asher ovadiah - the hellenistic mosaic head from dor, israel – reconsidered

8/13/2019 ASHER OVADIAH - THE HELLENISTIC MOSAIC HEAD FROM DOR, ISRAEL RECONSIDERED

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THE HELLENISTIC MOSAIC HEAD FROM DOR, ISRAEL:RECONSIDERED

ASHER OVADIAH UDK: 904:738.5(569.4 Dor)652Department of Art History Izvorni znanstveni lanakTel Aviv University Primljeno: 2. IX. 2010.IS - Tel Aviv

A unique mosaic fragment, found during the archaeological excavationsat the site in 2000 and dated to mid-late second century BCE, depicts a headamong a garland, probably part of a decorative border for a central emblema.The aim of this article is to determine, on the basis of literary sources, icono-graphic and stylistic analyses, as well as comparative examples, whether thehead does illustrate a mask or, alternatively, a depiction of the god Dionysos.All these researches lead to the conclusion that the head in the Dor mosaicshould be considered as that of the god Dionysos.

A mosaic fragment, discovered in a Roman refuse pit during the archae-ological excavations at Dor (ancient Dora) in 2000, is made in the techniqueof opus tessellatum and vermiculatum.1A head is depicted among a garlandthat comprises ribbons (fillets), ivy leaves, vine leaves, olive leaves, bunch-es of grapes, olives, pomegranates, pine cones and flowers. The mosaic

displays a wide range of colours: white, black, yellow, and several tones ofred, grey and beige. Its high artistic quality indicates that the artist(s) mustin all probability have been trained in one of the main centres of Hellenisticart, most likely Alexandria,2or possibly were brought from there to createthe mosaic at Dor. Based on iconographic and stylistic analyses, as well ascomparative examples, the excavators dated the mosaic to the Hellenistic

* I thank Dr. Sonia Mucznik of the Department of Art History, Tel Aviv University, Mrs.Naomi Paz and Mrs. Ruth Ovadiah, who read the article and offered valuable suggestions.

1. STEWART and MARTIN 2003: 132-143.2. STEWART and MARTIN 2003: 142.

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period - mid-late second century BCE.3A comparison with other mosaics,from Pergamon, Alexandria and Delos, led the excavators to the conclusion

that this is a mask-and-garland mosaic,4used most probably as a decorativeborder for a central emblemaof a mosaic pavement.5This article sets out todetermine whether the head does illustrate a mask or, alternatively, a depic-tion (a portrait) of the god Dionysos.

I. ICONOGRAPHY AND POLLUXS MASKSThe head represents a male youth, slightly turned to the right. It is sur-

rounded by various vegetal motifs of ivy leaves, olive leaves, olives, five-and six-petalled rosettes and trailing branches, which form part of the gar-land (Figs. 1-2). The refined sensuous face, the bright colours and the richflora around it create delicacy, beauty, youthfulness and freshness, enhanc-ing the vitality of the facial features and emphasizing personal characteris-tics. The head is encircled, above the forehead, by a head-band (?)and crowned by a dome-shaped hat in tones of red, fastened by an X-shaped

black-white-grey tainia (taenia) and studded with four small bunches of

3. STEWART and MARTIN 2003: 132, 141.4. For the poetic aspect of the garland, seeAnthologia Graeca (The Greek Anthology),

IV.1 (The Stephanus of Meleager - ) and IV.2 (The Stephanusof Philippus - ).

5. STEWART and MARTIN 2003: 132, 134. It should be noted that a second head issuggested by a fragment of an eyebrow and adjacent wavy strands of hair (see STEWARTand MARTIN 2003: 132, 139).

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grapes. On the bottomright-hand of the head,

a wide, wavy fillet (orribbon) of the tainiaemerges from the lowerlocks of the hair (tracesof the same wavy fil-let can be seen on thelower left-hand side).The skin of the face re-flects various tones of

beige. Stylized locksof hair in light and darkbrown shades descendon either side of thehead. The eyelids and almond-shaped eyes, slightly drawn down, create adream-like impression, the sense of a dreamy gaze. An enlarged black pu-

pil, surrounded by a brown iris, is clearly seen. The cleft chin and left ear,half-covered by the hair, are discernible. Various tones of red were used todepict the sensuous lips. The natural, normal-sized half-open mouth, withoral cavity emphasized in black, enhances the pathos of the face.

