The 13th International Colloquium on Roman Provincial Art 27.05-03.06.

2013

ABSTRACTS

On the fate of sculpture in late Antiquity at the Lower Danube Cristina-Georgeta Alexandrescu Despite the interesting research topics both Dacia and Moesia inferior present for the scholars little we know on the sculpture from this area, either imported or locally made, on the artists and workshops, on materials used or commissioners. The quantity of monuments is not large; the information on the sculpture is given not only by the sculptures themselves but also by the bases and inscriptions bearing relevant details. The finding context of the sculptures is in many cases either unknown or has not been properly documented. The best known case is the one of the polis of Tomis, with the hoard of sculptures discovered in the !th century. "or Dacia there are at least five cases to be considered, two of them #$armi%egetusa and Micia& as collections of sculptures, the other three #'orolissum, 'raetorium, (o)ia Montana& as cases of intended destruction of sacred areas, with or without reutili%ation of the fragments as building material. *ne common feature of the late (oman fortifications from the +ower Danube is the reuse of elder monuments as building material. ,mong those are fragmentary inscriptions, funerary monuments but also bases and fragments of statues. "or Dacia the reuse as building material is caused by the hasty execution of fortification works during the invasions of the third century ,.D. "rom this region there are also examples of reuse of stone elements of funerary buildings of the second century for building cistae or sarcophagi for the late (oman graves. -eside presenting the few cases known at the moment, we shall consider the reasons and meanings for the reuse, the collecting and the storage of the (oman sculpture in the area of Dacia and northern Moesia inferior, being aware of the random character of the presentation due to the state of research and the focus given to the archaeological excavations in this region in the last fifty years. Consecratio in formam Veneris in Roman Dacia Adriana Antal Most of religious cults from the (oman .mpire promised soul survival after death to their believers. *ne way of achieving that was throw consecratio in formam deorum, namely the iconographic rendering of a deceased person as a deity. Consecratio in formam Veneris represent the particular case of rendering deceased with iconographic attributes of the goddess /enus. 0t is a phenomenon which progresses simultaneously with adopting the image of the divine couple Mars and /enus by the imperial couples. $tarting from this point, the ma1ority of women in the imperial family are associated with /enus. The empresses were then imitated by the women from aristocratic and ordinary families, and less than 23! cases of consecratio in formam Veneris were archaeologically identified on the scale of the entire .mpire. Most of these representations have a funerary nature. -eyond this selection which relates to the .mpire4s policy, choice of /enus involves the idea of beauty, virtue and modesty. The matrons4 statues rendered posthumously in formam Veneris underlie these virtues and the hope that through their embodiment they can save their soul after death. The consecratio in formam Veneris phenomenon was not identified in Dacia up until now. , carefully reconsideration of a few old discoveries proves however its presence5 a marble statue from Ulpia Traiana Sarmizegetusa and a sarcophagus from -6ile 7erculane. The statue from Ulpia imitates the type /enus Genetrix and is the only natural si%e representation of the goddess in Dacia . $implification of composition, the disappearance of the ribbon from the hips or the altar on which /enus rests are 1ust a few of the arguments which could suggest this is a case of consecratio in formam Veneris . The sarcophagus wall from -6ile 7erculane was discovered in the 28th century, but the piece was lost and is known only from a contemporary engraving. *n the sarcophagus wall the deceased is represented in the centre, lying on klin. The type used in the rendering of the defunct is that of /enus Capua, in a semi nude variant adapted and simplified for the funerary environment. 9enerally, in the representations of consecratio in formam deorum appear particularities like the bracelet from the deceased4s wrist, exceptions or deviations from the imitated type. *ther two statues found in the collection of the (omanian :ational 7istory Museum are most likely a part of the same phenomenon5 one of the type /enus Syracusa and other of which only the head is preserved. -ut, in these two cases the provenience from Dacia is disputable.

