The Antioch Mosaics at Wellesley College
Exploring the many lives of Wellesley's Antioch mosaics over the last 1,500 years.
The Antioch Mosaics at Wellesley College
Mosaic pavements once decorated the ancient Mediterranean, on floors and walls of buildings from the Classical period through Late Antiquity (5th century BCE to 7th century CE), and many are now found in museums around the world. Two mosaics from the ancient city of Antioch, now held by the Davis Museum at Wellesley College, have witnessed nearly 1,500 years of history on three continents. This virtual exhibition explores the many lives of Wellesley’s Antioch mosaics, from their roles as centerpieces of extravagant Roman banquets to their reinstallation at the Davis Museum in 2016.
Tetradrachm: Head of Antiochos I (280-261 BCE) by UnknownThe Davis Museum at Wellesley College
Seleucus I, a general who fought for Alexander the Great, founded Antioch at the end of the 4th century BCE. Antioch was a bustling Hellenistic city and the crown jewel of the vast Seleucid Empire. It was ruled by a series of hereditary kings, such as Antiochus I (324/323 BCE-261 BCE), whose portrait is found on this coin from the Davis Museum. Antiochus is expressively gazing to the right while his mess of curly hair is bound with a diadem, features that intentionally mimic depictions of Alexander the Great.
Tetradrachm: Apollo (280-261 B.C.E.) by UnknownThe Davis Museum at Wellesley College
The reverse of the coin depicts the god Apollo surrounded by the Greek inscription “Basileus Antiochou,” which translates to “[Coin] of King Antiochus.” Apollo, the patron deity of the Seleucid dynasty, is shown seated upon a rock and holding an arrow, while his bow sits on the ground to the right.
After Antioch came under the control of Rome in 64 BCE, the city continued to grow in prosperity and prominence. At its peak, over 300,000 people lived in Antioch, making it one of the largest cities in the Roman world. Because Antioch's population represented a variety of cultures, languages, and religions, it developed a reputation for educated and cosmopolitan citizens. For example, this mosaic from a house at Antioch (now at Princeton) celebrates the famed Greek playwright Menander. By the 6th century CE, Antioch entered into a state of decline and the city was gradually buried beneath the Orontes River. It lay there for nearly 1,500 years until a series of excavations in the 1930s.
Map of Ancient Antioch (1936-12-10) by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
Between 1932 and 1939, a consortium led by Princeton University set out to discover the ruins of Antioch near the modern-day city of Antakya, Turkey. They were joined by the Worcester Museum of Art, the Louvre Museum, and the Baltimore Museum of Art. Collectively, this team of scholars and archaeologists was known as the Committee for the Excavation of Antioch-on-the-Orontes.
Staff of 1933 Excavation Season (1933-05-31) by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
Wellesley Associate Professor of Art William A. Campbell (bottom row, far right) served as the excavation's field director, which meant that he organized the day-to-day operations at Antioch. Each March, between 1932 and 1939, Campbell took a leave from Wellesley to live and work in Antakya for months at a time to oversee the excavation. In this photograph, he is shown with the 1933 excavation staff.
Staff of the 1935 Antioch Campaign (1935-06-05) by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
Campbell (back row, center) managed a growing team of scholars from the US and Europe as well as a staff of residents from nearby towns, whose local knowledge was a crucial resource to the project. Those living in and around Antakya knew the area’s topography and could identify potentially rich locations for excavation.
Preliminary Grid Map of Excavations (1934-06-26) by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
This map from 1934 represents the first area of ancient Antioch that the Committee for the Excavation of Antioch-on-the-Orontes excavated, uncovering centuries of the city’s history. They used a grid system of numbers and letters to refer to specific buildings and discoveries.
One of the first buildings to be discovered, at the start of the excavations in April 1932, was the Atrium House. It is number 20 on this map, in the sector known as 10-N. The residence's location near prominent structures, like the imperial palace and hippodrome (a stadium for chariot racing), suggests that the owner was most likely an elite member of Antioch’s society.
Roman Mosaic from Antioch (2nd century CE) by UnknownThe Davis Museum at Wellesley College
Archaeologists found the first of Wellesley’s two Antioch mosaics, a geometric border dating to the 2nd century CE, in the Atrium House's triclinium or dining room.
Triclinium Mosaic of the Atrium House (1932-04-20) by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
As you can see from this 1932 excavation photo of the Atrium House, the dining room was large and contained a number of different mosaic scenes all within the same space.
A Fine Roman Mosaic Comes to Light (1932) by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
This video footage from 1932, generously provided by the Antioch Expedition Archives in the Department of Art and Archaeology at Princeton University, shows archaeologists excavating and photographing the Atrium House's dining room mosaic.
Roman Mosaic from Antioch (2nd century CE) by UnknownThe Davis Museum at Wellesley College
The mosaics from the Atrium House's dining room were divided among four different institutions: Wellesley College, Princeton University, the Baltimore Museum of Art, and the Louvre Museum. The division of mosaics during the course of an archaeological excavation remains a debated practice. It has had a profound, and sometimes detrimental, impact on how the Antioch mosaics have been viewed and researched. With careful study, we can attempt to reconstruct such mosaic compositions and consider their original context in ancient Antioch.
