| The larger of the two
peristyles has a number of rooms leading off from the court-yard. These
rooms consist of andrones used for symposia reached by antechambers that open directly
onto the peristyle. The floors of the andrones were decorated with
figured mosaics – one of Dionysos astride a lion, and another of a lion hunt
(both are no longer in situ but kept in the museum at Pella). The
antechambers themselves are of considerable size, and are decorated with
river-stone mosaics: one (on the west) is a geometric design; the other (on
the north of the central peristyle), an impressively large room, is
decorated with a ‘chequered’ lozenge design.
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| The columns of the
second and smaller peristyle are Ionic. A number of chambers also lead off
from this courtyard, and there seems to have been a second storey on the
north side. |
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| Although none of the
walls in the house rise more than about a metre (and most are at floor
level), there is evidence of wall painting in one of the rooms of the
northern peristyle. There are also indications of renovation in the house.
In particular, a raised floor made with Roman-style bricks has been added to
one of the rooms leading off from the northern courtyard. |
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| The House of Dionysos
was built to impress, and this is evident not only in its decoration but
also its construction. The walls were built from double blocks of dressed
marble with in-fill, and attention was paid to the arrangement of each of
the stone blocks to form intricate patterns in the external wall. |
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| In contrast, the
walls of the neighbouring House 2 are built from inferior stone, which are
lain in single rows, and less care has been taken to dress the edges of the
blocks. |
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| Less of this house
remains than of the House of Dionysos, but it was also based on a courtyard,
though this time there was only a single peristyle lined with Doric columns.
This house also had an upper storey. |
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| Like the House of
Dionysos, this house is decorated with lavish and fine mosaics, one of which
is signed. The number and quality of mosaics uncovered in these houses has
been thought to indicate that the mosaics were produced locally in Pella.
The largest of the mosaics, in the central room on the north side of the
peristyle, represented the Rape of Helen. The composition and detail in this
piece is particularly fine, and there is a strong sense of dramatic and
compositional tension between the horses who are straining to move towards
the left, while Helen, already captured by Theseus, stretches back her arms
to Deaneira on the right. All the mosaics in this house are made from
natural river stone (rather than painted tesserae), so that their colours
are muted and mellow. The mosaics at Pella also use lead strips to pick out
detail, which was an important development in the technique of
mosaics. |
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