tag:blogger.com,1999:blog-51450813166868959872024-03-14T12:12:56.863+02:00Magen David Symbol Research from the 1st to the 11th century C.E.Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-5145081316686895987.post-38384311896896746172010-07-02T19:01:00.005+03:002010-07-02T21:18:48.692+03:00Introduction<p class="MsoNormal" dir="ltr" align="center" style="direction: ltr; unicode-bidi: embed; text-align: left; "><span class="Apple-style-span" style="font-size:medium;">Since Gershom Scholem’s publications between the years 1948 and 1971 it is well known that the Star of David Symbol (in Hebrew: Magen David), now the central emblem of the Israeli flag, is rarely found in antiquity and not at all in known Jewish art [1] . It is not mentioned as a feature of the interior decoration of the Solomonic Temple (10th century B.C.E.) [2], as well not on the decoration of the second Temple, 517/15 B.C.E - 70 C.E. It does not appear on the Yehud coins of the second half of the fourth century B.C.E. and the beginning of the third century, nor on Hasmonean coins, from the end of the second century B.C.E., to the second half of the first century B.C.E, nor on the coins of Herod the Great (37-4 B.C.E.) nor on the coins of his sons and grand sons, his successors: Herod Archelaos (4 B.C.E – 6 C.E), Herod Antipas (4 B.C.E – 39 C.E), Herod Philip II (4 B.C.E – 34 C.E), Agrippa I (37 C.E – 44 C.E, grand son of Herod the Great) and Agrippa II (56 C.E – 95 C.E, son of Agrippa I). It is not known from the first century B.C.E to the first century C.E Ossuary Ornamentation from Jerusalem, nor from procuratorial coins of the first century C.E. or from First Revolt coins (66-70 C.E.) nor even Bar Kokhba Revolt coins (132-135 C.E.).</span></p><p align="center"></p><p class="MsoNormal" dir="ltr" align="center" style="direction: ltr; unicode-bidi: embed; text-align: left; "><span class="Apple-style-span" style="font-size:medium;">Finally, the Magen David is completely absent from the more than hundred Synagogues [3] , discovered in the country, in Jordan and the Diaspora, in the three first centuries C.E., except for some three religious monuments: the Mosaic Floor of Ein Yael (near Jerusalem). (Pl 1); the Synagogue of Capernaum (Kfar Nachum) (Pl. 2) and the Synagogue of Kfar Shura (near Rosh Pina) (Pl 3.)</span></p><p class="MsoNormal" dir="ltr" align="center" style="direction: ltr; unicode-bidi: embed; text-align: left; "><span class="Apple-style-span" style="font-size:medium;">But this astonishing scarcity of the sign on Jewish religious monuments of the three first centuries C.E. is for us the special reason of our dealings, which are dedicated especially to them.<br /></span></p><p class="MsoNormal" dir="ltr" align="center" style="direction: ltr; unicode-bidi: embed; text-align: left; "><span class="Apple-style-span" style="font-size:medium;"><br /></span></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvl78sh7EWll2Q7fbF2WDrTYLqdFwIfmMKyikVGiXZXVJX_OfvmZmmyq0R4No437iS4UzfTBptLhVJk-5RFbA2O4mUDj0XjPkpOLffTtGN7aoZCSzMmvpDVQiaWPnQvnHbAl6ObBLEGCYN/s1600-h/yael-new.jpg"><img id="BLOGGER_PHOTO_ID_5315265995686617330" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvl78sh7EWll2Q7fbF2WDrTYLqdFwIfmMKyikVGiXZXVJX_OfvmZmmyq0R4No437iS4UzfTBptLhVJk-5RFbA2O4mUDj0XjPkpOLffTtGN7aoZCSzMmvpDVQiaWPnQvnHbAl6ObBLEGCYN/s400/yael-new.jpg" border="0" style="text-align: left; display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; width: 400px; height: 254px; " /></a><p align="center"></p><div style="text-align: center; "><em><span class="Apple-style-span" style="font-size:medium;">1. the Mosaic Floor at Ein Yael of David's shield. 2nd century C.E. .</span></em></div><em><div style="text-align: center; "><span class="Apple-style-span" style="font-style: normal; "><em><span class="Apple-style-span" style="font-size:medium;">From: G. Edelstein, 'What's a Roman vila doing outside Jerusalem? Bar, Nov-Dec. 1996, 16:6 p. 33</span></em></span></div><div style="text-align: center; "><span class="Apple-style-span" style="font-style: normal; "><em><span class="Apple-style-span" style="font-size:medium;"><br /></span></em></span></div></em><p></p><span class="Apple-style-span" style="font-size:medium;"><em></em></span><p></p><p class="MsoNormal" dir="ltr" style="direction: ltr; unicode-bidi: embed; text-align: left; "><span class="Apple-style-span" style="font-size:medium;"><br /></span></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu_C5-JvPzlGjX2MZw2wtpaDE1SVwuB9KMIsI6aRXxfNnt7Vze4hKNoVW0cObReLRnSjk0ZTfqWp6KWroXzhJHnpVlco7wnD1HTHPELv0UYjOIJGv5eB4borbeM96qfM6-jvM08dsdyy7G/s1600-h/%D7%9B%D7%A4%D7%A8-%D7%A0%D7%97%D7%95%D7%9D-%D7%9C%D7%A4%D7%AA%D7%99%D7%97%D7%94.JPG"><img id="BLOGGER_PHOTO_ID_5350783669276657730" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu_C5-JvPzlGjX2MZw2wtpaDE1SVwuB9KMIsI6aRXxfNnt7Vze4hKNoVW0cObReLRnSjk0ZTfqWp6KWroXzhJHnpVlco7wnD1HTHPELv0UYjOIJGv5eB4borbeM96qfM6-jvM08dsdyy7G/s400/%D7%9B%D7%A4%D7%A8-%D7%A0%D7%97%D7%95%D7%9D-%D7%9C%D7%A4%D7%AA%D7%99%D7%97%D7%94.JPG" border="0" style="text-align: left; display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; width: 400px; height: 367px; " /></a><p align="center" style="text-align: center; "><i><span class="Apple-style-span" style="font-size:medium;">2. David's shield with six peltae in the star's outer angles from the Capernaum Frieze; 4 remains of the Frieze. From: Z. Goldmann, E. Goldmann and Hed Wimmer, Israel, its legends and its History ("The Land I will show Thee")</span></i><i><span class="Apple-style-span" style="font-size:medium;"> 1967. C.J. Bucher, Lucerne and Frankfurt a-M, p. 162</span></i></p><p align="center" style="text-align: center; "><i><span class="Apple-style-span" style="font-size:medium;"><br /></span></i></p><p align="center" style="text-align: center; "><i><span class="Apple-style-span" style="font-size:medium;"><br /></span></i></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu3jvxiBglrojB4ygThwCtBkJMyxMDeZD0kvmJlJN7q9_5ZiBboGihZOBCAcrLekxq5UKhyGR82XNkgrhJquiixbJxJGaWyZxjaV5YflMJwJ9GHoILCDMpeoSSCcoB01LKM7bPqCGNhvie/s1600-h/%D7%A9%D7%95%D7%A8%D7%94.JPG"><img id="BLOGGER_PHOTO_ID_5350783770397608738" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu3jvxiBglrojB4ygThwCtBkJMyxMDeZD0kvmJlJN7q9_5ZiBboGihZOBCAcrLekxq5UKhyGR82XNkgrhJquiixbJxJGaWyZxjaV5YflMJwJ9GHoILCDMpeoSSCcoB01LKM7bPqCGNhvie/s400/%D7%A9%D7%95%D7%A8%D7%94.JPG" border="0" style="text-align: center; display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; width: 400px; height: 142px; " /></a><div style="text-align: center; "><div style="text-align: center; "><i><span class="Apple-style-span" style="font-size:medium;">3. The Synagogue of Kfar Shura (near Rosh Pina</span></i><span class="Apple-style-span" style="font-size:medium;">)</span></div><div style="text-align: center; "><span class="Apple-style-span" style="font-size:medium;">Two voussoirs from the arcade, one showing David's shield</span></div></div><div style="text-align: center; "><span class="Apple-style-span" style="font-size:medium;">with a rosette filler in center, the second with a six-petalled Lily in a circular frame. From: R. Milstein, Solomon's Seal, catalogue to the exhibition at the Migdal David Museum, Jerusalem, 1996, fig. 20, p. 39.</span></div>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.com0tag:blogger.com,1999:blog-5145081316686895987.post-79377940997727640012008-08-07T19:01:00.047+03:002010-07-03T07:42:43.077+03:00Ein Yael<p class="MsoNormal" dir="ltr" align="center" style="direction: ltr; unicode-bidi: embed; text-align: left; "><span class="Apple-style-span" style="font-size:medium;"><br /><strong>Ein Yael</strong> <strong>Floor</strong> was discovered in 1988 by Gershon Edelstein of the Antiquities Authority, while excavating an ancient agricultural farm. (Pl. 1) [4]</span></p><p class="MsoNormal" dir="ltr" align="center" style="direction: ltr; unicode-bidi: embed; text-align: left; "><span class="Apple-style-span" style="font-size:medium;">The farm overlooks the Repha’im Valley and all the buildings discovered stand on the valley’s steeply sloping southern side. A perennial spring is channeled (by rock-cut and built conduits) to a Roman villa, a bathhouse complex and three reservoirs, which irrigate eight extensively tilled terraces. The Mosaic Floor was found in a round, tower-like structure standing between the reservoirs. </span></p><div align="center"><br /></div><p class="MsoNormal" dir="ltr" align="center" style="direction: ltr; unicode-bidi: embed; text-align: left; "><span class="Apple-style-span" style="font-size:medium;">The wall of the structure, preserved to a height of some 1.5 m., retains on its inner surface the remnants of fresco painting. Its northern side was partly demolished by the later construction of a masonry wall to support the large reservoir beside it. </span></p><div style="TEXT-ALIGN: center"><br /></div><p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9D6X27B0jmGhzOpmooxg4ROGtBOiWJVUs8vs2VN46P1TdGq76fY7TSlIdjxDBtGbIVbawoWy_oP5HgMz_MvVSM3j_vrDwjfh7jh_SI0gLxSjue5FFpE0fGXH9jXPiljQW5CAmc7e3KsyR/s1600-h/plan.jpg"><img id="BLOGGER_PHOTO_ID_5353428027065234962" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 399px; CURSOR: pointer; HEIGHT: 238px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9D6X27B0jmGhzOpmooxg4ROGtBOiWJVUs8vs2VN46P1TdGq76fY7TSlIdjxDBtGbIVbawoWy_oP5HgMz_MvVSM3j_vrDwjfh7jh_SI0gLxSjue5FFpE0fGXH9jXPiljQW5CAmc7e3KsyR/s400/plan.jpg" border="0" /></a><em></em></p><p align="center"><em>-</em></p><p style="text-align: center;"><em>4. Plan of of Roman villa, bath house and baptistery with Mosaic Floor of David's star at Ein Yael (near Jerusalem)</em></p><p><em>-</em></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span class="Apple-style-span" style="font-size: medium;">In the round building’s west side there is a 0.8 m. -wide opening, exactly opposite a square water basin, 4.35 m. long, 2.75m. wide, and 1.0 m. deep, and floored with ceramic tiles. I am convinced that we have here the open-air Baptistery of a Neo-Christian community before us. The round building served the consecrating priest while the square basin – it has a 0.85 m. -wide opening in its south side – served to immerse the catechumens . [Acts 2:38-41]<br /></span></p><span class="Apple-style-span" style="font-size: medium;"><br /></span><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span class="Apple-style-span" style="font-size: medium;">The design of the mosaic floor (Pl. 1) is conceived as a single dominating Star of David with two interlacing unilateral triangles (as usual), traced by a two-strand Guilloche and elaborately framed. The Star itself is inscribed into a single black encircling line. Its hexagonal center is filled by a six-petalled Lily sign (Shoshan), while its outer angles are filled by 3 tri-petalled Shoshan signs and three Pelta (Amazon) signs, juxtaposed. All six outer signs are pointing inside.</span></p><span class="Apple-style-span" style="font-size: medium;"><br /></span><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span class="Apple-style-span" style="font-size: medium;">The circular frame comprises a two-strand Guilloche within an inner and outer circle of successive stepped triangles (“crew-steps”) turned towards the Guilloche circle). It is enclosed within a continuous black borderline like that encircling the Star itself. The predominant colours are red, yellow, and black . [5]</span></p>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.comtag:blogger.com,1999:blog-5145081316686895987.post-78795852747059232452008-08-07T19:00:00.061+03:002010-07-03T07:49:13.490+03:00The Shoshan<p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">The Shoshan (LiIy) and Pelta (Amazon shield) as Complements to the Star of David, and their Significance</span></span></strong></p><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">-<br /></span></span><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">We shall see in the following that the Shoshan and the Pelta found at Ein Yael are the constant companions of David's shield (see p. 1). While the Star of David is a newly appointed emblem - of the newly-created Judeo-Christian religion - its two companion signs are traditional, the Shoshan, in its twofold formulations from Jewish religious art and the Pelta from Greco-Roman mythology.</span></span></p><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><strong></strong></span></span></p><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">The Shoshan</span></span></strong></p><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">-<br /></span></span><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">-</span></span></strong></p><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ-zg-oo7pnjTleVYNfJTyO5-80lsFqQnC4zq3wWhO4fs4_F3eeepHT_zwi7dOdFxuOEyeyQ_8lF4A-ghH15gFeoXN7o0VSP8tnXNX6mwuEdl0zlpOCA7sOag34PA88728H5BTPyzYm_1_/s1600-h/29a_Yehud-coins.jpg"><img id="BLOGGER_PHOTO_ID_5231833136293653826" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ-zg-oo7pnjTleVYNfJTyO5-80lsFqQnC4zq3wWhO4fs4_F3eeepHT_zwi7dOdFxuOEyeyQ_8lF4A-ghH15gFeoXN7o0VSP8tnXNX6mwuEdl0zlpOCA7sOag34PA88728H5BTPyzYm_1_/s400/29a_Yehud-coins.jpg" border="0" /></a><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><span style="FONT-STYLE: italic"></span></span></span></p><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"></p><div style="text-align: center;"><span style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">5.</span></span></span><span style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"> </span></span></span><span style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">'Yehud' coin. Half Obol: obverse: bird :(eagle), with outstretched wings + ‘Yehud’ above right. Reverse: three foil Lily. From the first rule of the country by Ptolemy I, 320-315 B.C.E. Bessin collection, Israel Museum, Jerusalem. From: Y. Meshorer, Jewish Coins of the Second Temple Period, Tel Aviv, 1967, pl. l,x. </span></span></span></div><div style="text-align: center;"><span style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-family:'times new roman';"><br /></span></span></div><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family:'courier new';">I have shown in my paper, 'The Sign of the Lily, its Roots, Significance and History in Antiquity', that the Shoshan was the Symbol of the Torah [6]. It was derived from Aaron's Rod, placed by Moshe in the Ark of the Covenant, at God's command, in front of the Testimony (Eduth) in eternal remembrance (Num. 17:25). The Shoshan, the trifoil leaf of the Rod, became, pars pro toto, Aaron's distinguished sign (and of the High Priesthood altogether), worn by the priests at the front of their turban and called in the Bible ''the pure golden flower” (sis ha-zahav ha-tahor, Ex. 22:36-38; Ex. 39:30,31; Lev. 8:8,9. Inscribed on it were the words “Holy to the Lord'' (Ex. 28:36).</span></div><span style="FONT-STYLE: italic"><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><span class="Apple-style-span" style="font-family:'times new roman';"><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><span class="Apple-style-span" style="font-style: normal;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family:'courier new';">The “pure golden flower”, then, is the Shoshan's early designation, going back to the tribes’ wandering in the wilderness in the 13th century B.C.E.</span></div><i><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';">In the Bible, the term ‘Shoshan' occurs for the first time in connection with the 10th-century Solomonic Temple - on the two free-standing pillars, Jachin and Bo’az (I Kings 7:21-22) and on the two engaged or supporting pillars at the Temple vestibule (I Kings 7:19). The two copper pillars, Jachin and Bo’az, were cast by Hiram, Solomon's Phoenician craftsman (I Kings 7:13-16), their capitals executed as “Shoshan work”' (I Kings 7:19, 22). The Shoshanim had to be full-size as seen from above, that is six-petalled, as the pillars stood free in front of the Temple, while the capitals of the two engaged pillars in the vestibule had to be tri-petalled, as seen from the side. In its six-petalled form, as well as in the tri-petalled side-view, the Lily came to be the paramount ornament of Jewish art and especially of Jerusalem’s ossuary decoration. Absorbed into the Judeo-Christian tradition, it became a constant companion to the David's Shield and, later, to the Cross.</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';">In the First Temple's interior decoration the Shoshan was the most often used element, called “peturei sisim” i.e flower stems' (I Kings 6:18, 29, 32, 35) and it also figures prominently among the king's adornments. We learn from the description of King Joash's coronation (II Kings 11:12) that the “Eduth” was a feature of the ornamentation of the crown (nezer). Associating the crown with the Shoshan-Eduth lent the crown sanctity, as the Shoshan was a priestly appurtenance while the crown as such was a secular adornment possessing no religious meaning. [7]</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';">In post-exilic times, the trifoil Lily appears on the very first minting of Jewish coins, the 'Yehud' coins of the late fourth century B.C.E. The issue, bearing the tri-petalled Shoshan emblem on its obverse, as we saw already, and the frontal eagle with outstretched wings on the reverse, dates to Ptolemy’s I first reign in the Land of Israel (320-315 B.C.E.) [8]</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';">And this same obverse is now replicated on the modern Israeli state's New Shekel coin.</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';">But, as the Shoshan, in its two versions, is an ancient Jewish symbol, it is no wonder that it was taken over by the Judeo-Christian movement. Yet, we are in a position to show the historical process, how this happened</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';">The juxtaposition at Ein Yael of the Star of David with the tripartite and sixpartite versions of the Shoshan reveals that the new Judeo-Christian Creed is founded on the Bible, recalling Christ’s words in Matthew 5:17,18:</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';">"Think not that I have to abolish the Law and the Prophets. I have not come to abolish them but to fulfill them. For truly, I say to you, till heaven and earth pass away, not an iota, not a dot, will pass from the Law until all is accomplished".</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family:'courier new';">Yet the Star of David is a new creation of the Judeo Christian creed, which Christ did not know yet, as it was created only after his death and ressurection, becoming son and partner of God.</span></span></div></i><br /><br /><br /></span></span></span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-U3wv3Gh41iUu4oQ4NKtgWb1FTSKdSZoCvMhFjEo5EAbW8j58unq6S6aXzmFHnut3wYwd7AI3JQXbh2HbJ8piPC13fkGmD_-b_wTKHmeuXUYQyt0O2SfgAa1HcCjyDuDNNuyka4T-8oTH/s1600-h/shoshan.jpg.jpg"><img id="BLOGGER_PHOTO_ID_5350556372360819666" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; HEIGHT: 300px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-U3wv3Gh41iUu4oQ4NKtgWb1FTSKdSZoCvMhFjEo5EAbW8j58unq6S6aXzmFHnut3wYwd7AI3JQXbh2HbJ8piPC13fkGmD_-b_wTKHmeuXUYQyt0O2SfgAa1HcCjyDuDNNuyka4T-8oTH/s400/shoshan.jpg.jpg" border="0" /> </a><p align="center"><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">6. Three-foiled Shosha</span></span></em><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">n - Symbol of </span></span></em><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">Upper </span></span></em><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">Egypt </span></span></em><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><br />and </span></span></em><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">Papyrus - Symbol of Lower </span></span></em><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">Egypt. From the 2nd millenium B.C.E<br /></span></span></em><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">Picture from Wikipedia </span></span></em></p><p align="center"><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></em></p><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><em></em><em></em></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAt5TSntc7AGmlHmA5c3nIOBwB84-16dU3Fudit9syM9wpX2R1ojgNyZ69d39-p8l3GXKNH9kU6cD_cmmrNfOIEP2fgVbSppZ3TZByX-ok7k-BjL7GiD2LER2b7lUtR70prprJYikgSI7i/s1600-h/%D7%AA%D7%91%D7%99.JPG"><img id="BLOGGER_PHOTO_ID_5350800389936244338" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 334px; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAt5TSntc7AGmlHmA5c3nIOBwB84-16dU3Fudit9syM9wpX2R1ojgNyZ69d39-p8l3GXKNH9kU6cD_cmmrNfOIEP2fgVbSppZ3TZByX-ok7k-BjL7GiD2LER2b7lUtR70prprJYikgSI7i/s400/%D7%AA%D7%91%D7%99.JPG" border="0" /> </a><p align="center"><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">7. Thebes -two free standing pillars in front of the Temple of Amon, Kernak. Three-foiled Shoshan - Symbol of Upper Egypt and Papyrus - Symbol of Lower Egypt from the 2nd millenium B.C.E<br /><br /><br /></span></span></em></p><p align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHTUN48NnC2rnQDv61pFfKxEEkRV5zHElrLZWt5CKYxA9fod8mTHPJwwn6AZGcYc16fE3XQ-OxWH8YeZiwJvxzdsY5SXGYeAtLHLzILGmwDmsehhKSE1VogsdJlHZ56v9Pc9hChyhxClH5/s1600-h/%D7%A9%D7%99%D7%A7%D7%9E%D7%95%D7%A0%D7%94.JPG"><img id="BLOGGER_PHOTO_ID_5350800652079873810" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; HEIGHT: 157px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHTUN48NnC2rnQDv61pFfKxEEkRV5zHElrLZWt5CKYxA9fod8mTHPJwwn6AZGcYc16fE3XQ-OxWH8YeZiwJvxzdsY5SXGYeAtLHLzILGmwDmsehhKSE1VogsdJlHZ56v9Pc9hChyhxClH5/s400/%D7%A9%D7%99%D7%A7%D7%9E%D7%95%D7%A0%D7%94.JPG" border="0" /></a><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">8. Three-foiled Shoshan mosaics </span></span></em><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">from Shikmona (near Haifa)<br />2nd century C.E.</span></span></em></p><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><em></em></span></span><p><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><br /><br /></span></span></p><p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYBMtCisBvBreND79K_fmB-8joMisFYPcGh5Djpp78FLyO8nQe1O8kq1sWE0EvDkAKrvCgMUZ0p3KI5NBLsDKDaWavRyetBPyZ19QSIvb1PlVKrRZA2hvcMyismAdNjYXCoHu_D97QOn-Z/s1600-h/%D7%9B%D7%A8%D7%AA%D7%99%D7%9D-%D7%A9%D7%95%D7%A9%D7%9F.JPG"><img id="BLOGGER_PHOTO_ID_5350800840160415746" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 335px; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYBMtCisBvBreND79K_fmB-8joMisFYPcGh5Djpp78FLyO8nQe1O8kq1sWE0EvDkAKrvCgMUZ0p3KI5NBLsDKDaWavRyetBPyZ19QSIvb1PlVKrRZA2hvcMyismAdNjYXCoHu_D97QOn-Z/s400/%D7%9B%D7%A8%D7%AA%D7%99%D7%9D-%D7%A9%D7%95%D7%A9%D7%9F.JPG" border="0" /></a></p><p align="center"><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">9. Three-foiled Shoshanim on ceramic </span></span></em><em><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">vessle from Middle-Minoan Crete between 2000 and 1550 B.C.E </span></span></em></p>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.comtag:blogger.com,1999:blog-5145081316686895987.post-29536505450452028442008-08-07T18:59:00.034+03:002010-07-02T21:10:56.866+03:00The Pelta (Amazon Shield)<div align="center">-</div><div align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvWZc80z4hSl3km-3xQ5-IYttmxg7kXD8Q1P3-cXqO3_nlJyydPZcVn0uXi8E2gVNq-69gLTaEVWRJxussmpj1gj2t1dxuX3d4ZC1u1pacgSR20OGlr_KTJFQVRycL5LQUSiYez_D1tuhC/s1600-h/goldmann+amazon1.jpg"><img id="BLOGGER_PHOTO_ID_5319598097688236578" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 465px; HEIGHT: 558px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvWZc80z4hSl3km-3xQ5-IYttmxg7kXD8Q1P3-cXqO3_nlJyydPZcVn0uXi8E2gVNq-69gLTaEVWRJxussmpj1gj2t1dxuX3d4ZC1u1pacgSR20OGlr_KTJFQVRycL5LQUSiYez_D1tuhC/s400/goldmann+amazon1.jpg" border="0" /></a><em></em></div><p align="center"><em>10. Amazon with Pelta fighting leopards. </em><em>According to Cecile Dictiere, La Mosaique des Amazones, </em><em>Bruxelles 1965. 4th century C.E.</em></p><p align="center"><em>-</em></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">The second symbol accompanying the Star of David at Ein Yael is the crescent-shaped Pelta or Amazon Shield. Rather rare in the Land of Israel, its few known occurrences are on sarcophagi. One is to be found at Bir Yakub (Jacob's Well) at Sychar in the Nablus (Samaria) area (Pl.</span><span style="font-size:100%;"> 11 </span><span style="font-size:100%;">), the other one is the sarcophag of Ya’acov the Min in the village of</span><span style="font-size:100%;"> </span><span style="font-size:100%;">Sakhnin (Lower Galilee) (Pl.</span><span style="font-size:100%;"> </span><span style="font-size:100%;">12).</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9PXb49sVeMnIzX_G8NbMbuUlM9G7K5WlapxFBQ8jwK1QhGWRH1GhLQvgWgYUT9i4QtduH-4X3GlvvVjtjWV9LtNSsvpO4JQOHxxtOH6uAVyrhoNSUmCTva3413ZmBf9f9iJGGxyXZMwH7/s1600-h/19a_sebaste.jpg"><img id="BLOGGER_PHOTO_ID_5231989482126393986" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" height="394" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9PXb49sVeMnIzX_G8NbMbuUlM9G7K5WlapxFBQ8jwK1QhGWRH1GhLQvgWgYUT9i4QtduH-4X3GlvvVjtjWV9LtNSsvpO4JQOHxxtOH6uAVyrhoNSUmCTva3413ZmBf9f9iJGGxyXZMwH7/s400/19a_sebaste.jpg" width="392" border="0" /></a></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center"><span style="font-size:100%;">11. Pelta Sarcophagus with two Peltae framed by four posts connected by three horseshoe arks- From Bir Yakub (Jacob's Well), Nablus (Sebaste area at Sychar).The short side shows a Greek Cross supported by an oblong post. (From: B. Bagatti O.F.M.,The Church of the Circumcision, Jerusalem 1971, Fig 6)</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center">-</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN-F2qeqvZdwqeLK8V6JhZQEa8sU2XwsMQCG0GWihystYqTq3eXL3WpaBkvXFUD9X8JD4ruqVTVD8qRvRxIBbPFtWDhzQSWI28Jgu6rAwE5VYoFVD1RUXmh9Qwf1izjAy5kHivyHePySD7/s1600-h/19b_peltas.jpg"><img id="BLOGGER_PHOTO_ID_5231989058850090242" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN-F2qeqvZdwqeLK8V6JhZQEa8sU2XwsMQCG0GWihystYqTq3eXL3WpaBkvXFUD9X8JD4ruqVTVD8qRvRxIBbPFtWDhzQSWI28Jgu6rAwE5VYoFVD1RUXmh9Qwf1izjAy5kHivyHePySD7/s400/19b_peltas.jpg" border="0" /></a></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center"><span style="font-size:100%;">12. Sakhnin (Lower Galilee) Sarcophagus of the righteous Jacob the Min (after inscription) with two Peltae separated by a wreath. Early 2nd century C.E. From: Ibid, pp.22, 95-97. See also: B. Bagatti, antichi Vilalagi Christiani di Galilea, Jerusalem 1971, fig. 109.