emples dedicated to !upiter in Roman Dacia Adrian Arde" The temples discovered in (oman Dacia until now remain an open research topic for the scholars. ;e do not have any plan of the temple in antis, prostil, tetrastil, hexastil, or peripter, although the main elements that constitute a (oman temple were found5 cella, narthex, nave and altar. 0n (oman Dacia are known by specialists inscriptions dedicated to <upiter. The most important temple dedicated to <upiter and to the =apitoline triad is represented by the recent discovery from >lpia Traiana $armi%egetusa. ,nticipating the discovery mentioned before, in late 43!s of the ! th century, when the archaeological research in the forum area #'alace of the Augustali& began, was brought to light a relief which depicts scenes with the 2 labours of 7ercules #it was possible to identify the fight with the lion, with the bull and probably the fight with the boar&. The present study plans to reveal a discovery made in =aransebe) in 2?@@, belonging to a temple pediment, with dimensions of 23! x 2 8 x AB x 3B m made out of white marble which bears the representation of one of the labours of 7ercules5 the fight with the boar. This element of art is carved in the basCrelief technique. The temple pediment is the only one discovered in (omania. ,ll over the (oman .mpire are known temples dedicated to <upiter and decorated with labours of 7ercules. The theme related with decorations of temples with labours of 7ercules has its roots in 9reek tradition. The discovery from =aransebe) questions the existence of a temple dedicated to the =apitoline Triad at Tibiscum. Mars Ultor, Victoria and Nemesis Invicta. hree #oti#e reliefs from the ancient theatre on $hilippi %&a#ala' reconsidered Georgia A( Aristodemou This paper focuses on three votive reliefs sculpted on the pillars of the western parodos of the ancient theatre of 'hilippi #Davala region&. The dedicatory inscription names a certain M. /elleius Eosimos, the priest of :emesis and sponsor of the reliefs. These reliefs depict the figures of the triumphant triad of ars Ultor, Victoria and !emesis "n#icta, the latter being identified in two more reliefs in the same theatre. These reliefs were carved after the entrance arch had been constructed and they relate to a later phase of the theatre when C during the nd century ,.D. C the orchestra received tranformations in order to house gladiatorial games and varius ludi scaenici. The goddess :emesis, along with Mars is also present at the theatre of Thasos, depicted in reliefs dated at the same period. Their presence not only reveals their connection to gladiatorial games, but it reflects the existence of their cults in the region of Davala and Thasos and the role they held in the area during the nd century ,.D. )oti#e stone car#ings from ibiscum( Local production and import *ariana +alaci Cr,ngu- . C/t/lin +alaci Tibiscum is an important economic, military and civilian settlement from the $outhC;estern part of Dacia $uperior. $everal units were garrisoned in the fort, manly from oriental provinces of the .mpire. -eside the fortification the civil settlement quickly flourished, which at the beginning of the 3 rd century ,.D. becomes a municipium #or at least some part of it&. The votive stone carvings discovered in the fort, the #icus or the municipium represent, generally, 9recoC (oman divinities, regardless of the fact that the main troops forming the garrison here were of oriental origin. (epresentations of <upiter, Diana, Mercury, $ilvanus, +iber 'ater, /enus, 7ercules etc. were discovered. There have been found several representations of the Danubian (iders and two of .pona. $ome votive carvings were locally made, some are products of the workshops in >lpia Traiana $armi%egetusa, others were made somewhere in the $outh of the Danube. The ones produced locally are easy distinguishable because they are of small si%e and very schemati%ed.

