The Megiddo Mosaic: A Community Coming Together to the Table

An artist, a soldier, and a philanthropist walked into a room. What sounds like the beginning of a joke is actually the backstory of one of the most amazing archaeological discoveries since the Dead Sea Scrolls—the Megiddo Mosaic. Discovered in 2005, the mosaic is being premiered to the world for the first time at Museum of the Bible, from September 15, 2024, to July 6, 2025. Since its discovery, the Israel Antiquities Authority (IAA) has kept it preserved in situ, until it was carefully removed this past spring to be displayed as the centerpiece of an exhibit that explores the realities of being an early Christian.

The Megiddo Mosaic can be experienced from many angles: a work of ancient art, a view into the architecture of sacred space in the early church, or as an example of how a local faith community financially supported the work of their congregation. One of the most amazing storylines, though, is the beautiful picture of the small group that models the apostle Paul’s statement, “There is neither Jew nor Gentile, neither slave nor free, nor is there male and female, for you are all one in Christ Jesus” (Galatians 3:28 NIV). 

The mosaic once decorated the floor of a room almost 500 sq. ft. in size that was undeniably used for worship by Christians in the third century AD. This was a time before Christianity was legalized and made more popular, after the time of Constantine. In many ways, this modestly sized room helps us experience one church community living southwest of the Sea of Galilee before the more formal structures of the church developed in subsequent centuries. Today, it is common to highlight the organic nature of a food product or other item. This room and its decorations provide a very organic picture of a third-century Christian community. 

Figure 1: Aerial view of the Megiddo Mosaic, with the base for the table set at the center.

To begin, though, you may be asking: What is a mosaic? A mosaic is an artistic style where small pieces of colored stone and glass, called tesserae, are arranged to form scenes of nature, weave together geometric patterns, or create inscriptions. Mosaic decorations in archaeological digs are quite common right before, during, and after the time of the New Testament. In fact, sites dated to the Roman period will often be full of mosaic decorations, just like this one, which was found at a Roman army camp.

The Megiddo Mosaic was created by a man named Brutius, who was more of an artist than a laborer. Brutius was quite meticulous. The care that an artist puts into making a mosaic is evident by the density of tesserae used to create intricate designs and scenes. On this mosaic, woven patterns and geometric designs are predominant. However, there are three rectangular boxes with inscriptions in Greek, and one central circle depicting two fish. Depictions (or lack of depictions) of humans or animals are often indicative of the religious sentiment of those who walked on the floor. No images (think of the proscription of making any image in the Ten Commandments) were present on this mosaic, except this one of two fish, which should remind the viewer of the story of the loaves and two fish in the Gospels. Was this lack of images intentional? It seems so. One thing that is clear, though, is that the funders of this room wanted to honor Brutius, because his name is preserved in the floor.

Figure 2: The inscription, highlighted above, reads: Brutius has carried out the work.

So who provided the funds for this room? A soldier. Actually, a centurion named Gaianus stationed with the Roman legion at the location. At the time of the Romans, this location was not known as Megiddo, but as Legio. It controlled a major section of the highways that went from Egypt to Europe and Asia. Legio was a major junction from where one could go in many directions. Today, this entire region is part of the Megiddo Regional Council (similar to a county).

Figure 3: The inscription, highlighted above, reads: Gaianus, also called Porphyrius, centurion, our brother, has made the mosaic at his own expense as an act of generosity. Brutius has carried out the work. Gaianus’s name is highlighted at the beginning of the inscription.

The same inscription that mentions Brutius is primarily focused on Gaianus, who also went by the name Porphyrius. He is described as being both a centurion and “our brother.” It has been suggested that his names demonstrate a non-western Roman background, but it is not known for certain. It was common for peoples of lands conquered by the Romans to eventually see locals rise to significant positions in the service of Rome. The inscription states clearly that the mosaic floor was provided from his generosity, and the appellative (“our brother”) resonates with the use of brother in the early church. In New Testament letters, fellow Christians are commonly called brothers. 