A series of geometric and floral motifs make up the border of the Wellesley mosaic from the Atrium House. Yellow and black tesserae (small, square pieces of stone or glass used to create mosaics) form a meander pattern, which is above a band of red triangles on a white ground.
The detailed vine scroll consists of green stems and violet flowers surrounded by black tesserae. The extensive color palette of the stones, the detailed effects of shading, and the naturalistic shape of the plants each increase the mosaic’s realism. Artisans labored for countless hours to assemble the tiny tesserae that make up this floor pavement. The Atrium House's owner exhibited his wealth and status to guests through this expensive and intricate mosaic.
Roman Mosaic from AntiochThe Davis Museum at Wellesley College
The border mosaic at Wellesley once framed the top of a figural scene from the Atrium House that is now at the Princeton University Art Museum. Although only the lower third of this mosaic remains, we are still able to reconstruct it. From Greek mythology, as well as similar artistic depictions of the couple, we know this mosaic shows the goddess of love, Aphrodite, with her mortal lover Adonis.
At the left, Aphrodite sits upon a large throne resting her feet on a stool. Based on the folds in her clothing, she appears to be leaning towards the male figure on the right. Seated nude on a smaller throne, Adonis holds a staff in his right hand while a dog stands to his left.
Reconstructed Roman Mosaic from Antioch by UnknownThe Davis Museum at Wellesley College
These Antioch mosaic fragments, at Wellesley (top right portion) and at Princeton, can now only be reassembled in our imaginations--or digitally, with photo editing software.
Reconstruction of the Atrium House's Dining Room (1933) by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
As you can see from this 1930s photographic reconstruction, the mosaic depicting Aphrodite and Adonis, composed of the fragments now at Wellesley and Princeton, was one of five such figural compositions that made up the dining room floor within the Atrium House.
Reconstruction of the Atrium House's Dining Room by Wes Chilton and Victoria I, Worcester Art MuseumThe Davis Museum at Wellesley College
This more recent reconstruction gives you an idea of just how vivid the mosaics would have been when they were viewed by Roman banqueters in the Atrium House at Antioch.
Upon entering the dining room, the visitor walked across a figural scene depicting a drinking contest between the Greek hero Hercules and the Greek God of Wine, Dionysus. On either side are smaller mosaics—a dancing satyr on the left and a maenad, or female follower of Dionysus, playing cymbals on the right.
The central part of the dining room contained two figural mosaics: the one of Aphrodite and Adonis and below, one depicting the Judgement of Paris.
Judgement of Paris Mosaic (1933-05-31) by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
The Judgement of Paris mosaic shows two men to the right: the god Hermes and the mortal prince of Troy, Paris. He has been asked to decide who is the most beautiful goddess, choosing between Aphrodite, Hera, and Athena.
Reconstruction of the Atrium House's Dining Room by Wes Chilton and Victoria I, Worcester Art MuseumThe Davis Museum at Wellesley College
Why are the back two mosaics in the Atrium House's dining room facing upside-down in the room reconstruction? The panels are arranged so that diners sitting on couches, placed on the diamond mosaic border, would have been able to view, discuss, and debate the mythological scenes in front of them.
Telegram from the Louvre to Wellesley College (1933-10-31) by Louvre MuseumThe Davis Museum at Wellesley College
In 1933, the Committee for the Excavation of Antioch-on-the-Orontes gave the 2nd century mosaic from the Atrium House to Wellesley as thanks for the service of Professor William A. Campbell. The mosaic was first shipped from Antakya, Turkey to the Louvre Museum in Paris, France and then onwards to the United States. The Louvre sent this telegram to Wellesley College to confirm its arrival.
Letter from Baltic Shipping Company to Wellesley College (1933-11-09) by Baltic Shipping CompanyThe Davis Museum at Wellesley College
As this letter from the Baltic Shipping Company confirms, the mosaic arrived in New York at the beginning of November 1933. Later that month, it was delivered to Wellesley College and placed in the galleries of the Farnsworth Art Museum.
Roman Mosaic From Antioch (5th century CE) by UnknownThe Davis Museum at Wellesley College
The second mosaic at Wellesley comes from Daphne, a resort town south of Antioch.
Plan of Yakto Villa/Complex at Daphne by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
There, excavators found a massive building that was likely a private villa, now known as the Yakto Complex, which dates to the 5th century CE.
The geometric mosaic at Wellesley comes from a square room within the complex, labeled as number 21 on the building’s plan.
Photograph of Room 21 at the Yakto Complex (1933-05-04) by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
This image dates to May 4, 1933, not long after the Yakto Complex was excavated. The geometric mosaic (13.1 ft. x 13 ft.) took up the entire floor within room 21, which was one of the smallest found at the Yakto Complex. This gives us an idea of how massive the building itself once was. As with the mosaic from the Atrium House, the Antioch committee gifted the 5th century CE geometric pavement to Wellesley in July 1936 to honor William Campbell.