0spressioni di architettura sacra nel $iemonte romano

1ederico +arello . 1ilippo *asino . 0lisa $anero . *aria Cristina $reacco . Giuseppina 2pagnolo "ino all4ultimo decennio i documenti di architettura sacra o celebrativa nel 'iemonte romano, che ,ugusto aveva suddiviso seguendo la linea del 'o in regio $" a nord, e regio "$ a sud, erano assai scarsi. +e recenti indagini condotte dalla $oprintenden%a per i -eni ,rcheologici del 'iemonte, nell4ambito di progetti del Mi-,= su fondi speciali o di riqualifica%ione urbana, hanno consentito di ampliare in modo significativo la conoscen%a dell4architettura templare nei diversi centri urbani del territorio, pervenendo a nuovi dati utili per comprendere le modalitF di attua%ione del progetto architettonico dell4impianto urbano. Tutti i monumenta antichi #templi, edifici di spettacolo, archi, trofei, etc.& hanno come comune denominatore il valore inten%ionale di GmemoriaH, esplicitato dagli apparati iconografici ed epigrafici e dalla decora%ione architettonica. .d I proprio partendo da tale fun%ione che si intende in questa sede anali%%are una serie di esempi di edifici pubblicoCcelebrativi del territorio piemontese #religiosi o legati al culto dell4imperatore& che, pur appartenenti a contesti differenti, trovano riscontri in piJ aree della fascia alpina e immediatamente prealpina, e presentano esiti e solu%ioni eterogenei sia a livello architettonico, sia per la loro colloca%ione urbanistica e la loro interrela%ione con gli altri edifici della cittF romana. +4ampia casistica a disposi%ione spa%ia dai complessi santuariali K di cui il piJ noto e ampiamente documentato I quello di "ndustria%Monteu da 'o, dedicato al culto isiaco e che costituisce a partire dall4etF claudia un autentico esempio di GcittFCsantuarioH K fino ad arrivare ai templi forensi, dedicati alla triade capitolina o al culto imperiale. 'er questo ultimo caso tre sono le cittF che hanno restituito strutture rilevanti5 Segusio #$usa&, Al&a 'ompeia #,lba& e Augusta (agiennorum #presso -ene /agienna&, le cui fonda%ioni si collocano tra la prima metF del 0 secolo a.=. # Al&a 'ompeia& e la fine del medesimo secolo # Segusio, Augusta (agiennorum&, ma che solo in tarda etF augustea vedono la monumentali%%a%ione dello spa%io forense e della cittF in generale secondo un fenomeno di attardamento ormai accertato per il 'iemonte romano. , Segusio i lavori per le *limpiadi invernali GTorino !!AH hanno messo in luce un tempio su podio con porticati su tre lati e prospiciente una pia%%a aperta, da identificarsi con il Capitolium secondo i modelli attestati in ambito gallico, ma per il quale non I esclusa una fun%ione legata al culto della famiglia imperiale, con cui la cittF del regulo =o%io aveva uno stretto legame K come contribuiscono a confermare il celebre arco onorario, le statue di loricati, l4iscri%ione onoraria dedicata ad ,grippa e i frammenti di una statua raffigurante l o stesso genero di ,ugusto. ,d Al&a 'ompeia sono stati individuati tra il !!2 e il !!A i resti di un tempio di grandi dimensioni su alto podio, con un disegno architettonico di probabile matrice centroCitalica, che chiudeva lo spa%io del "oro sul lato occidentale. ,l modello augusteo del tempio pseudoperiptero sine postico, probabilmente con quattro colonne sulla fronte e tre sui lati lunghi raccordati da pilastri con il muro di fondo, si riconduce invece il tempio forense di Augusta (agiennorum, di cui attualmente si conservano i soli resti del podio completamente spoliato a partire dall4etF tardo antica e altomedievale e utili%%ato come luogo di sepolture tra 0L e L000 secolo. :ello stesso centro urbano, un secondo tempio di dimensioni piJ ridotte, a pianta rettangolare con la cella preceduta da un pronao probabilmente con colonne tra le ante, sorgeva al centro della porticus post scaenam del teatro #secondo un modello attestato anche nella vicina 'ollentia&, probabilmente dedicato a -acco, e trasformato in basilica cristiana tra la fine del / e l4/000 secolo. +4espressione monumentale di ambito sacro e celebrativo I documentata anche da edifici minori, elementi architettonici isolati #ma il cui apparato decorativo e la locali%%a%ione dei ritrovamenti s ottendono una genesi monumentale pubblica&, lastre con iscri%ioni celebrative o dedicatorie di grande formato. -asti citare il sacellum rinvenuto recentemente a 'ollentia #attuale 'ollen%o, fra%ione di -ra& in prossimitF della necropoli monumentale occidentale e forse riconducibile al culto della /ittoria attestato da un4epigrafe giF rinvenuta nella medesima area. $empre da $usa, in prossimitF dell4area forense, proviene un insieme di strutture identificate con un tempietto prostilo tetrastilo cui era affiancato un ambiente quadrangolare volto ad accogliere le ceneri del defunto, che sono state interpretate come l4)eroon di =o%io. :umerosi sono poi i rinvenimenti di elementi architettonici #fusti di colonna, capitelli, basi, leseneM& e le indica%ioni epigrafiche sottendenti la presen%a di edifici di culto di varia natura. =apitelli corin%i di tipo asiatico di grandi dimensioni provengono, ad esempio, da Vercellae #/ercelli&, uno dei centri piemontesi piJ antichi a nord del 'o, dove gli scavi della $oprintend en%a degli ultimi anni stanno mettendo in luce edifici pubblici di grandi dimensioni #anfiteatro, teatro& nel settore meridionale del centro cittadino, portando a una nuova defini%ione della forma urbana. +uoghi preposti al culto della famiglia imperiale e dell4imperatore divini%%ato sono documentati epigraficamente ad Al&a 'ompeia, Augusta (agiennorum,

