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and Jordan mention the artist by deed and name.
A few of the inscriptions mention one mosaicist,
which might single him out as the master mosaicist,
or the only artist, who created the pavement;
other inscriptions relate to two or three mosaicists,
who could have had the same rank, or the
first mentioned was the master and the others his
apprentices or family members.
The mosaicist could have referred to the themes
from his individual repertoire; the artists at times
alluded to a contemporary fashion or trend for a
prime choice; they might have displayed a sketchbook
for the patrons and community leaders to
choose from. Occasionally a mosaicist of eminent
standing may have been instructed to use his own
skills and experience.
Designs are often depicted in a similar stereotypical
manner, but are found at sites widely
separated in distance and time. The motifs evidently
cannot be associated with particular
compositions or schools but seem to indicate a
particular choice by the artists and donors. The
recurring elements and scenes in several mosaics,
usually rendered similarly or identically, attest
that designs were taken from a common pattern
book. The mosaicists applied creativity in adjusting
motifs influenced by models in other media,
such as sculpture, ivories, silver, and textiles, to
contemporary designs. The similarity of style
and iconography between the mosaics and other
local art might suggest that the mosaicists were
local. Designs, motifs and patterns were apparently
shared by artists with the addition of various
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changes and innovations in the iconographic
reper toire created by local mosaicists.
Similar iconographic models, genre representations,
animals and birds types intimate a definite
basic source. However, this is still an open issue,
lacking clear evidence on whether this source
comprised a sketch or model book, a tradition
inherited by a mosaicist’s family, or a mosaicists’
workshop or studio; the pattern books could be
the underlying guide. Yet any differences in the
style and execution of a similar theme are to be
imputed to the individual artists’ skill and style.
Proof lies in the fact that while the iconography
and motifs are similar, they are not identical.
Still, this fact can be used equally to prove the
positive existence of pattern books: iconography,
schemes, and conventions are similar because
they are based on a common book.
Mosaicists in different regions utilized the
imagery with several variations, amended and
revised features of traditional iconography, and
underlined or emphasized aspects of the pavement
designs. Differences in execution are due
to the considerable latitude in the artist’s handling
of the pattern and his competence . From
comparisons among the mosaic pavements of the
various synagogues and their local Christian and
pagan counterparts, it can be inferred that artists
and workshops were employed simultaneously
by various communities that probably relied on
some common source for the different designs
and symbols .