From the December 2024 issue of Apollo. Preview and subscribe here.
The Bardo Museum in the suburbs of Tunis is home to more than 5,000 square metres of Roman and Byzantine mosaics which depict more than 3,000 years of Tunisian history. The mosaics document Punic scenes ranging from the quotidian to the mythological and the outright fantastical. There are sea monsters, pleasure houses, nymphs, Bacchae, beasts and countless wide-eyed and wide-mouthed fish.
Several mosaics feature scenes from the life of Dionysus. In one, the young god transforms Tyrrhenian pirates into Dolphins (3rd century, Dougga); another depicts him marrying Ariadne (late 3rd century, Thuburbo Majus); and in yet another he gifts a vine stock to Icarius (2nd century, Uthina). In the most majestic, a full-walled mosaic from the 3rd century in El Jem, he is ‘in triumph’, presiding over the birth of the vine.
In a panel excavated at Dougga, a mosaic decorates the triclinium, or formal dining room, of a luxury home. It depicts xenia, food and drink which were offered to guests (xenos being the Greek word for foreigner or guest), in a welcoming gesture. In one part of the image, two giant slaves pour wine from large amphorae, inscribed with the Greek phrases pie (‘drink!’) and ZHCHC (‘and you will live!’).
The creation of such mosaics was collaborative in Roman times, with most featuring large decorative geometric frames. A central section containing figures (an emblema) was crafted by a skilled artisan called a pictor musivarius, who received higher remuneration. Only the wealthiest patrons could afford mosaics entirely crafted by this specialised artist.
The proliferation of mosaics in North Africa was closely tied to the region’s fertility; it was the breadbasket of the Roman Empire. Wealthy landowners celebrated nature’s bounty and the fruits of labour in their private spaces, as the prosperous merchant class thrived on the land, of which wine was a major product. These mosaics were more than verdant patterns; they demonstrated mastery in geometric composition and spatial awareness – a tradition paralleled today in Tunisia’s winemaking.
Mosaic panel from the 3rd century showing drinks bearers serving wine at a banquet, excavated at Dougga, Tunisia. Bardo Museum, Tunis. Photo: Dennis Jarvis
Today, most of Tunisia’s wine production occurs on the country’s northern peninsula, Cap Bon, where vineyards between Tunis and the cape’s eastern coast have produced wine for more than 2,000 years. The Carthaginian writer Mago, the world’s first documented viticulturist, authored the earliest known guide to vine cultivation and winemaking. Though originally written in Punic, his 28-volume treatise was translated by the Roman senate after the conquest of Carthage in 146 BC. His insights include advice such as ‘if buying a farm, sell your townhouse’ and ‘the most productive vineyards face north’ – advice still followed today.
Tunisia’s winemaking heritage began with the Phoenicians, who founded Carthage, and continued under Roman rule. Initially, rosé wines were favoured, as they required less time to produce than reds. Though wine production receded with the spread of Islam in the 7th century, the tradition endured and was later revived during the French colonial period beginning in 1881. After independence in 1956, the industry saw a resurgence through tourism, with rosé becoming the national specialty.
Today, Tunisia has seven controlled designation-of-origin regions. Rosé wines such as Gris de Tunisie (Tunisian grey wine) dominate the market. Produced in the Mornag appellation in northern Tunisia, this crisp, light wine pairs best with the region’s Mediterranean cuisine and seafood. The naming of particular regions is modelled on the French, with whom Tunisia shares many of the same grape varietals. For instance, Muscat is a popular white cépage found in both France and Tunisia.
This is where the paths diverge, too. For example, Domaine Neferis, an estate dating back to 1893 and named after an ancient Carthaginian city, produces a dry, aromatic Muscat with aromas of lemon blossom and honey. ‘We cultivate flavours that respect our culture: orange flowers, jasmine,’ says Mayssa Abed, an oenologist at Domaine Neferis and Tunisia’s first female winemaker. The estate employs a predominantly female workforce, with women involved from grape picking, to selection, to packing. ‘Women power! We take women’s opinions seriously when crafting a new wine,’ Mayssa says.
For those intrigued by these wines, it is worth noting that most Tunisian wine – around 90 per cent – is sold domestically, with only 10 per cent exported to Europe, mainly to France. Tunisia is a Muslim-majority country, yet it is also a wine-drinking one, with 14 million bottles consumed annually. One winemaker jokes: ‘Our wine drinking is huge for a Muslim country […] We were born drunks.’ Tunisia’s winegrowing area is relatively small, covering approximately 15,000 hectares, producing about 30 million bottles annually.
Bordering Libya and Algeria, Tunisia is just an hour’s flight from Italy across the Mediterranean. Phoenicians, Romans, Arabs, Berbers, French and others have left their marks on this historic passageway of migration, trade, and military strategy. And yet, on the hillsides of Cap Bon, between olive trees and orange groves, Tunisia’s winegrowing continues to piece together a mosaic of its own through these tesserae of history and influence.
From the December 2024 issue of Apollo. Preview and subscribe here.