K.M.D. Dunbabin urges modern viewers to consider mosaics within the context of their functional role as integral architectural elements in Roman buildings. She goes on to note that the majority of mosaics known to current scholars come from the floors and walls of dining rooms (trinclinia) in Roman homes (Mosaics of the Greek and Roman World, pp. 1-6). When framed in such a context, this mosaic featuring Dionysus, the god of wine, becomes more than just an isolated mythological scene and rather an instance of a union between a subject matter and its physical location. The particular subject here with Dionysus in a chariot pulled by centaurs is a popular scene in the Imperial period. A mosaic with the same subject is in the permanent collection of the Bardo Museum, Tunisia. The subject was also popular in other media; see for example a large cameo in the Louvre, no. 216 in C. Gasparri, "Dionysos/Bacchus," in LIMC, vol. III.