Standards of realism developed for the study of painting have long dominated the scholarship of Roman mosaic floors. Few have considered mosaics as horizontal surfaces underfoot, touched as they are seen and often experienced by a mobile observer. Large-scale labyrinth mosaics were especially popular in the baths of Roman North Africa, where the demands of their traversal and their peripatetic viewing prompted broader, metaphoric meanings to come into play. These pavements interact with both architecture and their spectators, deliberately eliding boundaries between life and myth for those who crossed their surfaces.
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