The Mosaic of the islands and cities of the Mediterranean (French: Mosaïque des îles et des villes de Méditerranée) is a Roman floor mosaic dating to the late 3rd or early 4th century AD. It was discovered at Haïdra (ancient Ammaedara) in present-day Tunisia and is now held in the Bardo National Museum in Tunis.
The mosaic shows a series of named islands and coastal cities of the Mediterranean and is generally interpreted as a symbolic representation of the Mediterranean world, drawing on mythological and religious traditions, particularly those associated with the cult of Venus.
The mosaic was discovered during archaeological investigations at the site of ancient Ammaedara in central Tunisia, where several mosaic pavements were uncovered in excavations conducted by the Tunisian heritage authorities shortly before their publication in 1997. The site lies in the central-western part of the country, near the modern town of Haïdra, close to the border with Algeria.
The mosaic formed part of a building of uncertain function, of which only part has been excavated. The excavated area revealed a structure measuring approximately 30 by 15 metres, including a corridor leading to a large room measuring about 6 by 5.3 metres and opening onto three raised exedrae. The mosaic decorated this principal room and was one of several pavements discovered at the site.
Following its discovery, the mosaic was lifted and subsequently underwent conservation and restoration, including mounting on a modern support system. A later conservation programme carried out by specialists in Arles addressed structural problems in the earlier restoration and involved removing the previous support and remounting the mosaic.
The mosaic is a large rectangular composition measuring approximately 6 by 5 metres. It is organised into a series of framed panels depicting named islands and coastal cities of the Mediterranean, each represented as a small architectural vignette accompanied by an inscription. These are surrounded by a richly decorated marine border populated with fish, sea creatures, and small winged figures.
The mosaic is executed in polychrome tesserae and makes use of a varied palette to distinguish architectural elements, vegetation, and marine life. The central composition originally consisted of multiple panels, of which eleven are preserved, each depicting a named location set within a stylised coastal landscape. The main field is framed by a double border, including a geometric band and a marine scene with rocks, plants, and a wide variety of sea creatures.
The mosaic is not arranged as a geographical map but instead presents a selection of named locations drawn from mythological, religious, and literary traditions. Each vignette combines a place-name with a conventional architectural setting, and the sites represented include islands, cities, and sanctuaries rather than a consistent category of places. Scholars have therefore understood the composition as a conceptual or symbolic representation of the Mediterranean rather than a literal depiction of the region.
Many of the locations shown were associated with well-known cults and mythological narratives. Several, including Paphos and Eryx (modern Erice), were major centres of the cult of Venus, and the presence of cupids within the marine border has been linked to this theme. At the same time, other places represented on the mosaic, such as Naxos and Knossos, are connected with the mythology of Dionysus and the cycle of Ariadne, pointing to a broader mythological framework.
Taken together, the sites depicted have been interpreted as forming a kind of symbolic or literary catalogue of the Mediterranean world, bringing together well-known locations associated with mythology and religion rather than attempting to reproduce its geography.