Based on the Polluxs Onomasticon, the excavators attributed the headin the Dor mosaic to an eclectic theatre mask, combining the features oftwo comic masks, Nos. 13 and 16.6 Mask No. 13 presents the delicate( hapalos) young man: he has hair like the admirable (mask

No. 10: panchrestos7) and is the youngest ofall, with a pale face, reared in the shade, and suggesting softness.8Mask

No. 16 ([the second episeistos]) also presents a delicate youngman with wavy fair-hair.9This mask has a smooth, rather short plump facewith level brows and a moping expression, a straight nose, and hair falling

loosely, and not brushed away from the forehead.10

T.B.L. Webster defi

ned6. See POLLUX, Onomasticon, IV.146-147; WEBSTER 1969: 17, 33, 43; WEB-

STER et al. 1, 1995: 19-22.7. See POLLUX, Onomasticon, IV.146-147; WEBSTER et al. 1, 1995: 16-17.8. See POLLUX, Onomasticon, IV.147: ,

, , , , ;WEBSTER 1969: 17, 43; WILES 1991: 75; WEBSTER et al. 1, 1995: 19-20.

9. See POLLUX, Onomasticon, IV.147: , ; WEBSTER 1969: 17, 33, 43; WEBSTER etal. 1, 1995: 21-22.

10. WEBSTER et al. 1, 1995: 22.

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mask No. 16 as derived from the Middle Comedy mask O, the worriedlover, and interpreted it as a wild young man about town.11In any case,

it is very difficult to distinguish between masks Nos. 13 and 16. Despite thedelicacy and beauty of these comic masks, which are attributed to youngmen in Polluxs description, the facial features are stereotypic, impersonaland given to deliberate exaggeration.12The actual and real physiognomywas undoubtedly deliberately altered in such masks in order to achieve adramatic effect. This is in contrast to the head in the Dor mosaic, which pre-serves naturalistic appearance, by emphasizing its human characteristics.

II.A MASK OR THE HEAD OF DIONYSOS?As mentioned above, the head in the mosaic was interpreted as a mask-

and-garland.13 Indeed, mosaics consisting of a mask-and-garland are, to-gether with various geometric and floral motifs, part of a decorative borderaround a central emblema.14Such decorative borders can be found in severalmosaic pavements, as for example at Delos, Pompeii, Antioch and so on. IntheHouse of the Masksat Delos, ca. 180-100 BCE, a frieze with theatricalmasks is depictedwithinivy scrolls.15The tiger-rider mosaic from the Casadel Faunoat Pompeii, second century BCE, currently in the Museo Nazion-ale di Napoli, is surrounded by a frieze of masks-and-garlands (Fig. 3).16Inanother mosaic from the Casa del Fauno, two tragic masks are incorporated

with garlands.

17

The emblematicmosaic ofEuropa and the Bullin theHouseof the Boat of Psyches at Antioch (now in Baltimore), dated to the thirdcen-tury CE,18is surrounded by a mask-and-garland decorative border.19We may

11. WEBSTERet al.1, 1995: 22.12. PHILOSTRATUS (V.9.1-2) tells that the inhabitants of Hispola (possibly the mo-

dern Seville) in Spain fled from the theatre in fear when the tragic actor raised his voicewith a booming sound (probably through the open mouth of a mask), as if a demon hadshouted at them. In the Roman period the masks resemble those of the Greek theatre. Thusfor example, the grotesque can be observed in the tragic masks of the young man on theleft and of the woman in the center in the Herakleitos mosaic from the third century CE,

currently in the Musei Vaticani in Rome (WEBSTER 1969: 210 [IM9], Pl. VI[b]).13. STEWART and MARTIN 2003: 132, 134.14. Cf. STEWART and MARTIN 2003: 132.15. POLLITT 1986: Ill. 229 (on p. 218).16. RANIERI PANETTA 2004: 354.17. POLLITT 1986: Ill. 236 (on pp. 222-223); RANIERI PANETTA 2004: 355-358.18. LEVI 1947 (1971): 167-172, Pl. XXXV(a-b), CLIII( b);LING: 1998: 126, Ill. 90.19. WEBSTER (1956: 152) claims that the ancestor of such a border can be seen on

the Gnathia vases with individual hanging masks set in a floral pattern to form a border.On a kraterby Python (350-325 BCE), now in Musei Vaticani, a banquet of three actorsis depicted, with hanging comic/grotesque masks above them and a frieze of ivy leavessupported on side bars (see BIEBER 1961: Fig. 538).