Carreum 'otentia #=hieri&, *orum Vi&ii%Ca&urrum #=avour, da dove proviene una flaminica di#ae +rusillae&, da "ndustria #dove I men%ionato flamen di#i Caesaris perpetuus&; ancora a Segusio I ricordato un se#ir Augustalis, a Vercellae compaiono dei sex#iri Augustales socii cultores domus di#inae e nell4area del +ago Maggiore I documentata la presen%a di un flamen ,omae et Augusti, peraltro plausibile in un territorio, come quello verbanese, di probabile proprietF imperiale. Tali recenti acquisi%ioni permettono quindi una rilettura organica dell4architettura sacra e dei monumenti votivi di etF romana in area piemontese, dei modelli architettonici e dei linguaggi decorativi, del ruolo nella defini%ione del disegno urbano e delle fasi di trasforma%ione, oblitera%ione o riutili%%o in etF postC classica. Autour du symbolisme fun3raire 4 $otaissa5 deux sc6nes rares *ihai +/rbulescu Deux monuments funNraires de 'otaissa se distinguent par la raretN de scInes symboliques reprNsentNes. *n retrouve l4Ncho de la croyance dans le Destin sur un fragment d4une edicule5 =lotho avec le fuseau et la quenouille, avec un enfant nu, dans une attitude d4imploration. +4autre monument, perdu, reprNsentait la mNtamorphose de DaphnN en laurier au moment oJ ,pollon allait l4atteindre. +e deux sont de scInes uniques en Dacie, peu rNpandues dans les provinces romaines. A new portrait of 2eptimius 2e#erus in the Lamta *useum % unisia' 7e8ib +en La9reg . Lea 2tirling ,n unpublished portrait of $eptimius $everus in the +amta Museum shows the emperor in his G$erapisH portrait type, with four curls over the forehead and a forked beard. This type of portrait is usually dated after his visit to .gypt in 2??C !! ,.D. The emperor wears a wreath, an unusual attribute in sculpted portraits of $eptimius $everus, but rather common on other imperial portraits and cult statues in :orth ,frica. The provenance of the portrait within Tunisia is not known. This paper will introduce the portrait and discuss its iconography within an .mpire wide and regional context. ext encoding and Roman art( Digital corpus for the #oti#e monuments from Roman Dacia 0ugenia +eu-Dachin This presentation came as the result of a stage of a pro1ect which runs in the period between !22 and !2O. 0ts main ob1ective is the creation of a database allowing all types of research in the field of (oman ,ntiquity and archaeology, by elaborating a multifunctional working tool. The monuments included in this digital format will be able to answer online various questions asked by users, starting from the classical criteria related to types of monuments, representation, dating, material, dimensions, typology, analogies, bibliography, up to the more complicated ones such as the onomastics of dedicants, votive formulae, language errors, phonetic development of sounds etc. The main quality of this corpus is that the LM+ #.xtensible Markup +anguage& records created can be imported at any time in other databases and reorgani%ed according to future needs. 0n what regards artistic representation on monuments, each record will contain a detailed description. 0difici in miniatura ed esigen9e d:apparato5 l:edicola pannonico-dacica

