Pompeii

The "Combined six-partite and tri-partite Lily Floors" in Pompeii and Alexandria

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These Floors with a "combination of six-partite and tri-partite Lily Signs", but not yet with the Davidic Star, are to be found in several houses in Pompeii. They form the "pre-condition" for the Davidic Star, which was formed after them.

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32. Casa di Trittolomo. Combined six-partite Lily with trefoil Lilies sprouting from its centre. Inward-turned peltae are placed at the point of each petal of the central Shoshan.
From M.E. Blake, ibid. pl. 23, 1.

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2. Entrance floor of the Casa di Trittolemo, Pompeii, with the "Combined six-partite and tri-partite Lily Signs"

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This Floor, we dealt with already, is accompanied by a small square carpet Floor (as we saw already) which is composed by 4.5 vertical four-partite Lily signs – a kind of threshold leading inside.

The whole composition is inscribed into a circumference, which is wholly formed by an infinite row of arrow-like triangles, turning outside.

The inner corners of the square frame are filled by two versions of the tri-partite Lily sign.

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33. Combined six-partite and tri-partite Lily Floors of the Casa di Capitelli Figurati, Pompeii. From: M.E. Blake pl. 22,1

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3. Mosaic Floor of the Casa di Capitelli Figurati, Pompeii, The "Combined six-partite and tri-partite Lily Signs"

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This Floor is wholly similar to that of the Casa di Trittolemo with the "Combined six-partite and tri-partite Lily", only that the surrounding circumference was changed into horizontal triangles touching each other in an infinite row.
As this Floor has undergone much repair outer details are missing.
Its color appearance is the same as that of the Casa di Trittolemo: i.e. the central Lily composition appears as black on a white background, while the Pelta signs in contrast, are in white on a black background.

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4. Mosaic Floor of the House of Cryphoradon, Pompeii

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This Floor, as much as I see belongs to the richest and most beautiful Floors of Pompeii. Its inner design is much the same as in the above-mentioned Floors, but the elaborate design of their circumference and square frame is replaced now by a simple broad line, which is made to strengthen the aesthetic appearance of the inner design.

But to this simplified, yet more powerful interior design were added now outside (beyond the square frame of the interior design)

34. Combined six-partite and three-partite Lily Mosaic Floors in the House of Cryphoradon (I, 6, 2,) Pompeii, sudatorium from J. R. Clarke, Looking at love making, University of California Press, Barkley, Los Angeles, London, 1998, Fig. 41

in free style, on the upper side two juxtaposed Dolphins and just opposite, on the lower side, two Negroes in free movement like swimming, with a broken amphora between them.

On the third side (the left one) a half round Niche is added, the Floor of which filled with an elaborately stylized tri-partite design of a Shoshan.

This Niche may have been a Prayer Niche. Its Lily Floor symbolizing the Torah (the Eduth, as we saw), while the broken Amphora may be an allegorical indication of the Greco-Roman mythological belief, which has been "broken" by the new belief.

The two naked Negroes ought to be an allegory of the new natural forces, enriching now the monotheistic belief of the Judeo- Christian congregations.

The two Dolphins, opposite, are ancient Greek symbols, accepted now by Neo-Christianity as Symbols of Christ as protector and savior of the human soul.

The whole of the Casa di Cryphoradon Floor in Pompeii has a kind of documentary value for a changing world, with Christ as its savior and Messiah, borne by the religious movement of the Judeo- Christians.

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5. The Mosaic Floor in the Museum of Alexandria

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35. Combined 12-petalled Lily core with 12 trefoil Lilies between them elongating with 12 four pointed shields. Between the latter 12 much stylized Lily ornaments. (From: M.E. Blake pl. 22,2)

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The design of the Mosaic Floor in the Museum of Alexandria has been much changed in contrast to the above mentioned Floors. Instead of the six-partite central core we have a 12 partite one. Instead of the 6 three-partite Lily flowers we have 12 elongated ones, sprouting from the inner angles of the 12 partite core.

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These 12 three partite Lily flowers are “answered” now by 12 elongated triangular Shields, which have little in common with the former Pelta signs and which are placed opposite the tri- partite Lily signs instead of the former lanceolate points of the 12-partite core.
Instead of the former six enclosing Pelta signs just opposite the points of the central Lily-core are placed now 12 much stylized Lily signs with two voluting-petals, turned inside.

This elaborate design is enclosed, now, in a black and white circumference sitting itself in a simple white square frame. The four corners of the latter are filled with four Amphoras of Greek shape. The whole composition is accompanied by a version of the Meander Style ornament, above and below. All the inner design in the round circumference is given in black on a white background, while the amphoras in the spendrils of the square frame are in white design on a black ground.

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6. The Jewish religious tradition in the Judeo-Christian movement

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The combined six-partite and three-partite Lily group of Pompeii (and the 12-partite of Alexandria) became very important for the following group with the Davidic Sign. Both Lily signs of the first group were absorbed by the second one, and there is, practically speaking, almost no Davidic Sign, which has not the six-partite – Lily sign in its hexagonal center and the tri-partite one, in its outer angles.

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This formal dependence of the second group from the first one can be explained only on the base of the social composition of both groups – which is Jewish. Both groups were strongly adhering to their ancient religious tradition – the Torah from Sinai.

So it becomes highly probable, that the first group composed by the combined six-partite and three-partite Lily Signs, but not yet with the Magen David, was accepted by the second group, the Magen David group. It was created only after Christ's resurrection of 28-29 C.E. for reason of the esoteric significance of the Davidic Sign.

Italian Mosaic Floors with David’s Star outside of Pompeii

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Also outside of Pompeii, in a good number of Italian cities, such Mosaic-Floors with the Davidic sign exist. The Museum of Aquileia is especially devoted to them. Yet, in the context of our work we cannot deal with them extensively.

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To the Aquileia Monastero Museum belongs a Mosaic Floor with David’s Shield which is most similar to the Ein Yael Floor in its design and looks like a “forerunner” of the latter (Pl. ).