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conclude that the fragmentary Dormosaic waspart of a similar deco-

rative border surrounding a cen-tral emblema,but the comparativeexamples of the above mentionedmosaics demonstrate a consider-able difference: the masks are de-

picted in a grotesque manner witha deliberate distortion of the fa-cial features (exaggeratedly gap-ing mouths and staring eyes, thuslacking delicacy and vitality).

The head from Dor has beenidentified as a mask of a youngman and suggested to be eclec-tic, combining the features of twomasks of young men from the New Comedy.20It should be noted that themasks of New Comedy are characterized by an intentional exaggerated ordistorted facial expression21and a grotesque appearance, adopted from theOld Comedy and Doric farce.22These masks possess an excessively wideopen mouth and lack vitality. Of the numerous comparisons, represented

in various artistic media, some examples only of comic masks will be pre-sented here: those in theHouse of the Masks, ca. 180-100 BCE, atDelos;23in the decorative border of the emblematic mosaic of the tiger-rider in theCasa del Fauno at Pompeii (Fig. 3);24the masks worn by the strolling musi-cians in a mosaic signed by Dioskourides of Samos from the so-called Villaof Ciceroat Pompeii, late second or early first century BCE, now in theMuseo Nazionale di Napoli;25in a mosaic pavement from Via Ardeatina,

just south of Rome, dated to the mid-first century BCE, now in the MuseiVaticani (Stanza di Eliodoro);26the mask of a slave, crowned with a gar-land, depicted on a mosaic from Pergamon, dated to the second century CE;

four masked men of Menanders playAchaeans, identified by the Greek in-scription ,in the emblemaof a mosaic found at Ulpia

20. STEWART and MARTIN 2003: 234.21. Cf. BIEBER 1961: 45.22. BIEBER 1961: 92.23. BRUNEAU 1974: 25-26, Figs. 25-27; POLLITT 1986: Ill. 229.24. RANIERI PANETTA 2004: 354.25.CHARBONNEAUX et al. 1973: Ill. 140 (on p. 141)26. LING 1998: 36-37, Ill. 22.

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Oescus in Thrace, Bulgaria (Fig. 5);27masks of a slave and a flute playergirl in a mosaic of the second century CE, now in the Capitoline Museumin Rome (Fig.8);28a Bacchic mask, with rough facial features and lack-ing delicacy, in a tricliniummosaic from theHouse of the Months (Maisondes Mois) in Thysdrus (El Djem, Tunisia), dated to the early Severan era(Fig.9);29a terracotta mask of Dionysos, second-first century BCE, fromMyrina, now in the Louvre Museum; a marble mask of a delicate youth,now in the British Museum (Fig. 6);30the mask of a lively youth, Roman

period, from Tarentum (Fig. 7);31and so on. Unlike the facial features ofthe Dor mosaic, these latter selective comparative examples of masks areimpersonal and rather stereotypic. However, the closest comparison to thehead in the Dor mosaic is a terracotta suspension mask from Amisos (Fig.4),32dated to the mid-second century BCE, now in the Louvre Museum.33Its face is soft and roundish, its eyes are large, with heavy eyelids, the hairis wavy and a band (fillet) is encircles its forehead.34Despite the resem-

27. BIEBER 1961: 88-89, Fig. 315.

28. BIEBER 1961: Fig. 329.29. FOUCHER 1961: 296, Pls. XI (Fig. 1), XIII (Fig. 3).30. WEBSTER 1970: Pl. IV(a) (opposite p. 119).31. BIEBER 1961: Fig. 549. Representations of New Comedy, such as on Gnathia va-

ses of the early third century BCE, terracottas from Myrina and elsewhere, masks in variedmaterials from various sites in the Graeco-Roman world, frescoes, mosaics, reliefs and theninth-century CE illustrations of Terence, make it possible to conclude that the types ofmasks and costumes remained fixed from the late fourth century BCE up to the Christian

period (see BIEBER 1961: 153-154; NAVARRE 1963: 415-416; WEBSTER 1970: 99).32. STEWART and MARTIN 2003: 137, Fig. 11.33. BIEBER (1961: 95, Fig 344) also identifies the Amisos mask as a young mans mask.34. STEWART and MARTIN 2003: 136.

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blance to the head from Dor, the mask from Amisos differs in having anexcessively agape mouthand its facial features are exaggerated, lackingany individuality or personal characteristics.

