RECOVERING THE PAST | Dura-Europos (Our understanding of buldings used for worship by third-centuy Jows and Chvistians was greatly ‘enhanced-—even evoltionized—by the spectacular iscoveries made inthe 1990s wile excavating the Foman miltary garrison and border town of Dura- Europos (in modem Sra). In 256, threatened by the Parthians attacking rom the east, residents of Dura bultahuge earthwork mound around their town in {an attempt to protect themselves trom the invading ‘armies. Inthe process—since they ware located on the city’s margins right against its defensive stone wall— the houses used by Jews and Christians as places of Worship were buried under the earthwork perimeter. In spite of this enhanced fortification, the Parthians ‘conquered Dura-Europos. But since the victors never ‘unearthed the submerged margin ofthe ct, an intact Jewish house-synagogue and Chistian house-church smained underground awating the explorations of modern archacologists. We have already seen the extensive stip narratives ‘tanking the Torah shrine in the house-synagoque (200 a. 7-3). The discover ofthis expansive pictorial decoration contradicted along-held scholarly bei Be Ga 7-5 + RECONSTRUCTION OF BAPTISTERY, WITH FRAGMENTS OF ORIGINAL FRESCO that Jews of his period avoided figural decoration From Cristian house-church, Dura-Europos, Syria. Before 256 ‘of any sor, in conformity with Mosaic aw (Exodus Yale University Art Gallery, New Haven, Connecticut 20:4), And afew blocks down the straot that ran along the city wal a typical Roman house built round a central courtyard held another surprise. Only a discreet 1 cross above the door distinguished it fram the ‘other houses on its block, but the arangement of the interior clearly documents its use as a Christian place of worship. large assembly hall that could seat {60-70 peopl ies on one side ofthe courtyard, and ‘2cross from itis a smaller but extensively decorated room with a water tank set aside for baptism, the central it of Christian initiation (me. 7-5). Along the walls ware scenes from Chiet’s miracles and a ‘monumental portrayal of women visting his tomb ‘bout to discover his resurrection below). Above the baptismal basins lunette (semicircular wal section) featuring the Good Shepherd with his flock, but also including at lower lft diminutive figures of Adam and Eve covering themselves in shame aftr their sinful clsobedionce (ia. 7-6). Even this early in Christian far, sacred spaces were decorated with pictures proclaiming the theological meaning of the rituals they housed. In this painting, Adam and Eve's fal rom ‘race is juxtaposed with alrgar image ofthe Good ‘Shepherd (representing Jesus) who came to Earth to care for and guia his sheep (Christan believers) toward redemption and etemalite—a message that was especialy appropriate juxtaposed withthe rite 7-6 » THE GOOD SHEPHERD WITH ADAM AND EVE ‘of Chistian baptiem, which signaled the converts AFTER THE FALL passage from sn to salvation. Detail of linet fresco in pc. 7-5. JEWISH AND EARLY CHRISTIAN ART CHAPTER 7 221 =m