A few scholars have argued for the presence of Jewish-Christians at Dura, but none of their arguments is persuasive. See Ignazio Mancini, Archeological Discoveries Relative to the Judaeo-Christians: Historical Survey, Studium Biblicum Franciscanum, Col. Min. 10 (Jerusalem: Franciscan Printing Press, 1970), pp. 138–147, who makes claims concerning chi-rho monograms, but see also Richard Frye et al., “Inscriptions from Dura-Europos,” Yale Classical Studies 14 (1955), pp. 127–201. And see Theodor Klauser, Jahrbuch für Antike und Christentum (JAC) 10 (1976), pp. 105–106. Jacob L. Teicher, for example, claims that the only Hebrew manuscript found at Dura is a Jewish-Christian document (in “Ancient Eucharistic Prayers in Hebrew [Dura-Europos Parchment D. Pg. 25],” Jewish Quarterly Review 54 [1963–64], pp. 99–109.) But when one recalls that Teicher also insisted that Qumran manuscripts (Dead Sea Scrolls) were Jewish-Christian documents as well, it will be no surprise that his theory has persuaded few. Another article attempted to show, with dubious evidence, that one artist worked on the paintings of both church and synagogue. (See Robert du Mesnil de Buisson, “L’inscription de la niche centrale de la synagogue de Doura-Europos,” Syria 40 [1963], pp. 303–314.) He claims that two inscriptions in the two buildings refer to the same man (supposedly named Sisa or Siseos), but, even if true, this does not demonstrate that the individual was a Jewish-Christian artist. The artists who worked on the paintings need not necessarily have been either Jewish or Christian; they may have been hired contractors who were neither.