In contrast to the above-mentioned representations of comic/grotesque orburlesque masks, some comparative examples for similar facial features tothose of the head in the Dor mosaic can be presented, particularly from variousother mosaics. The decorative border of the emblematicmosaic of Athena and

Fig. 6 Fig. 7

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Hermes in theInsula of the Jewels at Delos (130-88 BCE) incorporates a richgarland in which a young man is depicted with personal facial features (Fig.10),35together with comic/grotesque masks. His face is oval and pale, lackingsoftness in comparison with the head of the Dor mosaic, his eyes are brown andalmond-shaped, his nose thin and reddish, his mouth half-open, his lips are thin,and his head is crowned with a garland, all creating the impression of humanfacial features. The emphasized teeth strengthen the assumption that the headrepresents somebody.36Two other close comparative examples are those of the

mosaic pavements from theHouse ofthe Masksand theHouse of Dionysos atDelos, both dated to ca.180-100 BCE, depicting Dionysos riding a leopard (Fig.11)37and a winged Dionysos riding a tiger (Fig. 12),38respectively.39Althougha few scholars have interpreted the first mosaic not as Dionysos, but rather asa Dionysiac demon riding on a leopard on rocky ground,40it is more generally

35. BRUNEAU 1974: 14-15, Figs. 12-13.36. Accordingly, the portrait of Delos, resembling the facial features of the Dor mo-

saic head, constitutes a head combined with a decorative border of mask-and-garland type.

37. CHARBONNEAUX et al.1973: Ill. 192 (on p. 185); BRUNEAU 1974: 24, Fig.24; POLLITT 1986: Ill. 230 (on p. 219); DUNBABIN 1999: 37, Fig. 38.38. BRUNEAU 1974: 35-36, Figs. 37-38; POLLITT 1986: Ill. 231 (on p. 219);

DUNBABIN 1999: 33, Fig. 33.39. POLLITT (1986: 216) claims that the identity of these two Dionysiac figures is

not altogether obvious. They are commonly called Dionysos, but Dionysos is not normallywinged like the figure from theHouse of Dionysos, and even the sex of the figure from the

House of the Masks is not certain.40. RUMPF 1953: 166. It is possible that the rocky ground represents one of the sacred

mountains of Dionysos cult, either Kithairon mountain south of Thebes, or Kinthos mountainat Delos. Dionysos is sometimes called lover of the mountain shade, wanderer on the mounta-ins (, )(seeAnthologiaGraeca [The Greek Anthology], IX.524.16).

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accepted as depicting the figure of Dionysos attired in the costume of an actorin the play.41His head is adorned with a tainia, rosettes and ivy leaves, like inthe Dor mosaic. In the second mosaic, Dionysos closely resembles the head onthe Dor mosaic in his refined young face, individual features, large open eyeswith a vital human look, flashy, slightly open sensual lips, round and refinedcheeks bones, and head adorned with ivy leaves. Twomosaics, one from a Ro-man villa at Corinth, dated to the first-second century CE, currently in the localarchaeological museum (Fig. 13),42and the other from Saint-Romain-en-Gal(near Vienne, France), second half of the second century CE, now in the British

Museum (Fig. 14),43represent a head and a bust (protome) of Dionysos/Bac-chus, respectively, as a delicate young man, adorned with locks, curls andcrowned with ivy leaves and tainia.The face in both mosaics is roundish,the eyes are large, almond-shaped and dreamy, the lips are sensual and the

41. Cf. WELCH 2005: 941-943.42. PAPAHATZIS 1985: Fig. 16 (on p. 87).43. LING 1998: 65, Ill. 44.

Fig. 11 Fig. 12

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mouth is slightly open, similar to the Dor mosaic. The drunken Dionysosdepicted in a central medallion in a mosaic at Koroni in Greece (surround-

ed by masks, gladiators and beasts), dated to the third century CE, points toa similar physiognomy with the head in the Dor mosaic (Fig.15).44

Dionysiac attributes indeed feature in the Dor mosaic, such as ivyleaves, pine cone, bunches of grapes, a garland and ribbons (or fillets), cre-ating an ambience, suggesting the divine, Dionysiac, inspiration orecstasy( enthousiasmos).45According to the excavators, by gar-landing the room like the banqueters themselves, the mosaics define it as ahospitable space marked by Dionysiac enthousiasmos and the alteredstate ofconsciousness it creates.46If, indeed, the enthousiasmosis one of the char-

acteristics of Dionysos or the Dionysiac ambience, expressed in the visualart by large eyes and a slightly open mouth, then the head in the Dor mosaicmay be associated with the god. The comparison of the Dor mosaic withDionysos/Bacchus depicted in sculpture and wall paintings is also interest-ing. For example, the marble head of Dionysos from Smyrna, 200 BCE,now in the Rijksmuseum van Oudheden (National Museum of Antiquities),Leiden, Netherlands (Fig. 16),47and a fresco of Dionysos/Bacchus (in thecompany of Silenus) from Pompeii, 30 BCE, now in the British Museum,illustrate amazing resemblance to the head from Dor: the eyes are large andwide open, the lips sensual, slightly open, the cheeks bones are round and

refined, the chin is round and fleshy, and a garland (in Pompeii) or a tainia(in Smyrna) crowns the heads.