Gaianus’s partner in funding the decorations of this room was another member of the community, a woman named Akeptous. Her name has been described as a Latin name that has been adapted into Greek. Nothing is known about her status in the wider society, but she obviously was a person of means. She is identified as “God-loving” (philotheos), the combination of two Greek words philo (love) and theo (God).

The table at the center of the room was thanks to Akeptous and is dedicated “to God Jesus Christ.” In the picture of the inscription (below), you can see the lines above the three words of that phrase. This was one way to abbreviate words, and it was used in the church for the names of God. Of all the amazing discoveries in this relatively small space, this appellation, “God Jesus Christ,” is truly stunning. The major councils of the early church (e.g., Nicaea in AD 325) were still decades in the future. Despite the formalized statements of orthodox theology these councils debated and produced, the distinct Christian belief in the deity of Jesus is memorialized on the floor of this humble room. It is not presented as a major revolutionary idea, but as a simple prepositional phrase that formed the theological foundation for the faith of this community.

Figure 4: The inscription, with Akeptous’s name highlighted, reads: The God-loving Akeptous has offered the table to God Jesus Christ as a memorial.

Akeptous is not the only woman identified in the writing on the mosaic floor, for there was also a final box that asks those who read the inscription to remember four women: Primilla, Cyriaca, Dorothea, and Chreste. There is no indication whether this charge to remember was due to a tragic loss or was just a general memorial, perhaps they were also part of the financial support of the room and were being shown gratitude. For whatever reason they were being highlighted, the fact remains that the numerous women mentioned in this room is telling about the dynamics within this church in the Roman Empire. 

Figure 5: The inscription reads: Remember Primilla and Cyriaca and Dorothea and, lastly, Chreste. The women’s names are highlighted; Cyriaca’s breaks across lines two and three.

So how do we know that it was used for Christian worship rather than for general public use? Was it a multipurpose room that happened to have inscriptions that were religious in nature? The centerpiece of the room, the table donated by Akeptous, argues against any generalized use of this room. The placement of the table is the focal point of the room, with the decorative floor surrounding it. The word for table in the inscription is also the same Greek word as found in 1 Corinthians 10:21, where it refers to the “table of the Lord,” an obvious reference to the Eucharist.

One final question that historians will continue to discuss is what is the most accurate way to refer to this room? Architecturally, the orientation (east-west) and other elements that are indicative of an intentionally built church are not present. As a reminder, this is a time before the church had official status and was able to make public statements through its architecture. Is a church an architectural feature or a gathering of people? If the former, this room should not be considered a church. However, if the latter is the definition, this room is the earliest church ever discovered archaeologically. A building at Dura-Europos (in modern-day Syria), almost contemporary with this building at the ancient site of Legio, has generated similar scholarly discussions. Most will refer to that discovery as a “house church.” Whether a prayer hall, worship center, house church, or an actual church, the site of the Megiddo Mosaic was a space created intentionally for the sole purpose of gathering a Christian community. 

The decorations, inscriptions, and centralized table present a beautiful picture of a group, from very different walks of life and status, all united in the worship of Jesus. This is one archaeological discovery that seems to demonstrate the community of Christians near this Roman outpost of Legio living out the ideal described in Galatians 3:28. Yes, an artist, a soldier, and a philanthropist walked into a room joined by the common mission to create a place for Jesus to be worshiped as God. This belief still brings people together today from different backgrounds and in unexpected ways.

Figure 6: The Megiddo Mosaic on display in Museum of the Bible’s special exhibit, The Megiddo Mosaic: Foundations of Faith, open through July 6, 2025. Image © Museum of the Bible, 2024. All rights reserved.

Learn More about This Special Exhibit Here.

By Dr. Robert “Bobby” Duke, Interim Chief Curatorial Officer

Published September 26, 2024