Luca +ianchi

0l monumento funerario a edicola del tipo noto in 'annonia 0nferiore e in Dacia $uperioreP'orolissense I un4elabora%ione locale che non deriva da modelli precisabili. =onsiste in una dilata%ione tridimensionale della stele #tre lastre e una copertura&, intesa a valori%%are le immagini statuarie dei defunti, nel surrogato dell4allineamento di figure intere a rilievo sulla lastra posteriore, con una cornice architettonica che suggerisce la struttura di un tempio in antis. =aratteristica della Dacia I la parti%ione in riquadri delle pareti laterali interne,

dove nella fase della coloni%%a%ione si riscontrano occasionali riflessi della propaganda monetale traianea, organi%%ati in un programma che illustra la vita esemplare del soldatoCcolono. =ome regola le lastre non erano perQ scolpite su commissione5 i riquadri contengono solo una sele%ione antologica di motivi di repertorio, che permetteva all4acquirente la scelta dei piJ adatti alle sue esigen%e; temi su richiesta erano talvolta eseguiti in campi ribassati o a rilievo incassato sulle pareti esterne, normalmente lisce. 0n epoca antonina si generali%%a il banchetto, con il gruppo dei commensali sulla parete di fondo e servitori sulle laterali. ,ll4interno del minuscolo edificio si vede uno scorcio di vita domestica che mostra la famiglia riunita nel momento in cui esibisce la sua agiate%%a, illustrata dalla riprodu%ione meticolosa di suppellettili, arredi e vivande; ma il tema non I trattato con intenti narrativi, nN il monumento cambia aspetto5 i banchettanti equivalgono gli allineamenti statuari, come presen%e d4apparato di figure frontali affacciate dal piano della kline. =ontemporaneamente, in 'annonia 0nferiore gli edifici si fanno piJ ambi%iosi, nelle dimensioni e soprattutto nella tematica5 si diffonde una vasta narrativa mitologica, simile a quella dei sarcofagi attici e urbani #anche se non sempre coincidono iconografie e modelli&, e che ha la stessa fun%ione d4innal%are la figura del defunto accostandola agli exempla degli eroi del mito. Ruesto repertorio in Dacia I ignorato e le sporadiche riprese, nelle localitF piJ prossime alla 'annonia, confermano che non ha interessato perchN non se ne recepivano le valen%e. $i rimane alla presen%a d4apparato, che gli scultori piJ capaci, operanti in piena autonomia per mancan%a di contatti con i centri d4arte maggiori, esaltano talvolta con efficaci intui%ioni, prefigurando esiti tardoantichi e perfino bi%antini, nelle deforma%ioni espressive e nell4aggressivitF dei compatti allineamenti frontali. Dining with Gods and *en5 *ithraic *eal 2cenes and Religious 1easting in the Roman ;orld 0manuela +ocancea . !ohn +odel The initial publication of "ran% =umont4s corpus Textes et onuments figurs relati#es aux yst-res de it)ra #2@?AC2@??& sparked intense scholarly interest in the (oman cult of Mithras. "ollowing in =umont4s footsteps, aided greatly by Maarten <. /ermaseren4s Corpus "nscriptionum et onumentorum ,eligionis it)riacae #2?BAC2?A!&, and armed with an evergrowing archaeological data set, scholars have now spent over a century deciphering the material culture, art, rituals, and beliefs associated with this enigmatic mystery cult. Set, despite a now lengthy bibliography on a phenomenon that geographically spanned the ma1ority of the (oman .mpire from the first to fourth centuries =., scholarly research has largely neglected the issue of meals and dining within the cult. *nly in passing have scholars described an assumed Tcult meal4 shared by initiates within the mithraeum. This meal has consistently been presented #implicitly or explicitly& as an imitation of the .ucharistU a view pioneered by =umont that is based entirely on the descriptions in early =hristian accounts #cf. Dane 2?8B&. Drawing on extant iconographic and archaeological evidence, we argue that the widely perpetuated narrative of a .ucharistic meal finds little support outside of =hristian texts and fails to take into account the richness and complexity of the material evidence for dining within Mithraic contexts. The starting point for this analysis is a catalogue of all identifiable meal scenes within the extant corpus of Mithraic art compiled by .manuela -ocancea, initially in !!? and since then expanded to include more recent discoveries. This endeavor has revealed that scenes of dining constitute the second most common iconographic type within Mithraic art, being outnumbered only by the ubiquitous