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Madaba Map

The Madaba Map is a sixth-century Byzantine mosaic floor depicting the Holy Land and surrounding regions in intricate detail, located in the nave of the Church of St. George in Madaba, Jordan.^[1] Composed of over one million tesserae in more than eight colors, it illustrates a bird's-eye view of Palestine from modern-day Lebanon to Egypt's Nile Delta, centering on the Jordan River and Dead Sea, with representations of cities, villages, landscapes, flora, fauna, and over 150 Greek inscriptions labeling key sites.^[1] The map, originally spanning approximately 1,000 square feet or more but now fragmented with the surviving portion measuring about 35 by 15 feet (525 square feet) due to damage, showcases remarkable cartographic accuracy for its era, drawing from biblical texts, historical accounts like Eusebius's Onomasticon, and local knowledge.^[1]^[2] Discovered in 1884 by local Greek Orthodox residents while clearing land for the reconstruction of the Church of St. George, the mosaic was first documented in the early 1890s after initial reports of its existence.^[2] Created during the reign of Emperor Justinian I (r. 527–565 CE), likely between 542 and 565 CE, it reflects the Byzantine Empire's flourishing Christian art and pilgrimage culture in the region, possibly serving as a theological illustration of salvation history or a practical guide for pilgrims.^[2] The map suffered damage over centuries, including possible defacement during the iconoclastic policies of Caliph Yazid II in the eighth century, and was further fragmented by fires and construction in the nineteenth century.^[2] Major restorations occurred in the 1960s under archaeologists Heinz Cüppers and Herbert Donner, preserving its core elements for study and display.^[2] As the oldest extant map of the Holy Land, the Madaba Map holds profound historical and archaeological significance, offering unparalleled insights into sixth-century geography, urban planning, and religious life in Palestine under Byzantine rule.^[1] Its detailed portrayal of Jerusalem—featuring 19 towers, six gates, three main streets, and prominent churches like the Church of the Holy Sepulchre and the Nea Church (consecrated in 543 CE)—has aided modern excavations, such as confirming the ancient course of the Jaffa Gate road in 2010.^[1]^[2] The mosaic also highlights over two dozen other cities and monasteries, emphasizing the Christian sacred landscape and pilgrimage routes, while its artistic style aligns with broader late antique traditions of topographic mosaics in Jordan and the Levant.^[1] Today, it attracts scholars and visitors as a testament to early Christian cartography and cultural heritage.^[2]

History and Discovery

Creation and Early Context

The Madaba Map was created in the mid-6th century CE, between 542 and 570 CE, during the reign of Byzantine Emperor Justinian I (r. 527–565 CE).^[2]^[3] This period marked a height of Byzantine cultural and architectural patronage in the eastern Mediterranean, with Justinian's empire emphasizing Christian orthodoxy and monumental church constructions across provinces like Arabia, where Madaba was located.^[1] The mosaic was installed in the floor of an early Byzantine church dedicated to Saint George in Madaba, present-day Jordan, situated in the ancient Moabite territory east of the Jordan River.^[1] Madaba served as a prosperous Christian center in the province of Arabia during this era, benefiting from trade routes and imperial support that fostered artistic endeavors.^[2] The map formed part of a larger mosaic program within the church, which included decorative floors in the nave, baptistery, and side chambers, highlighting the site's role as a hub for religious expression in a region blending Greco-Roman, local Semitic, and emerging Christian influences.^[1] Its purpose was primarily devotional and educational, serving as a visual aid for pilgrims and worshippers to contemplate the Holy Land's sacred geography and embody the Byzantine Christian worldview of divine order and salvation history.^[1]^[3] Drawing from sources like Eusebius's Onomasticon (ca. 325 CE) and the Greek Septuagint, the map emphasized biblical sites, reinforcing theological narratives amid the empire's efforts to consolidate Christian identity in contested frontier areas.^[1] The artwork was crafted using tesserae—small cubes of stone and glass in various colors, with the original composition requiring over 1.5 million pieces to cover an estimated area of 15.6 by 6 meters.^[4] These materials, sourced locally and imported, allowed for intricate detailing that captured the landscape's vitality, reflecting advanced mosaic techniques prevalent in Byzantine workshops.^[2] By the 8th century CE, the church and its mosaics suffered destruction, likely from a combination of devastating earthquakes—such as the major seismic events of 749 CE—and Umayyad-era invasions or iconoclastic policies, including possible defacement ordered by Caliph Yazid II (r. 720–724 CE), leading to the map's burial under rubble.^[2]^[5] This event contributed to the site's abandonment until its partial rediscovery in the late 19th century.^[1]

