DRAFT

Terrace House 2

Author: Kathryn Gleason

Contributor: Shamika Ghate

Permalink: https://roman-gardens.github.io/test-drafts/id/a59bfedb41/

Published: 2021-04-21

Modified: 2025-09-21

Dates

1st-3rd c. CE

Garden Description

The most striking remains are in Terrace House 2, in Room 20 (Residence 4), excavated by H. Vetters between 1967-1983. Here, in a space originally designed as a courtyard, the walls are decorated with an elaborate garden scene. Much of the painting is covered by a later painting of marble panels, but on the north and west walls the garden scene has been partially revealed (Figs. 1 and 2). The viewer within the room looks out past a real marble dado on top of which is an illusionistic marble fence with an unusual egg and dart design along the top. Beyond is a garden scene, similar to those seen in Pompeii or the famous garden scene of Livia at Prima Porta. The scene is filled with luxuriant foliage, out of which apple trees rise up against the blue sky bearing apples or quinces. A bird flies over a young juniper or cypress. The illusion of the garden continues without a break around the corners. It allows the viewers to feel present in a garden, while knowing they are in a room looking out at it. The later painting completely destroys both the illusion and any recollection that the space had formerly been an open courtyard.

In the central peristyle of Residence 2 of Terrace House 2, Vetters uncovered a late Imperial mosaic of Dionysius and Ariadne in a niche. The peristyle itself is a paved courtyard, but the mosaic offers the viewer a rich view of a paradisiacal vineyard. A lunette features a mosaic of two peacocks holding a garland over a basket or urn of grapes and fruits, with white geese to each side standing on a green lawn with roses and lilies (Fig. 3). The ceiling of the niche features Dionysias and Ariadne in a central medallion set into a panel of blue, against which is arrayed a vine laden with grapes and doves (Fig. 4). In the upper corner, the vine emerges from the ground, and along the base of the wall, a winged putto leads two harnessed leopards or panthers. The opposite side is not preserved.

Just off the peristyle in Room 17, the walls feature a variety of birds, individually portrayed on white backgrounds either sitting on branches or standing among small plants. In Room 24, the landscape themes continue with a painting of stags in woodland, apparently being chased by a putto. Only a small fragment remains. In Room 14, mythological scenes of Achilles and Skyros (west wall) and Achilles and Priam (south wall) are set in a landscape of rocks and trees (Fig. 6). Bird and plant themes are represented through this house.

Plans

Plan of Ephesos terrace house 2 with courtyard in the middle and rooms surrounding it.
Credit: Photo by N. Blanc

Images

Garden painting in the North-West corner of the peristyle showing plants and painted windows with more surrounding context — Garden painting in the North-West corner of the peristyle

Detail of the garden painting in the North-West corner of the peristyle showing plants in the foreground and trees with red fruits — Detail of the garden painting in the North-West corner of the peristyle.
Credit: Photo by N. Blanc

Painting showing plants as discovered on the west wall of the terrace house 2 — Painting as discovered on the west wall of the terrace house 2

Painting showing plants as discovered on the North wall of the terrace house 2 — Painting as discovered on the North wall of the terrace house 2

Bibliography

Forschungen in Ephesos Vol. VIII/1, Figs. 207-219 (worldcat)
Forschungen in Ephesos Vol. VIII/2 Figs. 109-130 (worldcat)
W. Jobst, Romische Mosaiken aus Ephesos I: Die Hanghauser des Embolos,Vienna, 1977 (worldcat)
C. Kearns, "Visual representations of gardens: diachronic perspectives on the art of landscape," In ed. K. Gleason, Cultural History of Gardens, London. 2013. pp. 164-165. (worldcat)