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36. Mosaic Floor with David’s Shield at Aquileia - most similar to the Ein Yael Mosaic Floor, but without the additional Signs of the Pelta and the Lily there, a kind of forruner to the Ein Yael Floor

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It is composed by a single dominating Davidic Star traced by a two-strand Guilloche. It is framed by a two-strand circumference, only that in Aquileia the Double Crew-step circles enclosing the outer Guilloche circle of Ein Yael are missing.

In the same way the additional ornamentation of juxtaposed tree-partite Lily signs and Pelta signs in the triangular outer spaces of Ein Yael (between the outer points of David’s Star) is missing. Instead, the six triangular spaces in Aquileia are filled with the rhomboid shape of the Lozenge. The hexagonal center of the Aquileia Floor is filled by a simple “knob” of white color and has not yet the six petalled Lily sign as at Ein Yael.

The Aquileia floor is accompanied by two stripes of a two-strand Guilloche ornament left and right and, below, by an infinite row of the Greek ivy ornament. The single ivy ornaments are bound together by half circles.

It is obvious, that the Aquileia floor is an early stage in the development of the Magen David floors. While the Ein Yael floor belongs to the 2nd century C.E. the Aquileia floor seems to belong to the 1st.

An additional Floor of the Aquileia Museum is distinguished by the multiple design of the Magen David filling the ground in infinite progression. The Stars appear in black color on a white background and their hexagonal centers are filled with the six petalled Lily flower design. These flowers are designed in a quite naturalistic approach with the petals in movement and not yet in flat geometric abstract design as later. So, this floor seems to be still nearer to the Hellenistic art approach and seems to be one of the earliest floors of the Judeo-Christian congregation.

Two multiple Mosaic Floors at the Villa Romana del Casale/Piazza Armerina/Sicily

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37. Mosaic Floor of the Villa Romana del Casale (Sicily) 2nd century C.E.
From: A. Carandin, A. Rici, M. De Vos, Filosofiana, La Villa di Piazza Armerina, Palermo, 1982

The Villa Romana del Casale is looked upon as the “richest, largest and most complex collection of late Roman mosaics in the world” ([31]. The overwhelming part of the Mosaic Floors, discovered by excavations (by Paolo Orsi in 1929, Giuseppe Cultrera in 1935-39 and by Gino Vinicio Gentile in 1950-60, and some localized excavations by Andrea Carandini in the 1970s) are in the figurative style of the mythological heritage of Greek antiquity, belonging to the 6th to the 8th centuries C.E. But, there was discovered also an earlier stage belonging to the 2nd and the 4th century, which contained Mosaic Floors in the abstract-geometric style. To two Floors in the well conceived multiple style (we know already from Aquileia and the Casa Trittolemo of Pompeii) our interest is concentrated: while Floor no. I is composed in a light open design with the ornaments in white color on the background of black color , Floor no. II is wholly covered by a tight and closed two-strand Guilloche design of the ornamentation, which is in infinite movement, not leaving any open space in the design of the Floor. Yet, the dominating ornament in both cases is David’s Star, even in different shapes.

38. Mosaic Floor of the Villa Romana del Casale (Sicily) 4th century C.E.
From: A. Carandin, A. Rici, M. De Vos, Filosofiana, La Villa di Piazza Armerina, Palermo, 1982

Floor no. I is composed in its entirety by seven vertical rows of David’s Star with subsidiary smaller ornaments between them. One row has always David’s Star in straight position with the small ornament of “Solomons’ knot” (an ancient Jewish ornament) between them. But the second row beside the first one has David’ Star turned around by 45 degrees, and the stars connected by subsidiary ornaments of more recent invention like the rose, the square, two round ones and others.

All the stars are in white colour on the common background of black colour together with their hexagonal frames.

The alternate arrangement of the Stars after the system a b a b allows for the infinite contact of the Stars by their outer frames with each other, converting by that the whole Floor in a dense network.

Floor no. II is like floor no. I of multiple shape, but this time not in loose than in tough composition. The whole Floor is covered by a dense network of Lozenges traced by two-strand Guilloches, which form, at the same time, the Hexagram of the Davidic Stars, i.e. one design is overlapping the other, so that both designs are identical. This highly inventive design is wholly covering the Floor, not leaving any empty space.

The centers of the large Davidic Stars are occupied by broad circular frames (formed by a version of the Meander motive), containing what seems to be the portrait of the owner of the Villa or the portrait of a black servant . Other circular frames are filled by birds, by two fishes, by plants or some geometric ornament.

If, by the inclusion of portraits, animal- and plant -life in the dense and infinite geometric network of Floor no. II, ''Nature'' and human kind is represented, in floor no I, by its loose and open composition, its rhythmic and alternating design, Gods’ sovereign rule of the Universe is symbolized.

In connection with the dating of both Floors it seems reasonable to assume, that Floor no. II belongs to the 4th century C.E., the Constantinian era, for reason of its portraiture and Nature-life, while the absolute abstraction of Floor no I makes the 2nd century the most convenient time.

All the subsidiary ornaments of Floor I are in straight contact with the Davidic Stars creating a close network of the whole Floor.

As each of the hexagonal centers of David’s Stars is filled with the six-partite Shoshan (Lily), which is the sign of the “Eduth” (Torah, as we saw), the entire Floor forms an overwhelming multiple Symbol of God’s everlasting sovereign Rule and his Covenant from Har-Sinai. It is obvious that the early mosaics of the Casale Villa are the creations of Judeo-Christian congregations; Magen David is the dominating ornament in them.

The Holy Land

The Shield of David in Lintel Ornamentation in the Holy Land

39. Akko. Lintel with David’s shield (left), six-petalled Lily (center), and Greek Cross (right) –from the old city. (From: B. Bagatti. Antichi Villagi Christiani di Galilea, Jerusalem 1971, fig. 126)

That the Star of David now, i.e. in the third to the sixth century is to be found in growing numbers in the official Church architecture we take as proof conclusive that the sign is of Judeo-Christian origin. It became now an ''official'' sign of the Church, in contrast to its ''private'' character till now. Yet, at the same time we find its decline by the growing importance of the Cross-, which replaces it finally.