19th-Century Rediscovery

In 1884, during the construction of a new Greek Orthodox Church of St. George in Madaba, Jordan, local residents uncovered fragments of an ancient mosaic floor while clearing debris from the ruins of a Byzantine-era church on the same site.^[6] The mosaic, partially preserved beneath layers of earth and stone, was quickly recognized by the community as depicting geographical features of Palestine and the Holy Land, though its full significance was not immediately grasped.^[7] This serendipitous find occurred amid efforts to rebuild the church for the resettled Greek Orthodox population, which had returned to Madaba in the 1880s after centuries of abandonment.^[2] The mosaic's exposure prompted swift scholarly interest. On December 13, 1896, Fr. Cleopas Koikylides, the librarian of the Greek Orthodox Patriarchate in Jerusalem and an amateur archaeologist, was dispatched to Madaba to examine the discovery on behalf of the Patriarchate.^[7] Koikylides produced the first detailed sketches of the map on graph paper during his visit, documenting its layout and inscriptions, which highlighted biblical sites and regional topography.^[8] His efforts marked the initial step toward preserving and publicizing the artifact, transforming a local curiosity into an object of international academic attention. However, the construction work posed significant challenges, leading to irreversible damage. Unaware of the mosaic's value, workers trampled over sections and removed portions to level the floor for the new church, resulting in the loss of several fragments, particularly in the northern and eastern areas.^[2] Only about 20% of the original map survived intact, with irreparable harm to depictions of key regions like parts of Egypt and the Nile Delta.^[6] Early documentation accelerated the map's fame across Europe. Koikylides published a monograph on the find in 1897, providing the first comprehensive description and reproductions based on his sketches.^[2] That same year, the discovery appeared in the Quarterly Statement of the Palestine Exploration Fund, where scholar Charles Clermont-Ganneau offered an analysis of its cartographic and historical implications, further disseminating details to Western audiences.^[9] These publications established the Madaba Map as a pivotal artifact in the study of ancient geography.

Restorations and Recent Developments

Following its rediscovery in 1884, the Madaba Map underwent initial preservation efforts in the early 20th century, during which scattered fragments were lifted from the church floor and partially reassembled, preserving about 20% of the original mosaic estimated to have spanned around 94 square meters.^[10]^[1] Major conservation work occurred in the 1960s, led by German archaeologists Heinz Cüppers and Herbert Donner on behalf of the German Association for the Exploration of Palestine (Deutsche Vereinigung zur Erforschung Palästinas). Their efforts focused on reassembling additional surviving tesserae, stabilizing the structure, and installing a protective metal framing elevated above the floor to prevent direct contact with visitors' feet and reduce exposure to dust and moisture. This intervention halted further fragmentation and enabled safer public access while facilitating detailed scholarly documentation.^[2]^[11] The map's enduring utility was demonstrated in 2025 when its depiction of settlements guided a joint Jordanian-international team to the site of the long-lost Byzantine city of Tharais (also known as Tharasa) in southern Jordan near the Dead Sea. By correlating the mosaic's labeled toponyms and topographical features with satellite imagery and ground surveys, excavators uncovered a 6th-century basilica church, agricultural terraces, and residential structures, confirming the site's identity and highlighting the map's accuracy as a historical reference for locating obscured ancient locales.^[12]^[13] Despite these advances, the Madaba Map confronts persistent preservation threats. As a major tourist attraction drawing over 500,000 visitors annually, constant foot traffic risks accelerating tesserae displacement and abrasion, necessitating strict visitor management protocols. Environmental factors, including fluctuating humidity levels from the nearby Dead Sea basin that cause salt efflorescence and cracking in the mortar bedding, further degrade the mosaic. The region's location along the seismically active Dead Sea Transform fault line exposes the church to potential earthquake damage, prompting ongoing monitoring and reinforcement recommendations from UNESCO and Jordan's Department of Antiquities to mitigate these risks.^[14]^[15]