The ancient literary sources intensify and strengthen the association ofthe head in the Dor mosaic with that of Dionysos. This is clearly expressedin AristotlesPoetics:

Comedy, as we have said, is a representation of inferior people, notindeed in the full sense of the word bad, but the laughable is a species ofthe base or ugly. It consists in some blunder or ugliness that does not causepain or disaster, an obvious example being the comic mask which is ugly

and distorted but not painful.( , , ; , ).48

44. ROUSSIN 1995: 41, Fig. 15.45. See LIDDELL-SCOTT-JONES, GEL,s.v. = , 566-567.46. STEWART and MARTIN 2003: 140-141.47. Photo by permission of The National Museum of Antiquities, Leiden, Netherlands48. ARISTOTLE, ThePoetics, V.1-2 (1449a).


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Thus, according to Aristotle or the Aristotelian perception, the head fromDor, contrary to comic masks, is not laughable and certainly not ugly, dis-torted or grotesque, but delicate, pleasant and beautiful. This association isalso expressed in EuripidesBacchae, in which Pentheus says that Dionys-

os hasflowing locks down thy cheeksfloating, fraught with all desire; andwhite, from heedful tendance, is thy skin, smit by no sun-shafts, but madewan by shade, while thou dost hunt desire with beautys lure ( , , ' , ; , ,' , ).49 In OvidsMetamorphoses, Dionysos is described as a mysterious young man, femi-nine, drunk and shaky: , virginea puerum ducit per litora forma. Illemero somnoque gravis titubare videtur vixquesequi(, a little boy withform beautiful as a girls. He seemed to stagger, as if oercome with wineand sleep, and could scarcefollow him who led).50

***There are two possibilities regarding interpretation of the head in the

Dor mosaic: one, it represents a comic mask of a delicate young man fromthe New Comedy51and the other, the head of Dionysos. With regard to the

49. EURIPIDES,Bacchae, 455-459.50. OVID,Metamor.,III.607-609.51. A combination of masks Nos. 13 and 16 in Polluxs Onomasticon.

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first possibility, the comic masks from the New Comedy are schematic,stereotypic, and sometimes distorted and grotesque with an exaggerated

gaping mouth. The facial features in the Dor mosaic, in contrast, are refinedand characterized by the physiognomic qualities of a portrait (round refinedcheek bones, emphasized eyelids, almond-like large brown eyes, large pu-

pils that occupy three-quarters of the brown irises, thick dark eyebrows,half-open mouth and sensual lips). In addition, we can clearly see a blackenlarged pupil surrounded by brown iris, rendering a personal expression.The face excels in beauty,youthful and freshness; despite the dreamy eyes,the figure seems to demonstrate vitality, in the transcendental and pensivelook, in contrast to the inanimate masks, whose eyes lack pupils and are

distorted and grotesque.Several representations in the mosaics mentioned above, at Corinth,Saint-Romain-en-Gal and Delos (House ofthe MasksandHouse of Di-onysos), as well as a sculptural portrait of Dionysos from Smyrna, sup-

port the view that the head in the Dor mosaic represents the figure ofDionysos. Furthermore, the Dionysiac attributes and characteristics - theivy leaves, bunches of grapes and the suggested enthousiasmos- lead tothe conclusion that the head in the Dor mosaic should be considered asthat of the god Dionysos.

REFERENCES

Anthologia Graeca (The Greek Anthology): Anthologia Graeca (The GreekAnthology)(trans. W.R. Paton, The Loeb Classical Library, I, Cambridge [Mass.]and London 1980; III, London and Cambridge [Mass.] 1968).

ARISTOTLE, The Poetics: Aristotle, ThePoetics (trans. W. Hamilton Fyfe,The Loeb Classical Library, London and Cambridge [Mass.] 1965).

BIEBER 1961: M. Bieber, The History of the Greek and Roman Theater, Prin-ceton (NJ) 1961.

