This mosaic, almost complete, measures 35 m2. Through the study of the techniques and materials used one can measure the care with which it was realised. A levelling embankment supported a bed of pebbles (statumen) on which a first concrete covering (rudus) was poured, then lime mortar and terracotta debris were added. Restoration work has revealed trowel imprints used for spreading these concrete coverings, and even the print of a nailed sole. The ground surface (opus tesselatum), consists of tesserae, measuring on average 3 to 15 mm, fixed in a lime mixture. A preparatory design was made on the still humid nucleus. During restoration, traces of cords were found corresponding to the outline of the central panel. Rare event, traces of pigments were also found (preparatory design of a bird?), opening the possibility of preliminary intervention of a painter outlining the motif in the humid lime.
The tesserae were probably cut on the spot, with a cutter's knife, a small hammer (with a sharp edge) and a "taillote" (small projecting workbench). The materials used were coloured limestone (white, grey, black, ochre), opaque paste glass (blues, greens), terracotta (orange) and probably some marble fragments.

The setting of the tesserae probably started with the frame outlines and the coil patterns. The mosaic pavements were made before the wall-paintings which rested on them. After an unknown period of time, some of the more damaged figures had to be restored. Rather clumsy, these restorations nevertheless show the desire to remain faithful to the original. Traces of fire posterior to these ancient repairs suggest that the site was occupied for some time afterwards. The House was nonetheless abandoned during the 3rd century AD.

The white band bordering the decorated part is larger at the end of the room. On this side a black and white checker pattern doubtless corresponds to the place of the dining sofa. On the entry side, symmetrical foliage patterns spread out at the foot of a krater.
The coil that outlines the central panel forms a composition of 5 concave quatrefoil compartments (called "cushions"), 16 ellipses and 4 octagons. On the exterior the concave quatrefoil compartments become bell-shaped and contain theatre masks. This type of composition is found above all in Tunisia. Here, the orientation of the figures makes the panel visible from all sides.

The ellipses contain two couples of four species, so that each corner quatrefoil is flanked with four different birds.
In the angles, two couples of mallard ducks. Partridges are placed on an axis at right angles to that of rose-ringed parakeets, recognisable by their curled beaks, their green plumage with orange-red collars and their long tails. Around the central scene, four hoopoes walk with their beaks pointing to the ground.

Placed near the entrance, Spring can be recognised by her crown of plants. On the West side, Summer bears a sheaf of wheat. To the South, Autumn. The upper part of the face was restored during Antiquity with larger tesserae, but one can make out a crown of vine-leaves. To the East, a hooded figure crowned with reeds represents Winter.

The megaphone mouth and the large black pupils are typical of theatre masks. Two masks represent Tragedy. At right angles there are two other personages of the cortege of Dionysus representing Comedy: Pan and Silenus.

The Maenads are in the corner compartments, shown in a traditional way, crowned with ivy and dressed in veils revealing their nudity. Dancing, they hold the Dionysian thyrsus and play tambourines.

This interpretation of the central scene was initially proposed by Pascale Linant de Bellefonds (CNRS).
In the forefront of the central scene, a play of gleaming colours accentuates the modelling of the struck down, crouching figure. Blood flows between his legs. The anatomical realism is almost perfect, apart from the left leg, disarticulated to fill the available space. The man implores the personage who, in the background, is striking him with thyrsus blows.

This scene illustrates an episode of the Dionysus legend. Wanting to install his cult in Thebes, his birthplace, the god Dionysus also wanted to punish his mother's sisters, Semele, for having denied that he was Zeus' son. He struck the Theban women with madness and they went off to celebrate the mysteries of the god in a bacchanalia. Pentheus, Dionysus' cousin through his mother Agave, was also king of Thebes and opposed the propagation of this cult.

Having decided to disperse the Bacchae, he goes to spy on them and their rites. His own mother perceives him and takes him for a wild animal. The Bacchae chase him and kill him. The iconography refers fully to Dionysus without showing him. The masks represent Tragedy and Comedy that the god of theatrical feasts presides. The association of the Seasons with Dionysus is based on a common theme of renascent life. The Maenads are literally "women possessed" by the god. Finally, punished for having disdained him, the figures of the central scene were, under the power of Dionysus, to assure his triumph by destroying one another.
This episode was put on the stage by Euripides (The Bacchae). In Pompeii (Casa dei Vetti) a wall painting shows Pentheus imploring his mother.
The reference to this Dionysian episode is rather rare. The originality and the aesthetic quality of this pavement have justified its rapid restoration to put it on public display.
(text by B. Houix, Inrap)