tauroctony. More strikingly, with only one exception, all the scenes found on the back of reversible tauroctonies are representations of the gods Mithras and $ol sharing a meal over the dead bull. Despite the prevalence of such imagery within the cult4s iconography, however, there has until now been no systematic study dedicated to the corpus of Mithraic meal scenes. ,fter considering the significance of such scenes within Mithraic art as a whole, and more particularly their physical placement within the sacred space of the mithraeum, we will examine these meal scenes as possible evidence for ritual dining by Mithraic initiates. Most of these scenes depict two gods #Mithras and $ol& dining, sometimes served by what appears to be an initiate wearing a ravenCheaded mask. The ma1ority of these scenes, depicted either on the front or reverse of tauroctonies, were physically located at the far end of the mithraeum, in the cult niche. Thus, these depictions occupied one side of the tricliniumClike space of the mithraeum, in which initiates reclined #and apparently dined& on podia alongside the depiction of the dining gods. 0n several Mithraic meal scenes, moreover, it is unclear if the dining Tgods4 are in fact initiates impersonating deities. ;hat does this range of imagery, which seems to blur the boundaries between the divine and mortals realms of feasting, signifyV ,re the scenes to be understood allegorically or symbolicallyV Do the scenes represent actual cult practice or merely an ideali%ed vision of an initiate4s experienceV ,re Mithraic iconography and rituals of dining entirely idiosyncratic, or should they be seen as representative of wider (oman religious and artistic

practicesV 0n order to answer these and related questions, we will consider this iconography and potentially associated rituals within the wider cultural and religious context of the (oman world by comparing these Mithraic imagesUor practicesUwith a number of parallel and contemporaneous examples of both. 7ere we distinguish two related but different traditions against which the Mithraic evidence is usefully viewed5 images of reclining diners in 9recoC(oman art and religious rituals involving dining by or with gods. ;ithin the former, convivial banqueting in funerary contexts provides not only the most relevant parallels for the Mithraic iconography but also a suggestive model of the various ways that images of banqueters might represent both actual and ideali%ed practices #cf. Dunbabin !!3&. =onsideration of the broader Mediterranean religious traditions, both public and private #or official and unofficial&, involving gods and dining helps to further detach Mithraic banqueting from a =hristiani%ing interpretation, and to place it more securely against the backdrop of initiatory celebration and civic banqueting. ,mong the practices taken into consideration are the epulum "o#is and lectisternia in (oman civic cult, the initiatory banqueting and sacramental breakfasts in which devotees of 0sis across the Mediterranean world apparently engaged, and the dining customs of voluntary religious associations #collegia&. -y focusing on this important but largely ignored component of Mithraic iconography and ritual, and by placing such images and practices within their wider (oman contexts, we hope to show that dining between gods and men is a more important, complex, and multifaceted phenomenon than has been generally recogni%ed not only for the worship of Mithras, but also for wider (oman religious practice. he stone material in $annonia *ari8a +u9o# ;hen considering lithic material we need to evaluate5 geological criteria #si%e of the deposit, the possibility to extract blocks, uniformity of appearance of the stone mass in its deposit, and the quantity of the stone mass&; technological and economical criteria #quality of blocks and possibility of economical industrial processing&; technical criteria #applications of the stone, depending on its physical and mechanical properties, and its durability&, and criteria of decoration. ;hen we spoke about economical criteria we think about the conservationCrestoration process of antique monuments. The assembling elements are made of stone originated from ancient stone quarries that are well known nowadays thanks to the written sources. The problem we need to resolve is of which stone type the original element is made of and which other one could be its rightful replacement.