BRUNEAU 1974: Ph. Bruneau,Mosaics on Delos, Paris 1974.CHARBONNEAUX et al.1973: J. Charbonneaux, R. Martin and F. Villard,

Hellenistic Art, London 1973.DUNBABIN 1978: K.M.D. Dunbabin, The Mosaics of Roman North Africa,

Oxford 1978.DUNBABIN 1999: K.M.D. Dunbabin, Mosaics of the Greek and Roman

World, Cambridge 1999.


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EURIPIDES,Bacchae: Euripides,Bacchae)(trans. A.S. Way, The Loeb Clas-sical Library, London-Cambridge [Mass.] 1962).

FOUCHER 1961: L. Foucher, Une mosaque de triclinium trouve Thysd-rus,Latomus, XX (1961), 291-297.LEVI 1947 (1971): D. Levi,Antioch Mosaic Pavements, I-II, Princeton (NJ)

1947 (repr. Roma 1971).LIDDELL-SCOTT-JONES, GEL: H.G. Liddell-R. Scott-H.S. Jones,A Greek-

English Lexicon, Oxford 1973.LING 1998: R. Ling,Ancient Mosaics, Princeton (NJ) 1998.

NAVARRE 1963: O. Navarre,s.v. Persona, in: Ch. Daremberg and E. Saglio,Dictionnaire desantiquits grecques et romaines, IV/1, Graz 1963, 406-416.

OVID,Metamor.: Ovid,Metamorphoses (trans. F.J. Miller, The Loeb Classi-

cal Library, III, London and Cambridge [Mass.] 1971).PAPAHATZIS 1985:N. Papahatzis,Ancient Corinth, Athens 1985.PHILOSTRATUS: Philostratus, The Life of Apollonius of Tyana(trans. C.P.

Jones, The Loeb Classical Library, II, Cambridge [Mass.] and London 2005).POLLITT 1986: J.J. Pollitt,Art in the Hellenistic Age, Cambridge 1986.POLLUX, Onomasticon:E. Bethe (ed.),Pollucis Onomasticon, Lexicographi

Graeci, IX, Stuttgart1967.RANIERI PANETTA 2004: M. Ranieri Panetta (ed.),Pompeii: The History,

Life and Art of the Buried City,Vercelli 2004.ROUSSIN 1995: L.A. Roussin, East Meets West: The Mosaics of the Villa

of Ein Yael (Jerusalem), in: R. Ling (ed.), Fifth International Colloquium onAncient Mosaics (Bath, England, September 5-12, 1987), II (Journal of RomanArchaeology, Supplementary Series No. 9/2), Ann Arbor (MI) 1995, 30-42.

RUMPF 1953: A. Rumpf, Malerei und Zeichnung der klassischen Antike,Mnchen 1953.

STEWART and MARTIN 2003: A. Stewart and S.R. Martin, Hellenistic Dis-coveries at Tel Dor, Israel,Hesperia, 72 (2003), 121-145.

WEBSTER 1956: T.B.L. Webster, Greek Theatre Production, London 1956.WEBSTER 1969: T.B.L. Webster,Monuments IllustratingNew Comedy, Sec-

ond Edition (Bulletinof the Institute of Classical Studies, Supplement No. 24),London 1969.

WEBSTER 1970: T.B.L. Webster, Studies in Later Greek Comedy, Manches-ter and New York 1970.

WEBSTER et al. 1, 1995: T.B.L. Webster, J.R. Green and A. Seeberg,Monu-ments IllustratingNew Comedy, 1, Third Edition (Bulletin of the Institute of Clas-

sical Studies, Supplement 50), London 1995.WELCH 2005: Z. Welch, The Mosaic of Dionysos in the House of the Masks

at Delos: Iconographic Ambiguity, in: H. Morlier (ed.),La mosaque grco-ro-maine, IX.2, Rome 2005, 941-950.

WILES 1991: D. Wiles, The Masks of Menander, Cambridge 1991.


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SAETAK - SUMMARIUM

PONOVNO O GLAVI IZ DORA (IZRAEL)

NA HELENISTIKOM MOZAIKU

Ulomak mozaika koji je bio naen na lokalitetu Dor 2000. te datiran u kas-

nije razdoblje II. st. pr. Kr. a prikazuje glavu izmeu vijenaca, vjerojatno je diouresnog obruba za sredinji motiv. Na temelju pisanih izvora, ikonografije, stil-ske analize i komparativnom metodom, zakljuuje se da glava ne predstavljamasku veglavu boga Dioniza.

asher ovadiah - the hellenistic mosaic head from dor, israel – reconsidered

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