Ḥorvat Midras - Church - Baptisterium

Location in the architectural complex: 
Mosaic floor
Three panels: A large central panel and two smaller southern and northern panels. The central carpet consists of small squares with white flowers whose petals are tinged. The squares are crossed by diagonals shaped like a chain of elongated oval shapes attached to each other, dividing the flowers into four. On the white background are small rhombi of four black or orange stones that surround one white stone. Each vertebra has the shape of a hexagon, two of whose ribs are concave and shorter than the rest of the ribs. The hexagons form two rows of three octagons populated with animals or other motifs. Between the two lines of the octagons is a row of two round medallions that are also inhabited by animals. In the intervals between the frame of the mosaic carpet and the hexagonal vertebrae, each quarter creates circles and half circles along the frame. The quarters of the circles and the half circles were decorated with a shell. Between them were three triangular spaces, also decorated with colored stones, forming horizontal bands, concentric triangles and stripes. The animals inhabiting the octagons are vivid in color and detail and include (from south): a peacock with a large spread tail, a lion or leopard and a deer. In the upper octagon row, the head of a yellow goose was preserved in the northern medallion. The other octagons are less well preserved. The central octagon has a geometric motif based around it on three intersecting vertebrae. Each vertebra has a figure of eight without lines in the middle (open eight shape).
Iconographical motives: 
Vines populated with animals and baskets are a common theme in mosaics in the Mediterranean in general and in the Land of Israel in particular.Less common are the medallions and framed triangles iand the use of small red triangles to fill the void both in the wings and in the perspiration of the presbyterium are less common. Chronologically it seems that the mosaics of both phases, those placed in the wings and the hall and the later ones that were placed in the apse and perpspitrium were made around the third quarter of the sixth century CE. It seems that the chronological gap between them is small and it is possible that the workshop was again commissioned to lay the mosaics after the changes in the eastern part of the church. The ceramic and numismatic finds from the church indicate that the activity inside it continued in this manner until the earthquake of 749 CE.