Physical Description

Overall Layout and Coverage

The Madaba Map, created in the 6th century, originally measured an estimated 94 square meters (1,000 square feet) and survives today in fragments totaling approximately 19 square meters (20% of original), preserving a substantial portion of its cartographic detail.^[1] These remnants depict over 150 labeled sites across a vast region, offering one of the earliest known mosaic representations of the Holy Land and surrounding areas. The map's rectangular format was embedded in the nave floor of the Church of Saint George in Madaba, Jordan.^[1] Geographically, the map encompasses an extensive area from southern Lebanon—including the coastal city of Tyre in the north—to the Nile Delta in Egypt to the south, and from the Mediterranean Sea on the western edge to the arid eastern deserts. This coverage highlights key territories of the Byzantine Empire in the Levant and Egypt, with a non-uniform scale enabling a balanced portrayal of both urban centers and expansive terrains without precise proportionality.^[1]^[16] Jerusalem occupies the central position, underscoring its pivotal role, while the overall orientation places north at the top, aligning with conventional cartographic conventions of the era.^[1]^[16] Inscriptions on the map are in Greek, serving as the primary language for labeling places and adding explanatory notes. These textual annotations and visual elements create a navigable guide, blending practical geography with cultural context.^[1]

Topographical Features

The Madaba Map represents terrain through stylized conventions that distinguish elevated and level landscapes. Hills and mountains are depicted with irregular, wavy ground lines and oblong shapes, as seen in the portrayal of Jerusalem situated on a hill, using red-brown tesserae to evoke rocky elevations like those in the Judean region. Plains, such as those in the Jordan Valley, appear as flat, open expanses, providing a clear visual contrast to the undulating higher grounds around cities like Charach Moba. These elements employ a bird's-eye perspective to convey relative topography without precise scaling.^[17] Water bodies form a central axis in the map's composition, with the Jordan River rendered as a prominent, sinuous blue ribbon meandering southward from the Sea of Galilee to the Dead Sea, complete with fish and boats to emphasize its navigability. The Mediterranean Sea borders the western edge with repeating wave patterns in blue tesserae, while the Nile in the Delta region is similarly stylized with undulating lines, aquatic plants, and vessels, highlighting its role as a vital waterway. The Dead Sea is oversized for emphasis, shown with salinated waters repelling fish and including bitumen workers along its shores.^[1]^[17] Vegetation and agricultural features are indicated by scattered icons of stylized trees and plants, denoting fertile zones amid the arid backdrop. Palm groves and date palms cluster near the Dead Sea and Jordan Valley, symbolizing economic prosperity through their economic crops, alongside pomegranate and cypress trees in border scenes. Fields and vineyards appear as schematic patterns in green and brown tesserae, particularly around rural sites, illustrating cultivated plains like those east of the Jordan.^[17]^[18] The map differentiates urban from rural areas topographically, portraying cities as enclosed, detailed vignettes with walls and buildings on varied terrains, while rural zones feature open plains with isolated icons for villages and forts, often amid vegetation or along rivers. This contrast underscores the landscape's dual nature of settled hubs and expansive countrysides. The depiction's accuracy reflects contemporary knowledge, aligning the sequence of sites with Roman itineraries like the Peutinger Table, though with artistic stylization and local emphases for regions near Madaba.^[1]^[17]^[18]

Iconography and Symbolic Elements

The Madaba Map prominently features Jerusalem as the central and most detailed city, depicted with fortified walls enclosing streets, nineteen towers, and six principal gates, including the Golden Gate on the eastern wall leading toward the Temple Mount.^[1]^[19] Key landmarks within the city include the Church of the Holy Sepulchre, illustrated as a basilica with a red roof and atrium, alongside other churches and public buildings, emphasizing its role as a Christian pilgrimage hub in the sixth century.^[20] This vignette, shifted southward for compositional balance, portrays Jerusalem as a thriving Byzantine metropolis focused on sites of the Passion, omitting earlier Jewish structures like the Temple Mount.^[20] Processional and human figures animate the map's landscapes, adding narrative depth to the terrain. Along the Jordan River, bridges connect the banks, while fish swim upstream and downstream, accompanied by a near-obliterated scene of lion hunting that evokes rural pursuits.^[16] On the Dead Sea, two large fishing boats suggest active maritime life, contrasting the river's flowing vitality with the sea's stillness.^[1] These elements, rendered in a bird's-eye view, guide the viewer's eye through dynamic vignettes of daily and symbolic activities in the Holy Land.^[20] Religious symbols permeate the map, underscoring its Christian orientation. Churches are marked with crosses atop red-tiled roofs, distinguishing sacred buildings from secular ones, while holy sites like Bethlehem and Nazareth receive explicit Greek labels alongside basilicas such as the Church of the Nativity.^[1] Fish motifs appear recurrently, symbolizing Christian themes of baptism and resurrection, as seen in the Jordan River where paired fish—one heading toward the Dead Sea and the other away—evoke ichthys iconography tied to early Christian art.^[21] Tombs of saints, such as that of Saint Zacharias, and biblical event markers further integrate scriptural narratives into the visual scheme.^[20] The map's stylistic influences draw from Byzantine mosaic traditions, employing a naive perspective that prioritizes symbolic clarity over realistic depth, with buildings shown in elevation against a flattened landscape.^[1] Vibrant colors enhance this approach, using four shades of red for roofs and structures, six shades of blue for water bodies like the Jordan and Dead Sea, and greens for vegetation, creating a vivid, illustrative quality typical of sixth-century Palestinian floor mosaics.^[22] Non-geographical elements infuse the map with theological resonance, such as the fishes depicted entering the Dead Sea, a feature absent in secular cartography but present here to allude to biblical miracles and the sea's paradoxical lifelessness in scripture.^[23] These motifs, including symbolic signs like the twelve stones at Gilgal, prioritize spiritual interpretation over literal geography, aligning the artwork with early Christian typological imagery.^[20]