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">And a further two are at Nablus and Jerash (in Jordan) ; [10] The ornamentation on the long sides of the Samaria Sarcophagus from Bir Yakub [11]</span><span style="font-size:100%;"> </span><span style="font-size:100%;">(dating apparently to the fourth century C.E.) features two large semicircular Amazon Shields framed by three continuous horseshoe-shaped arches. One of the short sides has a Greek cross atop a vertical post, clearly placing the sarcophagus in a Samaritan Neo-Christian context.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">The Sakhnin sarcophagus is decorated in very similar fashion but lacks the elaborate frame and the Greek cross. It is certainly Neo-Christian for its inscription dedicates it to the “righteous Yakov the Min” , [12] ‘Min’ being the Hebrew epithet for the Neo-Christians [13].</span><span style="font-size:100%;"> </span><span style="font-size:100%;">The Jerash sarcophagus also has two Peltae on its long side while the second Nablus sarcophagus has, in the left-hand half of its long side, a group of four Peltae, one to each of the four points of the compass. [E.R. Goodenough, Jewish Symbols in the Greco-Roman Period, III, 226, ibid. 246]</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">In the right-hand half are, one above the other, what seem to be two corrupt Peltae. [14]</span><span style="font-size:100%;"> </span><span style="font-size:100%;">.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">I am convinced, however, that the Samaritan Neo-Christian congregations had adopted the Pelta symbol in place of the Judeo-Christian Star of David. The Samaritans, as we know, recognized the authority only of the Pentateuch, the five books of Moses, (and the book of Joshua of the conquest of the Holy land) and not of the other books of the biblical anthology. This made it impossible for them to accept a symbol associated with David (who does not figure in the first Five Books) and so they replaced it by the gentile Amazon Shield. In this very act we find evidence that the Star of David symbol was attached to the name of David as early as the beginning of the 2nd century C.E., something which most scholars have believed till now did not take place until the late Middle Ages.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGhJkJlxQyQmFzzX-sJcAzMMfA7ldXNeQJ051KjoMkMggNAZ2kEivF5POqe9MqPtazTuxzqmy9RtaCy-3_uPShWegWS5S1DM8YoBxlkNzTVCGz9WAifek5JAUXPq1jLbLWWN3ADSA4C7xH/s1600-h/Amazon-with-pelta-shield-1.jpg"><img id="BLOGGER_PHOTO_ID_5337812699729787810" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 343px; HEIGHT: 389px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGhJkJlxQyQmFzzX-sJcAzMMfA7ldXNeQJ051KjoMkMggNAZ2kEivF5POqe9MqPtazTuxzqmy9RtaCy-3_uPShWegWS5S1DM8YoBxlkNzTVCGz9WAifek5JAUXPq1jLbLWWN3ADSA4C7xH/s400/Amazon-with-pelta-shield-1.jpg" border="0" /></a>13. Amazon striding, left to right with semicircular wicker shield. From: Greek vase with Amazon. End of 6th century B.C.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">The Pelta symbol was not invented by the Samaritans but borrowed from ancient Greco-Roman art, in which it is very common. Its first known origins are Thracian, where as far back as the 6th century B.C.E. it occurs as the semicircular shield borne by Amazon warriors (Pl.</span><span style="font-size:100%;"> </span><span style="font-size:100%;">13). The Greek army then adopted it as a shield for light infantry, the peltestae, and it continued in use with the Roman army, at their auxiliary forces.</span><span style="font-size:100%;"> </span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">In art it is known from Greek vase painting, from an Ephesian sarcophagus (4th century B.C.E.) in Vienna, Kunsthistorisches Museum, from a Thessalonikan sarcophagus (around 170 C.E.) in the Louvre Museum, <strong>from a mosaic</strong> <strong>floor at Antioch</strong> (4th century C.E.) (Pl. 14 ), and other speciments.) [15]</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ3cs99dvpCqWqzm9TvOGPm9fFInJnu0qLCTX5oN4is15SWWZ2TGzmv74ZTILyJlsrCHTlm5kO_xe_mkM6GUbUfJD59aFCJT0bqoxT6uRLvS_teniX5yTrehZe5DoKDqRV9nWwDc_jWfDx/s1600-h/20b_amazon.jpg"><img id="BLOGGER_PHOTO_ID_5231988205316960098" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 428px; CURSOR: pointer; HEIGHT: 337px; TEXT-ALIGN: center" height="251" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ3cs99dvpCqWqzm9TvOGPm9fFInJnu0qLCTX5oN4is15SWWZ2TGzmv74ZTILyJlsrCHTlm5kO_xe_mkM6GUbUfJD59aFCJT0bqoxT6uRLvS_teniX5yTrehZe5DoKDqRV9nWwDc_jWfDx/s400/20b_amazon.jpg" width="392" border="0" /></a></p><div style="TEXT-ALIGN: center"><span style="FONT-STYLE: italic;font-size:100%;">14. Antioch. Mosaic of Roman soldiers fighting Amazons. On the ground:</span><span style="FONT-STYLE: italic;font-size:100%;"> </span><span style="font-size:100%;"><span style="FONT-STYLE: italic">a pelta shield with two double-headed axes. (On the left part of the Floor) From: D. Levi, Antioch Mosaic Pavements, 1947, House of the Amazons, Pl. CXXIII.</span></span></div><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">An outstanding example figures on the base of a <strong>bust of Emperor Commodus</strong> (180-193 C.E.)</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8kg0K57umAkDKu1BeHlxY867L9elyNU5LqP5quRlXOdUIsoY__7um9sIjEP9-ZmALy7or8t01ZFVEVMwynNt0gKGjREPq0j6dnHAD7M3kqusiSiVL5L83PKBt83boJLsRF-rWybkQZ91/s1600-h/20a_hercules.jpg"><img id="BLOGGER_PHOTO_ID_5231987870550126306" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8kg0K57umAkDKu1BeHlxY867L9elyNU5LqP5quRlXOdUIsoY__7um9sIjEP9-ZmALy7or8t01ZFVEVMwynNt0gKGjREPq0j6dnHAD7M3kqusiSiVL5L83PKBt83boJLsRF-rWybkQZ91/s400/20a_hercules.jpg" border="0" /></a></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center"><span style="font-size:100%;">15. Apotheosing bust of Commodus (180-192 C.E.) as Hercules. Poised above a Pelta decorated by a Medusa head, set between two cornucopiae arising from a globe. To the left – a kneeling Fortuna (?). Palazzo del Conservatori, Rome. From: S. Strong, Roman Art, Penguin Books, 1976, PL. 150</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">-</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">The emperor is portrayed as Hercules, rising above the Pelta, the lion's skin on his head and the club resting on his shoulder, the Pelta itself decorated with a Medusa head framed by two cornucopiae. A goddess (Fortuna?) kneels beside the ornamental base. This apotheosizing portrayal demonstrates that in Roman art the Symbol had already been invested with distinct esoteric significance.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">It was not the Samaritan people as a whole who made the Pelta their S</span><span style="font-size:100%;">ymbol but the Samaritan Neo-Christian congregations. Samaritans converted to the new creed in great numbers, presumably in reaction to their inferior socio-political status [16].</span><span style="font-size:100%;"> </span><span style="font-size:100%;">The Roman Empire would not recognize them as a nation with its own national rights but only as a religious sect, a rejection which deprived the Samaritans of all civic rights, even that of giving testimony in court</span><span style="font-size:100%;"> </span><span style="font-size:100%;">[17].To escape this demeaning position many of them enrolled in the Roman army as auxiliary forces and no doubt in that context had first hand experience of the Pelta, then still in use by the auxiliaries. Whether this was the source of their regard for the Pelta or perhaps it was their acquaintance with Roman religious symbolism, at all events they adopted it as their counterpart to the Judeo-Christians' Star of David, investing it with the same significance - both protective sign and symbol of a new faith.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">The Ein Yael combination of Judeo-Christian, Jewish, and Samaritan Neo-Christian symbols is never found in the purely Jewish mosaic floors of Byzantine-period Synagogues. It is evidently a combination that only the new Judeo-Christian faith made possible, a faith that having renounced the ancient Jewish-Samaritan enmity, embraced the newly-converted Samaritans on the basis of social and religious equality. </span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">So it comes that also at Capernaum, the Pelta symbol is present on the Frieze. </span><span class="Apple-style-span" style="font-size: medium; ">It is attached there six times, to the external angles of a Shield of David facing inwards. This juxtaposition with the Davidic symbol cannot be coincidental. It must betoken a Samaritan presence, for which Jesus' acquaintance with and good opinion of them may be additional evidence [18] . The Samaritans seem to have settled at Capernaum after their conversion, for on the other Davidic Symbols at Capernaum their symbol does not yet appear. </span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"><strong>6. The Ein Yael mithological Mosaic Floors of the Roman Villa</strong></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">-</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">The whole Ein Yael complex has been dated by its excavators to the second century C.E., subsequent to the Bar Kokhba war. The villa, too, has distinguished Mosaic Floors in its triclinium (dining room) and in two side rooms. (Pl. 16).</span></p><p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg19DogcJ7UNHYAl_wO3h3bopIznaDcoZKw3dpmQAzXTduCGs5WH4w4sBP1DG5cT1henmUd6RU6BXjgISy34kD7pAM7bl-z1kfvqgFHrziQPYajBEYkVMKw-m6_0v_t37veujDviMUn93VV/s1600-h/4b_yael.jpg"><img id="BLOGGER_PHOTO_ID_5319600453906040978" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 172px; HEIGHT: 158px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg19DogcJ7UNHYAl_wO3h3bopIznaDcoZKw3dpmQAzXTduCGs5WH4w4sBP1DG5cT1henmUd6RU6BXjgISy34kD7pAM7bl-z1kfvqgFHrziQPYajBEYkVMKw-m6_0v_t37veujDviMUn93VV/s400/4b_yael.jpg" border="0" /></a> <span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgimfHN1H5F-7lckytYiCe0eyphAx7R2gwRDJywYZjG0NXib8-mFN2qYfjEP3UghH70EngRXOuvFRdgJPHnRsqv2LrwG_uufHBRLXbYeNk1T41q9kdih5xRrVG9sQ-9KT1rMLVgLTXLwzmB/s1600-h/4c_yael.jpg"><img id="BLOGGER_PHOTO_ID_5231987083372703394" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 411px; CURSOR: pointer; HEIGHT: 153px; TEXT-ALIGN: center" height="142" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgimfHN1H5F-7lckytYiCe0eyphAx7R2gwRDJywYZjG0NXib8-mFN2qYfjEP3UghH70EngRXOuvFRdgJPHnRsqv2LrwG_uufHBRLXbYeNk1T41q9kdih5xRrVG9sQ-9KT1rMLVgLTXLwzmB/s400/4c_yael.jpg" width="377" border="0" /></a></span></p><div style="text-align: center;">16<span style="font-size:100%;">. <em>Ein Yael, Mosaic Floor in the triclinium of the villa with mythological scenes of the goddess Thetis, ruler of the sea, and two side panels with a medusa head each. From: BAR Nov-Dec. 1996, 16:6, p. 37, 38.</em></span></div><p></p><p class="MsoNormal" dir="ltr" style="text-align: left;direction: ltr; unicode-bidi: embed; "><span style="font-size:100%;">All the floors are composed of mythological scenes. The one in the triclinium has undersea scenes with swimming fishes interspersed with scenes of Nereids riding on Centaurs’ tails. Adjacent to the triclinium floor, to the south of it, is another rectangular floor, this one divided into three panels. The central panel again features swimming fish but is dominated by a head of Thetis, the sea-goddess. (Pl. 16). In each of the side panels is a square angled at 90 degrees (outlined by a two-strand Guilloche) framing a Medusa head. In the corners of these two panels, what do we find, but the same supplementary ornamentation as accompanies the Star of David, namely, two tripartite Shoshanim and two Peltae (Pl. 16). The elements common to both floors lead us to the conclusion that (a) both were designed by the same workshop and (b) that the owner of the villa was a convert to Christianity [19]</span><span style="font-size:100%;"> </span><span style="font-size:100%;">(yet still much immersed in the Greek mythological tradition of his country). As numerous remains of pottery roof-tiles inscribed with the sign of the Tenth Legion were also found on the site, it seems highly probable that the owner of the villa and farm was one of the legion’s commanders [20] . </span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"></span><span style="font-size:100%;"></span><span style="font-size:100%;">If so, we at Ein Yael are facing the astounding fact that the Magen David sign was introduced into the country by a foreigner, a Roman commander of the Tenth Legion and not, as it should be, by an autonomous, interior Jewish authority. </span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">Yes, but our Italian military leader, founder of Ein Yael and builder of its mosaic floor with the symbol of the Magen David is (so to say) in good company: the Gospels in Matth.8:5-13; Luke 7:1-10 and Acts 10:1-48 are relating about two centurions of the Roman military forces of the country of high religious standard. The one, at Capernaum is declared in Luke 7:5 the builder of the Jewish Synagogue there (and this fact alone, a foreigner building a Synagogue, would have been enough for our sages not to mention this most beautiful Synagogue of the Galilee in their dealings), as mentioned by Loffredo (and others) in his book on the last excavations of the Synagogue [21] . </span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">Christ had healed the servant of the centurion of Capernaum after his request, but the centurion did not see himself worthy to receive Christ under his roof (Matth 8:5-13). Christ received his devout faith with the highest esteem (Luke 7:9). </span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"></span><span style="font-size:100%;">The other officer is Cornelius of Caesarea (Acts 10:1- 46), known to the Jewish public, then, by his ardent faith and his liberally giving alms to the poor constantly.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"></span><span style="font-size:100%;">Cornelius had a vision, an angel was visiting him and telling him that God knows him and his good deeds and suggests him to call for Simon Peter, the apostle, who is in Jaffa at the tanner Simon, who’s house is at the sea. When they arrived at Cornelius house in Caesarea Peter found there a multitude of people. And while he was preaching about Christ’s lore the Holy Spirit descended and poured out on the circumcised (the Jews) as well on the gentiles. This was the first time that gentiles were seized by the new faith and converted, and this is the beginning of the extension of Christ’s Lore beyond the closed circle of the Jewish Christian congregations.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"></span><span style="font-size:100%;">We are asking ourselves, how is it possible, that Roman soldiers, here in the country, are filled with such an ardent faith? And our answer is that they brought it already with them and had experienced the new faith already in Italy. This is confirmed now by Mosaic Floors in Pompeii and other Italian cities with the Star of David as their symbolic sign. Yet, these mosaic floors, at least in Pompeii, are belonging already to the 1st century C.E. as Pompeii was destroyed by the outbreak of Mount Vesuvius in 79 C.E.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"></span><span style="font-size:100%;">Yet, what is not written in the story of the Gospels about these Roman officers is the question, wherefrom their ardent faith is coming, from which religion, or from which religious congregation. This strange omission of the Gospels can be explained, to my opinion, only in the following way: the Gospels were written in the first and second centuries C.E., i.e. in the time when the new faith had to be kept secret for fear of persecution by Jews and Roman authorities. In order not to endanger the officers in their ardent faith the writers of the Gospels saw it for fit not to remind the origin of their belief.</span></p><span style="font-size:0;"></span>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.comtag:blogger.com,1999:blog-5145081316686895987.post-85742113152124049942008-08-07T18:58:00.089+03:002010-07-03T07:51:24.193+03:00The Capernaum Synagogue<div style="TEXT-ALIGN: left">We saw already (p. ) that after the Gospels, in Luke 7:1-10, the Capernaum Synagogue was built by a Roman centurion, mentioned in the Bible, who was stationed there. The Gospel relates in Luke 7:3-5:</div><blockquote>(3) "When he (the centurion) heard of Jesus he sent to him elders of the Jews,<br />asking him to come and heal his slave. (4) And when they came to Jesus, they<br />besought him earnestly, saying, “He is worthy to have you do this for him, (5)<br />For he loves our nation, and he built us our Synagogue".</blockquote><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">This astounding fact, that a Roman commander built the Synagogue of Capernaum would never have been allowed by a traditional orthodox Jewish community, and we are of the opinion, that it could have been done only by a congregation of more liberally minded Jews - the Judeo-Christian one. And in fact we find more evidence for it: Midrash Kohelet Rabba I relates that Hanina, nephew of the famous Tanna R.Yehoshua was seduced by the Minim (the Judeo-Christians) of Kfar Nahum (Capernaum) to ride an ass on the Shabbath - pp. 3-4-7 of the manuscript, - Although his uncle was able to deliver him from the spell, he had to leave the country and spent the remainder of his life in exile in Babylon. Traditional, orthodox Jews could never have required such an abuse, which shows, therefore, that a Judeo- Christian congregation must have existed at Kfar Nahum as early as the first century C.E.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">Capernaum was the center of Christ's religious work and it is evident that his followers from an early stage formed an organized religious congregation there. The recent excavations of a private House Synagogue at St. Peter's house site, a “domus ecclesia” of the second and third centuries C.E. and of the octagonal Church of the fifth century above the domus ecclesia confirm this.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">If, after the Gospel in Luke 7:1-10 the Capernaum Synagogue in contrast was built by a Roman centurion who was asking Christ by the Jewish elders to save his servant, it follows that the Synagogue was erected still in the life-time of Christ, may be around 20 C .E. </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">Yet, the acception of David’s Star by the Judeo-Christians cannot have been in the lifetime of Christ. It has to be postponed till after his death and after his resurrection- around 28-29 C.E. David’s Star has to be understood as an esoteric sign, composed by two unilateral triangles, interlaced one to the other. The higher one symbolizing God in his Completeness and Holiness and the lower one Christ as son and partner of God after resurrection. </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">As we know already (from p. ) the Pelta sign is the typical neo-Christian Samaritan sign instead of the Davidic one (which they could not accept). It follows for us that Samaritans have been present in Capernaum from a certain time. Christ's several meetings with them, and his high estimation of them [22], may be an additional proof of their presence in Capernaum. In contrast to the former Jewish animosity against the Samaritans, they were accepted now with open arms by the Judeo-Christians, filling up their lines.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">David’s star, then, has been accepted in Capernaum already in the first century C.E. after Christ resurrection 28-29 C.E. But how the Symbol was transferred to Italy and Pompeii is not known. May be that the same commander, who built the Synagogue, was helpful in its transplantation. Peter and Paul may have been helpful in its distribution. But, it is obvious that the Jewish community as such could not accept David’s Shield as a Symbol of their own after its neo-Christian creation.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong><u>Excavations of Capernaum</u></strong> </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">-</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">The latest excavations of the Capernaum Synagogue by Corbo and Loffredo from the Franciscan order have thoroughly revised its chronology. Whereas Orfali, its first excavator and restorer (1905-21) believed that the structure he was working on dated to the first century C.E. and was the very Synagogue that Christ visited, the last recent soundings and trenches have brought to light no less than three construction stages. The last stage, the limestone building now occupying the site, has to be dated to the late fourth century C.E. - some thirty thousand coins and numerous pottery-finds leave no room for doubt. Of the first stage, the Synagogue visited by Christ, we have, below the fourth century prayer hall, a basalt floor and finds from the first century C. E., and at the second structure, clearly datable to the third century C. E., we have a low wall of basalt blocks, on which the third and currently visited Synagogue stands.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">Corbo and Loffredo's conclusions have now been confirmed by Hanswulf<span style="font-size:0;"> </span>Bloedhorn's close study of the column capitals from the site [23] . By examining the relationship between the Kalathos (the load-bearing core of the capital supporting the entablature), he has identified three types – “K”, third century, “N”, fourth century, and a late “N”, of the fifth century. They are stylistically related, but display clear differences.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">The decoration of the earliest type “K” shows the widespread influence of the Asia-Minor architectural school. In the second and third centuries C.E. an extensive trade in architectural elements -. Pillars, pillar-bases, capitals, friezes etc. - developed in Asia Minor's large marble quarries and spread its influence over the surrounding lands, including the Holy Land. At Capernaum this stylistic influence is very clear in the Frieze and particularly in its Cyma decoration, though they may have been executed by local craftsmen. The forms deployed can be confidently dated to the first century that is to the second Synagogue. Bloedhorn is of the opinion that this building was brought down by the powerful earthquake of 363 C.E. and its decorative Friezes reused in the third stage of construction, i.e. in the now existing building.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">It is quite astonishing that the Capernaum Synagogue the most prominent of all Galilean Synagogues, receives no mention in any Jewish source. Perhaps the reason is its very association with the Judeo-Christians. In the first century there is no question but that 'orthodox' Jews and Judeo-Christians both used the Synagogue. </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">The latter were the sons and daughters of their Jewish parents and both maintained common tradition of observance. But this common tradition (and mutual tolerance) seems to have continued through the second and even the third Synagogue for, to our surprise we find the most important of Jewish symbols, the Menorah with lulav and etrog only on a capital in the east courtyard, which was added to the Synagogue only in the fifth century C.E. (Pl 24). It would appear that only at this late date did the two creeds make their final separation, when the Judeo-Christians transferred their prayer services to the octagonal church, newly erected over the remains of St. Peter's house. This final sundering: making the ‘Orthodox’ Jews now the Synagogue’s sole proprietors gave them a free hand not only to put up their own symbols (on the capital mentioned, for instance) but also to remove from the Friezes and elsewhere pagan figurative elements - gryphons, eagles - which the Neo-Christians more lenient interpretation of the Second Commandment had allowed to remain.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">Until now we have been unable to explain whose hand had erased these Symbols but, in contrast to this relative liberal composure of the Capernaum community the resistance of the traditional Jewish population against a new creed in their midst was very sharp. It led to extremities like the stoning to death of Stephen [Acts 7:56-58] , the first martyr, or the conspiracy of 40 men to kill Paulus [Acts 7:56-58] , while he was in prison, or even the crucifixion of Christ itself [Ibid 23:12-23]<span style="font-size:0;"> </span>(this is only a small number of cases). Paulus, by himself, is relating in his letter to the Galatians [The letter of Paul to the Galatians 1:13-23]<span style="font-size:0;"> </span>with which cruelty he himself was dealing with the ‘heretics’ (the neo-Christians) as long as he was a Jew (under the name of Saul).