Polish Archaeology in the Mediterranean (16.2004(2005))

OLD DONGOLA

SUDAN

shepherds progressing on foot. The
composition has a simple red-black frame
around it, and at the bottom, it is set off
with a wide band of stylized vegetal
pattern. Below, on the same axis as the
upper representation, two soldiers were
pictured in antithetical pose (foretokening
symbolically the Massacre of the Innocents
or the Passion of Christ). The figures are all
accompanied by legends giving their
names.
The scenes are full of expression, the
figures shown in dynamic stances. Heads
are in profile. The Magi are galloping on
their horses, the shepherds seem to be
stepping back in awe, still holding hands,
Salome is in proskynesis, the host of angels
emerges from the clouds in the sky in
a flurry of overlapping halos and slippers

{Fig. 3], soldiers raising swords above their
heads, apparently in battle {Fig. 3]. The
figures are dressed appropriately: the angels
in antiquated chitons and himations, the
Magi in eastern caps, caftans and trousers,
all treated individually in terms of colors
and patterns, similarly the soldiers with
decorative sheaths for their swords fastened
to their belts. The shepherds are naked
except for a loincloth.
The principal scene of the Nativity
stands in contrast to this dynamic scene. It
is represented on the neighboring, east
wall of the room and is easy to reconstruct
despite the fragmentariness of the preser-
vation. Mary was depicted lying on a draped
ornamental bedspread with St. Joseph and
the Archangels next to her and the Child
in a crib with an ass and ox painted above,


Fig. 1. Christ in the scene with the prophet Isaiah, room 5 of the SW Annex in the monastery on Kom H
in Dongola (Photo M. Martens-Czamecka)

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