This paper examines the contextual meaning of a mosaic pavement from Daphne (Harbiye) near Antioch (Antakya) which depicts hunting episodes among fruit trees and a hunter in the center triumphant over various animals. The pavement, which is now in Worcester, Massachusetts, USA, therefore known as the Worcester Hunt, can be dated to the last quarter of the fifth and first quarter of the sixth century AD. The pavement has never been examined with particular emphasis to the fruit trees diagonally growing from its corners. Although it is difficult to identify these trees, they are likely to be pomegranate; pear; a tree with round fruits (apple or medlar); and a tree with heart-shaped fruits (peach, apricot or citrus fruit). While diagonally organizing the space on the pavements with trees is well-known in Antioch mosaics, depiction of fruit trees with ripe fruits is quite rare. The meaning of the pavement and the fruit trees need to be sought by referring to the archaeological context and iconographic details of the mosaic pavement. Daphne, where the pavement was discovered, was the pleasant suburb of Antioch. References from Libanius suggest that Antiochenes retreated to Daphne and spent time by hunting during the warm months. In terms of iconography, the hunt scenes on the pavement are rather unrealistic, since the hunting takes place in a cultivated orchard, instead of in the wild or in the arena. Such unrealistic elements and references to Daphne suggest that the trees are ideal, not real, elements that allude to a décor of mild climate and pleasant landscape when the hunting takes place. The fruit trees, on the whole, allude to the bounty of the local landscape, pleasant climate, and the hunting events taking place at this climate. The triumphant hunter figure in the center further clarifies the meaning of the pavement. He is probably the personification of the patron or the patron himself, who generously organized hunting events at his own expense. The overall aim of the mosaic, then, is the display of the munificence of the patron who sponsored hunting activities in a pleasant climate and landscape. The second part of the paper presents comparable pavements in the Jordan area, mostly from church contexts, which share the same or similar fruit tree arrangement with the Worcester Hunt. Some of these pavements even have the same species of fruit trees in the same order as the Worcester Hunt. The meaning of the pleasant climate and bounty of the earth was repeated in some churches, while in others, the fruit trees gained a religious meaning and meant to represent the pleasant climate of the paradise. Although it is difficult to suggest that the Worcester Hunt pavement made a direct impact on the development of paradisiacal iconography on the church pavements, it is undeniable that the Worcester Hunt and church mosaics in Jordan share a common language and iconography centered on fruit trees. [ABSTRACT FROM AUTHOR]