Above the large central composition surrounding the Torah niche, a second rectangular framed panel occupies the next register of the western wall. This smaller composition forms part of the sequence of paintings arranged along the synagogue’s principal decorative axis. Despite extensive pigment loss and surface deterioration, the principal figures and the overall organization of the scene remain readily discernible. At its center sits a frontal figure upon a relatively high throne or seat, forming the focal point of the panel.

The seated figure wears a brown outer garment secured by a broad yellow sash that curves diagonally across the body. Both legs extend forward onto a low yellow footstool, and low brown shoes are visible beneath the garment. Behind the seated figure rises a rectangular yellow element that appears visually connected with the throne itself rather than functioning merely as a background.

The upper part of the figure has suffered extensive deterioration, and the head is now almost entirely lost, leaving few discernible details above the shoulders. The right hand is no longer visible, while the left survives only as a simplified painted form whose original level of detail can no longer be determined from the present condition of the fresco.

Immediately before the throne stand two figures placed symmetrically on either side of the central axis, occupying the narrow space before the footstool. Both wear knee-length, light-colored tunics that differ noticeably from the attire of the enthroned figure. Their garments incorporate yellow tones that visually echo the footstool and the rectangular element behind the throne. The state of preservation differs markedly between the two. The figure on the viewer’s right retains the clearest surviving facial features in the panel, with the eyes, nose, mouth, and hair still discernible despite surface wear. By contrast, the figure on the viewer’s left has lost most facial details, with only traces of the hair remaining visible, while the hands are no longer sufficiently preserved for detailed description.

Seven standing figures surround the throne in two groups, with four to the viewer’s left and three to the right. Although broadly symmetrical in arrangement, the figures overlap one another slightly, introducing one of the few suggestions of depth within the otherwise shallow pictorial space. They wear similarly cut tunic-like garments that vary in color, including yellowish, green, brown, and reddish tones. Owing to the condition of the painting and the fading of the pigments, the original appearance of several colors can no longer be established with certainty. The preservation of the group also varies considerably, with facial features often almost entirely lost while the garments remain comparatively better preserved.

The panel is set against a predominantly red background, much of which survives despite extensive surface deterioration. Across the upper half of the composition, numerous painted traces remain visible, although most can no longer be resolved into identifiable forms. Beneath the enthroned figure survives a branching painted motif resembling the trunk and lower branches of a tree devoid of foliage. Whether this feature formed part of the original composition or represents the remains of an earlier painted phase cannot be determined from the surviving evidence.

Behind the throne survive the lower portions of what appear to be three additional standing figures. Their upper bodies have largely disappeared, leaving only parts of their garments and legs visible. The figure immediately behind the viewer’s left side of the throne is rendered at a noticeably larger scale than the surrounding standing figures, although its original appearance and relationship to the rest of the composition can no longer be established with certainty.

The composition is executed in the same broadly linear style that characterizes the synagogue frescoes as a whole. The surviving palette is dominated by earth tones, including reds, ochres, yellows, greens, and dark outlines that define the principal forms.

Biblical Background

The enthroned figure is generally interpreted as David, one of the central figures of the Hebrew Bible and Israel’s most prominent king. The biblical accounts of his reign, preserved chiefly in the books of 1 and 2 Samuel, provide the principal context for understanding this interpretation.

One of the defining moments of David’s reign is his recognition as king over all Israel. Following the death of Saul, the elders of the tribes gathered at Hebron and anointed David king, establishing him as ruler of the united kingdom:

“So all the elders of Israel came to the king at Hebron; and King David made a covenant with them in Hebron before the Lord: and they anointed David king over Israel.”

(2 Samuel 5:3)

The biblical tradition also emphasizes God’s covenant with David, in which an enduring royal dynasty is promised. This covenant became one of the central themes associated with Davidic kingship in later Jewish tradition:

“And thine house and thy kingdom shall be established for ever before thee: thy throne shall be established for ever.”

(2 Samuel 7:16)

Whether the panel is understood as reflecting David’s recognition as king over all Israel or as a more timeless representation of royal authority, these biblical passages provide the principal scriptural context for its traditional interpretation.

Iconographic Notes

The composition is organized around the enthroned figure, which occupies the exact center of the panel and serves as its principal visual focus. Its larger scale, elevated throne, rectangular backrest, and footstool distinguish it from the surrounding figures. The concentration of yellow tones in the throne, particularly in the backrest and footstool, further defines this central area within the composition and reinforces the visual prominence of the enthroned ruler.

Behind the throne survive the fragmentary lower portions of three additional standing figures. At least one of these appears to have approached the enthroned figure in scale. Because only their lower portions survive, however, their original relationship to the central figure cannot now be determined with confidence. Nor can it be established whether these fragmentary figures belong to the final painted composition or represent the remains of an earlier phase of decoration.

The surrounding figures reinforce the central emphasis through their arrangement and body orientation. The two figures before the throne occupy the central foreground, while the remaining attendants stand in groups on either side. Although many of the faces remain broadly frontal, the orientation of the shoulders, arms, and upper bodies consistently directs the viewer’s attention toward the throne. The outermost figure on the viewer’s right extends an arm toward the center, while the figure nearest the throne on the opposite side stands with both hands placed together before the body. The second figure from the viewer’s left inclines the upper body toward the center, with a raised elbow and pronounced shoulder line that further guide the eye inward. Collectively, these gestures transform the surrounding attendants from independent figures into compositional elements that reinforce the visual dominance of the enthroned ruler while preserving the formal frontal character of the composition.

The panel is conceived as a formal and ceremonial composition rather than as the depiction of a specific narrative episode. Every major compositional device—the central placement of the enthroned figure, its elevated position, its larger scale, the concentration of yellow tones in the throne, and the carefully organized arrangement of the surrounding figures—serves to emphasize the seated ruler as the visual and conceptual focus of the scene. The image therefore presents royal authority as its principal subject rather than the illustration of a particular historical event.