The so-called sector of Sosandra, also colloquially called the "Temple of Sosandra", named after a statue found in 1953 CE, is a multi-terraced complex likely identified as Nero’s ebeterion for the Misenum fleet. It includes a villa, a hospitalia, and a decorated balneum. The terraces feature porticos, open-air triclinia, and residential quarters with intricate mosaic floors. A semicircular structure with vaulted rooms and a decorative façade adds to its grandeur. A possible nymphaeum supplied water to an external tank. Notable frescoes include 1st-century Egyptian-themed paintings linked to the cult of Isis, later overlaid by 2nd-century architectural scenes.

circa 50 BCE

The site reflects the architectural and artistic sophistication of Roman leisure facilities, integrating residential, recreational, and spa elements within a carefully designed landscape. The complex is arranged across four terraces. The highest terrace contains service areas and a small balneum, notable for its richly decorated stucco ceilings, which suggest an emphasis on luxury even in functional spaces. Below this, the second terrace features a spacious platform surrounded on three sides by a portico. In the adjacent garden, four parallel walls may have once defined three open-air triclinia, where guests could recline and dine while enjoying the surrounding scenery.

Above the peristyle, several residential rooms once displayed opulent finishes, particularly mosaic floors that depict theatrical masks enclosed within geometric frames. These elaborate mosaics highlight the influence of theatrical culture and artistic refinement in Roman private spaces. Beneath this level, a semicircular structure is topped by five vaulted rooms, which were originally concealed behind a façade decorated with niches and columns, contributing to an impressive visual effect. At the heart of the complex, a room possibly functioned as a nymphaeum, from which water flowed into a large external circular tank, enhancing the site's aesthetic appeal while serving a practical purpose.

The lower terrace contains frescoes from two distinct periods. The earliest, dating to the mid-1st century CE, display Egyptian motifs, including figures and symbols associated with the cult of Isis, reflecting the widespread influence of Egyptian religious practices in Roman society. These were later overlaid by 2nd-century paintings depicting male and female figures within architectural settings, demonstrating the evolving artistic tastes of the period.

As a whole, the site exemplifies the grandeur of Roman architectural design in elite leisure spaces. Its combination of refined decoration, carefully planned terraces, and sophisticated water features underscores Baiae’s reputation as a luxurious retreat for the Roman aristocracy.

circa 50 BCE

Statue of Mercury

circa 150 CE

Aphrodite of Baiae
The so-called Aphrodite of Baiae is a Roman marble statue depicting the goddess Aphrodite in the Venus pudica pose, covering her left breast with her right hand while holding a draped himation over her lower body with her left. A Roman copy of a lost Greek original, likely influenced by Praxiteles' Aphrodite of Cnidus, the statue was restored in the 18th century by Antonio Canova, who reconstructed its missing head, neck, and right arm. Characterized by its delicate contrapposto stance and finely sculpted details, the statue reflects both the artistic refinement of the Classical Greek tradition and the Roman appreciation for idealized beauty.