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64
at Mukhayyat (Saller and Bagatti 1949: 67, 107,
236-237, pls. 23,1, 39,1; Piccirillo 1998: 322,
fig. 122).
Maguire (1987: 71) interprets it as ‘a prefiguration
of the divine sacrifice’. Bagatti (1984: 296-7,
figs. 31-32; Piccirillo 1989: 339; followed by
Talgam 2000: 94, 102-3) infers that these images
of tied animals form an abbreviated and symbolic
version of the Binding of Isaac. Though rams and
sheep, especially flanking pairs, are a common
rendition (see Chap. IX) the interpretation for this
symbolic image is an appealing proposition.
The examples of the Binding of Isaac at Beth
"Alpha and Sepphoris synagogue mosaic pavement
panels are unique. 7 They probably had a
similar or identical source although each of them
was done by completely different artists. At Beth
"Alpha, that Abraham is taking Isaac down from
the altar is indicated by the fire already burning
on it, 8 and by the substitute ram and Hand of
God. The lads with a saddled ass but no wood
in the Beth "Alpha and Sepphoris mosaics indeed
intimate the end of the tale, designating Abraham
(apparently without Isaac) returning to his
lads after the action has ended. At Dura Europos,
Isaac bound and placed on the altar follows
the biblical story more closely, though the tent
and figure do not appear in the biblical source.
The ram’s horn tied to the tree and the Hand
of God symbolizing the angel are another illustrated
interpretation of the biblical description.
This episode is the highlight of the story, determining
its purpose and conclusion by expressing
the moment of rescue (Hachlili 1988: 291; 1998:
242-243).
This narrative depiction of a popular biblical
scene becomes the symbol and expression of the
desire for and hope of salvation. The illustrated
scenes understandably focus on the most important
component of the story, the intended sacrifice
and its fortunate outcome, portrayed at the right
and in the centre. Interestingly the episode of the
two waiting youths and the ass is quite prominent
on the mosaic pavements of Beth "Alpha and Sepphoris;
in fact, it signifies the beginning and the
end of the Aqedah account. The two youths are
mentioned at the start (Gen. 22,3) and at the con-
7 But see Gutmann (1984: 120-122). Comparing the
mosaic with three terracotta tiles and a 9th-century miniature,
he contends that the Beth "Alpha Binding scene
follows ‘an established early Christian type’.
chapter four
clusion of the story (Gen. 22, 19). The appearance
of the scene on the mosaic pavements of both Beth
"Alpha and Sepphoris on the left side of the panel
brings the entire narrative full circle. It represents
the opening and the closing of the tale.
The inscriptions accompanying the depictions
at Beth "Alpha, though verifying the relation with
the biblical source, contain only the names of
the two main figures and two short quotes each
of only two words (as in other panels with biblical
scenes at Sepphoris), which evidently merely
explain the illustrations. These mosaic panels
focus on portraying a narrative tale or legend
and the inscriptions were added for clarification
and perhaps remembrance, but are not in any way
an illustrated text (see below).
The depictions in Jewish art on the mosaic
pavements are narrative and render the full story,
while the Binding in early Christian art, depicted
on catacomb walls and sarcophagi, is in a style
part realistic and part symbolic; the most typical
scenes show a dramatic-symbolic rendering of
Abraham with the knife, Isaac, the Hand of God,
and the altar. This is due apparently to different
sources and partly to the small space available; a
mosaic panel has more space, whereas the space
on sarcophagi, lamps, etc., is limited.
Jewish and Christian depictions of the Binding
of Isaac appear to be based on two different
conventions. Furthermore, whereas in Judaism
the Binding of Isaac is a symbol of life and of
belief in God’s help as well as confirmation of
God’s covenant with Israel, in early Christian
art it is a pre-figuration of the life and crucifixion
of Jesus and is related symbolically to death
and salvation. Because of this contrasting attitude
the Jews felt the appropriate place to portray
the scene was the synagogue, while the early
Christians preferred to show it in their funerary
art, in catacomb paintings, on sarcophagi, pyxis,
and gold glasses, possibly on mosaic pavements
in a symbolic abbreviated form, and later on two
church wall mosaics in Italy. Nor would the lack
of sanctity towards the topic shown by the Jews
of Beth "Alpha and Sepphoris, where the mosaic
pavement was intended to be trodden on, have
been acceptable to the Christian believers.
8 But see Sukenik (1932: 41), who maintains that
Abraham carries Isaac on his way to placing him on the
altar