This tendency becomes abundantly clear in Lintel decoration, which is, as a rule in most cases composed by three symbolic signs: David’s Star - the six partite Shoshan- the Cross. All three together seem to express the religious idea of the Shekhina - the presence of God, of which the signs on the Lintel above the entrance to the Church is the fitting symbolic expression.

2. Bagatti published a Lintel found at Akko by P.Gaetoni Pierrry in a house of the 0ld City in secondary use (Pl. 39 ). He published the Lintel without being able to identify its original location, more than to say that it certainly comes from one of the city’s ancient churches .

The three Symbols on the lintel, from left to right - Star of David - six-partite Lily or Shoshan - Greek Cross - are carved in flat relief, each in a thin circular, cable-like frame. Occupying the inner hexagon of the Star of David is a small disc incised within a larger plate-like roundel. The Shoshan, we have seen to be a constant companion of the Star of David is placed here at the center of the Lintel, between the Star and the Cross. The Cross, then, as third symbol is in combination with the Davidic sign, indicating that at the time of the Lintel’s erection the two Symbols possessed equal status in the eyes of Akko’s Judeo-Christian congregation.

The Lintel has been dated by Bagatti to the 4th century C.E. But, to our opinion, the plate belongs already to the second or third century for reason of equal presentation of David shield and the Cross which was no more possible in the 4th century.

We saw that the Cross took the ascendancy after Constantine’s great Milan Edict of 313 C.E. and that from then on the Star of David sank in disuse at the Constantinian Church.

That Akko had a Judeo-Christian community as early as the 1st century C.E. we know from the fact that Paul visited the town in 59 C.E. on his third missionary journey (Acts 21:7). Clarus, Bishop of Akko, attended a consillium in Caesarea in 198 and between then and the 6th century some eight bishops are known from documentary sources . (N. Schur A Histori of Acre, Tel Aviv, 1990, p. 42 (Hebrew) M. Makholi & N.C. Jones, A Guide to Acre, Jerusalem 1946, p. 16).

40. Khirbet er-Ribba, Lintel with Six-Petalled Lily, Greek Cross, and David’s Shield. (From M. Avi-Yonah, ‘Oriental elements in Palestinian art’ Quarterly of the Dep. of Antiquities Vol.I3, pp. 128-165).

The next lintel we report is that published by Avi-Yonah from Khirbet er-Ribba [32] (P1.). It has the same signs but in changed order – Shoshan - Greek Cross - Star of David. A second small six-partite Shoshan is placed at the center of the Davidic Star, as usual. All the three Symbols are touching each other, whereas in our first Lintel they are separated. From the fact that the Cross now takes central position, it seems, that it gained in importance, but the double occurrence of the Shoshan demonstrates the importance of that emblem too.

41. Khirbet Carmel near Hebron [33]. Chancel screen plate with David's star + inscribed Greek cross (upper left). Single example. From: Abel & Barrois, Revue Biblique (RB) 1929 p. 584

A solitary instance of the meeting between Greek Cross and Davidic Star is known from the left side of a chancel-screen from Khirbet Carmel (near Hebron) (Pl. 41). Here the hexagonal center of David's star is occupied by a Greek cross. Yet, such tight combination of Cross and Star is never found again. It seems to be unique.

42. Tell Tihin. Byzantine Lintel with Greek Cross, six-petalled Shoshan, trefoil Shoshan, quatrefoil Shoshan (from M. Avi-Yonah, ibid fig. 30, p. 74)

A Byzantine Lintel from Tell Tihin [34] (P1. 42), also published by Avi-Yonah has, instead of three Symbols, four - (from left to right) the Cross - six-petalled Shoshan, trefoil Shoshan, quatrefoil Shoshan - but no Star of David anymore. All four signs are bound together by an interlacing double cable line, forming, as it were, circular medallions for each sign. Six triangular ornaments are filling the outer angles of the interlacing cable design and four 90 degrees angle tools are filling the corners of the plate.

The triangular ornamentation seem to represent God's presence on earth and sky - the Shekhina- and the four cornerpieces- the four corners of the world (Arba Kanfot Ha'Aretz).

In contrast to the disappearance of the Davidic sign this Lintel shows clearly the continuation of the Lily sign, which became one of the dominating Symbols of Christianity.

43. Um al-Rasas. From M. Piccirillo, ‘il complesso di Santo Stephano a Um al-Rasas – Kastron Kafea in Giordania (1986-1991)\ Foto 44. La Chiesa del Cortile, Architrave rintilizzato per chiudere una tomba sottostrante. In: Liber Annus XLI, 1991, Jerusalem, pp. 26ff, fig. 24

A Lintel at Um al-Rasas . [36] (Pl. 43) The center at Um al-Rasas is occupied by the six-petalled Lily accompanied by two Greek Crosses, to the left and right. Also here David's shield does not appear anymore, yet the importance of the Cross, now, is shown by its duplication, and the continuation of the six-petalled Shoshan is shown by its central placement.

The culmination of the trend towards the elimination of David's Shield we find on a sarcophagus from Deir Dosi, also published by Avi-Yonah [35] (Pl. 44). The Cross is dominant at the center, supported to left and right by two almost identical six-petalled Lilies. All three Symbols are of equal size. The duplication of the Shoshan and the central dominance of the Cross leave no room for David’s Star, but show the continuation of the Lily sign beside the Cross most clearly.

44. Deir Dosi. Sarcophagus with two six-petalled Lilies on either side of a Greek Cross (from M. Avi-Yonah ibid fig. 10, p. 60.) The Davidic Sign exchanged by the Greek Cross

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Yet, the suppression of David’s Shield by the sign of the Cross in its imperial Constantinian shape (since. 313, the Milan Edict) was not a final blow.

It was revived and made new appearances in the three cultures of the eastern Hemisphere:

A. in the late Byzantine Church architecture (6th-8th centuries CE)

B. In Islam (since 636 C.E) , and

C. finally, in Judaism in its “Massoretic Style” of Bible illuminations of the 9th and the 11th centuries C.E. (see later).

From then David's Shield became a pure Jewish religious Symbol, and was transferred historically through the centuries till, reinstalled by the Jewish Government 1948, at the foundation of the State, becoming the Symbol of the Israelian flag.