Significance and Interpretations

Cartographic and Historical Value

The Madaba Map, dating to the mid-sixth century CE, represents the oldest surviving original cartographic depiction of the Holy Land, encompassing regions from Lebanon in the north to the [Nile Delta](/page/Nile Delta) in the south.^[1] This mosaic predates medieval portolan charts by several centuries and stands as a pivotal artifact in the history of Byzantine cartography, offering a detailed visual record of the eastern Mediterranean during the early Christian era.^[1] Unlike earlier Roman itineraries, such as the fourth- or fifth-century Tabula Peutingeriana, which emphasized linear road networks for administrative and military purposes, the Madaba Map integrates Christian theological emphases, highlighting sacred landscapes and pilgrimage routes while maintaining a regional overview.^[24] Additionally, the map features labeled itineraries in Greek script, guiding viewers along key paths such as those from Jericho to Jerusalem, tailored to facilitate pilgrim navigation and spiritual reflection.^[1] These elements, as analyzed by scholar Michael Avi-Yonah, demonstrate a synthesis of classical geographic traditions with emerging Byzantine representational techniques, marking a shift toward illustrative mapping that prioritizes cultural and religious context over purely utilitarian design.^[25] The map's historical accuracy is evident in its confirmation of over 150 sites, including numerous Byzantine towns and urban centers that have since been lost or archaeologically verified, thereby aiding scholars in dating patterns of settlement and development in the region during the sixth century.^[1] For instance, its precise portrayal of Jerusalem's urban layout, with identifiable gates and streets, aligns with later excavations of Byzantine structures, providing a benchmark for reconstructing historical topography.^[1] This fidelity to contemporary geography underscores the map's value as a primary source for understanding late antique urbanism and connectivity in the Holy Land.^[16] Despite these strengths, the Madaba Map exhibits limitations inherent to its era and purpose, as it is not uniformly to scale, with sacred sites like Jerusalem disproportionately enlarged to emphasize their theological prominence over metrical precision.^[26] Distances appear distorted, particularly in peripheral areas, reflecting a selective focus on biblically significant locations rather than comprehensive geographic exactitude, which aligns with its role as a devotional and mnemonic tool rather than a modern survey instrument.^[27]

Archaeological and Geographical Insights

The Madaba Map has significantly contributed to modern archaeology by providing precise ancient coordinates for key sites, facilitating targeted excavations in the Holy Land. For instance, its depiction of Jericho, marked with palm trees symbolizing its oasis setting, and Hebron, noted near the Oak of Mamre, has guided archaeologists in verifying and exploring these locations, confirming their historical continuity from biblical times into the Byzantine era.^[28] Similarly, the map's labeling of sites like Zoar south of the Dead Sea has informed surveys and digs in the southeastern Jordan Valley, linking ancient narratives to physical remains.^[29] A notable recent application occurred in 2025, when the map's inscription of "Tharais" guided surveys led by Dr. Musallam R. Al-Rawahneh from Mu’tah University to a site near El-ʿIrāq village in the Karak Governorate of southern Jordan, uncovering ruins of a Byzantine town dating to the fifth-seventh centuries CE based on inscriptions. The site features a basilica-type church with mosaic floors, an olive oil press, a grape press, and a watermill, aligning with the map's portrayal of Tharais as a prominent settlement. This discovery highlights the map's role in rediscovering lost Byzantine infrastructure after centuries of obscurity.^[30] The map's representations have also refined understandings of ancient geography, particularly in paleogeographical studies. Its illustration of the Nile Delta with seven branches reflects the sixth-century configuration, aiding reconstructions of sediment shifts and riverine changes that affected early Christian settlements in Egypt and Sinai.^[31] Likewise, the depiction of the Dead Sea's extent and surrounding topography has clarified fluctuations in water levels during late antiquity, influencing analyses of environmental impacts on regional ecosystems and human habitation.^[1] Integration with contemporary technologies has further amplified these insights, as scholars employ Geographic Information Systems (GIS) to overlay the map's features onto satellite imagery, revealing traces of ancient road networks obscured by modern development. Projects in the Madaba Plains, for example, have used such methods to trace Roman-Byzantine routes connecting Jerusalem to the Jordan Valley, correlating mosaic labels with ground-penetrating radar data for non-invasive prospecting.^[32] However, the map's incomplete survival imposes limitations on comprehensive regional reconstruction. The absence of its northern section, which likely extended toward Lebanon, and eastern portions beyond the Dead Sea, hinders full mapping of peripheral trade paths and settlements, requiring supplementation from textual sources like Eusebius's Onomasticon.^[2]