Roman Mosaic From Antioch (5th century CE) by UnknownThe Davis Museum at Wellesley College
At the center of this geometric mosaic is a circle with alternating rays of color in black, white, red, blue, and grey. Eight squares form an octagon, each enclosing a different geometric pattern.
The squares are interrupted by triangles and diamonds that also contain a variety of shapes and patterns. The entire composition is framed by a band of white tesserae and a second band of white diamonds upon a black background.
Although it is difficult to see in the photograph, each geometric pattern is carefully shaded with black and white tesserae, creating a 3D effect. If you walked across the floor, each pattern would seem to ebb and flow, challenging your perception of the mosaic as a flat surface.
Workers Placing Cement Backing on Raised Mosaic (1934-08-17) by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
Exporting each of the Antioch mosaics to Wellesley and the other collaborating institutions was a feat of engineering. A piece of fabric or burlap was glued across the entire mosaic composition before it was rolled up like a rug and removed from the excavation site. It was then unrolled upside down on solid ground. The back of the mosaic was reinforced with concrete and iron bars. As a result, each pavement became extremely heavy.
Removing Fabric Cover on Mosaic (1934-08-24) by Committee for the Excavation of Antioch-on-the-OrontesThe Davis Museum at Wellesley College
Each mosaic was packed into a wooden crate with straw to be shipped abroad. When the pavement reached its final destination, the fabric or burlap was removed from the surface. Often large mosaics had to be reassembled from smaller sections.
The massive geometric 5th century CE floor pavement from the Yakto Complex was cut into five segments and shipped directly to Wellesley, arriving on November 24, 1936. In this photograph, Venetian mosaicist Ettore Moro-Lin, assisted by Wellesley students, carefully cleans and preserves each piece of the mosaic before reassembling it on a bed of sand within the Farnsworth Art Museum.
Antiquities Collection, North Gallery, Farnsworth Art Museum at Wellesley College (1937)The Davis Museum at Wellesley College
The 5th century CE Antioch mosaic remained within the Farnsworth Art Museum until 1958, when the building was demolished to make way for the Jewett Art Center.
Gathering in Sculpture Court, Jewett Art CenterThe Davis Museum at Wellesley College
After 1958, the 5th century Antioch mosaic served as the centerpiece of the Jewett Art Center’s sculpture court, where it remained until 1993.
Schoolchildren in Sculpture Court, Jewett Art CenterThe Davis Museum at Wellesley College
This was an important and forward-thinking placement, as most museums at the time hung mosaics on the wall like paintings. At both the Farnsworth and Jewett, the 5th century CE mosaic was placed so that viewers could experience it as the ancient Romans had--on the floor!
Antioch Mosaic Being Conserved (1993)The Davis Museum at Wellesley College
Beginning in the early 1990s, the 5th century CE Antioch mosaic underwent multiple years of cleaning, stabilization, and conservation led by a team from Harvard University’s Straus Center for Conservation.
Installation of the Antioch Mosaic in the Davis Museum (1993)The Davis Museum at Wellesley College
The pavement was specially fitted with steel plates and bolts to reinforce its structure and prepare for its 1993 installation on a wall on the fifth floor of the newly-built Davis Museum and Cultural Center.
Moving the Mosaic Video (2016-06-01) by The Davis Museum at Wellesley CollegeThe Davis Museum at Wellesley College
In 2016, the 5th century CE mosaic underwent another round of conservation to stabilize it. Through another major feat of engineering, as displayed in this video, it was brought to the Davis Museum’s second floor galleries.
Art of the Ancient Mediterranean Gallery, The Davis Museum at Wellesley CollegeThe Davis Museum at Wellesley College
As part of "The Davis ReDiscovered," the 2016 reinstallation of the permanent galleries, the 5th century CE Antioch mosaic was returned to the floor. Placed at the center of the ancient Mediterranean gallery, it is now viewable on the floor as originally intended. Low stanchions allow for viewing but prevent visitors from walking upon the pavement.
For nearly a century, the Antioch mosaics have provided Wellesley College students with a tangible connection to the ancient Mediterranean. As this exhibition reveals, the mosaics are also inextricably linked to Wellesley, its campus, and its history. Although they were created nearly 1,500 years ago, the Antioch mosaics are not just ancient history, but part of Wellesley's story too.
This online exhibition was curated by Dr. Nicole Berlin, the Assistant Curator of Collections at the Davis Museum, Wellesley College. Many thanks to the Wellesley College Archives and the Visual Resources Department at Princeton University for the archival photographs in this exhibition. I am particularly grateful for the support of Julia Gearhart, director of the VRC at Princeton, for allowing me to use all of the documents and photographs from the Committee for the Excavation of Antioch-on-the-Orontes. The Worcester Art Museum kindly provided the color reconstruction of the Atrium House. Thank you to Sarah Gillis, Associate Registrar, and Dr. Claire Whitner, Director of Curatorial Affairs and the James A. Welu Curator of European Art, for facilitating this request. Special thanks to Tiffany Chu (Class of 2022) for stitching together the Wellesley and Princeton mosaic fragments from the House of the Atrium. The recent conservation, stabilization, and movement of the 5th century Antioch mosaic was made possible in part by the Institute of Museum and Library Services, grant MA-30-15-0377.