</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">The schism between the old and the new creed divided the population and even the families, generating high communal tension, which was not resolved until the defeat of the Bar-Kokhba uprising (132-135 C.E.) when Jews were forcibly resettled by the Roman victors. While the elder Jewish population were forced north into the Galilee or out of the country altogether, it seems that the younger population, the Judeo-Christian one, remained in their settlements in Judea, Samaria and the Negev where most of the neo-Christian sites were discovered. They now founded their own religious congregations, built their own Synagogues, and, in the course of time also a new religious symbolism developed. </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong><u>The Frieze of Capernaum</u></strong></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong><u>-</u></strong></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">All the 6 pieces of the Frieze of Capernaum, which remained there, (Pls. I-VI) are exhibited together in one row, so, that it is easy to compare between them. The first piece (on the right side, Pl. 1 a,b,c) is composed by 3 medallion units and shows a clear difference in style opposite the other pieces. It is composed in a much bigger shape and greater plastic boldness. The two floral motives and the geometric one between them are protruding on the top of small supports which are binding them to the ornamental background.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">So, the right piece of the Frieze is still nearer to the Hellenistic form-appearance and belongs to the first Synagogue, built, as we saw, still in the time of Christ by the Roman commander of Capernaum (according to Luke 7:10) </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">The second stylistic part of the Frieze, beside the first one, is the main Part, consisting of some 19 medallion units, which are all of uniform design, in flat relief style forming an integrated whole. All the 19 units are composed by the same design, i.e. 4 Accanthus leaves encircling a symbolic Sign in their center. The Accanthus leaves are changing direction from one to the other.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">We can differentiate two stages of preservation, an earlier one and a later one. At the first stage of 5 medallion units the whole entablature, including the Cyma decoration was broken away, while at the second stage it is kept almost in its entirety, as only the units 4-6 happened the same distruction.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">All the medallions are bound together horizontaly by a kind of chain of half-rounds. Yet, this chain reoccurs above and below each Symbol, binding it to four sides (Pls. 1-6). </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5kQt4-Vmz7Qcm1wvnzSdBOLlo7LHGw-4k-b6-oVM4K55fdJOKYzhgpYRsYkRH7Pt9xhNKViPkGFmLhZMDzFm-MfEnyZ1JCDPIAbXcov7Sb4zoJ1LYHxTT5Xh-SOpi3_dK_JpICYqAGfJ9/s1600-h/1c_capernaum1.jpg"></a></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM_gv7Bt8fB1avovToKy5plAcfYG4AKttP66T8Ov5UX_lXDppIaAzttC0KqobDZKnRpOB3EV177EeDOebMNbhD5OVImRAJOhtwQsifKUn-sljDrGPfbepjjx9-g5dix4KvWPlF94rWilZV/s1600-h/1d_capernaum1.jpg"></a></p><p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><span style="font-size:130%;">-</span></p><p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><u><span style="font-size:130%;">The Frieze remains of Capernaum in their chronology </span></u></p><p class="MsoNormal" dir="ltr" style="text-align: center;font-weight: bold; direction: ltr; unicode-bidi: embed; " align="center"><u>(Photos by Gabi Goldman, son of Dr. Goldmann)</u></p><p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><u>-</u></p><p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><u></u></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLz-za9fKtPbL9tX-KIyKxCsLmdB2CGA6cIra5k1eBXmFGZQ25GoeuveFzQvZyW_LoBP7-VuLHm2Xho6k5LG4f9HvWilfHG904gADHoVLSjrAyeOIgeHuDzylEj2Utp2sM5gDEipDuvAna/s1600-h/capernaum-1-sunflower.jpg"><img id="BLOGGER_PHOTO_ID_5336696201443595186" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; HEIGHT: 171px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLz-za9fKtPbL9tX-KIyKxCsLmdB2CGA6cIra5k1eBXmFGZQ25GoeuveFzQvZyW_LoBP7-VuLHm2Xho6k5LG4f9HvWilfHG904gADHoVLSjrAyeOIgeHuDzylEj2Utp2sM5gDEipDuvAna/s400/capernaum-1-sunflower.jpg" border="0" /></a> <p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><strong><span class="Apple-style-span" style="FONT-WEIGHT: normal"><span class="Apple-style-span" style="font-size:medium;">17.<br /></span></span></strong></p><p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-WEIGHT: normal"><span class="Apple-style-span" style="font-size:medium;">I.<br /></span></span></p><p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-STYLE: italic">(left to right): 1. Sunflower (?)<br />2. (in the middle): Solomon's Seal (?)<br />3. (to the right): Six-petalled Lily with petals turned inside.<br />Hellenistic style</span></p><p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-STYLE: italic">-</span></p><p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><em></em></p><p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><em></em></p><p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="COLOR: rgb(0,0,238)"><img id="BLOGGER_PHOTO_ID_5315258209500618466" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: pointer; HEIGHT: 142px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPcEfp7cmV7r4uUSMSG6R6E-voe8xKFLQC4E_Tj69A7mRrHsB7X7V43n5weVDiZs-AbKYO5V8iU9ivXrAwSXRHlj_sdRgOR3KPNwMijQyC4ApcQK8FEYvyvkK6bya5fjt8BLX7MtQjk_JA/s400/caperaum-plate-2.JPG" border="0" /></span></span></p><p></p><p class="MsoNormal" dir="ltr" style="FONT-WEIGHT: bold; DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:18;"><span class="Apple-style-span" style="FONT-WEIGHT: normal;font-size:16;"></span></span></p><div style="TEXT-ALIGN: center" align="left"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size:medium;">18.<br />II.<br /><span class="Apple-style-span" style="font-size:medium;">(From left to right)<br />1. Crossed Lily Signs<br />2. Magen David, much destroyed<br />3. Six-partite Lily </span></span></span></div><div style="TEXT-ALIGN: center" align="left"><span class="Apple-style-span" style="font-size:medium;">4. Five-partite Rosette </span></div><div style="TEXT-ALIGN: center" align="left"><span class="Apple-style-span" style="font-size:medium;">5. Rosette five-partite flat relief Roman style. After Christ's death c. 30 C.E.<br />Cyma decoration destroyed</span></div><div style="TEXT-ALIGN: center" align="left">-</div><div style="TEXT-ALIGN: center" align="left"><br /></div><div style="TEXT-ALIGN: center" align="left"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size:medium;"></span></span></div><div style="TEXT-ALIGN: center" align="left"><div style="TEXT-ALIGN: center" align="left"><em></em></div><p></p></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfXN2ihqvTtCdDA5ya1nvPxdbEEiYtHKdIouYYvUmUeLCjJuU-F9bSSkmqz6cMvOXq1Wo0VkZiS7Wo3nBramjb8NnMgUvGrJcSADBnOdBMlnu0qkgp5zAw1OVthuYK2oVtw3oVi5skwF6n/s1600-h/%D7%9B%D7%A4%D7%A8-%D7%A0%D7%97%D7%95%D7%9D-%D7%A9%D7%9C%D7%95%D7%A9.JPG"><img id="BLOGGER_PHOTO_ID_5350801425210582658" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; HEIGHT: 145px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfXN2ihqvTtCdDA5ya1nvPxdbEEiYtHKdIouYYvUmUeLCjJuU-F9bSSkmqz6cMvOXq1Wo0VkZiS7Wo3nBramjb8NnMgUvGrJcSADBnOdBMlnu0qkgp5zAw1OVthuYK2oVtw3oVi5skwF6n/s400/%D7%9B%D7%A4%D7%A8-%D7%A0%D7%97%D7%95%D7%9D-%D7%A9%D7%9C%D7%95%D7%A9.JPG" border="0" /></a><br /><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size:medium;">19.<br />III.<br />(From left to right)</span></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:medium;"><em>1. Two horizontal Accanthus leaves </em></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:medium;"><em>2. Magen David with Peltae in outer corners </em></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:medium;"><em>3. Six-petaled rosette </em></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:medium;"><em>4. 7-petaled Rosette<br />Circumference around Symbols</em> </span></div><div style="TEXT-ALIGN: center">-</div><div style="TEXT-ALIGN: center"><br /></div><div style="TEXT-ALIGN: center"></div><div style="TEXT-ALIGN: center"><br /></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="COLOR: rgb(0,0,238)"><img id="BLOGGER_PHOTO_ID_5315256755881543986" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: pointer; HEIGHT: 161px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrSOvv-ip8elqa_ym0D_zDiPZ_E_bZslG8owU8cwMbyeDJeomE8TaVoGHKuKXKe6P40GNJYDhyXUrkJGZUngSMmxy27LUrj6nV-R3irV-t_Rkxfgm_Fob_kdW4HlpY-ilBMhlWcAs3a0RE/s400/caperaum-plate-41.JPG" border="0" /></span></div><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size:medium;">20.<br /></span></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size:medium;">IV. </span></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size:medium;">(left to right)<br />1. 3-Loop Sign<br />2. Wine leaf Sign<br />3. Magen David with disks. After c. 30 C.E..<br />Cyma decoration destroyed</span></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size:medium;">-</span></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-WEIGHT: bold;font-size:18;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitUulnP10mfbtP8ESmsgsf1W99z1tbstZXtkejQ_e4jguep3GzHUbF2_wrhd-QMzOzmNuCBqR6eZFz8oGtrHaYi65onzPtdPHU1pYOlEsuB9tEoD9zn2UlAApPtw4TrUVBB0fO-8JJ3WxE/s1600-h/goldmann-caper-4-a.JPG"><img id="BLOGGER_PHOTO_ID_5291492613112819714" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: pointer; HEIGHT: 163px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitUulnP10mfbtP8ESmsgsf1W99z1tbstZXtkejQ_e4jguep3GzHUbF2_wrhd-QMzOzmNuCBqR6eZFz8oGtrHaYi65onzPtdPHU1pYOlEsuB9tEoD9zn2UlAApPtw4TrUVBB0fO-8JJ3WxE/s400/goldmann-caper-4-a.JPG" border="0" /></a><span style="FONT-WEIGHT: bold"></span></span><span style="FONT-WEIGHT: bold"></span></p><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="FONT-STYLE: italic">21.<br />V. </span></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size:medium;">(left to right)</span></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:medium;"><em>1. 3-Loop Sign<br />2. 2 Rimonim (Pomegranates)<br />3. 7-petalled Rosette<br />4. 6-petalled Lily<br />Circumference around Symbols<br />After c. 30 C.E.</em></span></div><div style="TEXT-ALIGN: center">-</div><div style="TEXT-ALIGN: center"><br /></div><div style="TEXT-ALIGN: center" align="right"><span class="Apple-style-span" style="FONT-STYLE: italic"><br /></span></div><div style="TEXT-ALIGN: center" align="right"><span class="Apple-style-span" style="FONT-STYLE: italic"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZhzvDuVBHRsy2vI4cAexJvMeD_co9Doe014xVzfaLkS8NtWlTGsSS3zf8ibcc8JIPs9yoJPYKuG82QT4O_aGavA9ds0AniSINVb6yhT7eFGm8aMwSANSdLV20fzq19IjnA5LOwnjDTJP/s1600-h/capernaum-1-solomon-seal.jpg"><img id="BLOGGER_PHOTO_ID_5325880678894248194" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 350px; HEIGHT: 230px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZhzvDuVBHRsy2vI4cAexJvMeD_co9Doe014xVzfaLkS8NtWlTGsSS3zf8ibcc8JIPs9yoJPYKuG82QT4O_aGavA9ds0AniSINVb6yhT7eFGm8aMwSANSdLV20fzq19IjnA5LOwnjDTJP/s400/capernaum-1-solomon-seal.jpg" border="0" /></a><br /><span class="Apple-style-span" style="font-size:medium;">22.<br />VI. </span></span></div><div style="TEXT-ALIGN: center" align="right"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size:medium;">(left to right)<br />1. Destroyed<br />2. Bundle of grapes </span></span></div><div style="TEXT-ALIGN: center" align="right"><em><span class="Apple-style-span" style="font-size:medium;">3. Solomon's Seal </span></em><span class="Apple-style-span" style="font-size:medium;">with disks<br />Circumference around Symbols</span></div><div style="TEXT-ALIGN: center" align="right"><span class="Apple-style-span" style="font-size:medium;">After c. 30 C.E.</span></div><div style="TEXT-ALIGN: center" align="right">-</div><div style="TEXT-ALIGN: center" align="right"><br /></div><div style="TEXT-ALIGN: center" align="right"><br /></div><div style="TEXT-ALIGN: center" align="right"></div><div style="TEXT-ALIGN: center" align="right"></div><div style="TEXT-ALIGN: center" align="right"></div><div style="TEXT-ALIGN: center" align="left"></div><div style="TEXT-ALIGN: center"></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="COLOR: rgb(0,0,238)"><img id="BLOGGER_PHOTO_ID_5315246940726142434" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 355px; CURSOR: pointer; HEIGHT: 120px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyb-URs2GjMnxZCntkCMfMjD8X4aK1bhzBhpbysYuNeYV-Y6YURqYhTN7BHvOrkKEinj0XKKJyu2aNy37E-OkWttTGv_dfseDukahT0MjKqy3qoM8PkX-8E05RQ3nHp30bMH9Wjf5nKvqv/s400/caperaum-plate-7.JPG" border="0" /></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="FONT-STYLE: italic">23.<br />VII. </span></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="FONT-STYLE: italic">(Right to left): 1. Single illustration of the </span></span><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="FONT-STYLE: italic">Ark of the Covenant on wheels</span></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="FONT-STYLE: italic">2. Three half Accanthus leaves behind </span></span></div><div style="TEXT-ALIGN: center"><em>This belongs to another group of ornaments</em></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="FONT-STYLE: italic"></span></span></div><div style="TEXT-ALIGN: center"><br /></div><p><br />Part I which is composed by 3 units of the Capernaum Frieze, is much covered by soot, covering especially the Cyma decoration crowning the Frieze. It is evident, that the first Synagogue had to suffer a heavy conflagration. In spite of that the design of this first Frieze is still quite recognizable. It is composed of two layers: a) the background-layer with Medallion-units of regular ornamentation of the time, reminding the ossuar decoration Jerusalem’s, and b) the second layer of 3 bolding Signs, of 2 huge flowers and a geometric abstract one in the center on the top of short supports across the background-layer. Both layers are covered by the beautiful Cyma decoration, consisting of a Greek entablature of teeths and eggs crowned by the Cyma decoration consisting of big Acanthus plants and four-petaled Lily flower plants with two lower petals turning outside and two higher ones turning inside, both plants alternatingly arranged. </p><p><br />The 4 Magen David Signs of Part II appear here the first time in Neo-Christian history. They were created by the Judeo-Christians of Capernaum after Christ's death and ressurection in c. 30 (as we saw already). But we can be sure that the whole original Capernaum Frieze had much more of them. As a new creation of the Judeo-Christians the Magen David Sign had to be propagated intensively by its multiple representations, in order to be accepted and assimilated.<br /><br />Recurring now to the <strong>first group</strong> of remains of the Capernaum Frieze, Part I, we find the second medallion (in the middle between the two floorial ones) much destroyed in its lower part, but seemingly being a variation of the 5 pointed Solomon's Seal, which was much in use instead of the Magen David. but, what is of high interest to us is the addition of the Pelta Sign in the outer corners of it. </p><p>We know already, that the Pelta Sign was accepted by the Samaritans as their main religious Symbol, instead of the Davidic Star of the Judeo Christians. </p><p><br />But, to our great surprise, we find the same addition of the Pelta Signs now to Solomon's Seal of the first group and also to the Magen David itself, in the second and third pieces of Remains of the Capernaum Frieze. As the Magen David of the second Frieze Remain was much destroyed (as we saw already) the addition of the Pelta Sign is much disturbed, but there can be no doubt about it. </p><p>The combination of David's Star with the Pelta Signs is most clear in the third Remain of the Frieze and here the appearance of the symbol is much accentuated by the addition of a circumference arround the central symbol. This addition of a circle arround the Symbol is generally applied to the third Remain of the Frieze and to the 5th Remain too, while in the first and second Remains it does not yet appear. </p><p>Yet we know already that the Davidic Star was not accepted (and could not have been accepted) by the Samaritans, but now, here in Capernaum we find both together.<br />As explanation of this riddle, we claim that there was an early influx of Samaritans into Capernaum, and that they were accepted by the Judeo-Christian Community as friends and allies, shown by the addition of their national Sign - the Pelta - to the religious Signs of the Judeo-Christians - David's Star. (in units I II III). By that the old enmity between Jews and Samaritans was overcome and a new friendship was founded. So, by this addition of the Samaritan Sign from the first phase of the Judeo-Christian community of Capernaum it becomes clear that both communities had been united from the beginning of the Judeo-Christian community there.</p><p>These additions of the Samaritan Pelta Signs, one after the other, to the Davidic Sign, is a clear proof of their presence there and their authority together with the original Judeo-Christian population.</p><p>And so it comes that the Star was now combined with another symbolic Sign, and this sign is the Disk, which appears in both cases (IV and VI) in the reduced shape of the "Knob", filling the outer angles of the Star and of its center.</p><p><br />The Disk is an ancient Jewish symbol, which appears already in the 9th-10th centuries B.C. on capitals of engaged pillars like these ones of the entrance hall of the First Temple according to I Kings 6-19 . </p><p><br />As one of the most frequent Jewish symbols the Disk appears much on the Jerusalem Ossuar ornamentation. </p><p><br />The Disk appears in the monuments in very different diameters, from big ones in architecture, at the Sha'ar-Ha'Rachamin of the Temple Mount in Jerusalem for instance, to small ones on Ossuars and Crosses. </p><p><br />To our opinion the closed circle of the Disk is a Symbol of God's unity and, at the same time, of the unity of the world, and so God's nearness or presence - the so called "Shekhinah" - is represented by it. </p><p><br />In our cases - at Capernaum - the Disk is one of the symbolic Signs of the Judeo Christians, realizing their sticking to the ancient Jewish religious tradition. </p><p><br />In the same spirit we have to understand two additional symbols in Remains IV and VI, the so called "3 Loop Sign". The sign, again, is a frequent Samaritan one, being accepted too by the Judeo Christina Community of Capernaum. </p><p><br />This Sign is composed by 3 interlocking Loops, each in the shape of a near 8.<br />It is, according to my supposition, the symbol of the 3 partite blessing of the Jews by the Cohanim (the priests), asked by God (in Num. 6: 23-26)<br />This suppositon has been confirmed by an article of Prof. A.G. Katsch from the New York University concerning Jewish Manuscripts in the U.S.S.R. [25]<br />A Massoretic design in micrographic writing, forming at the same time the design of the "3 Loop Sign" has in its center a piece of paper with text of the Tri-partite blessing of the Cohanim. The blessings are accompanied still today, in the synagogue service of Shabbath, by the bowing movements of the Cohen to three sides, by covering himself and his outstreched hands by the prayer showl (the Talith). The ceremony is performed twice in the Shabbath service of the synagogue.</p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl2XQF5sRjP8likLYQ86d3iCNQMA24RcnsBZE5KQkb1HR0an1eaNS0x_FXOi5lIDpvfHWFJAVR5uHi4TFFdf46BulMY2cborQWu6Dk7Y9TVBnzJlchdNotcL0qCXg-xRnVF56vW6TIzJ_n/s1600-h/%D7%9E%D7%A0%D7%95%D7%A8%D7%94-%D7%91%D7%9B%D7%A4%D7%A8-%D7%A0%D7%97%D7%95%D7%9D.jpg"><img id="BLOGGER_PHOTO_ID_5379122294136090418" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 372px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl2XQF5sRjP8likLYQ86d3iCNQMA24RcnsBZE5KQkb1HR0an1eaNS0x_FXOi5lIDpvfHWFJAVR5uHi4TFFdf46BulMY2cborQWu6Dk7Y9TVBnzJlchdNotcL0qCXg-xRnVF56vW6TIzJ_n/s400/%D7%9E%D7%A0%D7%95%D7%A8%D7%94-%D7%91%D7%9B%D7%A4%D7%A8-%D7%A0%D7%97%D7%95%D7%9D.jpg" border="0" /> </a></p><p align="center"><em>24. Menorah, Lulav and Ethrog in the courtyard of Capernaum, 5th century C.E.</em></p>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.comtag:blogger.com,1999:blog-5145081316686895987.post-71289786521228924412008-08-07T18:57:00.038+03:002010-07-03T06:30:52.401+03:00David’s Shield in Italy and elsewhere<div align="center" style="text-align: left;">It is obvious that the interior decoration of the overwhelming number of houses in Pompeii has been done in the trace of the traditional Greco-Roman mythological style in its four Pompeian formations. But there is one house which shows the new Judeo-Christian abstract-geometric style of its Mosaic Floors in profusion. This house is the Casa di Trittolemo which has the symbolic signs of David’s Star, while other houses have some earlier signs of Jewish origin (see: below), but not yet the Star of David.</div><div align="center" style="text-align: left;">-</div><div align="center"><strong><span style="font-size:130%;"><u>1. David’s Shield in the Casa di Trittolomo, Pompeii</u></span></strong></div><div align="center"><strong><u><span style="font-size:130%;">-</span></u></strong></div><p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuiKG3Dk9HBuAoqEoznGHjnA1I_7M3DqOCVBBS0-71loQuMAWqJU1ejAm3ncONXk7LGRnC0f9o2Uv9aZWWFq7N7gPqyYbr6icH0fXOjAxBy2hhZDz2hyphenhyphentBweetp5gVCaVxs9508qsZmsGV/s1600-h/8a_trittolemo.jpg"><img id="BLOGGER_PHOTO_ID_5231997066088382706" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuiKG3Dk9HBuAoqEoznGHjnA1I_7M3DqOCVBBS0-71loQuMAWqJU1ejAm3ncONXk7LGRnC0f9o2Uv9aZWWFq7N7gPqyYbr6icH0fXOjAxBy2hhZDz2hyphenhyphentBweetp5gVCaVxs9508qsZmsGV/s400/8a_trittolemo.jpg" border="0" /></a><span style="FONT-STYLE: italic"></span></p><p><span style="FONT-STYLE: italic">25. The entrance Mosaic of David’s Shield in the Casa di Trittolemo: from M.E. Blake,’ The pavements of the Roman buildings of the Republic and the Early Empire’, Memoirs of the American Academy in Rome, Vol. VIII, 1930, pl. 39,3,</span> VII, VII, 5 </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">-</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">It is the earliest appearance of the Davidic Star in the Casa di Trittolemo as shown in (Pl. 25).</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">It has the purest design of a single much-enlarged star without, or almost without additional ornamentation. Its design is wholly composed of three parallel lines, while the slight additional ornamentation is formed only by a six-petalled Shoshan in the hexagonal center of the Star, surrounded by a frame of an infinite Zig-Zag line. </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">The Star itself is inscribed in a circumference, which is framed, in addition, by a square frame, all in the tripartite lineament. The six outer points of the Star are connected by the same tripartite line. </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">A second entrance Mosaic Floor of the Casa di Trittolomo shows the Davidic Star not in single appearance like our first Floor (see above), than in multiple arrangement, Pl. 26.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ-Fs8n95FJ9JhDkEywmV7Rq2uW2MYFXd-ClXE3XlvCcWD-YsABcbz_0JLeApj1wL4ZpKcfCaGl6Uyso6Z1RcswPYWJSf4fSEPjzpiUl-6OyiYPHc2tT5nfjJjvv1nSnWstBl0RW8JziKm/s1600-h/12d_pompeii-entrance.jpg"><img id="BLOGGER_PHOTO_ID_5231997967420391794" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ-Fs8n95FJ9JhDkEywmV7Rq2uW2MYFXd-ClXE3XlvCcWD-YsABcbz_0JLeApj1wL4ZpKcfCaGl6Uyso6Z1RcswPYWJSf4fSEPjzpiUl-6OyiYPHc2tT5nfjJjvv1nSnWstBl0RW8JziKm/s400/12d_pompeii-entrance.jpg" border="0" /></a></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center">26. Entrance Mosaic Floor of the Casa di Trittolemo in multiple arrangement of the Davidic Star. From: M.E. Blake, ibid. Pl. 39, 2.VIII, V, 16 and 38.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:0;">-</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">Three vertical rows of David Stars are inscribed in a circumference of a double fillet, which is encased in a large square, which is composed by an infinite row of arrow-like triangles pointing outside. The four corners between circumference and square are filled with two versions of the Lily ornament, one a 2-petalled one, the other a 6-petalled one.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:0;"></span>All the Stars of the Floor are turned around by an angle of 45 degrees. They are conforming to the round shape of the circumference by their changing numbers: 2-3-2. They are touching each other always by two outer points, creating by that an infinite contact of the whole ensemble. </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong>A third entrance Floor</strong> of the Casa di Trittolemo, however, is not composed by David Stars than by the "Combined six-petalled and tri-petalled Lily signs".