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David’s Shield in interior Church Architecture between the fourth and the sixth centuries C.E. in the Holy Land

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Increase of the occurrence of David's Star in the Holy Land

This blooming of David's Star in Italy in the first three centuries was answered now in the country, i.e. between the 4th and 6th centuries by a remarkable increase in its occurrence in the now invigorated Church-Architecture. But, at the same time, the Star was superseded by the Cross, which became, after the edition of the Constantinian Milan Edict from 313, the universal Symbol of the Imperial Constantinian Church.

Both tendencies have to be taken in account in our following observations:

El-Makr Mosaic Floor

45. El-Makr (near Akko) geometric Mosaic Floor with David's Star in upper left corner. Israel Museum, Jerusalem, 5th-6th C.E. Author’s photo

In the village of El-Makr (near Akko) Yehuda Ben-Josef of the Israel Department of Antiquities excavated in 1964 a Mosaic Floor, one of the finest of its kind (Pl. 45). Its iconography is wholly geometric-abstract and among the numerous symbols deployed David's Star appears in the upper left corner. By contrast, three almost identical Greek crosses, one above the other, dominate the center of the mosaic carpet. We have here certainly a product of the transitional 4th century C.E. style before us, when the Star of David was in decline in favour of the Cross.

The stylism of the El-Makr floor is singular. It shares no motives with the Jerusalemite Ossuary ornamentation, but, instead, certain of its geometric elements recall Antiochan Mosaic Floors.

Yet, what becomes overwhelmingly clear (by close control of the Floor's design) that also the El Makr Floor is of Samaritan origin: This is shown by the "krystalline" design of most of its ornament. The design is done by close parallel chains of small squares, giving the ornaments a kind of electrical tension, or by zig-zag ornamention.

All the filled circles of the Floor are set out in parallel oblique rows, but are not contiguous. Small hourglass shaped ornaments separate the motives of one row from those of the neighboring row - a common Antiochan concept. All these hourglass ornaments are occupied above and below by a small Disk ornament, creating by that an even network of them and the whole Floor. We are convinced that by this even distribution of the small Disks God's Shechina is meant, the even presence of God in the whole world.

The Disk ornamentation is very frequent in Neo-Christian art (and we have to deal with it later).

46. Roglit. In a frame composed of successive Squares and Lozenges - a Star of David inscribed in one of the Squares. The frame surrounds an octagon occupied by a Tree of Life and two enlarged leaves. 5th century C.E. From R. Ovadia & A. Ovadia, Hellenistic, Roman, and Early Byzantine Mosaic Pavements in Israel, 1987, No. 110.

Baggati has published the Church Mosaic Floor from Roglit, near Kibbuz Magen in the Negev, also featuring a Star of David. (Pl . 46) It is comparable to the Makr floor in the density of geometric-abstract elements and in its dependence on Antiochan prototypes. Its composition of squares, lozenges and triangles distributed around a central octagon is a typical Antiochan idea. Again, the Star of David is relegated to an outer square.

The Tree of Life may well be substituting David’s Star or the Cross or the Shoshan, since the Tree of Life is understood as transformation of the cross of Crucifixion developed in Christian thought. The Tree of life is a symbol of great antiquity, well known in Mesopotamian art of the third and second millennia B.C.E. In Jewish religious tradition it recurs as a key emblem, “Timura” - ornamental palm-tree: Kings 6:29, 32:55 in the interior ornamentation of the Solomonic Temple. It represents the Torah (similar to the Shoshan) and is still remembered so today in the Synagogue liturgy. After the Sabbath Torah reading the scroll is returned to the Ark with the prayer:

For I have given you good doctrine

My Torah, forsake it not

It is the tree of life for those lay hold on it

And they who uphold it are made happy

Its ways are ways of pleasantness

And all its paths are peace.

But also here the small Disk ornament is not missing. It appears regularly in Lozenge ornaments arround the central motive of the Tree of Life. Also here the Shechina ornament is meant.

As the Floor is much destroyed a dicision of its origin is difficult, but it seems to be Judeo-Christian.

The Magen David at Shilo

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47. The Magen David discovered in the Mosaic Floor of the Basilica at Shilo

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A single minded appearance of the Davidic Sign we find in Shilo, the ancient center of the Jewish tribes at the conquest of the country under Yoshua. Here was kept the Ark of the Covenant in the Tent of Meeting and here each tribe received its inheritance by decision of the Lot, cast by Yoshua. (Yosh. 18:1; 18:6) Shilo is situated some 30 km. north of Jerusalem (at the Arab village of Seyun). The Davidic Sign there was discovered in the Basilica by the Danish archaeological expedition in 1926-1929 under the direction of H. Kjaer and under the scientific advice of Albright.

The Mosaic Floor of the Basilica was partly excavated by the expedition. It is composed of 3 vertical Rows of the Scuta-Symbol and in between them appears the Davidic Star. [37] Yet, the Scuta-Symbol (shield) is a clear Sign of Samaritan origin (as we shall see later). But we have to make use of the results of our later investigations, and so, we have to anticipate them, in order to arrive at full results even in our present investigation.

The astounding fact is that we find here at Shilo David’s Sign together with the Samaritan ornamentation (the Scuta Symbol), as we know already, that David’s Star was not (and could not) been accepted by them. Our explanation is that the Davidic Sign there is a remainder from an earlier Floor, which belonged to the Judeo Christians. This first Synagogue was taken over by the Samaritans, who later repaired the first Floor, but left David’s Star untouched. When later in Byzantine times the Floor had to be repaired again, they did it according to their understanding: the Sign appears without any additional Signs like the six partite or tri-partite Lily Sign or the Pelta. Only some 6 small Flowers are surrounding it in the outer corners of the Star. Star and Flowers are surrounded by a simple cable line and an abstract simplified version of infinite Meander Ornament, and a somewhat broader cable line. It seems that the Samaritans did not want to suppress the Star out of devotion for the past. Their general spiritual approach to the past is much more liberal than that of the Jews themselves.

