The "butler’s mosaic" dating from the middle of the 3rd century features a drinking scene.
Two characters are serving two others, who are much smaller, from amphoras on their shoulders.
The two amphoras bear the letters ΡΙΕ (Rie, "Drink!"
in Ancient Greek) and ΖΗϹΗϹ (Zēsēs, "You will live!").
The amphora bearers are flanked by another two characters, one of whom is carrying another amphora, the other of whom is carrying a branch of laurel and a basket of roses.
This depiction is a greeting to all guests and a promise of hospitality.
The same is true of another mosaic held at the museum which bears the phrase Omnia tibi felicia ("May everything please you").

The "mosaic of the victorious charioteer" is younger than these works.
It dates from the second half of the 4th century, and features the phrase Eros omnia per te ("All things through you, Eros").
The depiction of the charioteer shows great attention to realism, as do the depictions of the horses, two of which are named Amandus and Frunitus after their characters.
The horses are arranged symmetrically; such symmetries were very popular at the time.
The charioteer is holding a whip, a crown made of branches and a palm branch.
The starting blocks of the circus can be seen in the background.
This work of art was found in a private residence and it appears that it must be interpreted as a monument donated by the owner celebrating the victory of a charioteer named Eros.

The "Ulysses mosaic" is a work inspired by the Odyssey: the Greek hero Odysseus (Ulysses to the Romans) is seen standing on a boat that is decorated with a human head and a palm branch and that has two sails and a battering ram.
Ulysses's hands are tied to the main mast so that he will not succumb to the fatal charm of the sirens’ music.
Ulysses’s companions are seated around him, their ears blocked with wax as described in the legend.
Three sirens stand at the base of a rocky crag.
They are depicted with the upper body of a woman but the wings and legs of a bird.
One of them holds a flute, the second a lyre, while the third, who does not carry an instrument, is believed to be the singing siren.
In front of Ulysses’s boat, there is a small barque with a fisherman holding a lobster, the depiction of which is over-sized.
The mosaic has been dated to around AD 260–268; it was discovered in the "House of Ulysses and the Pirates".

The mosaic "Neptune and the pirates" originates from the same peristyle as the preceding work.
It depicts the punishment of pirates on the Tyrrhenian Sea, merging themes linked to Dionysus and more common marine themes.
The god is standing, ready to throw his spear.
He is supported by a maenad, a satyr and aged Silenus, who is holding the ship's rudder.
A leopard is attacking one of the pirates, who are transformed into dolphins as soon as they recognize the divine nature of their adversary.
To the left, genii have boarded another ship, while to the right, fishermen are attempting to catch an octopus with a net.

Yacoub attributes a protective function to these two scenes, a means of invoking fate, a practice which is probably based on Hellenic tradition.

The mosaic of the "cyclopses forging Jupiter’s thunderbolts" from the floor of a frigidarium depicts three cyclopses: Brontes, Steropes, and Pyracmon or Arges.
They are depicted naked, forging Jupiter’s thunderbolts, which Vulcan, seated in front of them, is holding on an anvil.
This last element has been lost.
The mosaic dates to the end of the 3rd century and was discovered in the "Bath of the Cyclopses".
The "butler’s mosaic" dating from the middle of the 3rd century features a drinking scene. Two characters are serving two others, who are much smaller, from amphoras on their shoulders. The two amphoras bear the letters ΡΙΕ (Rie, "Drink!" in Ancient Greek) and ΖΗϹΗϹ (Zēsēs, "You will live!"). The amphora bearers are flanked by another two characters, one of whom is carrying another amphora, the other of whom is carrying a branch of laurel and a basket of roses. This depiction is a greeting to all guests and a promise of hospitality. The same is true of another mosaic held at the museum which bears the phrase Omnia tibi felicia ("May everything please you").
The "mosaic of the victorious charioteer" is younger than these works. It dates from the second half of the 4th century, and features the phrase Eros omnia per te ("All things through you, Eros"). The depiction of the charioteer shows great attention to realism, as do the depictions of the horses, two of which are named Amandus and Frunitus after their characters. The horses are arranged symmetrically; such symmetries were very popular at the time. The charioteer is holding a whip, a crown made of branches and a palm branch. The starting blocks of the circus can be seen in the background. This work of art was found in a private residence and it appears that it must be interpreted as a monument donated by the owner celebrating the victory of a charioteer named Eros.
The "Ulysses mosaic" is a work inspired by the Odyssey: the Greek hero Odysseus (Ulysses to the Romans) is seen standing on a boat that is decorated with a human head and a palm branch and that has two sails and a battering ram. Ulysses's hands are tied to the main mast so that he will not succumb to the fatal charm of the sirens’ music. Ulysses’s companions are seated around him, their ears blocked with wax as described in the legend. Three sirens stand at the base of a rocky crag. They are depicted with the upper body of a woman but the wings and legs of a bird. One of them holds a flute, the second a lyre, while the third, who does not carry an instrument, is believed to be the singing siren. In front of Ulysses’s boat, there is a small barque with a fisherman holding a lobster, the depiction of which is over-sized. The mosaic has been dated to around AD 260–268; it was discovered in the "House of Ulysses and the Pirates".
The mosaic "Neptune and the pirates" originates from the same peristyle as the preceding work. It depicts the punishment of pirates on the Tyrrhenian Sea, merging themes linked to Dionysus and more common marine themes. The god is standing, ready to throw his spear. He is supported by a maenad, a satyr and aged Silenus, who is holding the ship's rudder. A leopard is attacking one of the pirates, who are transformed into dolphins as soon as they recognize the divine nature of their adversary. To the left, genii have boarded another ship, while to the right, fishermen are attempting to catch an octopus with a net.
Yacoub attributes a protective function to these two scenes, a means of invoking fate, a practice which is probably based on Hellenic tradition.
The mosaic of the "cyclopses forging Jupiter’s thunderbolts" from the floor of a frigidarium depicts three cyclopses: Brontes, Steropes, and Pyracmon or Arges. They are depicted naked, forging Jupiter’s thunderbolts, which Vulcan, seated in front of them, is holding on an anvil. This last element has been lost. The mosaic dates to the end of the 3rd century and was discovered in the "Bath of the Cyclopses".
Dougga