Polish Archaeology in the Mediterranean (15.2003(2004))

PALMYRA

SYRIA

was 36 cm wide on each side, the entire
pavement can be restored at about 9-60 m
by 6.30 m. The portico on the short side,
however, was longer and extended for at
least 9 m, suggesting that the room in-
cluded a wide band left undecorated, to the
east and perhaps to the south as well.
Benches may have been installed there, as
in a triclinium. Indeed, several subjects re-
presented on the floor strongly suggest the
hall’s banquetting function.
The composition of the mosaic follows
a strictly symmetrical pattern. Around two
central pictures included in a rich vegetal
frame, there are on each side three rec-
tangular panels, each framed with three
decorated bands linked between them all
around the pavement, as in a table game.
Each panel represents a figurative subject
on white background, while smaller panels
filling the outer recesses of the general
pattern reveal geometrical designs.
The middle part of the floor is made up
of two scenes of the same dimensions,
154 cm by 128 cm, the northern one —
higher than it is wide — facing the portico
and the other one turned 90° counter-
clockwise. The panels share a frame which
also passes between them; it is 36 cm wide,
filled with an inhabited scroll including
Dionysiac masks and running animals,
a very fine example of Roman art.
The standing picture figures Bel-
lerophon riding Pegasus and killing
Chimaera {Fig. 4). The ancient Greek myth
enjoyed a renewal of interest in the 3rd
century, but this representation is the only
one known from the Near East. The winged
horse is flying over the monster whose
three heads (lion’s, goat’s and snake’s) are
spitting fire in his direction. The hero has

already thrown a javelin which has pierced
the hind leg of Chimaera, and is aiming at
it with a lance.
While all these details conform to the
Greek and Roman tradition, our Bellero-
phon differs strongly from all other known
representations in that he is wearing
Persian dress. He has trousers, an embroi-
dered tunic and an open coat with long
sleeves, all three used by rich Palmyrenes
as amply attested by the local sculpture,
being also typical of Parthian and Sasanian
royalty and aristocracy. On his head, Bel-
lerophon wears a wide-rimmed helmet
with a long flyer. From right and left two
eagles approach him, bringing wreaths of
victory.
The other picture figures a horseman
who is shooting his bow at a tiger {Fig. 5).
The animal, already wounded, stands on its
hind legs, while a smaller, probably female
tiger is lying on the ground under the
horse's hooves. According to Mr. Gianluca
Serra, a conservationist based currently in
Palmyra, the felines represent the species
Panthera tigris virgata, until recently en-
countered in Iran.
The dress of the hunter is the same as
described above, but the movement in this
case makes the coat fly out behind,
showing the quiver and bow sheath at-
tached to the saddle. There is but one eagle
with a wreath in its beak, but the
parallelism between the two heroes makes
it clear that they are both allegorical
representations of some important con-
temporary figures.2>
There is a short inscription fitted within
the stretched bow of the hunter, but it does
not give the name of this mighty hero.
Instead, we get the signature of the artist,

2) An interpretation of this allegory was proposed by M. Gawlikowski at the conference “Hama and the Orontes”, held in
Hama in September 2003.

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