</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">This entrance Floor, then, belongs to the group of Floors of the houses, which are composed by a combination of a six-partite Shoshan with tri-petalled ones. We are dealing with them later (see p. 32). Here we are bringing this Floor already, because it is the only case, where it appears side by side with the Davidic Sign. All the other Lily-sign Floors have no Davidic sign beside them, what places them, chronically, before the appearance of the Davidic Star. This entrance Floor at the Casa di Trittolemo is the earliest one there, while the two other entrance Floors, which have the Davidic Sign, must be later, but are still belonging to the 1st century C.E. This Floor is accompanied by a small rectangular carpet Floor, which is composed by 4.5 vertical four-partite Lily signs – a kind of threshold leading inside.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong>2. The interior Mosaic Floors of the Casa di Trittolomo, loose arrangement</strong></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong>-</strong></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqjRE4c7cZv6YAM7SX4g2agBXPk77SrN6V8bkXEpNbvgGkjZXGmrcaka2zC4WXm_NY1KHzJsxZS890EeBCXaUSLJe2UWDBOAg_yetI7ezujaJKbYMsGpNuRW-QzBVcm45P3hilVS9sLD8i/s1600-h/9e_shoshan-pompeii.jpg"><img id="BLOGGER_PHOTO_ID_5231998801942752034" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqjRE4c7cZv6YAM7SX4g2agBXPk77SrN6V8bkXEpNbvgGkjZXGmrcaka2zC4WXm_NY1KHzJsxZS890EeBCXaUSLJe2UWDBOAg_yetI7ezujaJKbYMsGpNuRW-QzBVcm45P3hilVS9sLD8i/s400/9e_shoshan-pompeii.jpg" border="0" /></a></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center">27. interior Magen David Mosaic Floors in the Casa de Trittolomo in loose multiple arrangement. From: M.E. Blake, ibid. pl. 33, 4, Pompeii VI, VIII, 20</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center">-</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center"></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center"><strong>Interior Mosaic Floor. Casa di Trittolemo, tough arrangement </strong></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtJXxC5KXFq4TNQVXwdc2NQbAp9BDVfqvZZVMmqQp8h3lBuRtBi6G3dNIpm5UwU6gNMOIizIFCfQ3Ahm_GiclHRn3OKTh-kjGeypg5uBYQR0NnKAoIODCm7Gh2rNmAJsu8-EE0sk_gT9zV/s1600-h/9d_shoshan-pompeii.jpg"><img id="BLOGGER_PHOTO_ID_5231998441031595490" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" height="258" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtJXxC5KXFq4TNQVXwdc2NQbAp9BDVfqvZZVMmqQp8h3lBuRtBi6G3dNIpm5UwU6gNMOIizIFCfQ3Ahm_GiclHRn3OKTh-kjGeypg5uBYQR0NnKAoIODCm7Gh2rNmAJsu8-EE0sk_gT9zV/s400/9d_shoshan-pompeii.jpg" width="292" border="0" /></a></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><em>28. Second interior Magen David Floor in the Casa di Trittolemo in tough multiple arrangement.<span style="font-size:0;"> </span>From: M.E. Blake, ibid. pl 38, 3. Pompeii VI, XVI, 7</em></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">The interior Mosaic Floors of the Casa di Trittolemo are differentiated by two peculiar concepts: </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">a) Floors with loose but even distribution of single, emblematic units of David Stars, each one strongly framed by a running spiral ornament, contained in an outer and two inner black lines. (Pl. 27). These units are contacted in the middle of their six outer sides by a small unit of the six-partite Shoshan in black colour on a white background. Also the hexagonal center of David’s Star is filled by a six-petalled Shoshan, this time in white on the black background of the Star itself.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:0;"></span>The addition of the small six-partite Lilies to the units of the Davidic Star has the task of guaranteeing the even cohesion of the whole Floor.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">b). The second concept of the interior Mosaic Floors of the Casa di Trittolemo is the tight rapport of the relative small Davidic Signs in their hexagonal frames, leaving none empty space between them (Pl. 28).</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">All the Davidic Signs in this Floor are arranged in oblique parallel rows, covering the ground floor in closed and tough context. The Stars are designed in black color on white background, while the six-partite Shoshanim in their hexagonal center are in white color on the black background, of the Stars themselves. The color arrangement in both cases is the same.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong>3. Thresholds of the interior Floors of the Casa di Trittolomo</strong></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong>-</strong></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">To these interior Mosaic-Floors has to be added a number of Thresholds of the rooms showing horizontal rows of David’s Star (or some other additional signs of the new faith, like the Pelta (Pls. 29-31). They are highly characteristic for the socio-religious situation of the new congregation, whose members had to meet secretly in private homes, as they were in constant danger of persecution by traditional Jews and the Roman government itself.<span style="font-size:0;"> </span>And so it comes, that the Davidic Star became, beside its religious significance, a guiding sign for the members of the Congregation, as no written information could be given outside as well as inside the houses.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">-</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkY5uZNJHnAgtPfzkCek4Nbroz31h45v-13XuEDfAbXDK9YFqUxfZUFaB4AfyzecHZFIgtklHOUCuKvIn9jqtyg4sTPzUtH72_4bdHqRmB_NlPlAYlEPxHwVjiCgomNR_8ZfkVd3iuRXm5/s1600-h/12a_pompeii-entrance.jpg"><img id="BLOGGER_PHOTO_ID_5231999295544216674" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkY5uZNJHnAgtPfzkCek4Nbroz31h45v-13XuEDfAbXDK9YFqUxfZUFaB4AfyzecHZFIgtklHOUCuKvIn9jqtyg4sTPzUtH72_4bdHqRmB_NlPlAYlEPxHwVjiCgomNR_8ZfkVd3iuRXm5/s400/12a_pompeii-entrance.jpg" border="0" /></a></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center">29. Threshold in Casa di Trittolomo with row of David Shields. From: M.E. Blake, ibid. pl 33, I. Pompeii VIII, V, 16 and 38</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center">-</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZMCwb1DXYcRV1xTSBRhtC27SY7fjYPPNAlQbQL0QzV8Oa7Vq6H1dSWoT5waRZtoMBxWz3xzNfFRmUPGtfdcfs1B18qVKoVcFiD2BhkTtQFOaaeDowFebJyefQXcIO_ep6EIs7vz0oEW-r/s1600-h/12b_pompeii-entrance.jpg"><img id="BLOGGER_PHOTO_ID_5231999698611930130" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZMCwb1DXYcRV1xTSBRhtC27SY7fjYPPNAlQbQL0QzV8Oa7Vq6H1dSWoT5waRZtoMBxWz3xzNfFRmUPGtfdcfs1B18qVKoVcFiD2BhkTtQFOaaeDowFebJyefQXcIO_ep6EIs7vz0oEW-r/s400/12b_pompeii-entrance.jpg" border="0" /></a></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center">30. Threshold in Casa di Trittolomo with row of Double Peltae, juxtaposed, From: M.E. Blake, ibid. Pl. 33, IX. VIII, 6</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">Other Threshold signs are the Peltae in double arrangement, back against back (Pl ), or an infinite arrangemen of scales (Pl. ).</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">-</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1_b3ya33aQoXI26-aLDAPqU-3VR3_phYuM6qEZ2M4Q0OOeKiNevCqnYwrM3SG_ADs0kTZs3i6G2wac7gLjyLgNGLBlFaYN7EgIDTVSYGt5Ny9LuNVENLbq5rxasptgQnwFESEHmbPmFLs/s1600-h/12c_pompeii-entrance.jpg"><img id="BLOGGER_PHOTO_ID_5232000010102762418" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1_b3ya33aQoXI26-aLDAPqU-3VR3_phYuM6qEZ2M4Q0OOeKiNevCqnYwrM3SG_ADs0kTZs3i6G2wac7gLjyLgNGLBlFaYN7EgIDTVSYGt5Ny9LuNVENLbq5rxasptgQnwFESEHmbPmFLs/s400/12c_pompeii-entrance.jpg" border="0" /></a></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center">31. Threshold in Casa di Trittolomo four rows of scales, each half black, half white. From: M.E. Blake, ibid, pl. 33, 4. VI, III, 20</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">-</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">The early appearance of the Star of David in Italy is difficult to explain. May be that Peter, who is believed to have been working in Rome for some 20 years and is thought to be the founder of the Christian Church altogether, or even Paul, who was active in Rome for two years had a hand in its creation. Yet, as we have no proof for it, we have to accept the historical fact as such.</p><p class="MsoFootnoteText" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"></p>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.comtag:blogger.com,1999:blog-5145081316686895987.post-20413877318536821252008-08-07T18:56:00.050+03:002010-07-03T06:38:20.080+03:00Pompeii<div align="center"><span class="Apple-style-span" style=" ;font-size:large;"><strong><u>The "Combined six-partite and tri-partite Lily Floors" in Pompeii and Alexandria</u></strong></span></div><div align="left">-</div><div align="left">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. </div><div align="center">-<br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijX6_-SBi0Mx9ZTq7z_ohUk3EkJGVFEUT5p-n3a33rGQrJ_zRS8y3g9itmyXxMc7QGWqZrGDbroHoJBhdVnFlNn30_dadKFMgnZU8uifEx3zhw8EcqcppBTgN0mJfSjTFEvZbapzRNPwdm/s1600-h/10b_threshold.jpg"><img id="BLOGGER_PHOTO_ID_5244339120757907282" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 419px; CURSOR: pointer; HEIGHT: 294px; TEXT-ALIGN: center" height="222" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijX6_-SBi0Mx9ZTq7z_ohUk3EkJGVFEUT5p-n3a33rGQrJ_zRS8y3g9itmyXxMc7QGWqZrGDbroHoJBhdVnFlNn30_dadKFMgnZU8uifEx3zhw8EcqcppBTgN0mJfSjTFEvZbapzRNPwdm/s400/10b_threshold.jpg" width="371" border="0" /></a><span style="font-size:100%;"><em></em></span> <div align="center"><span style="font-size:100%;"><em></em></span></div><div align="center"><span style="font-size:100%;"><em>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.<br />From M.E. Blake, ibid. pl. 23, 1. </em></span></div><div align="center"><span style="font-size:100%;"><em>-<br /></em><strong>2. Entrance floor of the Casa di Trittolemo, Pompeii, with the "Combined six-partite and tri-partite Lily Signs"</strong></span></div><div align="center"><span style="font-size:100%;"><strong>-<br /></strong></span></div><strong></strong><strong></strong><div style="TEXT-ALIGN: left" align="center"><span style="font-size:100%;">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. </span></div><div style="TEXT-ALIGN: left" align="center"><br /><span style="font-size:100%;">The whole composition is inscribed into a circumference, which is wholly formed by an infinite row of arrow-like triangles, turning outside.</span></div><div style="TEXT-ALIGN: left" align="center"><br /><span style="font-size:100%;">The inner corners of the square frame are filled by two versions of the tri-partite Lily sign.</span> </div><div style="TEXT-ALIGN: left" align="center">-</div><div style="TEXT-ALIGN: left" align="center"><br /></div><p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZ5plOEQw_pJ3qwI_dA_lvKGA-qapJlRG3Sm6623vJreURdm8igrq4fAIAxJCb-ZYG1Nt4tS_qs5o83Rzj1LlFBRIcUaOFS7PM8ZM2ZH11G1T2t6bbV0OFWlvq562Q9yUGrBL9O-juP_J/s1600-h/8c_capitelli.jpg"><img id="BLOGGER_PHOTO_ID_5244338524512442818" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 435px; CURSOR: pointer; HEIGHT: 229px; TEXT-ALIGN: center" height="195" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZ5plOEQw_pJ3qwI_dA_lvKGA-qapJlRG3Sm6623vJreURdm8igrq4fAIAxJCb-ZYG1Nt4tS_qs5o83Rzj1LlFBRIcUaOFS7PM8ZM2ZH11G1T2t6bbV0OFWlvq562Q9yUGrBL9O-juP_J/s400/8c_capitelli.jpg" width="396" border="0" /></a><span style="font-size:100%;"><span style="FONT-STYLE: italic">33. Combined s</span></span><span style="font-size:100%;"><span style="FONT-STYLE: italic">ix-partite and tri-partite Lily Floors of the Casa di Capitelli Figurati, Pompeii. From: M.E. Blake pl. 22,1</span><br /></span></p><div style="TEXT-ALIGN: left"><span style="font-size:100%;"><strong>-</strong></span></div><div style="TEXT-ALIGN: left"><strong>-</strong></div><div style="TEXT-ALIGN: left"><span style="font-size:100%;"><strong>3. Mosaic Floor of the Casa di Capitelli Figurati, Pompeii, The "Combined six-partite and tri-partite Lily Signs"</strong></span></div><div style="TEXT-ALIGN: left"><strong>-</strong></div><div style="TEXT-ALIGN: left"><span style="font-size:100%;">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.</span><br /><span style="font-size:100%;">As this Floor has undergone much repair outer details are missing.</span><br /><span style="font-size:100%;">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.</span> </div><p><span style="font-size:100%;">-</span></p><div style="TEXT-ALIGN: left"><strong>4. Mosaic Floor of the House of Cryphoradon, Pompeii</strong></div><div style="TEXT-ALIGN: left" align="center"><strong>-</strong></div><div style="TEXT-ALIGN: left"><span style="font-size:100%;">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.</span> </div><div style="TEXT-ALIGN: left"><br /></div><span style="font-size:100%;"></span><div style="TEXT-ALIGN: left"><span style="font-size:100%;">But to this simplified, yet more powerful interior design were added now outside (beyond the square frame of the interior design)</span></div><div style="TEXT-ALIGN: left"></div><div style="TEXT-ALIGN: left"></div><div style="TEXT-ALIGN: left"><span style="font-size:100%;"><img id="BLOGGER_PHOTO_ID_5244337635814177618" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 429px; CURSOR: pointer; HEIGHT: 523px; TEXT-ALIGN: center" height="329" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaI7AoPhEaVEcDRVSVFkxMTS-7-TjfUTGZszdnEj9jTugfJPM-OtqzCb4Z_KsSlY75nQ_L5fnArQCyOnGCq4Rs3ClTmz4WTLdRcCi_iwXtswmZNFcgrDLluKMDxw3RczLXk1mzsM12qKDz/s400/11a_clarke.jpg" width="302" border="0" /></span></div><div style="TEXT-ALIGN: left"><span style="font-size:100%;"></span></div><div style="TEXT-ALIGN: left"><span style="font-size:100%;"><span style="FONT-STYLE: italic">34. Combined six-partite and three-partite Lily Mosaic Floors in the House of Cryphoradon (I, 6, 2,) Pompeii, sudatorium</span> <em>from J. R. Clarke, Looking at love making, University of California Press, Barkley, Los Angeles, London, 1998, Fig. 41</em></span><br /><span style="font-size:100%;"><br />in free style, on the upper side <strong>two juxtaposed Dolphins</strong> and just opposite, on the lower side, <strong>two Negroes in free movement</strong> like swimming, with a <strong>broken amphora between them</strong>.</span> </div><div style="TEXT-ALIGN: left"><br /><span style="font-size:100%;">On the third side (the left one) a <strong>half round Niche</strong> is added, the Floor of which filled with an elaborately stylized tri-partite design of a Shoshan.</span> </div><div style="TEXT-ALIGN: left"><br /><span style="font-size:100%;">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. </span></div><div style="TEXT-ALIGN: left"><span style="font-size:100%;"></span></div><div style="TEXT-ALIGN: left"><span style="font-size:100%;">The two naked Negroes ought to be an allegory of the new natural forces, enriching now the monotheistic belief of the Judeo- Christian congregations.</span> </div><div style="TEXT-ALIGN: left"><br /><span style="font-size:100%;"><strong>The two Dolphins</strong>, opposite, are ancient Greek symbols, accepted now by Neo-Christianity as Symbols of Christ as protector and savior of the human soul.</span> </div><div style="TEXT-ALIGN: left"><br /><span style="font-size:100%;">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.</span> </div><div style="TEXT-ALIGN: left" align="center">-</div><div style="TEXT-ALIGN: left" align="center">-<br /></div><p><span style="font-size:100%;"><span style="FONT-WEIGHT: bold"><u>5. The Mosaic Floor in the Museum of Alexandria</u> </span></span></p><p align="center"><span style="font-size:100%;"><span style="FONT-WEIGHT: bold">-</span></span></p><p align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO8pDtAQKLv2HsiWIh95AXn8So5hIiXoFvTpCrGmUgQuQOvcvlLg1e44fIS7CUaFImV0rAVF4BA7TqdbI7gwplhv7-QbK04Qiy68n6o0NAaxl1K0DWRVaG408DslVRm5UCIOAsA6Yd39Mv/s1600-h/10d_lily_12.jpg"><img id="BLOGGER_PHOTO_ID_5244337167544506578" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" height="273" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO8pDtAQKLv2HsiWIh95AXn8So5hIiXoFvTpCrGmUgQuQOvcvlLg1e44fIS7CUaFImV0rAVF4BA7TqdbI7gwplhv7-QbK04Qiy68n6o0NAaxl1K0DWRVaG408DslVRm5UCIOAsA6Yd39Mv/s400/10d_lily_12.jpg" width="423" border="0" /></a><span style="font-size:100%;"><span style="FONT-STYLE: italic"></span></span></p><p><span style="font-size:100%;"><span style="FONT-STYLE: italic">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</span>)</span></p><p align="center"><span style="font-size:100%;">-<br /></span></p><div style="TEXT-ALIGN: left"><span style="font-size:100%;"></span></div><div style="TEXT-ALIGN: left"><span style="font-size:100%;">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.</span> </div><div style="TEXT-ALIGN: left">-<br /><span style="font-size:100%;">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.</span><br /><span style="font-size:100%;">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.</span> </div><div style="TEXT-ALIGN: left"><br /><span style="font-size:100%;">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.</span> 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.</div><div style="TEXT-ALIGN: left" align="center">-<br /></div><p><span style="font-size:100%;"><span style="FONT-WEIGHT: bold"><u>6. The Jewish religious tradition in the Judeo-Christian movement</u></span> </span></p><p><span style="font-size:100%;">-</span></p><div style="TEXT-ALIGN: left"><span style="font-size:100%;">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.</span> </div><div style="TEXT-ALIGN: left">-<br /><span style="font-size:100%;">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.</span></div><div style="TEXT-ALIGN: left"><br /><span style="font-size:100%;">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.</span></div><div style="TEXT-ALIGN: left"> </div><div style="TEXT-ALIGN: left"> </div><div style="TEXT-ALIGN: left" align="right"><br /><b><br /></b></div><span style="font-size:100%;"><div style="TEXT-ALIGN: left"><br /><span style="FONT-WEIGHT: bold;font-size:130%;">Italian Mosaic Floors with David’s Star outside of Pompeii</span> </div><div style="TEXT-ALIGN: left"><span style="font-size:100%;">-<br />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. </span></div><div style="TEXT-ALIGN: left"><br />-</div><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"><strong>To the Aquileia</strong> <strong>Monastero</strong> <strong>Museum</strong> belongs a Mosaic Floor with David’s Shield </span><span style="font-size:100%;">which is most similar to the Ein Yael Floor in its design and looks like a “forerunner” of the latter (Pl.</span><span style="font-size:100%;"> </span><span style="font-size:100%;">).</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">-</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="TEXT-DECORATION: none" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpmyWECSfFi1C0JBn6vxVS5rFqF0dE_lUT1rxB__ACNSw7CRRUYjNzUVtTzRQTaO2_PaUEhXdpb_Pd0fVW-vB5Fl4-Xvr0wM09erZ9uz-egchZLwUs8EHC2aLYqxlox_2Dk6ZoXjJaGjWf/s1600-h/%D7%90%D7%A7%D7%95%D7%95%D7%99%D7%9C%D7%99%D7%90%D7%94.jpg"><img id="BLOGGER_PHOTO_ID_5350807123012517234" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 455px; CURSOR: pointer; HEIGHT: 319px; TEXT-ALIGN: left" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpmyWECSfFi1C0JBn6vxVS5rFqF0dE_lUT1rxB__ACNSw7CRRUYjNzUVtTzRQTaO2_PaUEhXdpb_Pd0fVW-vB5Fl4-Xvr0wM09erZ9uz-egchZLwUs8EHC2aLYqxlox_2Dk6ZoXjJaGjWf/s400/%D7%90%D7%A7%D7%95%D7%95%D7%99%D7%9C%D7%99%D7%90%D7%94.jpg" border="0" /></a></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span style="FONT-STYLE: italic">36. </span><span style="FONT-STYLE: italic;font-size:100%;">Mosaic Floor with David’s Shield at </span><span style="font-size:100%;"><strong style="FONT-STYLE: italic">Aquileia</strong> - <em>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</em></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">-</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">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.</span><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">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.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">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.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">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. </span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">An additional Floor of the Aquileia Museum is distinguished by <strong>the multiple design of the Magen David filling the ground in infinite progression</strong>.</span><span style="font-size:100%;"> </span><span style="font-size:100%;">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. </span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"><strong>Two multiple Mosaic Floors at the Villa Romana del Casale/Piazza Armerina/Sicily</strong></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><strong>-</strong></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfF6rgWRicPzQH4Qyg6C7QgCcS4ry6MnIlFRCx9Nc5kNLQ7iL4w5Yw27jnq0VThnvZ7Fzeeu_OaG1etla5TNEbqWXaU5pBgJD0_qlifq17drVHRwBfAHOSSZDmElNQD8txAW0dPZ48uTdE/s1600-h/casale12607_a.jpg"><img id="BLOGGER_PHOTO_ID_5232055361144185634" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfF6rgWRicPzQH4Qyg6C7QgCcS4ry6MnIlFRCx9Nc5kNLQ7iL4w5Yw27jnq0VThnvZ7Fzeeu_OaG1etla5TNEbqWXaU5pBgJD0_qlifq17drVHRwBfAHOSSZDmElNQD8txAW0dPZ48uTdE/s400/casale12607_a.jpg" border="0" /></a></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center"><span style="font-size:100%;">37. Mosaic Floor of the </span><span style="font-size:100%;">Villa Romana del Casale (Sicily) 2nd century C.E.<br />From: A. Carandin, A. Rici, M. De Vos, Filosofiana, La Villa di Piazza Armerina, Palermo, 1982<br /></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">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 </span><span style="font-size:100%;">, 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</span><span style="font-size:100%;">. Yet, the dominating ornament in both cases is David’s Star, even in different shapes.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh0k7CSe2ukJRoDiTvfq10qyYPZ6UIblEwWY2J7_oeH9JD4sfMiat8zH_OntTTyJYGZxOQkGI99FTjaOnKVmiIB8bWhbEWZpZZSr16a0en7Va9qjjAEUv6mf4kI3X4WdMaGJKQ98OmHdUy/s1600-h/casale13607_a.jpg"><img id="BLOGGER_PHOTO_ID_5232055989787830674" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 442px; CURSOR: pointer; HEIGHT: 261px; TEXT-ALIGN: center" height="309" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh0k7CSe2ukJRoDiTvfq10qyYPZ6UIblEwWY2J7_oeH9JD4sfMiat8zH_OntTTyJYGZxOQkGI99FTjaOnKVmiIB8bWhbEWZpZZSr16a0en7Va9qjjAEUv6mf4kI3X4WdMaGJKQ98OmHdUy/s400/casale13607_a.jpg" width="442" border="0" /></a></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center"><span style="font-size:100%;">38. </span><span style="font-size:100%;">Mosaic Floor of the </span><span style="font-size:100%;">Villa Romana del Casale (Sicily) 4th century C.E.<br /></span><span style="font-size:100%;">From: A. Carandin, A. Rici, M. De Vos, Filosofiana, La Villa di Piazza Armerina, Palermo, 1982 </span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">Floor no. I is composed in its entirety by seven vertical rows of</span><span style="font-size:100%;"> </span><span style="font-size:100%;">David’s Star</span><span style="font-size:100%;"> </span><span style="font-size:100%;">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</span><span style="font-size:100%;"> </span><span style="font-size:100%;">subsidiary ornaments of more recent invention like the rose, the square, two round ones and others. </span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">All the stars are in white colour on the common background of black colour together with their hexagonal frames.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">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.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">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.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">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 <strong>portrait of the owner of the Villa or the portrait of a black servant</strong> . Other circular frames are filled by birds, by two fishes, by plants or some geometric ornament.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">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.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">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.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">All the subsidiary ornaments of Floor I are in straight contact with the Davidic Stars creating a close network of the whole Floor.</span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;">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.</span></p><p class="MsoFootnoteText" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><span style="font-size:100%;"><a href="http://en.wikipedia.org/wiki/Villa_Romana_del_Casale"></a></span></p></span>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.comtag:blogger.com,1999:blog-5145081316686895987.post-58557048766027895712008-08-07T18:55:00.059+03:002010-07-03T06:54:43.208+03:00The Holy Land<p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><strong></strong></p><p align="center"><span class="Apple-style-span" style="font-size:large;"><b>The Shield of David in Lintel Ornamentation in the Holy Land</b></span></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcb43b7p9S_atRsvze9fQ23p0NG-4jh6_RvYBojUmJAbfD6fRgicC6wgMxzJPFvh1U_gPQ1MF3qETl7c1RySiA5NZ3yEhiTdq7CPeylmAH1qZmS9kH26evtTXNZT_kQk0vJHt411l1rGsU/s1600-h/2a_akko.jpg"><img id="BLOGGER_PHOTO_ID_5232063196427010418" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 462px; CURSOR: pointer; HEIGHT: 107px; TEXT-ALIGN: center" height="92" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcb43b7p9S_atRsvze9fQ23p0NG-4jh6_RvYBojUmJAbfD6fRgicC6wgMxzJPFvh1U_gPQ1MF3qETl7c1RySiA5NZ3yEhiTdq7CPeylmAH1qZmS9kH26evtTXNZT_kQk0vJHt411l1rGsU/s400/2a_akko.jpg" width="418" border="0" /></a></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center" align="center">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)</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">2. Bagatti published <strong>a Lintel found at Akko by P.Gaetoni Pierrry</strong> 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 . </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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. </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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).