Religious and Cultural Role

The Madaba Map served a prominent devotional purpose within the Byzantine church of Saint George in Madaba, functioning as a visual aid for liturgy and pilgrimage planning. Positioned on the church floor near the nave, it allowed worshippers to engage with the sacred geography of the Holy Land during services, facilitating a form of "virtual pilgrimage" that reinforced spiritual devotion without physical travel. Scholars suggest this placement connected the map to liturgical practices, where it illustrated biblical narratives and holy sites to enhance communal prayer and reflection.^[18]^[1] The map's biblical fidelity is evident in its emphasis on sites from both the Old and New Testaments, drawing directly from the Greek Septuagint and Eusebius of Caesarea's Onomasticon (c. 320 CE) to depict key locations such as Jericho, Bethlehem, and the Church of the Holy Sepulchre. Over 150 Greek inscriptions label these places, prioritizing events central to Christian salvation history, such as the Exodus and Christ's Passion, thereby reinforcing the theological narrative of the Holy Land as the fulfillment of divine promise. This selective portrayal underscores the map's role in affirming Christian identity amid the diverse religious landscape of sixth-century Palestine.^[1]^[3] Created around 565 CE during the reign of Emperor Justinian I (r. 527–565 CE), the map reflects Byzantine imperial patronage of sacred geography following the reconquest of parts of the eastern Mediterranean, including efforts to reassert Christian dominance in the region. As part of a broader wave of church constructions and mosaic artworks in prosperous areas like Madaba—known as the "City of Mosaics"—it symbolizes the empire's investment in visualizing and venerating the Holy Land as a cornerstone of Orthodox Christianity. This cultural context highlights how such artworks served to propagate imperial and ecclesiastical authority through artistic representation of biblical landscapes.^[33]^[34] Symbolically, the map embodies theological concepts by centering Jerusalem as the "navel of the world" (omphalos), a motif rooted in Ezekiel 5:5 and early Christian exegesis, with the city depicted in intricate detail amid surrounding regions to signify its cosmic and redemptive centrality. This orientation not only elevates Jerusalem's role in salvation history but also integrates symbolic elements like crosses to evoke the triumph of Christianity. In modern times, the Madaba Map influences religious tourism in Jordan, drawing pilgrims and visitors to Madaba as a hub for exploring shared holy sites, while contributing to interfaith dialogues by highlighting common Abrahamic heritage in the region.^[3]^[35]

