Within the walls of a Roman villa in the Greek city of Corinth lies an intricate and stunning mosaic. The head of the god Bacchus is centered in a series of overlapping petals made from triangles; near-hypnotic in their layout. The work is precise; each tile cut and placed with extreme care. Dating from the second century CE, the mosaic exemplifies Roman craftsmanship and their enduring interest in Greek culture, despite their distrust of it.
By the 2nd-3rd century CE, the art of mosaic had been mastered by the Romans. Small tiles of stone and glass, called tesserae, were hand-cut to specific sizes and laid out by hand by the artist. In this mosaic, Bacchus is clearly defined; his hair is full and his eyes heavy-lidded, adding an air of thoughtfulness and detachment to the god of revelry and fertility. The garland on his head, colourful and vibrant, contrasts with the darker tones of his face and hair. This contrast showcases the duality of Bacchus; he could be full of joy and life one moment, but have the detachment needed to make mothers kill their sons in the next.
The god’s face is neither happy nor angry, but holds the potential for either. Radiating out from him are petals made from triangles and negative space that are difficult to ever focus fully on. They, quite simply, confuse and marvel, just as the god himself is meant to. This layout was common in the second century CE, as seem by this Medusa mosaic.
Mosaics were quite common in the Roman era, yet the choice of Bacchus is curious as his cults were often looked at with suspicion. As a god who promoted ekstasis, the state of being outside ones’ self, Bacchus was everything the Romans feared of the Greeks. They saw his followers as overindulgent, unrestrained, and very dangerous to the strict social boundaries of Rome. In fact, a few hundred years earlier the cult of Bacchus had been banned from Rome and a tamer ritual set up in its place.
Did the interlocking lines of the mosaic remind the audience of the dizzying effects of wine? Was the god’s averted gaze and uninterested eyes serve as a warning of the dangers of excess, or as an invitation to his less-hectic world? Were the bells framing the piece joyful music or a loud warning? There is no inscription to offer any insight.
Some of these questions can be answered with an examination of the site. I would love to see if it is in a temple of Bacchus or someone’s home. If it was part of state religion, it could be a warning. As a god, Bacchus still had to be worshipped and honoured, but perhaps the mosaic suggests caution and the danger of excess. If personal, it could be a celebration of the duality of the god and the embracing of that message. It could also suggest a love of Greek culture and ideals with an interest in displaying them. As it is most likely in a villa, the room in which it is placed could be interesting; was it in a dining room or a private room?
I am very excited to see this mosaic in person and learn more about the site in which it was found.