</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpiOVXfSMG8w4gIewM3DiBxg30JBZtmcWcIneLvqhhno32Zl1o-S4l6R-AvwF6eXZEyGctsmAahQap-rw57phr1mMhHLVACxYym8Kl0S0QL9-e3FKeOYcCiwJCV9EEVOSkySSZESiNJHj7/s1600-h/2b_ribba.jpg"><img id="BLOGGER_PHOTO_ID_5232063991961476146" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 324px; CURSOR: pointer; HEIGHT: 100px; TEXT-ALIGN: center" height="100" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpiOVXfSMG8w4gIewM3DiBxg30JBZtmcWcIneLvqhhno32Zl1o-S4l6R-AvwF6eXZEyGctsmAahQap-rw57phr1mMhHLVACxYym8Kl0S0QL9-e3FKeOYcCiwJCV9EEVOSkySSZESiNJHj7/s400/2b_ribba.jpg" width="256" border="0" /></a></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center" align="center">40. <strong>Khirbet er-Ribba</strong>, 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).</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">The next lintel we report is that published by Avi-Yonah from <strong>Khirbet er-Ribba <span class="Apple-style-span" style="FONT-WEIGHT: normal">[32]</span></strong><span style="font-size:0;"> </span>(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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjULABcEq2s6qWZEPx-Kx6Yo_PArncEIajaEGsjh7wukiD7lGqtMRx6Jr9MIbdH8CM8Q2E8uk-CkmohhvEx94p0nd7vwzRKLGn4LLK_dy-XawpVuwPNtZ6zm8gWJ0-q4XgnsuPQFfzh66Jt/s1600-h/2c_karmel.jpg"><img id="BLOGGER_PHOTO_ID_5232064282016791378" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" height="173" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjULABcEq2s6qWZEPx-Kx6Yo_PArncEIajaEGsjh7wukiD7lGqtMRx6Jr9MIbdH8CM8Q2E8uk-CkmohhvEx94p0nd7vwzRKLGn4LLK_dy-XawpVuwPNtZ6zm8gWJ0-q4XgnsuPQFfzh66Jt/s400/2c_karmel.jpg" width="254" border="0" /></a></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center" align="center"><em>41. <strong>Khirbet Carmel</strong> 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</em></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">A solitary instance of the meeting between Greek Cross and Davidic Star is known from the left side of a chancel-screen from <strong>Khirbet Carmel (near Hebron)</strong><span style="font-size:0;"> </span>(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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhJyJPE13T6Fq4l924J9X0LNHtbHbhJLcBM69YNDBKU5RbUAweMe0o8lQe0DckDAytQ876KevwQxiP127543Z0i2v9RBGkTpTtjLIvSsteVTvtLIhDzFqtFZagti8uY065RzhmsiNyzZ7h/s1600-h/2d_tihin.jpg"><img id="BLOGGER_PHOTO_ID_5232065055549372114" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 402px; CURSOR: pointer; HEIGHT: 141px; TEXT-ALIGN: center" height="128" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhJyJPE13T6Fq4l924J9X0LNHtbHbhJLcBM69YNDBKU5RbUAweMe0o8lQe0DckDAytQ876KevwQxiP127543Z0i2v9RBGkTpTtjLIvSsteVTvtLIhDzFqtFZagti8uY065RzhmsiNyzZ7h/s400/2d_tihin.jpg" width="367" border="0" /></a></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center" align="center">42. <strong>Tell<span style="font-size:0;"> </span>Tihin</strong>. Byzantine Lintel with Greek Cross, six-petalled Shoshan, trefoil Shoshan, quatrefoil Shoshan (from M. Avi-Yonah, ibid fig. 30, p. 74)</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">A Byzantine Lintel from <strong>Tell Tihin</strong> [34] (P1. 42), also published by Avi-Yonah <span style="font-size:0;"></span>has, instead of three Symbols, four - (from left to right) the Cross -<span style="font-size:0;"> </span>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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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).</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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. </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6vxktYdLLo0QhbLjKZ9OgvB67K1iI4AJlM-ZhL33nY_q2KPPbepXqkOZpmq8MqcIixDoJbxVTjRoRHe-NOX70dTL2EK_Qvwp_TknuEfPTmtl0HFzfDxc4Aw7sWWeOat3z3l-EYTpmRgpp/s1600-h/rasas-greek.jpg"><img id="BLOGGER_PHOTO_ID_5232067664357868946" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6vxktYdLLo0QhbLjKZ9OgvB67K1iI4AJlM-ZhL33nY_q2KPPbepXqkOZpmq8MqcIixDoJbxVTjRoRHe-NOX70dTL2EK_Qvwp_TknuEfPTmtl0HFzfDxc4Aw7sWWeOat3z3l-EYTpmRgpp/s400/rasas-greek.jpg" border="0" /></a></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center" align="center">43. <strong>Um al-Rasas</strong>. 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</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><strong>A Lintel at Um al-Rasas</strong> . [36]<span style="font-size:0;"> </span>(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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">The culmination of the trend towards the elimination of David's Shield we find on a sarcophagus from <strong>Deir Dosi</strong>, 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. </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><img id="BLOGGER_PHOTO_ID_5239551864299585282" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 434px; CURSOR: pointer; HEIGHT: 121px; TEXT-ALIGN: center" height="121" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO-wdYPkVZzjC3PwtRzN6WBqyIHKuuZG1fOdCPbXfmbDSlMx5O_0kr_DsizfIhpwKFexhL-TRUpuqZ-veTUQ5VqcKB-DCHeh2N3alFAL6NVjKV37XJWo2TLAYPjnqEnE9XK2eGQrfgBcc_/s400/2f_rasas.jpg" width="348" border="0" /></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><em>44. <strong>Deir Dosi</strong>. Sarcophagus with two six-petalled Lilies on either </em><em>side of a Greek Cross (from M. Avi-Yonah ibid fig. 10, p. 60.) The Davidic Sign exchanged by the Greek Cross </em></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">-</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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. </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">It was revived and made new appearances in the three cultures of the eastern Hemisphere:</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">A. in the late Byzantine Church architecture (6th-8th centuries CE)</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">B. In Islam (since 636 C.E) , and </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">C. finally, in Judaism in its “Massoretic<span style="font-size:0;"> </span>Style” of Bible illuminations of the 9th and the 11th centuries C.E. (see later).</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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. </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"></p><p align="center">-</p><p align="center"><strong><span style="font-size:130%;"><u>David’s Shield in interior Church Architecture between the fourth and the sixth centuries C.E. in the Holy Land</u></span></strong><br /></p><p align="center">-<br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><strong></strong></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><strong>Increase of the occurrence of David's Star in the Holy Land</strong></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">Both tendencies have to be taken in account in our following observations:</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><strong>El-Makr Mosaic Floor</strong> </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9IX6CQaxBn_jBS12v81RAIDwyRNuHHv1yAm-yHkFu7qED0uc5XobzoU5s4prFQwR94KYtJuy-A5Ot5I23-imeuqhAshfzNywPtrmJ5eEXl0ZozMtjjxjG-MQO9Iddv2vY7XYQqNPMXr6u/s1600-h/3a_makr.jpg"></a></p><p align="center"><br /></p><div style="TEXT-ALIGN: center" align="center"><span style="FONT-STYLE: italic"><img id="BLOGGER_PHOTO_ID_5232060290961774994" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 488px; CURSOR: pointer; HEIGHT: 310px; TEXT-ALIGN: center" height="316" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9IX6CQaxBn_jBS12v81RAIDwyRNuHHv1yAm-yHkFu7qED0uc5XobzoU5s4prFQwR94KYtJuy-A5Ot5I23-imeuqhAshfzNywPtrmJ5eEXl0ZozMtjjxjG-MQO9Iddv2vY7XYQqNPMXr6u/s400/3a_makr.jpg" width="397" border="0" />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</span></div><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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. </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">The Disk ornamentation is very frequent in Neo-Christian art (and we have to deal with it later).</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh245yv2z8hyGWqA2gmwny5F5Uiuz71Il3MXKAc3oIA4A7-VlrQ_T6l8I56zJMd3A9q3W60IXRGNzKD5m52nC87J2-W8dw-90gIXXUHwYdj5A9ba3yvqP-q8sSYqTRb2CdBc-nhXfRXz058/s1600-h/3b_roglit.jpg"><img id="BLOGGER_PHOTO_ID_5232060661570898498" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 374px; CURSOR: pointer; HEIGHT: 341px; TEXT-ALIGN: center" height="305" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh245yv2z8hyGWqA2gmwny5F5Uiuz71Il3MXKAc3oIA4A7-VlrQ_T6l8I56zJMd3A9q3W60IXRGNzKD5m52nC87J2-W8dw-90gIXXUHwYdj5A9ba3yvqP-q8sSYqTRb2CdBc-nhXfRXz058/s400/3b_roglit.jpg" width="349" border="0" /></a></p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center" align="center">46. <strong>Roglit</strong>. 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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">Baggati has published the Church Mosaic Floor from <strong>Roglit, near Kibbuz Magen</strong> in the Negev, also featuring a Star of David.<span style="font-size:0;"> </span>(Pl . 46)<span style="font-size:0;"> </span>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.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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: </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">For I have given you good doctrine</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">My Torah, forsake it not</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">It is the tree of life for those lay hold on it </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">And they who uphold it are made happy </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">Its ways are ways of pleasantness </p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">And all its paths are peace.</p><p align="center"><br /></p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"></p><p align="center"><br /></p><p class="MsoFootnoteText" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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.</p><p class="MsoFootnoteText" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">As the Floor is much destroyed a dicision of its origin is difficult, but it seems to be Judeo-Christian. </p><p class="MsoFootnoteText" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><br /><strong><span class="Apple-style-span" style="font-size:large;">The Magen David at Shilo</span></strong></p><p class="MsoFootnoteText" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">-<br /></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi400BwG_GMI5-sPWhcXnZeEjN1iA3BRXncxmFeG8PBE0gzuIshnCOsPVvt2c39SUPLqItFjVsX831nz_86EpUIjYxZF_fozJz5vGlaiw5U8COP9vMQK_NpHg925VZfqLNWptDhJZsPxYda/s1600-h/shilo+star+of+david.jpg"><img id="BLOGGER_PHOTO_ID_5386947882941827826" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 300px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi400BwG_GMI5-sPWhcXnZeEjN1iA3BRXncxmFeG8PBE0gzuIshnCOsPVvt2c39SUPLqItFjVsX831nz_86EpUIjYxZF_fozJz5vGlaiw5U8COP9vMQK_NpHg925VZfqLNWptDhJZsPxYda/s400/shilo+star+of+david.jpg" border="0" /> </a><p align="center"><em>47. The Magen David discovered in the Mosaic Floor of the Basilica at Shilo</em> </p><p align="left">-<br />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.<br /></p><p class="MsoFootnoteText" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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. </p><p class="MsoFootnoteText" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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.</p>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.comtag:blogger.com,1999:blog-5145081316686895987.post-74516463144153779632008-08-07T18:52:00.050+03:002010-07-03T06:59:26.495+03:00The Accanthus Wreath<div align="left" style="text-align: center;"><b><span class="Apple-style-span" style="font-size:large;">The Accanthus Wreaths in Church-and-Synagogue-interiors in the Holy Land</span></b></div><div align="left">-<br />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.<br />-<br /><br /></div><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"></p><div align="center"><br /></div><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio-6cbKWH01v0tGArQWzgWPc2Rpq94NUk8P3tW9KQ0UEd0L6zBnxkMYK_nxCw2Q7zTRP6wF3408-BHhxfE9M4VHJCvMnnt95nP1IxUnpMop05z3f6DbAyUBJljt9AIIGpKJXmk3JmfEGMv/s1600-h/30c_sufa.jpg"><img id="BLOGGER_PHOTO_ID_5232061623588861538" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 264px; CURSOR: pointer; HEIGHT: 231px; TEXT-ALIGN: center" height="206" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio-6cbKWH01v0tGArQWzgWPc2Rpq94NUk8P3tW9KQ0UEd0L6zBnxkMYK_nxCw2Q7zTRP6wF3408-BHhxfE9M4VHJCvMnnt95nP1IxUnpMop05z3f6DbAyUBJljt9AIIGpKJXmk3JmfEGMv/s400/30c_sufa.jpg" width="264" border="0" /></a></p><div align="center"><br /></div><div style="TEXT-ALIGN: center" align="center"><span style="FONT-STYLE: italic">48. <strong>Khirbet Sufa</strong> 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)</span></div><div align="center"><br /></div><div style="TEXT-ALIGN: center" align="center"><em></em></div><div align="center"><br /></div><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"></p><div align="center"><br /></div><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">In 1954, at <strong>Khirbet Sufa in the northern Negev (near Kibbutz Khatzerim)</strong>, 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.</p><div align="center"><br /></div><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center">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.</p><div align="center"><br /><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO7frGUUrLoDg0vo5MNBLU1-PLsgevoiNbSt3Fpr-BrO-v_0WTNxBYL-yHnNi7XkXfsUqUShGYUs034SxXqKTOAe7mUxq8ybk0jMXP1QyRLTZ4UPUB8xp0yKGbvrFRT98reH0Yzyni5mEo/s1600-h/chancel.jpg"><img id="BLOGGER_PHOTO_ID_5319596593373175170" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; HEIGHT: 319px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO7frGUUrLoDg0vo5MNBLU1-PLsgevoiNbSt3Fpr-BrO-v_0WTNxBYL-yHnNi7XkXfsUqUShGYUs034SxXqKTOAe7mUxq8ybk0jMXP1QyRLTZ4UPUB8xp0yKGbvrFRT98reH0Yzyni5mEo/s400/chancel.jpg" border="0" /></a> <em>49. <strong>Massuoth-Yitzhak</strong> 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)</em><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">A marble-plate from <strong>Massuoth-Yitzhak in the Rockefeller Museum</strong>, 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. </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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.</p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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.</p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQWx3Vla11lw7TSB47fAeFaFt0F9pp4QSdfqqm06YyaeavhHrIj92d-Kq2cfkb4LhkQPZN-NUmJbpxXok8tciB5jtRLKXMq1pXPk6WeOpXNe8of0pf5gRXbLa1sihLPlNEzenZdNra25r0/s1600-h/30b_Gaza.jpg"><img id="BLOGGER_PHOTO_ID_5232062621768688738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" height="280" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQWx3Vla11lw7TSB47fAeFaFt0F9pp4QSdfqqm06YyaeavhHrIj92d-Kq2cfkb4LhkQPZN-NUmJbpxXok8tciB5jtRLKXMq1pXPk6WeOpXNe8of0pf5gRXbLa1sihLPlNEzenZdNra25r0/s400/30b_Gaza.jpg" width="242" border="0" /></a></p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; FONT-STYLE: italic; unicode-bidi: embed; TEXT-ALIGN: center">50. <strong>Gaza Mosque</strong> relief of Menorah on column. From: the New Encyclopedia of Archaeological Excavations in the Holy land. Carta, Jerusalem, 1993, pp. 467</p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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. </p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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.</p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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).</p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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.</p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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. </p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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. </p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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.</p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"></p>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.comtag:blogger.com,1999:blog-5145081316686895987.post-68927103497572260052008-08-05T16:48:00.096+03:002010-07-03T20:36:02.173+03:00Unique symbolic monuments with David's Shield<strong></strong><div align="center"><b><br /></b><strong> David's Shield as Pediment Ornamentation (Jerash-Gerasa)</strong> </div><br /><br /><div align="left">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<br /><br /></div><br /><br /><p align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAGpnxpBnTdqDoFrYVQeZv_NnXtQTZFfuEJqHNaMrUfdW9QPigHSTpdkCIpW1UnvYIgPjUiTZy5nGLZRMtEKqwIKKHmY1I1UtIKgXN_ABAMEJYGjKpvy4pzKX0VvuB_-M3d-sqSClXuh7B/s1600-h/gerash-3-magen-david.jpg"><img id="BLOGGER_PHOTO_ID_5319582715760232530" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; HEIGHT: 238px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAGpnxpBnTdqDoFrYVQeZv_NnXtQTZFfuEJqHNaMrUfdW9QPigHSTpdkCIpW1UnvYIgPjUiTZy5nGLZRMtEKqwIKKHmY1I1UtIKgXN_ABAMEJYGjKpvy4pzKX0VvuB_-M3d-sqSClXuh7B/s400/gerash-3-magen-david.jpg" border="0" /></a> <em>51. Aaron's Rod, twice, on four pediments of the Southern Theatre </em><em>at Jerash - </em><em>Magen David appears at the beginning and the end of each Rod. Beginning of 2nd century C.E.<br /></em></p><em></em><br /><br /><div style="TEXT-ALIGN: center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzyIkAS7AigrK05PMuh2SJuuzZXqVY5cnEMyLVwnIkSp-XWz1SGwAk5CQVxqBFLobIDaHra_AxNsYA83d7-s-y5vPjI1d3KqovrGYwHXxS7BkE5SLFeok0qxIXSpMN8dlPcSPm6xlt3NEz/s1600-h/6b_theatre_jerash.jpg"></a>-<br /></div><br /><br /><div style="TEXT-ALIGN: left">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.<br /></div><br /><br /><div style="TEXT-ALIGN: center"><br /></div><br /><br /><div style="TEXT-ALIGN: left">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.<br /></div><br /><br /><div style="TEXT-ALIGN: center"><br /></div><br /><br /><div style="TEXT-ALIGN: left">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. </div><div style="TEXT-ALIGN: left">-<br />-</div><div style="TEXT-ALIGN: left"><span style="font-size:130%;"><span class="Apple-style-span" style="FONT-WEIGHT: bold"><u></u></span></span></div><div style="TEXT-ALIGN: left"><span style="font-size:130%;"><span class="Apple-style-span" style="FONT-WEIGHT: bold"><u>The Bir Chana hexagonal Mosaic Floor in Tunisia’s Bardo Museum</u></span><br /></span><span class="Apple-style-span" style="FONT-WEIGHT: bold">- </span><br /></div><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0rnGTWnjKE9JSgwU8RA7qSQvvA15YFQxfQ93IwmaHOMfkhrGe_JXMKenHsolpmpiFET7_cnRh_UCwvDRVi5EWNxjJGuwGBpwFyWmvGqtxc5MmL2r6b84koQmWFRew73pM22RN_Pg-PTla/s1600-h/bir+chana+bardo.jpg"><img id="BLOGGER_PHOTO_ID_5379133293381986370" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 238px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0rnGTWnjKE9JSgwU8RA7qSQvvA15YFQxfQ93IwmaHOMfkhrGe_JXMKenHsolpmpiFET7_cnRh_UCwvDRVi5EWNxjJGuwGBpwFyWmvGqtxc5MmL2r6b84koQmWFRew73pM22RN_Pg-PTla/s400/bir+chana+bardo.jpg" border="0" /></a></p><p align="center"><em>52. Picture of the center of the Bir- Chana, Tunisia Mosaic</em><br /></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzM1-JrwxTM38lPxRWIi2mgB0URF9ZQPE8Qt70zN5a0CH-Tt1jQu_kX5NSH95WcfyxCQTcFKOMPe3FPADig62SE3OKCJTIQrx7bBKKZHw-RaRrM2Kv8ssP-u63e-iaGvjUr24TxHgqFdIt/s1600-h/5b_bir-chana.jpg"><img id="BLOGGER_PHOTO_ID_5256959821389040418" style="DISPLAY: block; MARGIN: 0px auto 10px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzM1-JrwxTM38lPxRWIi2mgB0URF9ZQPE8Qt70zN5a0CH-Tt1jQu_kX5NSH95WcfyxCQTcFKOMPe3FPADig62SE3OKCJTIQrx7bBKKZHw-RaRrM2Kv8ssP-u63e-iaGvjUr24TxHgqFdIt/s400/5b_bir-chana.jpg" border="0" /></a><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: center"><span style="FONT-STYLE: italic">53. Design of the </span><span class="Apple-style-span" style="FONT-STYLE: italic"><strong>Bir- Chana, Tunisia</strong> 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</span><br /></p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left">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.<br />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.<br />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.<br />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.<br />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. </p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><br />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.<br />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.<br />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.<br />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. </p><br /><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><br />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.</p><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left"><b>Neo-Paphos Mosaic Floor with the Swastika sign</b></p><div><b><span class="Apple-style-span" style="font-size:medium;"><br /></span></b><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWJROvy2TsE81O3MWFGmxWrjm5N8qcEVLVOMgrOg0SBH7kocn8ySa3Ein9g1E3Peh4sRlNGXAzXZ-TsclGNEndJ6-5S6muQogfgN8Dq-iiQFAHpvnW_iL6GSo9UvSaR-DwOngxFffTqwhD/s1600/paphos+mosaic-.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 397px; height: 297px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWJROvy2TsE81O3MWFGmxWrjm5N8qcEVLVOMgrOg0SBH7kocn8ySa3Ein9g1E3Peh4sRlNGXAzXZ-TsclGNEndJ6-5S6muQogfgN8Dq-iiQFAHpvnW_iL6GSo9UvSaR-DwOngxFffTqwhD/s400/paphos+mosaic-.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5480699956371002418" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 20px; "><span class="Apple-style-span" style="color: rgb(0, 0, 0); line-height: normal; "><i><span class="Apple-style-span" style="font-size:medium;">54. Neo-Paphos Mosaic Floor with the Swastika sign</span></i></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style=" color: rgb(51, 51, 51); line-height: 20px; "><span class="Apple-style-span" style="font-size:medium;"> Courtesy of Ken and Nyetta from Flickr</span></span></div><div style="text-align: center;"><span class="Apple-style-span" style=" color: rgb(51, 51, 51); line-height: 20px; "><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style=" color: rgb(51, 51, 51); line-height: 20px; "><p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"><span class="Apple-style-span" style="font-size:medium;">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</span><sup><span class="Apple-style-span" style="font-size:medium;">th</span></sup><span class="Apple-style-span" style="font-size:medium;"> century B.C.</span><span class="Apple-style-span" style="font-size:medium;"> </span>[40]</p><p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"><span class="Apple-style-span" style="font-size:medium;">It became the capital of Cyprus in the 3</span><sup><span class="Apple-style-span" style="font-size:medium;">rd</span></sup><span class="Apple-style-span" style="font-size:medium;"> century under Ptolemaic rule. Only in the 4</span><sup><span class="Apple-style-span" style="font-size:medium;">th</span></sup><span class="Apple-style-span" style="font-size:medium;"> century C.E. it was replaced as such by Salamis.</span></p> <p class="MsoNormal" style="text-align:justify;direction:ltr;unicode-bidi:embed"> <span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;direction:ltr;unicode-bidi:embed"> <span class="Apple-style-span" style="font-size:medium;">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. <span dir="RTL"></span></span><span lang="HE" dir="RTL"><span class="Apple-style-span" style="font-size:medium;"><span dir="RTL"></span><o:p></o:p></span></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"><span class="Apple-style-span" style="font-size:medium;">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</span>[41]</p><p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"><span class="Apple-style-span" style="font-size:medium;"> of the Neo-Samaritans (d), while the left one, below, has the Swastika sign (e) also with Samaritan origin. </span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"> <span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"><span class="Apple-style-span" style="font-size:medium;">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. </span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"> <span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"><span class="Apple-style-span" style="font-size:medium;">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.. </span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"> <span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"><span class="Apple-style-span" style="font-size:medium;">Yet, in addition do we find, to our surprise, in the four corners of the Floor a great Lily sign</span>[42]</p><p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"><span class="Apple-style-span" style="font-size:medium;">, 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. </span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"> <span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"><span class="Apple-style-span" style="font-size:medium;">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. </span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"> <span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"><span class="Apple-style-span" style="font-size:medium;">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.