The Accanthus Wreath

The Accanthus Wreaths in Church-and-Synagogue-interiors in the Holy Land

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While the Mosaic Floors of the Church interiors, we saw, were all conceived after the multiple principle, representing the congregation as such, the interior decoration of walls, of chancel-screens, of lintels above entrances a.s.o. was done by single emblematic David's Stars, accompanied by related Symbols. It is obvious that the appearance of the single emblem is dedicated to the individual devotion of the members of the neo-Christian congregations.
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48. Khirbet Sufa marble chancel-screen showing David’s shield, a trefoil Lily in its center, (instead of the six-partite one) inscribed in an acanthus wreath. (From: R. Milstein, King Solomon's Seal, Tower of David Museum, Jerusalem, 1996, fig.19, p. 38)

In 1954, at Khirbet Sufa in the northern Negev (near Kibbutz Khatzerim), a rectangular marble plate with a Star of David in low relief was found by Prof. R. Reich from the Haifa University, among the remains of a Byzantine Church, without doubt a survivor of the Chancel-Screen of the latter. (Pl. 48). The tri-foil Lily Sign in the hexagonal center of the Davidic Star is, much as I see, the only example where this occures as a regular filling ornament is the six-partite Lily Sign (as we saw). The plate belongs to a well-known series of marble plates; all bearing the same acanthus wreath of a framed central emblem, while the plate itself is framed by two or three flat raised stripes.

All the known plates were made flat to fit into the narrow slots of the supporting marble uprights, and for this reason all look as coming from the same workshop. Yet, the astonishing fact is, that, judging by their emblems, they represent different creeds - Jewish, Judeo-Christian and Gentile-Christian.

49. Massuoth-Yitzhak Marble chancel screen with Greek Cross with four trefoil lilies sprouting from its center, encircled by acanthus wreath. Ivy tendrils spread left and right from the wreath; two large Latin Crosses, upper left and upper right on top of the tendrils (Photo by the author)

A marble-plate from Massuoth-Yitzhak in the Rockefeller Museum, Jerusalem, with the Greek Cross and four trifoil Lilies sprouting from its center and surrounded by an Acanthus wreath and four Ivy leaves of Greek tradition at the end of the scroll-work descending from the acanthus frame and two Latin Crosses in the upper corners of the plate (Pl. 49) is with equal certainty Constantinian Christian.

A Menorah in an acanthus frame and Ivy ornaments, very similar to the Massuoth plate forming a trifoil Lily Sign between them, on one of the pillars of the Gaza Mosque (Pl. 50), is again Jewish, without question.

Yes, but all the three Symbols at Khirbet Sufa, Massuoth-Yitzhak and Gaza – belong to three different religions; have the same accanthus frame, indicating that they were worked by the same workshop.

50. Gaza Mosque relief of Menorah on column. From: the New Encyclopedia of Archaeological Excavations in the Holy land. Carta, Jerusalem, 1993, pp. 467

Since the plates cited here represent only a small selection of the total-known chancel-screens bearing a composite symbolism must have been a characteristic feature of the interior decoration of both Synagogue and church. But the workshops, serving them, did not make any difference in the technical completion of their works for all of them, and even not, when the bearer of the Menorah Acanthus ornamentation is on a marble pillar of a former Synagogue like in Gaza.

Yet, in contrast to this ''conservatism'' of the workshops the presentation of the symbolic signs themselves shows the tendency of the historic development to universal Christianity very clearly. The Kh. Sufa plate has shown the Davidic sign still in its undisturbed completeness, but with the tri-foil Lily in its center instead of the six-partite one till now.

The reason for this replacement seems to be, that the Constantinian Church accepted the six-pointed Lily Sign as one of its official Symbols (as we shall see in the following chapter).

But this acceptance of the six- partite Lily Sign by the Constantinian Church puts the date of the Sufa Sign around the middle of the 4th century.

The Massuoth Yitzhak plate shows the replacement of the six- partite core of the former Judeo-Christian sign by the Cross-without any doubt, but, at the same time retaining the tri-foil Lily Signs, the ancient Jewish inheritance.

But, beyond that, I think we have to understand the Acanthus wreath as distinguishing symbol of the highest degree. Only the most exalted religious Signs like the Constantinian Cross (in Masuot Yitzhak) or like the Judeo-Christian Davidic Sign (in Kh. Sufa) and like the Jewish Menorah in the Gaza Mosque are distinguished by it.

Yet, we are shown by this also that only some specific times have the freedom of thought, to see all these religious Signs on the same level of estimation, as we saw already in the plate of Acco. showing the Greek Cross and Davidic Star together. But such times are rare enough in history.

The Constantinian time in the first half of the 4th century, seems to have been such a time of the "freedom of thoughts", and our three examples with the distinguishing Accanthus Frame seem to belong to it.

Unique symbolic monuments with David's Shield

David's Shield as Pediment Ornamentation (Jerash-Gerasa)

A most unexpected use of the David's Shield occurs at Jerash in the southern Theatre, built at the end of the 1st - beginning of the 2nd century C.E. [38] The scaenae frons (the rear wall of the stage) is pierced by three doors. Between the doors are four niches, each framed by an aedicule, whose two columns support an architrave and pediment. Each pediment is decorated with two juxtaposed branches, which start and end in a David's Shield. So that each pediment displays four of these signs

51. Aaron's Rod, twice, on four pediments of the Southern Theatre at Jerash - Magen David appears at the beginning and the end of each Rod. Beginning of 2nd century C.E.

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Such a use of the Shield is most unconventional and the question is how to explain it. The Rod has to be explained as Aaron's Rod, not in this case symbolized in the usual abbreviated form, that is, by the Lily flower alone, but depicted in full. The arrangement here recalls the combinations of signs we know well from lintels, mosaic floors and elsewhere, even if the specific arrangement here is singular. But this still leaves us with the mystery of the Neo-Christian symbols in a Roman theatre.

