The approach of the god is announced by two more of his followers: a Bacchante playing the cymbals, and a naked man. He has an animal skin draped over his shoulder and reeds in his hair, and plays a long trumpet. Between them another Indian, turned towards the advancing god, with his arms raised to his face, appears to be lamenting his misfortunes.

The figures, like those of all the panels, are rendered against a plain white background. Some stand directly on the frame but most are raised above it and stand on individual dark, shadow-like lines which symbolise the ground — a common convention in Roman mosaics.

The ends of the fillets forming the inside frame of the panel cross each other and project at the corners so as to resemble the overlapping bars of wooden frames (as in an Oxford frame). This is a common expedient, seen elsewhere in the house (e.g. the Peacock panel, Room 15), which was employed either to give the impression of a panel painting or because the mosaic actually copied a panel painting.