Newly Unearthed Mosaics in Berat Reveal the Early Christian Heritage of Ancient Antipatrea

Recent archaeological investigations conducted in the Albanian city of Berat, historically known as Antipatrea, are illuminating a previously obscured chapter of its Early Christian past. The discovery of two distinct Late Antique mosaic floors—one unearthed within the medieval Berat Castle in 2012, and the second found in the lower city sector in 2018—offers rare material evidence from an era largely hidden by centuries of destruction and subsequent urban reconstruction.

These significant findings are pivotal because they substantially broaden Berat’s recognized historical footprint, moving beyond the celebrated Ottoman urban landscape for which the city earned its UNESCO World Heritage status. The mosaic recovered inside the castle walls, while fragmented, covers an area of approximately 20 square meters and showcases intricate detailing. Its complex ornamentation includes geometric borders, interlacing patterns, and inscriptions rendered in Greek lettering, strongly suggesting its origin lies within a Late Antique basilica whose complete architectural blueprint remains elusive.

The second, smaller mosaic floor, located beneath later Ottoman constructions in the lower city, provides a crucial chronological and theological anchor. Its Greek inscription prominently features the term Theotokos (Mother of God). This specific term was officially ratified at the Ecumenical Council of Ephesus in 431 AD. This direct linguistic clue firmly dates the flooring to post-431 AD, establishing a valuable temporal marker and confirming that the Christian community of Antipatrea was closely connected to the doctrinal advancements circulating throughout the Greek-speaking world of the Eastern Roman Empire.

A comparative review of the decorative motifs reveals striking parallels with artistic styles observed at other vital Late Antique hubs across the region, including Butrint, Stobi, Byllis, and Heraclea Lyncestis. All these centers operated under considerable Greek cultural and administrative influence. The construction techniques, utilizing limestone and terracotta tesserae, alongside recurring motifs such as octagonal grids and scrolling vine patterns, demonstrate shared artistic traditions prevalent throughout the Balkan and Adriatic territories. This consistency points toward a regional mobility of mosaic artisans who disseminated their skills and aesthetic preferences, thereby forging a unified visual language across the area.

While Berat is predominantly recognized for its Ottoman character, these discoveries, tentatively dated to the 5th and 6th centuries AD, underscore the city’s deep, layered historical structure, rooted firmly in the Early Christian period. Archaeologists are stressing the urgent need for more systematic and comprehensive excavations to fully map out the Late Antique phases of Berat. These findings prove that the city was not an isolated entity but an active participant in broader religious and artistic networks linking the Balkans to the Aegean Sea. Current efforts are focused on the meticulous documentation and conservation of these artifacts, while the National Council of Archaeology is expected to issue decisions regarding the subsequent research strategy for this important archaeological zone.