The triumph of Dionysus (the right part)
The house of Dionysus. Late 2nd century CE. Paphos, Archaeological Park

The triumph of Dionysus (the right part).

The house of Dionysus. Late 2nd century CE.

Paphos, Archaeological Park

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.

© 1998 Photo, text: W. A. Daszewski, D. Michaelidis. “Guide to the Paphos Mosaics”. Bank of Cyprus cultural foundation, 1998. P. 24—27.
Keywords: μωσαϊκό mosaic mosaics mosaica mosaici mosaik mosaïque greek greca greco greche griechische griechisches grecque grecquesё musical instrument strumento musicale musikinstrument de musique μουσικό όργανο mosaico floor the triumph of dionysus house procession dionysos bacchus dioniso bacco bacchante bacchantes maenad maenads menade menadi cymbal dulcimer long trumpet animal skin a beast reed indian slave