Bagatti, drawing on St Epiphanias, a 4th-century father of the Early Church, mentions a sect called the Messalians, who used to convene their congregations in theater buildings. Till now not a single find associated with them has turned up, but it seems highly probable that this sect is the source of the neo-Christian symbols in the Jerash theatre. According to the inscriptions on the site, the theatre was constructed with the help of donations [39] and the prominent location of the David's Stars indicates that the Messalians' use of the theatre for worship was granted them by dint of a sizeable monetary donation towards its construction. If this is so, then this little-known sect also took the David's Shield as the emblem of their faith.

This Jewish Theater representation of Aaron ’s Rod with two Davidic Stars is for us a kind of confirmation that the Star was used as a “pars pro toto” of the Rod becoming the main symbol for Aaron as high Priest and his successors and the Judeo Christian community altogether.

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The Bir Chana hexagonal Mosaic Floor in Tunisia’s Bardo Museum
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52. Picture of the center of the Bir- Chana, Tunisia Mosaic

53. Design of the Bir- Chana, Tunisia Mosaic structured as a large Star of David’s Shield inscribed with the divinities of time (at center), the signs of the Zodiac, and animals. From P. Gauckler, Inventaire des Mosaiques de la Gaule et de L'Afrique, Paris, 1911, Pl. 447, Musee Bardo

This floor is distinguished by its exceptional and unique design, which forms, as a matter of fact, the most complete realization of the topic of the single Davidic Star. The brilliant composition of the Floor has to be understood against the background of the time’s all-pervading theological-philosophical climate. We are in the first century C.E., a period of transition between Antiquity and Middle Ages. The predominance of Greek Mythology till now as an elevated and heroic world of idealized godlike beings in constant action, conceived under the knowledge of both the organic and spiritual life of mankind, is in decline. The figurative scenes of Greek Mythology, full of pulsating action, had to give way now to a more static, passive attitude. The full former active figures of Greek Mythology are represented now in half-length or as busts all together (Pls. ). Their former direct meaning is replaced now by their allegorical signification of theological-philosophical ideas.
This is the way we have to understand the Bir-Chana Mosaic: Its composition is dominated by the design of a large Davidic Shield, fitting precisely within the hexagonal frame of the floor (traced by a three-strand Guilloche). Under the dominance of David’s Shield the whole composition of the Floor is unfolding.
The hexagonal center of the Shield is occupied by seven busts, symbolizing the seven days of the week, arranged by six working days surrounding the Helios bust at their center. Each bust is framed by a double-line hexagon in tight contact with each other and forming the closed central unit of the whole composition of the Floor.
The six outer angles of this central unit are placed with rectangles containing six animals – the horse, the bull, the stag, the goat, the dove and the peacock – perhaps representing the “familiar” animal-world of mankind.
Having started from the center of the whole Floor-composition, we are arriving now at the six interior and the six exterior angles of the Davidic Star, which are filled with the 12 signs of the “Zodiac”, the monthly symbols of the year. The six signs of the interior angles of the Davidic Star are enclosed in a hexagonal double frame while the six signs of the outer angles are encircled by double lines.

While the six weekday-busts encircling the Helios bust at the center of the Star are symbolizing time for each one of us, as the fundamental life-condition (beside space), the monthly symbols of the Zodiac represent time-condition in its changing Seasons for all mankind all the year around.
Remaining in the overall design are 18 small triangles each one filled by a bird, representing open air space, as one of the fundamental conditions of human and animal life.
This Floor, then, forms a synthesis between Greek Mythology and Judeo-Christian belief. The elevated and heroic world of god-like beings, conceived under the knowledge of both the organic and spiritual life of humankind is replaced here by the allegoric representation of the time in the form of the seven busts of the week and the 12 Zodiac signs of the year, representing the fundamental life-conditions of human, animal, and bird-life and nature life in general.
Bir-Chana, then, arrived at a universal understanding of human and animal and nature life in its dependence from the eternal ground foundations of life – space and time. Yet, Bir-Chana did not satisfy itself with this Greek philosophical insight. The world in its infinity and unity is God’s creation (after the Jewish and Christian belief). God’s pre-existence is shown in the Bir-Chana Floor as a pure abstract line forming the geometrical figure of the hexagram (David’s Star). By this pure line the Symbol of God’s sovereign Rule is conceived and its maintenance is established for all mankind.

This sovereign Rule of God is an ancient Jewish religious concept. From it is derived God’s everlasting presence - the Shechina. But God’s presence was specially confined to places of religious importance – to the Ark of the Covenant with the “Kaporet” (mercy seat) above, between two “Cherubim” (Ex.25:17/18) – in the time of the desert wandering of the 12 tribes. And then, after David’s conquest of Jerusalem, “Zion” became the favorite place of God’s presence. But, with the loss of Jerusalem at the first Jewish revolt against Rome (66-70 C.E.), God’s presence there was lost. The Shekhina was revived now by God’s sovereign Rule in the whole world of the Diaspora. But God’s Rule is divided now in the God-father- God-son relationship as belief of the Judeo-Christian community, symbolized in the Hexagram as interrelation of two equilateral triangles, the upper one symbolizing God-father and the lower one- God’s son. Christ, now, became the mediator – the Messiah between God’s superior reign and mankind as such - fulfilling by that God’s Covenant from Sinai. In this way God’s sovereign Rule for all mankind was maintained. But the creators of this belief and the Symbolism were, by no doubt, the Italian congregations of the Judeo Christians. The Bir-Chana Mosaic Floor belongs, then, to the group of a single dominating Davidic Star, but is, on the other hand, a creation of such rich philosophical interpretation, which make out of it a work of extraordinary singularity.

Neo-Paphos Mosaic Floor with the Swastika sign

54. Neo-Paphos Mosaic Floor with the Swastika sign

Courtesy of Ken and Nyetta from Flickr

To our great surprise we find the Swastika sign in a group of five religious symbols belonging to a Mosaic Floor of Neo-Paphos, near the south west coast of Cyprus. (Pl. ) The town was founded by the Phoenicians in the 4^th century B.C. [40]

It became the capital of Cyprus in the 3^rd century under Ptolemaic rule. Only in the 4^th century C.E. it was replaced as such by Salamis.

