Pafos Mosaics

Lonely Planet review

This mesmerising collection of intricate and colourful mosaics in the southern sector of the Pafos archaeological site, immediately to the south of the Agora, is a pleasure to discover.

Found by accident during levelling operations in 1962, these exquisite mosaics decorated the extensive floor area of a large, wealthy residence from the Roman period. Subsequently named the House of Dionysus (because of the large number of mosaics featuring Dionysus, the god of wine), this complex is the largest and best known of the mosaic houses.

The most wonderful thing about the mosaics is that, apart from their artistic and aesthetic merits, each tells a story. In particular, many are based on Greek myths.

The first thing you will see upon entering is not a Roman mosaic at all, but a Hellenistic monochrome pebble mosaic, showing the monster Scylla. Mentioned by Homer, among others, this creature was once a young girl who was the object of Glaucus' affections, but she did not care to return his love. Distraught by her rejection, he went to seek help from the witch Circe who, as fate would have it, was herself in love with Glaucus. Jealousy and black magic being a bad combination in the hands of a witch, Circe poured a dodgy potion into a bay that Scylla frequented for bathing. When Scylla dipped into the sea, her lower body was transformed into that of a long-tailed beast. Scylla, a miserable monster forever on, vented her anger at her fate by sinking passing ships. This mosaic was discovered in 1977, 1m underground in the southwestern corner of the atrium.

The famous tale of Narcissus is depicted in a mosaic in room 2. This beautiful, vain man was so attractive that he loved no-one. Instead, he fell in love with himself and spent his entire life gazing at his image in a puddle, pining away with desire. The gods took pity on him, turning him into a yellow flower that only grows near water so he could look at his reflection.

The wonderful Four Seasons mosaic (room 3) depicts Summer holding a sickle and wearing ears of corn, Spring crowned with flowers and holding a shepherd's stick, Autumn crowned with leaves and wheat, and Winter as a bearded grey-haired man.

Phaedra & Hippolytos (room 6) is one of the most important mosaics in the house. The mosaic depicts the tragic tale of a stepmother's bizarre love for her stepson. Theseus married Phaedra after abandoning his first wife, the Amazon Antiope, the mother of Hippolytos. Phaedra, tormented by her love, wrote a letter to Hippolytos declaring her affections. The mosaic depicts the moment when the panicked Hippolytos reads the letter, and Phaedra, waiting to hear his reaction, is burned by Eros' torch of love. The spurned Phaedra told her husband the story, only switching facts and telling him that his son had in fact declared his love to her. Theseus, outraged and hurt, prayed to his father, the sea god Poseidon, for punishment, and Hippolytos was killed by a wild bull that attacked him one night. But, after his death, the truth was revealed, and Phaedra, wracked with guilt, ended her own life.

One of the best mosaics in the house is the Rape of Ganymede (room 8). Ganymede, a beautiful young shepherd, was so desirable that not even Zeus could resist him. Zeus turned himself into an eagle and lifted Ganymede to Olympus, where the boy became the cupbearer of the gods. The mosaicist had apparently miscalculated the space allowed to him, which is why the eagle's wings are cropped.

In the Western Portico (room 16) is a mosaic based on a tale familiar to any lover of Shakespeare: the story of Pyramus & Thisbe. Told by Ovid in his Metamorphosis , it was adapted in Romeo and Juliet and was performed by the 'mechanicals' in A Midsummer Night's Dream . The story tells of two lovers from hostile families who could not make their love public, but who arrange to meet at dawn. Thisbe, having arrived first and wearing a veil across her face, encounters a bloody lioness wanting to drink at a stream. Afraid of the beast, Thisbe runs into a nearby cave, leaving her veil behind. The lioness, doing what lionesses do, rips the veil to shreds. You can guess the rest - Pyramus arrives at this moment and sees the lioness with Thisbe's bloody veil, and thinks that she has been devoured by the animal. Unable to imagine life without Thisbe, he draws his sword and kills himself. Thisbe then comes out of the cave and, upon finding Pyramus dead, kills herself with his sword.

For details on other mosaics, buy the excellent official Guide to the Pafos Mosaics , on sale at the ticket kiosk.

A short walk away are the smaller Villa of Theseus and House of Aion. The latter, a purpose-built structure made from stones found on the site, houses a 4th-century mosaic display made up of five separate panels. The house was named after the pagan god Aion, who is depicted in the mosaics. Although the image has been damaged somewhat, the name Aion and the face of the god can be clearly seen.

The Villa of Theseus is most likely a 2nd-century private residence and is named after a mosaic representation of the hero Theseus fighting the Minotaur. The building occupies an area of 9600 sq metres, and 1400 sq metres of mosaics have so far been uncovered. The round mosaic of Theseus and the Minotaur is remarkably well preserved and can be seen in room 36. Other mosaics to look out for are those of Poseidon in room 76 and Achilles in rooms 39 and 40.

Allow at least two hours to see the three houses properly.