</span></p> <p class="MsoNormal" style="text-align:justify;text-indent:36.0pt;direction:ltr; unicode-bidi:embed"> <span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></p> </span></div><div style="TEXT-ALIGN: center"><strong>The Monastery of St. Euthymius</strong></div><br /><div style="TEXT-ALIGN: center">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.</div><br /><p align="left"><br />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)<br />The monastery is one of the greatest and most elaborate ones, situated near to the Jerusalem- Jericho highway.</p><br /><p align="left"><br />Cyril lived there for some 10 years (445-455) and his biography of Euthymius is first hand experience. [44]</p><br /><p align="left"><br />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]</p><br /><p align="left"><br />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]<br />In the years of 1970 the monastery was again excavated by Gyionnis Maimaris, a Greek Archaeologist, who found a Refectory beside the church. [48] </p><br /><p align="left"><br />In 1987 the Archaeology Department of the Hebrew University renewed the excavations, handing them over to Yizhar Hirschfeld together with Rivka Burger-Kalderon [49]<br />All our details of the excavations of St. Euthymius are founded on his article in Liber Annus 43, 1993, 339-371.</p><br /><p align="left"><br />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]. </p><br /><p align="left"><br />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]</p><br /><p align="left"><br />He became acquainted with the tribe of Saracenes, who under Euthymius influence converted into Christianity. [53]<br /><br />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.<br /><br />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.<br /><br />“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]<br /><br />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”. </p><br /><p align="left">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.<br /><br />The Empress Eudokia built a tower on the highest mountain of the Judean Hills, in order to have talks with Euthymius.<br /><br />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).<br /><br />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.<br /><br /><br />Euthymius died on the 20 of February 473, at the age of 94 .<br /><br />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.<br /><br />“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”.<br /><br />From 482 St. Euthymius was a communal monastery in every detail .<br /><br />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.<br /><br />Reconstruction of St. Euthymius with a fine Mosaic Floor followed.<br /><br />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)”.<br /><br />St. Euthymius, now, became a road station under the name of Khan el Akhmar. </p><p align="left"><strong>The Mosaic Floor of the Church of St. Euthymius</strong> </p><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJV7hjDi5mXg4AHdu4irJA8Hd4DeLG6m3OP_TbcV2_OJ4b430qG4y4JY6lqXHMylV0vyQAL6ZctF5SXUjQFQHhOf3jGIYxy98q7uz8zV0aYp5BG_zuLH_abU8KXtFBRw8XqrB5NHbVcaLR/s1600-h/Eutymius-Monastery.jpg"><img id="BLOGGER_PHOTO_ID_5343911716075346802" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 476px; HEIGHT: 240px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJV7hjDi5mXg4AHdu4irJA8Hd4DeLG6m3OP_TbcV2_OJ4b430qG4y4JY6lqXHMylV0vyQAL6ZctF5SXUjQFQHhOf3jGIYxy98q7uz8zV0aYp5BG_zuLH_abU8KXtFBRw8XqrB5NHbVcaLR/s400/Eutymius-Monastery.jpg" border="0" /></a><span style="FONT-STYLE: italic"><div style="text-align: center;">55. The Monastery of St. Euthymius</div></span><br /><br /><br /><br /><div align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigFK_xHOslFPhQ7arRtdyR4336_oY1kOd3ayTAVvkThjpf0ELDmKMO31I1pvXdNRYkywEO-PSoKJ-oIYCDgTiqhWOFPeE_yc8f0MuVbjihrz5SfBBBZoS8E8MZLNkm1VNizUbnot8q2M8V/s1600-h/mishor-adumim.jpg"><img id="BLOGGER_PHOTO_ID_5336702972812400850" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 274px; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigFK_xHOslFPhQ7arRtdyR4336_oY1kOd3ayTAVvkThjpf0ELDmKMO31I1pvXdNRYkywEO-PSoKJ-oIYCDgTiqhWOFPeE_yc8f0MuVbjihrz5SfBBBZoS8E8MZLNkm1VNizUbnot8q2M8V/s400/mishor-adumim.jpg" border="0" /></a> <em>56. The Monastery of St. Euthymius Mosaic Floor. Courtesy of Dr. Asher Eder<br /></em>-<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwz2sYRkk6brsRNYvESQ2OD3UzIk6J8QYzSJ-PZj5Yde-E8DM6YlgFsqRGZhh12KT3_2fN0goSJMQ9Hsf789Phi1Ag2LuwbPUryzASY_tln2Hq1CbAOHSnMn8Vp4JhbgcQ4i3moIPndt2J/s1600-h/loops-with-david-star.jpg"><img id="BLOGGER_PHOTO_ID_5381735174600938978" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 385px; CURSOR: hand; HEIGHT: 398px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwz2sYRkk6brsRNYvESQ2OD3UzIk6J8QYzSJ-PZj5Yde-E8DM6YlgFsqRGZhh12KT3_2fN0goSJMQ9Hsf789Phi1Ag2LuwbPUryzASY_tln2Hq1CbAOHSnMn8Vp4JhbgcQ4i3moIPndt2J/s400/loops-with-david-star.jpg" border="0" /></a></div><p align="center"><i>57. The Monastery of St. Euthymius Mosaic Floor</i></p><p align="left">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.<br /></p><p align="left">In 659 this church was heavily damaged by an earthquake together with most of the other compounds of the monastery.</p><br /><p align="left">In the late 8th century security in the region deminished and many monasteries were attacked by the Saracin inhebitents of the area.</p><br /><p align="left">"later, in 809, the monastery of St. Euthymius was stormed by Saracins who plundered it as well as other desert monasteries" .</p><br /><p align="left">The Mosaic Pavement belongs to the Ommayad period i.e. after 659 (the year of the earthquake .</p><br /><p align="left">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.</p><br /><p align="left">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.</p><p align="left">Both Mosaic units are often unmistakable Islamic Style.</p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMxNcCuLKEaqFWxTAqzRCvqlYF1miFCQ-WuEm7hhl_hx57JncBvqr5hgMORN6PNxUdWh0ERLK7aJoWdkvJHBBeHa6BFzzaezOyk4hvlvaA6vIrfLr9Gm0_RwzQMvqRiCbhYGbjCiWLTYJs/s1600/%D7%99%D7%95%D7%98%D7%99%D7%9E%D7%99%D7%95%D7%A1-%D7%AA%D7%9B%D7%A0%D7%99%D7%AA.JPG"><img id="BLOGGER_PHOTO_ID_5473264910379908450" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 317px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMxNcCuLKEaqFWxTAqzRCvqlYF1miFCQ-WuEm7hhl_hx57JncBvqr5hgMORN6PNxUdWh0ERLK7aJoWdkvJHBBeHa6BFzzaezOyk4hvlvaA6vIrfLr9Gm0_RwzQMvqRiCbhYGbjCiWLTYJs/s400/%D7%99%D7%95%D7%98%D7%99%D7%9E%D7%99%D7%95%D7%A1-%D7%AA%D7%9B%D7%A0%D7%99%D7%AA.JPG" border="0" /></a><div style="text-align: center;">58. <i>Monastery of St. Euthymius - </i>Plan</div>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.com0tag:blogger.com,1999:blog-5145081316686895987.post-84316136556392631612008-08-05T16:46:00.122+03:002010-07-03T07:25:16.924+03:00In the Byzantine Period<div></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size:large;"><b>David’s Star in the Byzantine Period, between the 6th-9th centuries</b></span></div><div style="text-align: center;"><br /></div><div style="text-align: left;">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.</div><div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; FONT-WEIGHT: normal; BORDER-LEFT-WIDTH: 0px; FONT-SIZE: 100%; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; WIDTH: auto; LINE-HEIGHT: normal; PADDING-TOP: 3px; FONT-STYLE: normal; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; FONT-VARIANT: normal; font-size-adjust: none; font-stretch: normalfont-family:Georgia,serif">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.</div><div><br /></div><div>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.) </div></div><div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; FONT-WEIGHT: normal; BORDER-LEFT-WIDTH: 0px; FONT-SIZE: 100%; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; WIDTH: auto; LINE-HEIGHT: normal; PADDING-TOP: 3px; FONT-STYLE: normal; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; FONT-VARIANT: normal; font-size-adjust: none; font-stretch: normalfont-family:Georgia,serif"></div><div><br /></div><div></div><img id="BLOGGER_PHOTO_ID_5319586773590951682" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 214px; HEIGHT: 190px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyWRjlGOka2iPfTl8T14uy1yBSbYjXP4BMJxpy9IayLnI50B6uORNhIcMj4D4aN6xxR8tT_udvU0wvuliEoPnNylrR3M8DAy2J57jBfvmkrDHdT08TRaqnajFZYqQP9J-A3Npa916eA-0i/s400/byzantine-coin-anastasius.jpg" border="0" /></div><div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; FONT-WEIGHT: normal; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; WIDTH: auto; LINE-HEIGHT: normal; PADDING-TOP: 3px; FONT-STYLE: normal; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; FONT-VARIANT: normal; font-size-adjust: none; font-stretch: normal" size="3" face="Georgia,serif"></div><div></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; FONT-WEIGHT: normal; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; WIDTH: auto; LINE-HEIGHT: normal; PADDING-TOP: 3px; FONT-STYLE: normal; TEXT-ALIGN: center; BORDER-RIGHT-WIDTH: 0px; FONT-VARIANT: normal; font-size-adjust: none; font-stretch: normalfont-family:Georgia,serif;font-size:100%;"><span class="Apple-style-span" style="FONT-STYLE: italic">59. Anastasius (491-518 C.E.) </span><span class="Apple-style-span" style="font-family:'Times New Roman';"><span class="Apple-style-span" style="FONT-STYLE: italic">Large 'K' with Magen David above and below on half Follis</span></span></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; FONT-WEIGHT: normal; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; WIDTH: auto; LINE-HEIGHT: normal; PADDING-TOP: 3px; FONT-STYLE: normal; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; FONT-VARIANT: normal; font-size-adjust: none; font-stretch: normal" size="3" face="Georgia,serif"></div><div></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; FONT-WEIGHT: normal; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; WIDTH: auto; LINE-HEIGHT: normal; PADDING-TOP: 3px; FONT-STYLE: normal; TEXT-ALIGN: center; BORDER-RIGHT-WIDTH: 0px; FONT-VARIANT: normal; font-size-adjust: none; font-stretch: normal" size="3" face="Georgia,serif"></div><div></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; FONT-WEIGHT: normal; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; WIDTH: auto; LINE-HEIGHT: normal; PADDING-TOP: 3px; FONT-STYLE: normal; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; FONT-VARIANT: normal; font-size-adjust: none; font-stretch: normal" size="3" face="Georgia,serif"></div><div></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe-9r5YDocyUUCNzUV7c7a1cmM3HO4mFb6CB7qcyCmw5HMHl36qOOiqD0Y-VSHIpoERNOs2IN0tGBXB8HGO-fxtTKIazgOOg_Q8vQLCOjCNUCTrJDPO7qrexFroWoYnHVr-_sPvvEERtGK/s1600-h/byzantine-coin-Jusinian-1.jpg"><img id="BLOGGER_PHOTO_ID_5319589812366389378" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 282px; HEIGHT: 273px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe-9r5YDocyUUCNzUV7c7a1cmM3HO4mFb6CB7qcyCmw5HMHl36qOOiqD0Y-VSHIpoERNOs2IN0tGBXB8HGO-fxtTKIazgOOg_Q8vQLCOjCNUCTrJDPO7qrexFroWoYnHVr-_sPvvEERtGK/s400/byzantine-coin-Jusinian-1.jpg" border="0" /></a><span style="font-family:'Times New Roman';font-size:12;"></span></div><div><div style="TEXT-ALIGN: center"><span class="Apple-style-span"><span style="font-family:times new roman;"><span style="font-size:100%;"><span style="font-size:0;"><span class="Apple-style-span" style="FONT-STYLE: italic">60. Justinian I (AD 527-565). Gold </span></span><span style="font-size:0;"><span class="Apple-style-span" style="FONT-STYLE: italic">solidus with Magen David</span></span></span></span></span></div><div></div></div><div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="FONT-STYLE: italic"></span></div><div></div></div><div><br /></div><div><div style="TEXT-ALIGN: center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqdTlfUSzwfBTswI8FNFhDgLXsOqk0vSrmCxOYmXdDDE8aytEjfEcjBQjFUSLwfKLTj52XTO_BDs3imV_XtSYJgayoB9OD80633hXAdmJhgJICuYjy-69rlITOatXnwbNhfvEm2I68hBye/s1600-h/byzantine-coin44.jpg"><img id="BLOGGER_PHOTO_ID_5319584301511596834" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 346px; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqdTlfUSzwfBTswI8FNFhDgLXsOqk0vSrmCxOYmXdDDE8aytEjfEcjBQjFUSLwfKLTj52XTO_BDs3imV_XtSYJgayoB9OD80633hXAdmJhgJICuYjy-69rlITOatXnwbNhfvEm2I68hBye/s400/byzantine-coin44.jpg" border="0" /></a><span class="Apple-style-span" style="font-size:medium;">61.</span><span class="Apple-style-span" style="font-family:'Times New Roman';"><span class="Apple-style-span" style="font-family:'Times New Roman';"><span class="Apple-style-span" style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size:medium;"> Large 'M' with Magen David</span></span></span></span><span class="Apple-style-span" style="font-size:medium;"> </span><em><span class="Apple-style-span" style="font-size:medium;">on Byzantine coin</span></em></div><span class="Apple-style-span" style="font-size:medium;"><em></em></span><div></div><p align="center"></p></div><div>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. <p></p><p align="center"></p></div><div>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.<p></p><p></p></div><div>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. </div><div><p></p><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; FONT-WEIGHT: normal; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; WIDTH: auto; LINE-HEIGHT: normal; PADDING-TOP: 3px; FONT-STYLE: normal; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; FONT-VARIANT: normal; font-size-adjust: none; font-stretch: normal" size="3" face="Georgia,serif"></div><div></div></div><div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal"></div><div></div></div><div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal"><span class="Apple-style-span" style="COLOR: rgb(0,0,238)"><img id="BLOGGER_PHOTO_ID_5315268367609139714" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 521px; CURSOR: pointer; HEIGHT: 384px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqrcx_px8AUDOh7ExWWSAk1OADugwcZ9I7mthMiV1gj31kumNNeN7HnLcfUAtSkIP2mdFHMwUUne59GYnCdTXim6fuPrNvCMbJHp5nZY_Eiq56mtenZgWnhlMeVxfqPr4aXO1oasZOKY27/s400/hagia-new-1.jpg" border="0" /></span></div></div><div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: center; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal"><span class="Apple-style-span" style="FONT-STYLE: italic">62. Hagia Irene, Constantinople - David' s Star as decoration of the four pendentives of both domes of the Church </span></div></div><div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal">-</div><div></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2sxR784bQve0BVWN-Ot93PBomtbCezYRPtq1WNiuk-H7tJBLP0VhSoaedLg9mYv2u_ckM9437TPVYxwnoxkL52IbWnkar7IxYybJtJTnW72gyWIpAwGWMI9cd5v0-tjdFSOq_hBa6CqmP/s1600-h/camii+gul+istanbul.jpg"><img id="BLOGGER_PHOTO_ID_5390302767255235906" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 240px; CURSOR: hand; HEIGHT: 186px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2sxR784bQve0BVWN-Ot93PBomtbCezYRPtq1WNiuk-H7tJBLP0VhSoaedLg9mYv2u_ckM9437TPVYxwnoxkL52IbWnkar7IxYybJtJTnW72gyWIpAwGWMI9cd5v0-tjdFSOq_hBa6CqmP/s400/camii+gul+istanbul.jpg" border="0" /></a><span class="Apple-style-span" style="font-family:'times new roman';"> <div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-family:Georgia, serif;"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><i>63. Gul Camii, Istanbul. From: </i></span></span><span class="Apple-style-span" style="LINE-HEIGHT: 18px"><strong><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><i>Les Eglises de Constantinople</i></span></span></strong></span></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-family:Georgia, serif;"><span class="Apple-style-span" style="LINE-HEIGHT: 18px"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><i> Jean Ebersolt, Adolphe Thiers. Paris, 1913</i></span></span></span></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-family:Georgia, serif;"><span class="Apple-style-span" style="LINE-HEIGHT: 18px"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><i><br /></i></span></span></span></span></div><div style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-family:Georgia, serif;"><span class="Apple-style-span" style="LINE-HEIGHT: 18px"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;"><i><br /></i></span></span></span></span></div></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqrcx_px8AUDOh7ExWWSAk1OADugwcZ9I7mthMiV1gj31kumNNeN7HnLcfUAtSkIP2mdFHMwUUne59GYnCdTXim6fuPrNvCMbJHp5nZY_Eiq56mtenZgWnhlMeVxfqPr4aXO1oasZOKY27/s1600-h/hagia-new-1.jpg"></a><div align="center"></div><div></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><strong><u>XXI. Ottoman Restoration Work of Byzantine Churches</u></strong></div><strong><u></u></strong><div></div><div align="center"></div><div></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">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.</div><div align="center"></div><div></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">One of these reconstucted churches is St. Theodosia, called <strong>Gul Cami</strong>, after becoming an Ottoman Mosque. [Pl. ]</div><div align="center"></div><div></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">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.</div><div align="center"></div><div></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">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.</div><div><b></b></div><b></b><div></div><div style="text-align: left;"><span class="Apple-style-span" style=" color: rgb(51, 51, 51); line-height: 20px; font-size:13px;"><div style="mso-element:footnote-list"><div style="mso-element:footnote" id="ftn3"> </div></div></span></div></div>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.com0tag:blogger.com,1999:blog-5145081316686895987.post-13911842097234702292008-08-05T16:45:00.035+03:002010-07-03T07:41:16.083+03:00David's Star in IslamAs long as the Arab tribes were leading a nomadic life in the Peninsula of Arab, moving around and not developing towns and villages with fixed architecture, they could not have created symbolic signs of their own. In any case, nothing is known of it. But after their conquest of the settled Mediterranean world, 636-640 C.E., they became in urgent need of these people, who had developed their religions and their symbolic signs on the base of their religious architecture in fixed towns and villages.<br /><br />-<br />As the Arab tribes changed suddenly into residents of towns they had to continue with the religious and secular costumes developed there till then. So it comes that the Caliphs were forced to make use, to a high degree, of the religious symbolic signs of the population, and to make use of the artisans, creating them. And so Jewish and Christian religions were tolerated and saved from supression and Islamic art was born. <div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">Yet, the Signs were not accepted in their distinct religious meaning, than in a much freer way, which expressed much more than till now, the aesthetic and decorative appearance of the signs. It started to form the outer life of the Arab Society, in Mosques, in homes, on Carpets, on Mosaic Floors, in Ceramics, in Fayence - and Stucco decoration, and in everyday metal appliances and tools. </div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><strong><u>Main Islamic Monuments</u></strong></div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><strong></strong></div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><strong><u>Dome of the Rock</u></strong></div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><br />The first monumental building in Omayyad times is the <strong>Dome of the Rock</strong> in Jerusalem, built by Caliph Abd al Malik in 692/3 as an octagonal building around the Sakhrah, the holy rock, of the Temple Mount. This rock was looked upon as the center of the world and El Akza the starting point of Prophet Muhammed's nightly Flight to Heaven.</div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">Abd Al Malik made use of Persian-Sassanian artisans for the interior and outer decoration of the building. The lower part of the building in its pears and walls is covered till the hight of 6.90 m. with beautiful marble slabs and above them by a rich mosaic decoration, consisting of elaborate Acanthus Scrolls (on the tambour) and realistic tree - and flower decoration (on pillars and engaged ones). Yet the Davidic Sign is not to be found in it as the sign is not contained in Sassanian Mosaic decoration.</div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">All the outside was renewed by Suleiman the Magnificent in 1552 in Faiance Tiles showing the Magen David in multiple compositions between and above the windows.<br />- Yet, David’s Star is most frequent in Numismatics from the beginning in Abbaside times till today – Morocco. Much in use is the Davidic Star also in ceramics, decorating in emblematic shape glazed bowls .<br /><br /><strong><u>The Winter Palace of the Caliph Hisham III (724-743)</u></strong></div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><br />In contrast, we find in a second monumental building of the Omayyad period - the Winter Palace of the Caliph Hisham III (724-743) at Khirbet Mefjar (near Jericho) - a rich decoration of Mosaic Floors of Neo-Christian origin. Between them is also a Carpet Floor of multiple David Stars and of single stars in the private Mosque there of the Caliph. </div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">The Magen David became in the course of time one of the main ornaments in the religious and secular arts of Islam. </div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">As one of the finest examples may serve The Carved Teakwood Panel from Takrit in Egypt from the end of the 8th century in the Metropolitan Museum of Art.</div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><br /></div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><br /></div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><span class="Apple-style-span" style="COLOR: rgb(0,0,238)"><img id="BLOGGER_PHOTO_ID_5315266766038238578" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: pointer; HEIGHT: 359px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjhMbEjujSQbyZhMBOBkX5Zgyz6wSZeu_ZBhnStI5B1oxh_Rlw6vCVFm54HNf54u12P8zW2l8C4IBCqcWF9U3ZKPf8QFbZsiU1hZvlzCNWSpVB_wyDBoJ04NcL833GejecZx0BNojHWKLO/s400/takrit-1.jpg" border="0" /></span></div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: center; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><span class="Apple-style-span" style="FONT-STYLE: italic">71. Carved teakwood panel from Takrit in Egypt from the end of the 8th century. From: Maurice Dimard, Ars Islamica, 1937, p. 296</span></div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">The large Davidic Sign is commanding the plate arising from a rich background of infinite Vine Leaves, Flowers and Rosettes. All the outer angles of the Star are filled with Disks with a cross- like Lily Sign decoration, while the inner angles are filled by wine leaf ornamentation. The four spandrels of the square plate are filled with much larger Disks with a straight Lily Sign accompanied by a wine leaf left and right. Also the center of the Davidic Star is occupied by a large Disk with a similar combination of Lily Sign and wine leafs.</div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">This Disk ornamentation, as we understand, is representing God and the world's unit in the ideal shape of the circle. </div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"></div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><strong><u>Jews and Arabs in the 8th and 9th century C.E. </u></strong><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"><strong></strong></div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">In the 8th and 9th century C.E. there happend to be a kind of approachment between the Jewish and the Arab peoples. There was not only important improvement of social contact between them than also a mutual exchange in cultural achievements. The common language of the Jews became Arabic. Main Arab theological and philosophical writings were translated into Hebrew and Hebrew writings were translated into the Arab language. Even the Koran was published in Hebrew letters, but in the original Arab language. </div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">The two historical developments of the Arab world: </div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">a) The assimilation of the Neo- Christian symbolica in the 7th to the 9th centuries. and </div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">b) The cultural and vital approach of Jews and Arabs in the East of the 8th and the 9th centuries were becoming the pre-requisites to a fundamental religious restoration in the Jewish world, i.e. with other words, the Massoretic Movement of the 9th to the 11th centuries. </div>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.com0tag:blogger.com,1999:blog-5145081316686895987.post-37498101032220797332008-08-05T16:45:00.034+03:002010-07-03T07:40:10.622+03:00The Massoretic Movement<div align="center" style="text-align: left;">To our opinion this religious restoration of the Jewish world has not acquired yet the recognition of its true importance. Some 6000 Massoretic manuscripts in the Leningrad Library alone (the Firkovich Collection, collected by F. in the Crimea, north of the Black Sea) was not a matter of some sages alone. The acceptions alone by the Movement of the Magen David, now as a full Jewish Symbolic Sign beside a good number of early Neo-Christian symbolic Signs which were of ancient Jewish origin like the Shoshan (the Lily) the Disk (Maagal), the Ark of the Covenant and others is enough to reveal the importance of the Movement.