Beginning in 1991, archaeological excavations beneath the Cathedral of Bitonto uncovered a new chapter in the site’s ancient history. Around four meters below the current floor level, researchers brought to light a colorful mosaic pavement from the Early Christian period, along with structural remains, sculptures, ceramics, coins, and other materials—now all visible along the dedicated visitor path.

But one discovery draws the eye: a remarkably well-preserved mosaic, dating back to the mid-11th century, depicting a rampant griffin enclosed within a double circular frame. Despite centuries of architectural transformation and the passage of time, this masterpiece has survived intact.

The tesserae that compose it are crafted from white, red, and black-gray limestone, as well as colored marbles—most notably, a deep antique yellow. Executed with extraordinary skill, the mosaic’s surface gleams with vibrant color and striking geometric precision.

With its curved beak holding a flower, the griffin is set within a central ring bordered by alternating red and black backgrounds adorned with white palmettes. Four smaller circles branch out from this central medallion, connected by a slender ribbon. Each contains a symbolic motif: two birds, a plant, and a four-petaled flower. The composition is encircled by an outer border of repeating white, red, and black crosses.

The griffin—a legendary creature combining the lion, king of the earth, with the eagle, ruler of the sky—symbolizes the dual nature of Christ in Christian iconography, both human and divine. As if about to leap skyward, the beast's raised front paw reinforces this ascensional, redemptive image. The design, which closely echoes illustrations from medieval bestiaries, reveals the hand of a highly cultured and technically gifted artist.