularity of the
themes.
Some scholars argue that other considerations
in the transmission of the motives should also be
examined.
Bruneau (1984: 241-272) maintains that no
model or pattern books existed. He argues that
there was a preferred repertory, but that its