</div><div align="center" style="text-align: left;"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">But there are other indications: f.i. the effort to create one repaired authorized Tenach, valid for everyone by the introduction of vocals and gramatical signs, and the points for accentuation, the correction of orthography, and the addition of explaining remarks below and beside each page.</div><div align="center"><br /></div><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center"></div><div align="center"><br /></div><span class="Apple-style-span" style="font-family:'Times New Roman';"><div style="BORDER-TOP-WIDTH: 0px; PADDING-RIGHT: 3px; PADDING-LEFT: 3px; BORDER-LEFT-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; PADDING-BOTTOM: 3px; MARGIN: 0px; FONT: 100% Georgia,serif; WIDTH: auto; PADDING-TOP: 3px; TEXT-ALIGN: left; BORDER-RIGHT-WIDTH: 0px; font-size-adjust: none; font-stretch: normal" align="center">But, what has to be recognized as the most important innovation of the Massoretic Movement is its Micrographic Writing of the Hebrew text of the Bible, comprising, at the same time, design of the symbolic Signs, especially of the Magen David. This synthesis between the ancient Hebrew text with newly acquainted symbolic signs is to give the ancient Jewish belief a new Foundation.<br /></div><p class="MsoNormal" dir="ltr" style="text-align: left;direction: ltr; unicode-bidi: embed; " align="center"><span class="Apple-style-span" style=" ;font-family:georgia;">And so it comes, that the Magen David was accepted now by the Jews as a full recognized Jewish symbolic sign for all times. It continued through the century as a main Jewish symbol (beside the Menorah) till it was accepted in 1948, at the foundation of the state, as its emblematic sign in the center of the Jewish flag. </span></p></span><p class="MsoNormal" dir="ltr" style="DIRECTION: ltr; unicode-bidi: embed; TEXT-ALIGN: left" align="center"><span class="Apple-style-span" style="font-family:'Times New Roman';"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXbXVoEVTMfbLn3toIh3aaHO1m81zS8yr20V-ML-lsFRHrbhMZSYbJHfbayXZW5nXRNotMRaUoVp-6JNO9SGLGn7EM7V93X1KHS23tQxrPj24lEJnGpzYwHJiE1_LXXO9G5b2JyC5YcpJ-/s1600-h/Leningrad_Codex+Micrographic+Writing.jpg"><img id="BLOGGER_PHOTO_ID_5371329016812394322" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 301px; CURSOR: hand; HEIGHT: 347px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXbXVoEVTMfbLn3toIh3aaHO1m81zS8yr20V-ML-lsFRHrbhMZSYbJHfbayXZW5nXRNotMRaUoVp-6JNO9SGLGn7EM7V93X1KHS23tQxrPj24lEJnGpzYwHJiE1_LXXO9G5b2JyC5YcpJ-/s400/Leningrad_Codex+Micrographic+Writing.jpg" border="0" /> </a></span></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXbXVoEVTMfbLn3toIh3aaHO1m81zS8yr20V-ML-lsFRHrbhMZSYbJHfbayXZW5nXRNotMRaUoVp-6JNO9SGLGn7EM7V93X1KHS23tQxrPj24lEJnGpzYwHJiE1_LXXO9G5b2JyC5YcpJ-/s1600-h/Leningrad_Codex+Micrographic+Writing.jpg"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXbXVoEVTMfbLn3toIh3aaHO1m81zS8yr20V-ML-lsFRHrbhMZSYbJHfbayXZW5nXRNotMRaUoVp-6JNO9SGLGn7EM7V93X1KHS23tQxrPj24lEJnGpzYwHJiE1_LXXO9G5b2JyC5YcpJ-/s1600-h/Leningrad_Codex+Micrographic+Writing.jpg"></a><p style="TEXT-ALIGN: center" align="center"></p><em><div style="text-align: center;"><span class="Apple-style-span" style="font-style: normal; "><em>65. Micrographic Writing of the Hebrew text of the Tenach</em></span></div></em><span class="Apple-style-span" style="font-family:'Times New Roman';"><p style="TEXT-ALIGN: center" align="left"><em>Codex-Leningrad Carpet page from David Gunzburg, Vladimir Stasov, L'Ornement Hébreu, Berlin 1905</em><br /><br /></p><div style="TEXT-ALIGN: center">-</div><br />-<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp1VRCfgk0GdRXYuhyphenhyphennxRgamnta3xya2DOm0_2wP6per99uH5MVrOTK8IK94aIoSdFifgyizHhxKkeLNEjBInnN_PsYYuWrvqbigXqs4scaxzxxTCQ-GUIg7SBVfj2uCW7w3KrSJ-DGY9Z/s1600-h/Leningrad-Codex-version-2.jpg"><img id="BLOGGER_PHOTO_ID_5400102405830114386" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 312px; CURSOR: hand; HEIGHT: 304px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp1VRCfgk0GdRXYuhyphenhyphennxRgamnta3xya2DOm0_2wP6per99uH5MVrOTK8IK94aIoSdFifgyizHhxKkeLNEjBInnN_PsYYuWrvqbigXqs4scaxzxxTCQ-GUIg7SBVfj2uCW7w3KrSJ-DGY9Z/s400/Leningrad-Codex-version-2.jpg" border="0" /></a><div style="text-align: center;"><span class="Apple-style-span" style=" ;font-family:Georgia, serif;"><em><div style="text-align: center; "><span class="Apple-style-span" style="font-style: normal; "><em>66. Micrographic Writing of the Hebrew text of the Tenach</em></span></div></em><span class="Apple-style-span" style="font-family:'Times New Roman';"><p align="left" style="text-align: center; "><em>Codex-Leningrad Carpet page from David Gunzburg, Vladimir Stasov, L'Ornement Hébreu, Berlin 1905</em><br /></p></span></span></div><p></p><span class="Apple-style-span" style="font-family:'Times New Roman';"></span><span class="Apple-style-span" style="font-family:'Times New Roman';"></span><br /><p><span class="Apple-style-span" style="font-family:'Times New Roman';"></span></p><p><span class="Apple-style-span" style="font-family:'Times New Roman';"></span></p><p><span class="Apple-style-span" style="font-family:'Times New Roman';"></span></p><p><span class="Apple-style-span" style="font-family:'Times New Roman';"></span></p><p><span class="Apple-style-span" style="font-family:'Times New Roman';"></span></p><p><span class="Apple-style-span" style="font-family:'Times New Roman';"></span></p><p><span class="Apple-style-span" style="font-family:'Times New Roman';"></span></p></span><p style="TEXT-ALIGN: center" align="left"><span class="Apple-style-span" style=" ;font-family:'Times New Roman';"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2EHRaBaDWLf2QlamXPrrROI_5ePhfaJPbkofZMeKox868K63gpbw-GVTnHqHcLVp96BFKSaxVCc89RXGDtk5tZt3k67HKPCU0FApn-Rd1T8HvnIbzoAVEvt34J1TmROnJ0EAq82Sbs8KY/s1600-h/Massoretic-1.jpg"><img id="BLOGGER_PHOTO_ID_5319593485728422738" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 399px; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2EHRaBaDWLf2QlamXPrrROI_5ePhfaJPbkofZMeKox868K63gpbw-GVTnHqHcLVp96BFKSaxVCc89RXGDtk5tZt3k67HKPCU0FApn-Rd1T8HvnIbzoAVEvt34J1TmROnJ0EAq82Sbs8KY/s400/Massoretic-1.jpg" border="0" /></a></span></p><span class="Apple-style-span" style="font-family:'Times New Roman';"><p style="text-align: center;"> </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p><br /></p><p align="center"><em>67. Codex-Leningrad Carpet page from </em></p><p align="center"><em>David Gunzburg, Vladimir Stasov, L'Ornement Hébreu, Berlin 1905</em></p><p align="center"><em>-</em></p><p align="left"><i>Also appears in: <span style="Times: ;color:black;">Loewinger, D. S. Hebrew, </span><i><span style="color:black;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'times new roman';">The Leningrad Codex</span></span></span></i><span style="color:black;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'times new roman';">, Grand Rapids, Michigan 1998</span></span></span><span style="color:black;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'times new roman';"> p. </span></span></span><i><span style="color:black;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'times new roman';">959 (Torah, Nevi’im u-Khetuvim : Ketav yad Leningrad B19A, ketav ha-yad ha-shalem ha-ḳadum be-yoter shel ha-Miḳra)</span></span><span style="mso-spacerun: yes"> </span></span></i></i></p><i><p style="MARGIN: 0cm 5.95pt 0pt 41.95pt"><i><span style="Times: ;font-size:13;color:black;"><span style="mso-spacerun: yes"></span></span></i></p></i><p><strong><span style="font-size:130%;">The Leningrad Codex from around 1010 C.E.</span></strong> </p><p><span class="Apple-style-span" style="font-size:large;">The most important Massoretic illustration of David Star is contained in the Leningrad Codex from around 1010 C.E. From there begins the great career of the Sign in the Middle-Ages and the new time for eastern and western Judaism.<br /><br />But we have to see from the start, that the Davidic Sign is not appearing in the Leningrad Codex as a single ornament, than, as surrounded and encased in the octagonal center of the Double-Square, the symbol of Gentile-Christianity.<br /><br />The nearness of both Signs in the Leningrad Codex is difficult to explain maybe, the Massoretic Movement accepted both Signs under the same conditions, as "later" both Signs appear in Jewish context, David Star in numerous examples and the Double-Square only in single ones.<br /><br />In accordance with the Massoretic tradition the design of both symbols is formed by the micrographic writing of citations of the Tenach, so that design and writing are wholly united. The intention is, without doubt, to give the Jewish belief a new foundation.<br /><br />The translation of the Hebrew text belonging to the Magen David in the Leningrad Codex into English was done by </span><a href="http://en.wikipedia.org/wiki/File:Leningrad_Codex_Carpet_page_e.jpg"><span class="Apple-style-span" style="font-size:large;">Stephen A. Reed</span></a><span class="Apple-style-span" style="font-size:large;">. We are following him in this matter.<br /><br />Almost all the citations are of Deuteronomy asking God to bless his people and the ground you have given them (Deut. 26:15).<br /><br /></span><strong><span class="Apple-style-span" style="font-size:large;">Or</span></strong><span class="Apple-style-span" style="font-size:large;">, admonition of the people to obey God's commandments and statutes (Deut. 27:10).<br /><br /></span><strong><span class="Apple-style-span" style="font-size:large;">Or</span></strong><span class="Apple-style-span" style="font-size:large;">, the admonition that you have to observe diligently the statutes and ordinances in the Land given by God. (Deut. 12:1).<br /><br /></span><strong><span class="Apple-style-span" style="font-size:large;">Or</span></strong><span class="Apple-style-span" style="font-size:large;">, (literally:) "The Lord will open for you his reach storehouse, the Heavens, to give the rain of your Land in its season, and to bless all your undertakings. You will lend to many nations, but you will not borrow. The Lord will make you the head, and not the tail, you shall be only at the top and not at the bottom - if you obey the commandments of the Lord, your God, which I am commanding you today, by diligently observing them" (Deut. 28:12, 13).<br />Or, (literally:) "All these blessings shall come upon you, if you obey the Lord your God" (Deut. 28:2).<br /><br />All the 5 citations from the "Hebrew Book" of the New Testament are taken from Psalms:<br />"O God, you are my God, I seek you, my soul thirsts for you, as in a dry and weary land where there is no water." [Psalms 63:1 (Hebrew Book v. 2)]<br />"So I will bless you as long as I live; I will lift up my hands and call on your name." [Psalms 63:4 (Hebrew Book v. 5)]<br />"Have you not rejected us O God? You do not go out, O God, with our armies." [Psalms 60:10 (Hebrew Book v. 12)]<br />"Our God is a God of salvation, and to God, the Lord, belongs escape from death." [Psalms 68:20 (Hebrew Book v. 21)]<br />"Summon your might O God; show your strength, O God..." [Psalms 68:28a (Hebrew Book v. 29a)]<br /><br />Yet, we didn't finish yet with our explanations of the symbolic Signs of the page of the Leningrad Codex: all the outer and all the inner angles of the Double-Square are filled by Disks (maagalim), 16 altogether.<br /><br />The Disk is one of the most frequent Jewish Symbols of antiquity, and it is in our opinion, the sign of God's unity.<br /><br />The Signs are filled with an interior knot, which is to be found in most of its apperances, and which gives the Sign an interial strength.<br /><br />The Disk filling the outer engles are accompanied by 2 (near triangles), which are enforcing in their rythm the circumference of the micrographic writing.<br /><br />The Magen David, in contrast, in its black background and interior white ground forms the heart of the whole composition. </span></p><p></p><p align="left">-</p><p align="left"><strong><u><span style="font-size:130%;">The large Star motive in the Leningrad Codex</span></u></strong> </p><p align="left"><span class="Apple-style-span" style="font-size:large;">One of the pages of Codex Leningrad is decorated by a large Star motive in micrographic design. </span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">The composition of the big Star is done by 8 elongated triangles, which are connected by each other.</span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">The center of the Star is taken by a Magen David sign surrounded by a large Double Square design (all, of course, in micrographic writing). This Double Square is, at the same time, the lower closing design of the large triangles above it.</span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">It is of high interest that also here we find the main religious symbolic signs of the neo-Christian congregations: The Davidic Star of the Judeo-Christians, and the Double-Square of the Gentile- Christians, together. May be that the"</span><a><span class="Apple-style-span" style="font-size:large;">'leniancy</span></a><span class="Apple-style-span" style="font-size:large;">" of the Samaritans in religious problems we know already from Capernaum (p.) and from the Eso Narthex of Shavey Zion is the reason. It is difficult to find a satisfactory answer to the problem.</span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">By the each other cuttings of the large triangles interiour angles are created, where-from 8 Arrows are arising. These serve, to my opinion, as "messengers" of the new religion to the whole world, and "Bracha" (blessings) bringing by its dispersion.</span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">The Arrows are distinguished by the addition of honoring remarks at their heads of two words only. And these are the remarks: Siman tov (good sign), Siman Bracha (sign of blessing), Siman Yeshua (help sign), Siman Simcha (joy sign), Siman Cavod (sign of honor), Siman Hedva (sign of joy), Siman Zikaron (remembrance sign), and Siman Sasson (sign of happiness).</span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">But not yet enough: each side of the interior Magen David is distinguished by the addition of two Disk signs (Maagalim) and a single disk is also added to the center of the Davidic Star. The 7 Disks of the lower triangle of the Davidic Star at the same time are covering also the upper triangle. Also the Disks are touching each other.</span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">I see in the signs of the Disk on top of David's Star God's Unity and God's Presence in the whole world. The unity of the Maagalim with the Magen David is not to be found anywhere else, it is the synthesis of God's rule (David's Star ) with God's Unity in a supirior single Sign.</span></p><p align="left"><strong><u>Carpet page of the Leningrad Codex with the Magen David as a single motive</u></strong></p><p align="left"><span class="Apple-style-span" style="font-size:large;">This page of the Leningrad Codex of 1010 is filled with large Davidic Symbol, being inscribed in a square frame of dark line with a small niche protruding from its upper side. </span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">Again, the micrographic writing is forming thhe design of the whole page. The six points of the Star are occupied by large circles, while from its six outer angles arrows are starting. </span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">The Magen David itself is designed by the micrographic writing on a white background, together with the circles and the arrows. But the left and right interior sides of the square frame and its upper and lower ones appear as black ones. So, the white Davidic Star together with the ornaments appear as "floating" above the black ground.</span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">While the circles are symbolizing God's unity the arrows, turning to every sides, are indicating God's presence, the Shechina, in the whole world. </span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">The next Carpet Page, we are dealing with, makes use of the same ormaments: the Circle, the Arrow, the Davidic Star, but is arriving at a wholly other ornamentation.</span></p><p align="left"><strong><span style="font-size:130%;"><u>Carpet Page of the Leningrad Codex as a large Star motive</u></span></strong></p><p align="left"><span class="Apple-style-span" style="font-size:large;">The general form of this Carpet Page is a big star. 8 elongated triangles with 8 circles on top of them and 8 Arrows between them are composing it. </span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">The triagles are crossing each other and from their crossing angles the Arrows are starting.</span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">The center of the Star is taken by David Star, which is surrounded by the Double Square, which, itself, is identical with the lower crossing design of the triangles. All, of course, in micrographic writing. </span></p><p align="left"><span class="Apple-style-span" style="font-size:large;">The Arrows are distinguished by an evaluation of their actions by two words only attached to their tops.</span></p><p align="left"><span style="font-size:0;"><span class="Apple-style-span" style="font-size:large;">But not yet enough: the Magen David of the center is occupied by 7 circles: one in its center and the other 6 ones on the triangles of the Star, two ones on each side, touching each other. The complete shape of David Star is covered by the circles in an even way</span><span class="Apple-style-span" style="font-size:medium;">. </span></span></p><p align="left"><strong><u><span style="font-size:130%;">The meaning of David Star in the </span><span class="Apple-style-span" style="font-size: large;">Massoretic movement</span></u></strong></p><p align="left"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:large;">David Star makes its appearance as a full fledged Jewish Symbol in the Leningrad Codex with the Massoretic movement of the 9th-11th century.</span></span></p><p align="left"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:large;">Yet, we explained the original symbolic meaning of David Star as a relation between God and God's Son- Yeshu.</span></span></p><p align="left"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:large;">But now, we are asking ourselves how it is possible that the Jews, who did not recognise Yeshu as the son of God, recieved the Star under this meaning. And our answer is that the Jews "replaced" Yeshu by the Jewish people itself as God's holy nation in its Brit with God from Har Sinai.</span></span></p><p align="left"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:large;">We have to concede that our explanation is a very daring one, but we don't see any other one. The Magen David is from now a full recognized Jewish symbol, but also the Double Square has become a Jewish one, as we saw. </span></span></p><p align="left"><span class="Apple-style-span" style="font-size:medium;"><span style="font-size:0;"></span></span></p><p align="left"></p><p align="left"><span class="Apple-style-span" style="font-size:large;"><b><u><br /></u></b></span></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSpBMVeMup4KDXZnxwgkWkBFy2H6JO9FqfxPlYzb0C3OAvMxAH_AIRpAnzZi80HUCwGKsQ3lUeUgFt3iAo9WvhilHPXbni7rD146IfzcdhXY8zeiVGldLybd2qr9X39I61-kHZcm4d_zvX/s1600-h/%D7%9C%D7%A0%D7%99%D7%A0%D7%92%D7%A8%D7%93-2.jpg"><img id="BLOGGER_PHOTO_ID_5360506854259104386" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 370px; CURSOR: hand; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSpBMVeMup4KDXZnxwgkWkBFy2H6JO9FqfxPlYzb0C3OAvMxAH_AIRpAnzZi80HUCwGKsQ3lUeUgFt3iAo9WvhilHPXbni7rD146IfzcdhXY8zeiVGldLybd2qr9X39I61-kHZcm4d_zvX/s400/%D7%9C%D7%A0%D7%99%D7%A0%D7%92%D7%A8%D7%93-2.jpg" border="0" /></a> <div style="TEXT-ALIGN: center" align="left"><i>68. Detail from Codex-Leningrad Carpet page from </i></div><div style="TEXT-ALIGN: center" align="left"><i><span class="Apple-style-span" style="FONT-STYLE: normal"><em>David Gunzburg, Vladimir</em> Stasov, L'Ornement<em>Hébreu</em>, Berlin <em>1905<span class="Apple-style-span" style="FONT-STYLE: normal"> </span></em></span></i></div><div style="TEXT-ALIGN: center" align="left"><i></i></div><div style="TEXT-ALIGN: center" align="left"><br /></div><p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIhJcE3IUBH8wSExPvx0sPVQ2RK9oLi8w-8ArEHi4odMc3LxgnhiejCmQtTQgh2C3O53OfEV47YhRcWvdNgzJS9iwkbGDhTN28Mlg3sK-nCN7Z-b4lfNry9tZTZjj2uDvi8W2ckh0N_GJL/s1600-h/%D7%9C%D7%A0%D7%99%D7%A0%D7%92%D7%A8%D7%93-22.jpg"><img id="BLOGGER_PHOTO_ID_5360506629067522114" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 395px; CURSOR: hand; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIhJcE3IUBH8wSExPvx0sPVQ2RK9oLi8w-8ArEHi4odMc3LxgnhiejCmQtTQgh2C3O53OfEV47YhRcWvdNgzJS9iwkbGDhTN28Mlg3sK-nCN7Z-b4lfNry9tZTZjj2uDvi8W2ckh0N_GJL/s400/%D7%9C%D7%A0%D7%99%D7%A0%D7%92%D7%A8%D7%93-22.jpg" border="0" /></a></p><div style="text-align: center;"><span class="Apple-style-span" style="font-style: italic; ">69. Detail from Codex-Leningrad Carpet page from </span></div><p></p><p></p><div style="text-align: center;"><em>David Gunzburg, Vladimir</em> Stasov, L'Ornement <em>Hébreu</em>, Berlin <em>1905</em></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQgIue5sS9Iht3YMfIV5iXJ_pDjzfmMVGSTH56VgWKBWKQ5D4F1ayaorgk7CUOfGQ36e-kfQHumRglOJjgX0Sie6cPbKftG2h91LPJp5JPAIJJ-OxDMexs1NggiW-oTAjJT5cI2K_-2laH/s1600-h/leningrad-965.jpg"></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="TEXT-DECORATION: none" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQgIue5sS9Iht3YMfIV5iXJ_pDjzfmMVGSTH56VgWKBWKQ5D4F1ayaorgk7CUOfGQ36e-kfQHumRglOJjgX0Sie6cPbKftG2h91LPJp5JPAIJJ-OxDMexs1NggiW-oTAjJT5cI2K_-2laH/s1600-h/leningrad-965.jpg"><img id="BLOGGER_PHOTO_ID_5379056790452264498" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 355px; CURSOR: pointer; HEIGHT: 400px; TEXT-ALIGN: left" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQgIue5sS9Iht3YMfIV5iXJ_pDjzfmMVGSTH56VgWKBWKQ5D4F1ayaorgk7CUOfGQ36e-kfQHumRglOJjgX0Sie6cPbKftG2h91LPJp5JPAIJJ-OxDMexs1NggiW-oTAjJT5cI2K_-2laH/s400/leningrad-965.jpg" border="0" /></a><p style="TEXT-ALIGN: center" align="center"></p><em><div style="text-align: center;"><span class="Apple-style-span" style="font-style: normal; "><em>70. From: Loewinger, D. S. Hebrew, The Leningrad Codex, Grand Rapids, Michigan</em></span><em></em></div><em><div style="text-align: center;"><i><span class="Apple-style-span" style="font-size:medium;">1998 p. 965 (Torah, Nevi’im u-Khetuvim : Ketav yad Leningrad B19A,</span></i></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-size:medium;"><br /></span></i></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-size:medium;">ketav ha-yad ha-shalem ha-ḳadum be-yoter shel ha-Miḳra).</span></i></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-size:medium;"><br /></span></i></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-size:medium;">Courtesy of Dr. Yosi Peretz, Bar-Ilan Universit</span></i>y</div></em></em></span>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.com0tag:blogger.com,1999:blog-5145081316686895987.post-62345753856745131582008-08-05T16:43:00.019+03:002010-07-03T20:34:04.408+03:00Summary & Footnotes<p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span></p><span lang="HE"><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; "><span lang="HE" dir="RTL"><br />-</span>We were starting in our dealings on the Magen David from the fact that the Symbol does not appear at all in Jewish art of antiquity, beside three exceptions<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>:<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">In Capernaum (Kfar Nachum)</p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; "><span lang="HE" dir="RTL"></span>At Ein Yael near Jerusalem, and<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; "><span lang="HE" dir="RTL"></span>At Kfar Shura (near Rosh Pina)</p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">This scarcity of its appearance in the Holy land was explained by us by the hostility of the traditional Jewish population of the country against the new faith in their midst<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">But, to our great surprise, we found the Davidic Sign already in the first century C.E. in Pompeii and other Italian cities. In Pompeii we found the sign at the Mosaic Floors of the Casa di Trittolemo, which seems to have been the secret meeting place of an early Judeo- Christian community there. Other Italian places like the Museum of Aquileia or the Villa Romana del Casale, near Piazza Armerina, Sicily, and others, showed a rich development of the sign in single and multiple representations on Mosaic Floors and wall-decorations<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">The chronological sequence, then, of the three above-mentioned monuments of the Holy Land is<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>:<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">Ein Yael, near Jerusalem, which was excavated by Gershon Edelstein from the Archeological Authority was dated by its numerous remains of tiles of the 10th Roman Legion to the 2nd century C.E.. Capernaum, by its last excavations by Corbo and Loffredo was dated to the 3rd and 4th century C.E. As Kh. Shura was not excavated yet its date is only a supposed one, i.e. 2nd 3rd century CE.