Located in the archaeological site of Itálica, in Seville (Spain), the so-called House of the Birds houses one of the most unique mosaics of Roman Hispania. This work of art, dating from the second half of the 2nd century AD, is a reflection of both the artistic virtuosity of the time and the fascination the Romans had for birds, a recurring motif in their iconography.

The mosaic, which gives its name to this domus, covers an area of 6.20 x 5.70 meters and is made using the technique of opus tessellatum. It depicts 33 representations of birds arranged in square fields decorated with geometric and vegetal motifs.

These figures, which include species such as swans, songbirds, waterfowl, pigeons, and even birds of prey, were created with tesserae made of stone and glass paste in vibrant colors, highlighting both the anatomical variety and the liveliness of the scenes represented.

Mosaic Roman Birds Spain Italica
Frontal detail of the mosaic of the House of the Birds in Italica. Credit: Emilio J. Rodríguez Posada / Wikimedia Commons

The placement of this mosaic within the house, in a room adjacent to the main peristyle, suggests its function as a central decorative element and status symbol. The House of the Birds belongs to the type of Roman domus with an axial design, where spaces were organized around interior courtyards.

Other mosaics in the house also feature geometric, vegetal motifs, and, to a lesser extent, figurative representations, such as the bust of Tellus, the personification of the Earth, surrounded by birds.

The Romans attributed various meanings to birds, ranging from mythological references to symbols of prosperity and fertility. In this particular mosaic, the selection of species seems to allude both to the diversity of nature and to the erudition of the house’s owner. Birds such as swans and peacocks were often associated with elegance and luxury, while birds of prey could symbolize strength and power.

Mosaic Roman Birds Spain Italica
Another view of the mosaic of the House of the Birds in Italica, Seville. Credit: Guillermo Carvajal / labrujulaverde.com

The representation of birds in Roman art was not merely decorative. During the Hellenistic period and the High Empire, birds were also the subject of scientific study. Treatises like Peri Ptenon by Alexander of Mindo and Pliny the Elder’s Natural History documented their behavior, habitats, and uses in daily life. These texts, along with mosaics such as the one in the House of the Birds, are evidence of an intellectual curiosity that encompassed both the pragmatic and the aesthetic.

In the mosaic, the birds appear in various postures: some in flight, others drinking water or perched on branches decorated with small vegetal motifs. This diversity of poses reinforces the idea that the work seeks to capture an ideal aviary, where nature is organized according to an artistic and orderly scheme. The tesserae, while not always faithfully reproducing the natural colors of the birds, convey a lighting effect that emphasizes the dynamism of the figures.

The mosaic of the House of the Birds is not unique in its genre, but it stands out for the variety of species represented. In Pompeii, the House of Paquius Proculus contains a similar mosaic with birds framed in square fields, though its color range is more limited. Another notable example is the Villa of the Birds in Alexandria, where the representations include both aquatic and terrestrial birds, accompanied by floral motifs. However, in none of these cases is the taxonomic breadth and detail observed in Itálica achieved.

Mosaic Roman Birds Spain Italica
Detail of some of the birds represented in the mosaic of Italica. Credit: Guillermo Carvajal / labrujulaverde.com

Researchers have also drawn parallels between this mosaic and illustrations contained in ancient ornithological treatises. In the manuscript known as Dioscorides of Vienna, dated to the 6th century but based on earlier sources, there are tables with birds organized in similar squares. Thus, the mosaic of Itálica could have been inspired by scientific schematics, combining naturalist knowledge with artistic expression.

Beyond its aesthetic value, the mosaic reflects the lifestyle of the Roman elite and their relationship with nature. Aviaries, called aviaria, were common in Roman villas, not only as recreational spaces but also as displays of wealth and sophistication. Pliny the Elder describes how the Romans built large facilities to house exotic birds, which were admired both for their song and their plumage.

The presence of birds of prey and non-domesticable species in the Itálica mosaic reinforces the idea of an idealized aviary, possibly linked to mythological and philosophical concepts. This “symbolic aviary” represents a world ordered by the hand of man, where nature becomes a reflection of human knowledge and power.

The House of the Birds and its extraordinary mosaic are a tangible testimony to the cultural and artistic splendor of Itálica during its peak under the reign of Hadrian. This site, which is part of Spain’s rich archaeological heritage, offers a unique window into the customs, values, and aspirations of Roman society.


SOURCES

Głowa, A., & Zimnowodzka, A. (2025). Mozaika w Casa de los Pájaros w Italice (Santiponce, Sevilla) jako wyraz rzymskiej fascynacji ptakami. Collectanea Philologica, (27), 289–305. doi.org/10.18778/1733-0319.27.19


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