The House with the Grand Peristyle is distinctive within the context of northern French architecture due to its unique proportions and the state of conservation of its decorative elements, including a set of sculpted columns.

Although not exceptional in size or decoration, the house nevertheless represents an archetypal example of this type of residence, according to Vipard, which was constructed by elites who sought to play a social and political role, beyond that of individual habitation.

The house thus testifies to the diffusion of Mediterranean architectural models among the Gallic elites, the process of Romanization, and the role of these buildings in social life.

[1] Near the house, to the east, are insulae composed of wood and wattle and daub, as well as a modestly sized domus on its north side and a second one near shops.

[B 8] The initial occupations of the site, dated to the 1st and 2nd centuries AD, involved the construction of modest structures of wood, wattle, and daub, and floors crafted from beaten earth.

[B 14] The building sustained fire damage in the latter half of the third century[B 15] but was subsequently repaired and dubbed the House with the Checkerboard Mosaic, a moniker derived from the advent of this novel decorative element.

The hypocaust system was no longer in use, and a mosaic was restored with tile mortar, suggesting that the occupants lacked the expertise to repair the work with local artisans.

[B 19] The material recoverers focused their efforts on cutting the columns and transporting numerous fragments to lime kilns,[B 20] where they proceeded with a comprehensive recovery of the collected elements.

[A 9] The House with the Grand Peristyle was also the subject of Pascal Vipard's doctoral thesis, which was successfully defended at Paris IV in 1996 under the supervision of François Hinard.

Contribution à l'histoire de l'habitat urbain en Gaule romaine (A domus in the Baths District of Aregenua [Vieux, Calvados].

[B 24][E 2] The restoration process sought to strike a balance between the preservation of the site and the advancement of educational objectives, akin to the approach taken at Saint-Romain-en-Gal or Jublains.

[H 6] This monumental entrance faced the cardo II[B 35] and was intended to indicate the social rank of its owner,[B 36] inspired by official architectural styles, notably the city gates of the time.

[B 42] The presence of coins dating from Vespasian to Marcus Aurelius, as well as a plethora of pottery and glass shards from the 2nd to the 4th century, lends credence to this hypothesis.

[B 29] A porter's lodge with a pebble floor was identified, and a nearby room was determined to have served as a storage area for wood intended for the sector's praefurnium.

However, during the period of the Roman Empire, members of the aristocracy began to adopt this architectural style as a means of acquiring additional space and a vantage point over neighboring structures.

[B 60] The thickness of the walls and the traces of plaster, which suggest the presence of a staircase, provide evidence that an upper level exists for the western wing.

[B 62] The Mediterranean plan of the house in these northern latitudes necessitated adaptations to the building, as evidenced by the use of wattle and daub, the presence of a portico closure system, and a heating installation.

[J 11]In the southern section of the residence, a lengthy corridor[J 12] was adorned with intersecting and tangent ocher and red circles, measuring 0.25 m (or 0.27 m[J 13]) in height[B 76] and positioned against a white backdrop.

[J 13] A comparison of the motif's usage in other second- and third-century houses (Mané-Véchen, Bavay, or Andigny-en-Bassigny) and observation of the relatively smooth reverse of the fragments indicate that the decoration was more likely a ceiling border.

[J 9] A room in the old western house, covering 52 m²,[J 17] despite the destruction caused by the cardo's passage, yielded fresco fragments, including a 0.50 m square panel depicting a mythological scene.

[H 14] The 2010 study identified two additional representations, both of which were severely damaged: one exterior scene featuring a male torso and an extended arm, and the other, fragments of what may have been a hand or paw.

Its geometric design incorporated oblique bands, square-on and diamond-shaped squares with floral motifs, and a four-petaled rosette in some instances, while others featured a bulbous cross.

[B 89] The excavations revealed a wealth of exceptional decorative elements,[A 12] including columns engraved with vegetal motifs, pillars adorned with bas-reliefs, and intricate mosaics.

The columns are grooved on the opposite sides, designated as a "portico closure system with wooden panels," which accounts for local climatic constraints and the opening extension during the construction of the House with the Grand Peristyle.

[B 99][H 21]The site has yielded several notable artifacts, including Bacchic reliefs, an exceptional tutelary statue, and a series of more common white terracotta statuettes unearthed during the excavations.

[G 5] Archaeological analysis has identified the statue as representing either Fortuna or Tyche, the genius of the place, or Tutela, the civic deity linked to the imperial cult.

[B 105] The disappearance of the urban character of the site has facilitated the preservation and accessibility of the remains, and the excavation has significantly contributed to the advancement of knowledge regarding the city's history and topography.

[H 6] The presence of sculpted decorations, mosaics, marble, and stuccoes, in addition to painted plasters, indicates that the house was constructed with a focus on aesthetic appeal rather than economic efficiency.

The house serves to "assert a social status within the private sphere," whereby the owner endeavors to convey to visitors a political, cultural, or religious message.

[C 3] The ownership of such a house was regarded as a "manifestation of dignitas," a "conscious form of ostentation," which bestowed access to public functions and generated considerable expenses.