</p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">Capernaum<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">It became clear that the first both monuments were founded by foreigners, Roman military commanders, who brought the knowledge of the Sign with them already from Italy. The first Synagogue of Capernaum was built, according to Luke 7:1-9, by a Roman military authority still in the life-time of Christ. This fact alone was enough for our sages not to mention Capernaum at all in their writings in spite of its being the finest Synagogue of the Galilee.</p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">The second monument, Ein Yael, is an agricaltural farm (south of Jerusalem) containing the Synagogue in its buildings. It has to be dated to the second century C.E. after the numerous finds of tiles with a seal of the 10th legion, the Legio Fretensis<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">The third monument, Kh. Shura, is known by its Magen David sign, and its six-partite Lily Sign, engraved on the lower side of voussoires of arches forming a Perestyle<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">In Capernaum, then, David's Star belongs already to the second Synagogue. David Bloedhorn, who wrote a dissertation on the capitals of Capernaum, believes, that the Frieze was belonging to the second Synagogue, which was destroyed by the heavy earthquake of 363 C.E. but now, after it became clear that also the first Synagogue, after Luke 7:1-9, was built by a Roman military personality, it became highly probable that David's Star was already introduced then into the Synagogue, but, as a matter of fact, it could not have been introduced before Christ’s death and resurrection (28-9 C.E.), as only then Christ was recognized as God’s partner and son with the same triangular Symbol of the Magen David<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">The almost constant combination of David's Star with the six-partite Lily Sign in its hexagonal center and the tri-partite one in its outer angles, was prepared, so we found, by several Mosaic Floors in Pompeii (and one in the Museum of Alexandria) which are composed by the six-partite and tri- partite Lily Signs in close combination. They excel by the beauty design and they have to be looked upon as "forerunners" of the Davidic Sign<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">It is only in the Casa di Trittolemo in Pompeii, that both Floor types are to be found together, while all the other combined six-partite and three-partite Lily Floors are in other houses of Pompeii. They haven't yet the Davidic Sign beside them. So it seems that the Casa di Trittolemo was distinguished by its leading role in the development of the Judeo-Christian Movement and its Signs<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">In the same context it is of interest, that in the Casa di Trittolemo are several Thresholds with the Magen David or some other early Judeo-Christian ornamentations like the Pelta, and others. They were arranged as guiding signs for the members of the congregation (in addition to their religious significance) as no written information could be given, not outside nor inside the house, for fear of persecution<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">The Casa di Trittolemo in Pompeii, then, seems to have been the first secret center of the Judeo-Christian religious movement there<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">Davids' Shield in Italy had a rich development; it appears in single and multiple representations. The single ones covering small spaces like entrances and the multiple ones covering greater interior ones. The multiple Floors had two typical appearances: </p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">a)<span lang="HE" dir="RTL"> </span>appearing in strong touch and closed compositions covering the whole Floor evenly without leaving any empty space, while </p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">b) in loose and open compositions leaving the background "shining through" everywhere. The highly inventive compositions are belonging to the three first centuries CE<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">Coming now to the 4th -6th centuries, the Constantinian Era, we found a heavy increase in the use of the Davidic Symbol in the now invigorated Neo-Christian Church architecture. It is apparent in Mosaic Floors, in Lintel-Ornamentation, in interior Church appliances like Chancel-screens in the decoration of sarcophagi and other religious objects. But at the same time of the increase of the Sign, there arose a tendency to its suppression. It was superseded by the Cross-, which became after the Milan Edict of <span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>313 </span>C.E. the universal sign of the imperial Constantinian Church<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">But there is a time of transfer, when both signs, i.e. the Davidic Sign and the Cross-, appear side by side on the monuments, indicating that their religious significance was thought to be on the same level<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">Yet, what remains for us important to remark is, that almost all the above mentioned religious activity of the first three centuries C.E. was borne by the religious movement of the Judeo-Christians, whose members were mostly of Jewish origin. This movement<span dir="RTL"></span><span dir="RTL"><span dir="RTL"></span> </span>is looked upon as the “Mother-Church” of Christianity, which remained active and alive till the first quarter of the 5th century C.E., when in 425 the Edict of Theodosius II put an end to it. But to our great surprise, the Davidic star was received at the<span dir="RTL"></span><span dir="RTL"><span dir="RTL"></span> </span>end of the 5th century and the first half of the 6th century by the Byzantyne kings Athenasius, Justin and Justinian into the Byzantine Numismatics from its creators the Judeo-Christian Community (by force?) and converted, then, into one of the main Symbols of the Byzantine Church. The first Church with the Davidic Signs on the pendentives of its two domes is the Hagia Irene, the most important Byzantine Church beside the Hagia Sophia in Constantinople. Yet, by that, the Davidic Star was saved from oblivion, and could be accepted now, after 636 C.E., by the Islam<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">From this source, after the approachment of the Jewish and Arab peoples in the 8th and 9th centuries, the Davidic Star was accepted now as a full fledged Jewish Sign by the Massoretic Movement of the Jews between the 9th and 11th centuries<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">And from then the Magen David has become the main symbolic Sign of the Jews, decorating the Jewish Flag in its center, after the founding of the State in 1948<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; "><span lang="HE" dir="RTL"><o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">David's Shield in the 19th and 20th centuries<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">The Massoretic Movement of the 9th-11th centuries did not continue further on into the 12th to the 20th centuries<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; "><span lang="HE" dir="RTL"><o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">The Davidic Shield, however, was saved and continued to exist as a single Jewish Sign, yet, at a much reduced importance. It became the exterior Sign of Jewishness and decorated most of the Synagogues and additional secular Jewish buildings<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; "><span lang="HE" dir="RTL"><o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">At the declaration of the Jewish State in May 1948 it was declared symbol of the state (besides the Menorah, the seven armed candelabrum) and is honoring the Jewish flag<span dir="RTL"></span><span lang="HE" dir="RTL"><span dir="RTL"></span>.<o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; "><span lang="HE" dir="RTL"><o:p></o:p></span></p><p class="MsoNormal" dir="LTR" style="text-align: left; direction: ltr; unicode-bidi: embed; ">It is to be hoped that further historic developments bring back to the Sign its original universal religious meaning in synthesis with its secular national one.</p></span><p></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"><span class="Apple-style-span" style="font-size: x-large;"><b>Footnotes</b></span></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span>[1] </span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Cf. Gershom Sholem, ‘David’s Shield: On the History of a Symbol’. Ha’Aretz newspaper almanach 1948 (in Hebrew), pp. 148-163</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR">Dto. ‘The Curious History of the Six-Pointed Star’, in Commentary 8:243-51, 1949</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR">Dto. ‘Das Davidsschild: Geschichte eines Symbols’, in: Judaica I, F am Main, 1968, pp. 75-118</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR">Dto. ‘Zum Verstaendnis der messianischen Idee im Judentum’, Vortrag auf der Eranos Tagung, 1959, Eranos Jahrbuch XXVIII: 193-239</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR">Dto. ‘The Star of David: History of a Symbol’ in: The Messianic Idea in Judaism and other Essavs on Jewish Spirituality, New York 1971, pp. 257-281</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[2] </span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">On the interior decoration of the First Temple, see I Kings, 6: 18, 29, 32, 35. II Chronicles 3:3-17 offers a similar account, with some divergences</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[3]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Gideon Foerster, Ancient Synagogues in Eretz Israel in the time of Mishna and Talmud, Zalman Shazar center for Jewish History, Jerusalem 1986, p. 64 (Hebrew</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span>)<o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[4] </span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">From: G. Edelstein, Vila Romit b’Ein Yael. Qadmoniot, vo. 26, 3-4 1993, pp. 114-119</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">- </span><span dir="LTR">ibid. ‘What’s a Roman villa doing outside Jerusalem…’ BAR Nov. Dec. 1996 16:6, p. 33</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">- </span><span dir="LTR">ibid. What’s a Roman Vila doing outside Jerusalem, 16:6, p. 32-48</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR">ibid. A guided walk through Ein Yael, </span>undated</p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[5] </span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">A somewhat similar open air baptistery was excavated in Jerusalem on the grounds of the YMCA. It is attributed to the Georgian community but it is later than Ein Yael and it belongs to the to the 4th century CE., as the Square cut-out water basin has in its north side an engraved Greek Cross. Quarterly of the Department of Antiquities, Vo 3, 1933. J. H. Iliffe. cemeteries and a monastary at the YMCA, Jerusalem, pp. 70-80, Pls. L, 2,3, ; L1, 1,2</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[6] </span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Dr. Ze'ev Goldmann, Shnaton, Annual for Biblical and ancient Near-Eastern Studies, Part I (ed. by Moshe Weinfeld) Vol. XI. The Magnes Press, The Hebrew University, Jerusalem 1997, pp. 197-221 </span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR">(Hebrew)</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR">Idem (Ed. by Sarah Yaphet) Vol XII, Part II, pp. 105-143</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR">The six-partite version of the Lily sign seems to have become in use only from the 10th century B.C., when it was known as “Lily Work”, i.e. as crowning capitals of the two free standing pillars in front of the entrance of the First Temple</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[7]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">See: S. Yeivin, Eduth, Israeli Exploration Journal (IEJ), Vol. 24, no. 1, 1974, p. 17ff. This joining of Nezer and Shoshan seems to have been made possible by Solomon's elimination of Abiathar, the last member of the priestly family (I Kings 2:26,27). It is remarkable that this conjunction of Crown and Lily recurred in the Middle Ages, when the Lily-Crown and the Lily-scepter became the supreme expressions of European kingliness, particularly in France and England</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[8] </span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">See: Ze’ev Goldmann. 'Yehud Coins', Chap. 1, in part II of The Symbol of the Lily: Its Roots, Significance and History in Antiquity. Shnaton, Annual of Biblical and Near-Eastern Studies, Vol. XII, pp. 105-143, esp. l 18-121 (In Hebrew) Magnes Press. Jerusalem, 2000</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[9]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">See: Ze’ev Goldmann, ibid. Vol XII, Part II, Illustration: Group 10 (Hasmoneans) (In Hebrew</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span>)<o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[10]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">I. Mancini, archeological discoveries relative to the Judeo-Christians, Jerusalem, 1970, fig. 37, p.154. Also: E.R. Goodenough, Jewish Symbols in the Greco-Roman Period, vol. 3, fig. 226 (Jerash) text vol. l , p. 129; fig. 246 (Nablus), text Vol. 1, p</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span>. 137<o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[11]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">B. Bagatti ‘nuevi Apporti Archaeologisi sul Pozzo di Giacobbe in Samaria' ln: Liber Annus XVI . 1965/6, fig. 8, p. 139</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[12]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">B. Bagatti , Antichi Villagi Christiani di Galilea Jerusalem 1971 fig. 109 p. 146</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[13]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">This Yakov the Min of Sakhnin is known from his discussions of religious matters with R. Eliezer of Sepphoris early in the 2nd centaury C.E. His sarcophagus must, therefore, be dated to the same century</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[14]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Goodenough did not recognize the Pelta symbol in either of these two sarcophagi and did not mention the Bir Yakub sarcophagus</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[15]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">O. Seyffart, Dictionary of Classical Antiquity, New York 1956, the entries “peltestae” and</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR"> “shield"</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[16] </span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Y. Ben-Zvi, The Book of the Samaritans, Tel Aviv, 1946, pp. 26-7. (In Hebrew</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[17]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">A.D. Crown R. Pummer & A. Tal (eds.) A Companion to Samaritan Studies, Tubingen. 1993</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[18]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">See: Luke 17:11-19 and John 4:1-26</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[19]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">The excavator G. Edelstein reports that one of the inner walls of the bathhouse adjoining the villa had a cross cut into the plaster, which was later disfigured by casual visitors</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[20]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">This is also Edelstein’s belief. G. Edelstein & Y. Rapuano, BAR 1990 16:6, pp. 32-42; 44-49</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[21]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Stanislao Loffredo, Capernaum, Jerusalem 1997, p.77</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[22]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">The four-times appearance of the Davidic Sign in the Capernaum Frieze is an indication of its importance as the main religious Symbol of the Judeo Christian Movement</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[23]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Bloedhorn, Hanswulf, "The Capitals of the Synagogue of Capernaum - Their Chronological and Stylistic Classification with Regard to the Development of Capitals in the Decapolis and in Palestine", Ancient Synagogues in Israel, pp. 49-54</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[24]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">I have prepared already much material for detailed explanation of the Sign. Here we have to content ourselves with some few remarks for the explanation of the Sign</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span>.<o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[25]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Abraham Katsch Judaism and Hebraica Manuscripts in the U.S.S.R. Encyclopedia Judaica, Yearbook 1977-8 pp. 66-70. The Bible belongs to the Leningrad Public Library under the sign MS. B. 19,A. The illumination appears on fol. 490</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[26]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Y. Magen, "Samaritan synagogues", Quadmoniot 25 (3-4), 66 ff. 1992 (Pls pp. 68-69 (Hebrew</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span>)<o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[27]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Also for the Tri Loop Sign a detailed treatment is planned for the future and most of the matirial is prepared already. Here we have to content ourselves with some few remarks</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR"></span><br /></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[28]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">G. Orfalli, OFM, Capernaum et ses ruines. Paris 1922, p. 3 Yet, we have to add additional observations: both Parts of the Capernaum Frieze have above them the beautiful Cyma decoration. This decoration at a first stage of Part B, consisting of 5 Medallion units (II), was cut away completely. (Pl. ). It is obvious, that it has been done by human hands and not by natural force, for reason of its even cut. But, the question is, who could have done it? And our answer is that it certainly had been done by Orthodox Jews, for whom this heathen decoration was an abuse and offence</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[29]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Another case of destruction of heathen ornaments by Orthodox-Jews occurred in Capernaum much later, in the 5th century CE (See p. 15</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span> )<o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[30]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">G. Downey, A History of Antioch in Syrie from Seleucus to the Arab Conquest, Prinston, N.J. 1961 pp. 280, 281</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[31]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">http://en.wikipedia.org/wiki/Villa_Romana_del_Casale</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[32]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">M. Avi Yonah, Oriental elements in Palestinian art. Quarterly of the Department of Antiquities, Vo. 14, p. 65. Reprinted in Art of Ancient Palestine, Ed. M. Katzenstein and G. Tsafaris, Magnes Press, Jerusalem 1981, p. 102, Fig. 17</span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[33]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">See; Revue Biblique (R.B.) 1929 pp. 585 ff, Fig. 3</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span>.<o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[34]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Avi Yon ibid. (Reprint), p. 111, Fig. 30</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[35]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">ibid. (Reprint), p. 97, Fig. 10</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[36]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">See: M.Piccirillo, in Liber Anus XLI, 1991, pp. 26 ff</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span>.<o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span></p><span lang="HE"><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[37]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">The Scuta is an elongated hexagonal Sign, forming quarter-round designs at its small ends. 2 of the Scuta hexagons are always crossing each other at 90 degrees. 4 of the quarter-round ends of the Sign forming together a close circle, containing (mostly) a symbolic Sign. The meaning of Scuta is Shield. Where it comes from is not known perhaps Italy? It is a typical Samaritan ornament much in use. We shall deal with it in detail. Here we have to anticipate the results of</span>our future research, in order to be complete in our present investigation</p></span><p></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[38]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span></p><span lang="HE"><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span dir="LTR">M. M.Aulama, Jerash, 1995 pp.4l-45</span></p><div><span dir="LTR">[39]</span></div><div><span dir="LTR">see also: R. Khouri, Jerash, a frontier city of the Roman East, 1986</span></div></span><p></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR"><br /></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR"><br /></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR"><br /></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Loffredo, Capernaum 1947</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;">[40]</p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">Bagatti O.F.M.,The church from the circumcision, Jerusalem 1971, p.40</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span dir="LTR"></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"> [41]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span>Aharon Kempinski, Michael Avi-Yonah, Syria Palestine II. From the Middle Broze Age to the end of the classical world (2200 B.C.-324 A.D.), Geneva 1979. P1+.53</p><p></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE">[42]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span><span dir="LTR">See: Gedalyah Alon, the Jews in their land in the Talmudic age (70-640 CE, translated and edited by Gershon Levy. Harward University Press, Cambridge MA. London England</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span>)<o:p></o:p></span></p> <p class="MsoNormal" align="right" dir="RTL" style="text-align: left;"><span lang="HE"></span></p><span lang="HE"><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[43]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">Cyril of Scytopolis, life of Euthymius, ed. By E. Schwartz, Leipzig, 1939</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[44]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">H. H. Hirschfeld, Euthymius and his monastery in the Judean desert, Liber Annus 43, 1993, 339-371</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[45]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">H. Hirschfeld, p. 339[54] ibid. p. 339</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[46]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">ibid. p. 340</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[55]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">ibid. p. 340</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[47]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">ibid. p. 340</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[48]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">ibid. p. 340</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[49]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">ibid. p. 340</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[50]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">ibid. p. 341</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[51]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">ibid. p. 341</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[52]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">ibid. p. 342</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[53]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">ibid. p. 342</span><span dir="RTL"></span><span lang="HE"><span dir="RTL"></span><o:p></o:p></span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE">[54]</span></p><p class="MsoNormal" align="right" dir="RTL" style="text-align: left; "><span lang="HE"></span><span dir="LTR">ibid. p. 343</span></p></span>Dr. Ze'ev Goldmannhttp://www.blogger.com/profile/10835543525468993453noreply@blogger.com0