The Mosaic Floor is composed of a winding rope forming great Medallions, which are occupied by the main symbols of the religions of the time. The rope itself is formed by a two-strand Guilloche ornament changing with a running spiral one, both overriding the whole Floor design at top-level. Beside the great Medallions are also smaller supporting ornaments in the shape of squares with rounded inside turned sides.

The group of the five Symbols in the great Medallions has in its spherical octagonical center the Magen David, the main Judeo-Christian sign (a), accompanied by two medallions above and two medallions below. The right one, above, containing the Double Square, the symbolic sign of the Gentile Christians (b) and the Samaritans (as we saw); the left one has a Greek cross of the Imperial Roman Church (c), while, below, the right one has a Tri-Loop sign[41]

of the Neo-Samaritans (d), while the left one, below, has the Swastika sign (e) also with Samaritan origin.

What is astounding is the fact that the main religious signs of the Neo-Christians appear in Paphos on the island of Cyprus surrounding the Magen David Sign in their center. It can be explained only, to my opinion, by the known fact, that the Neo-Christians did not take part in the war against the Romans, and, therefore had to flee the country as the Jerusalem Christians did, in order to find refuge in Pella and other cities of the Decapolis. And so, it seems, that our group of Neo-Christians together with Samaritans fled to the island of Cyprus, in order to find refuge in Neo-Paphos, the capital.

But each one of the four religious movements of the time is related to the Magen David in the center of the group, revealing by that, that the flight from the Holy Land had been done under the guidance of the Jedeo-Christian movement (in the first years of the first revolt), and recognizing by that the leading role of the Davidic Star is playing in Neo-Christian religious Speculations (in spite of the fact that it was not accepted by the gentile-Christians..

Yet, in addition do we find, to our surprise, in the four corners of the Floor a great Lily sign[42]

, not contained in a Medallion, but free and turned inside, supporting by that the whole composition of the Floor, which represents all the religious Neo-Christian movements of the time.

We saw already before the important religious significance of the Lily sign (the Shoshan), as a sign of the Torah (the Eduth) and its constant relations to the Davidic sign.

It is obvious that behind the whole composition of the Neo-Paphos Floor, an astounding understanding of the historical inter-relations of the religious movements of the time is hidden.

The Monastery of St. Euthymius

The monastery of St. Euthymius in the industrial zone of Ma’ale Adumim – Mishor Adumim, near Jerusalem, the last monument of the country, we are dealing with, containing Davidic Signs.

The monastery was founded by St. Euthymius, a famous religious personality (of the 5th century) whose life was described in full by Cyril of Scytopolis [43] (Beit Shean)
The monastery is one of the greatest and most elaborate ones, situated near to the Jerusalem- Jericho highway.

Cyril lived there for some 10 years (445-455) and his biography of Euthymius is first hand experience. [44]

Further information on the monastery comes from archaeological excavations there. St. Euthymius was the first of the Judean monasteries to undergo full scale archaeological excavations [45]

Its first excavator at the end of the 1920’s was Dervas Chitty [46], whose excavations were dedicated to the church and the underground burial monument beside it [47]
In the years of 1970 the monastery was again excavated by Gyionnis Maimaris, a Greek Archaeologist, who found a Refectory beside the church. [48]

In 1987 the Archaeology Department of the Hebrew University renewed the excavations, handing them over to Yizhar Hirschfeld together with Rivka Burger-Kalderon [49]
All our details of the excavations of St. Euthymius are founded on his article in Liber Annus 43, 1993, 339-371.

St. Euthymius was born in 377 in Melitene, capital of Armenia [50]. He arrived in the Holy Land in 405, where he entered the Laura of Pharan (Wadi Quilt), near Jerusalem and remained there for five years. [51].

He then left Pharan together with his friend Theoctistus and after finding a cave in steep surrounding of Nahal Og they founded a coenobium there called after his friend Theoctistus. Euthymius lived there for ten years (411-421). [52]

He became acquainted with the tribe of Saracenes, who under Euthymius influence converted into Christianity. [53]

Yet, as Euthymius solitude was disturbed now he left the monastery of Theocticstus together with his pupil Domitian. On their wanderings they arrived at a mountain called Marda (Masada) and they stayed there for a certain time.

After their leaving they moved into the desert area east of Tell Ziph, and there they founded another coenobium-Capar Baricha (Bani Na’im) [54]. But now Euthymius decided to return to the area west of the Theocticstus Monastery and settled there in a small cave at Mishor Adumim, which became the starting point of the monastery.

“Aspabet, the chief of the Saracene tribe, whom Euthymius baptized and named Petrus, arrived at the spot and built whatever the two hermits required” [55]

Euthymius, on the other hand chose a location for the encampment of the tribe, nearby, and asked the archbishop of Jerusalem, Juvenal, “ to make Aspabet Peter bishop of the encampments”.

When Euthymius started his monastery as a Laura of three momks the membership grew fast and increased to 50. The church was dedicated in 428 under the presence of Juvenal Archbishop of Jerusalem and a number of other dignitaries.

The Empress Eudokia built a tower on the highest mountain of the Judean Hills, in order to have talks with Euthymius.

Two famous monks Elias and Martyrius came to St. Euthymius and stayed there for a certain time. Elias founded two Canopiae near Jericho and Martyrius became the founder of one of the the greatest monasteries at Ma’ale Adumim (near Jerusalem).

Euthymius became now the undisputed leader of the monastic movement. This found expression in a number of religious foundations around St. Euthymius: the monastery of Theocticstus, the Church of the encampment, the Tower of Eudokia, and another Saracin Church at the Jerusalem-Jericho road, called St. Peter after Aspabet, the leader of the Saracins and the monastery of St. Martyrius.


Euthymius died on the 20 of February 473, at the age of 94 .

The Jerusalem Patriarch soon arrived with his retenue, inter alia the Deacon Fidus, who was a gifted architect. After a provisional burial of Euthymius, Fidus started work beside the church at the small cave, where Euthymius and his pupil Domitian had settled the first time. The burial building was ready after three months and Euthymius was buried there. The tomb was completed 7 May 473.

“The death of Euthymius marked the end of the golden age of the monastery. The monastery started to decline, especially after it was transformed from a Laura to a Coenoebium”.