Reproductions and Legacy

Early Copies and Facsimiles

The earliest reproductions of the Madaba Map were hand-drawn copies created shortly after its discovery in 1896, serving as vital tools for scholarly analysis when travel to the remote site was difficult. In December 1896, Fr. Kleopas Koikylides, librarian of the Greek Orthodox Patriarchate in Jerusalem, examined the mosaic during the construction of St. George's Church and produced a preliminary line drawing of the visible portions. This sketch, focusing on key features like Jerusalem and the Jordan River, was published in 1897 alongside Koikylides' Greek-language commentary, marking the first visual dissemination of the map to academics beyond Jordan.^[6] More precise facsimiles emerged in the early 20th century through collaborative efforts by European scholars. In 1901, Jerusalem-based architect Paul Palmer created a detailed watercolor reproduction of the surviving fragments, meticulously rendering the mosaic's colors, inscriptions, and iconography using on-site observations over several months. This hand-painted version was refined and issued as a full-color lithograph in the 1906 scholarly volume Die Mosaikkarte von Madaba, co-authored with German archaeologist Hermann Guthe, which included measured diagrams and textual analysis. These lithographs appeared in academic journals, enabling comparisons with biblical texts and classical geographies among researchers in Germany, France, and Britain.^[8]^[36] Photographic documentation supplemented these drawings starting in the early 1900s, providing objective records despite technological constraints. One of the earliest known black-and-white photographs of the mosaic was taken around 1905 inside St. George's Church, capturing the map's layout amid the floor's irregular covering. These images were reproduced in archaeological bulletins and expedition reports, such as those from the German Palestine Exploration Society, and shared via lantern slides at European conferences. However, early photos were limited by long exposure times, poor lighting in the church, and incomplete exposure of fragmented areas, often resulting in low contrast and missing finer details like small labels.^[2] Despite their pioneering role, these pre-20th-century copies and facsimiles had inherent shortcomings that affected their reliability. Hand-drawn versions, including anonymous manuscript renderings from the late 1890s to 1900s, frequently omitted or misinterpreted damaged sections, such as parts of the Nile Delta or eastern desert, due to partial visibility under protective rugs. Color reproduction in watercolors and lithographs also varied, with inconsistencies in hues for landscapes and buildings arising from subjective artistic choices and the mosaic's weathered state. Such limitations were noted in contemporary critiques, yet these materials proved essential for initial topographic studies.^[37] These early reproductions were primarily distributed through academic networks in Europe, printed in limited runs for universities, theological seminaries, and societies like the Palestine Exploration Fund. Copies reached scholars such as those at the École Biblique in Jerusalem, supporting foundational research on Byzantine cartography before geopolitical tensions restricted site visits in the 1920s. Their circulation fostered debates on the map's historical accuracy, laying groundwork for later interpretations without direct reliance on the original.^[6]

Modern Reproductions and Digital Access

In 1965, during a major conservation effort led by archaeologists Heinz Cüppers and Herbert Donner from the German Society for the Exploration of Palestine, the mosaic was restored and conserved.^[2] Digital reproductions of the Madaba Map have advanced significantly since the 1990s, with high-resolution scans enabling detailed analysis and global dissemination. Early efforts included photographic documentation during post-restoration documentation, while more recent projects incorporate gigapixel imaging for zoomable online viewing. In early 2025, during an extensive renovation of the church that removed overlying flooring and furniture, the site was documented for preservation.^[38] Virtual reality applications emerged in the 2010s, with 3D reconstructions transforming the Madaba Map into immersive experiences that simulate a virtual pilgrimage through the depicted Holy Land landscapes. Projects like the CyArk and Google Arts & Culture collaboration provide interactive tours, enabling users to navigate the map's topography, zoom into cities like Jerusalem, and explore reconstructed Byzantine-era sites based on the mosaic's representations.^[39] Accessibility initiatives gained momentum following UNESCO's designation of Madaba as a Creative City in the Crafts and Folk Art category in 2017,^[40] which encouraged the development of global digital archives and non-invasive study tools. This recognition supported collaborative efforts to digitize the map, preserving its cultural heritage while promoting open-access resources for researchers, educators, and the public worldwide.

References

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Jun 12, 2022 · The ministry seeks to turn Madaba into a center for cultural and religious heritage and home to mosaics and handicrafts.Missing: influence interfaith
[37]
The Madaba Map * מפת מידבא
The Madaba Mosaic Map depicts Jerusalem with the New Church of the Theotokos, which was dedicated on November 20, 542. Buildings erected in Jerusalem after 570 ...Missing: percentage | Show results with:percentage
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Early manuscript rendering of the Madaba Map of the Holy Land
### Summary of the Madaba Map Manuscript Rendering
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the Madaba Mosaic Map. Digitalization, analysis, deconstruction
The subject of the analysis is a mosaic map from the Justinian era, found in 1884 in the primitive church of San Giorgio in Madaba, in present-day Jordan.Cite This Paper · Abstract · References (49)
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Untitled
... maps. A fine illustration is the mosaic map discovered on the floor of a church at Madaba in Jordan. The highlight of every pilgrimage was the visit to ...
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One Place, Many Stories - Google Arts & Culture
Discover the famed Madaba Map in a 3D Immersive Guided Tour. Available in English and Arabic. Tap to explore. Learn about the mosaics of the Hippolytus Hall ...Missing: reconstruction | Show results with:reconstruction