From 482 St. Euthymius was a communal monastery in every detail .

20 years after the Muslim conquest (659) a serious earthquake damaged two monasteries: John the Baptist (Qasr el Yahud) by the Jordan river and St. Euthymius.

Reconstruction of St. Euthymius with a fine Mosaic Floor followed.

Last mention of St. Euthymius: “it may well have been abandoned in the wake of Saladin's conquest of the country. However abandonment may have occurred later during the reign of the Mamluk Sultan Baybars (1260-1277)”.

St. Euthymius, now, became a road station under the name of Khan el Akhmar.

The Mosaic Floor of the Church of St. Euthymius

55. The Monastery of St. Euthymius

56. The Monastery of St. Euthymius Mosaic Floor. Courtesy of Dr. Asher Eder
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57. The Monastery of St. Euthymius Mosaic Floor

The old Laura Church of 428 was demolished in 482, when the number of monks had grown to 50, forming a Coenoebium. A Refectory was built on top of it and a new church was erected.

In 659 this church was heavily damaged by an earthquake together with most of the other compounds of the monastery.

In the late 8th century security in the region deminished and many monasteries were attacked by the Saracin inhebitents of the area.

"later, in 809, the monastery of St. Euthymius was stormed by Saracins who plundered it as well as other desert monasteries" .

The Mosaic Pavement belongs to the Ommayad period i.e. after 659 (the year of the earthquake .

The two ails of the church were decorated, so it seems, symmetrically by a following of round and square decorative units, but the Floor of the Northern Ail is almost completely destroyed, while the Floor of the Southern one is almost completely preserved, yet covered wholly by soot. Inspite of that the Symbols of it are quite recognizable. A relative small Davidic star in the center is designed in the lower unit surrounded by a dense following of Lozenches and Tri-partite ornaments, all in white on the black background.

A second Mosaic unit of the ail has a great Magen David filling out the circumference of one line and inscribed by a six partite loop design with a small half-moon design in the center and small rounds at the top of the loops. A dense following of pear-like ornamentsis added to the circumference.

Both Mosaic units are often unmistakable Islamic Style.

58. Monastery of St. Euthymius - Plan

In the Byzantine Period

David’s Star in the Byzantine Period, between the 6th-9th centuries

This additional chapter is dedicated to a “pre-view” of the development of the Magen David in Byzantine and Islamic times, which inspired the Massoretic Movement of the Jews in the 9th-11th centuries, converting the Magen David and other signs to pure Jewish ones. This chapter has to be a short one as detailed explanations are planned for later, and are already in preparation. But, we don’t want to miss the great historical vision just now.

In spite of the suppression of the Davidic Sign by the Cross of the Constantinian Church the Judeo-Christian Movement did relatively well in the 4th century A.D. it even experienced the start of a rebuilding of the Jerusalem Temple by Julian the Apostate (361-63), which had to be intercepted only by the early death of the emperor in his Russian War.

And in spite of the fact of the formation of the Judeo-Christian Movement in the 1st century C.E., being a separation from traditional Judaism, the clinging of its members to the Torah and their taking part in the religious service of the Synagogue made them a kind of partners in the historical fate of the Jewish people. A first severe blow against Jewish independent rule, represented by the Sanhedrin and the Patriarchate, has been suffered about the year 427 C.E. by the failure of Theodosius II to appoint a successor to Gamaliel the VI th, the last patriarch. But the Sanhedrin continued in its rule. The Magen David seems to have continued as an interior Judeo-Christian Sign, but no more as an official Sign to the outer world. But, to our great surprise we find the Magen David suddenly at the end of the 5th century and the first half of the 6th century on Byzantine coins, of Anastasius (491-518 C.E.), Justin (518-527 C.E.) and Justinian (527-565 C.E.)

59. Anastasius (491-518 C.E.) Large 'K' with Magen David above and below on half Follis

60. Justinian I (AD 527-565). Gold solidus with Magen David

61. Large 'M' with Magen David on Byzantine coin

The Davidic Star appears on these Byzantine coins once or sometimes twice on the Reverse side of follies beside the central sign of the big M or the big K, or also on the golden issues beside the Christian Ornamentation.

Baramki in his article in the QDPA has shown it in detail, but without mentioning the historical importance of it. These Byzantine rulers have truly saved David’s Star from oblivion and have become responsible for its acceptance by the Byzantine church architecture Istambul's of the 6th-9th centuries by the Islam, and also by its acceptance in Islamic art.

Yet, in addition to the acception of the Davidic Star in Byzantine Numismatics of the end of the 5th century and over to the first half of the 6th century these rulers are responsible, too, for its acceptance in Byzantine Church architecture. The most famous Church is the Hagia Irene, which is the second in importance after the Hagia Sophia. David’s Star appears in the Hagia Irene, most representative on the four pendantives of each of the two domes there, which were built under the patronage of Justinian in 532 C.E. at the reconstruction of the Church.

62. Hagia Irene, Constantinople - David' s Star as decoration of the four pendentives of both domes of the Church

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63. Gul Camii, Istanbul. From: Les Eglises de Constantinople

Jean Ebersolt, Adolphe Thiers. Paris, 1913

XXI. Ottoman Restoration Work of Byzantine Churches

But there are in Constantinople other Byzantine Churches which have the Magen David. Part of them were reconstructed in the Ottoman period, repainting it were it appeared (Pl. ) [38], but also addishing on them.

One of these reconstucted churches is St. Theodosia, called Gul Cami, after becoming an Ottoman Mosque. [Pl. ]

All the supporting arches of the church are filled in short regular distances with the Magen David, but in combination, above and below, with one Lily Sign, growing out from a lobed base. This kind of combination between the Magen David and two additional Lily Signs, and its frequency on the arches is not known from church architecture of antiquity, and so it must be an innovation of the Ottoman rulers.

In the Dome of the church the Magen David is inscribed into a six radiated star-motive, which is enclosed by a six-pointed borderline. The center of the Davidic Star is occupied by a six-pointed Star. This complicated Star motive in the Dome appears 12 times around it. The six-partite Lily Sign accompanied again above and below by the lobed Lily Sign.