< reperti lapidei del mitreo di Camporosso $aolo Casari =amporosso #"riuli /ene%ia 9iulia, 0talia& in epoca romana era sede di una delle sta%ioni doganali poste lungo la via che da ,quileia, attraverso la /alcanale, portava a Virunum #Eollfeld, =arin%ia, ,ustria&. +a Statio (ilac)iniensis, questo il nome antico, sorse nel fondovalle della /alcanale, sullo spartiacque tra i bacini idrografici del Mar ,driatico e del Mar :ero. .ssa era la prima sta%ione doganale del :orico lungo questa direttrice e come tale si contrapponeva alla sta%ione nota come Statio 'lorucensis, sita in territorio italico nei pressi del moderno abitato di (esiutta. ,ttorno alla sta%ione di =amporosso sorse un centro che rivestW un ruolo importante almeno fino alla tarda etF imperiale, come testimoniano i reperti rinvenuti a piJ riprese a partire dal L/0 secolo. +a Statio (ilac)iniensis faceva parte della grande circoscri%ione doganale dell40llirico, il 'u&licum 'ortorium "llyricum, la quale svolse un ruolo di primo piano nella diffusione del culto mitriaco nell4area di sua competen%a, come attestano le numerose testimonian%e di adepti fra gli schiavi e i liberti impiegati nelle diverse sta%ioni. =iQ I confermato anche da =amporosso, dove, alla fine degli anni $ettanta del :ovecento, I stata messa in luce parte di un mitreo e sono stati recuperati numerosi materiali pertinenti all4edificio, soprattutto are votive e sculture in marmo, perlopiJ frammentarie. +4esame della documenta%ione lapidea permette di ampliare le conoscen%e sulla diffusione del culto di Mitra e del suo apparato iconografico fra 0talia nordorientale e area noricoCpannonica, nonchN di eviden%iare le strette rela%ioni che sussistevano a piJ livelli tra i mitrei presenti nelle sta%ioni della circoscri%ione doganale dell40llirico.

Les sculptures religieuses du Ch=telet de Gour9on %>aute *arne? 1rance' !ean-7o@l Castorio DIs la fin du L/000e s., le =hXtelet de 9our%on, agglomNration antique situNe dans le nord de la 7auteC Marne, sur le territoire des =atalaunes, a livrN une belle moisson de sculptures F caractIre religieux d4Npoque galloCromaine. =ette premiIre collection, qui fut mise au 1our lors de fouilles menNes par 'ierreC=lNment 9rignon entre 288 et 288O, a malheureusement NtN dispersNe au dNbut du L0L e s.; on ne la connaYt plus au1ourd4hui que grXce aux dessins, parfois asse% maladroits, qu4en donna le fils de l4archNologue, dessins qui furent notamment reproduits dans le sixiIme volume du ,ecueil gnral des &as%reliefs, statues et &ustes de la Gaule romaine d4Zmile .spNrandieu, paru en 2?2B #.$'Z(,:D0.> /0 nos O82BCO8A2&. ,u dNbut du LLe siIcle, deux frIres, 'aul et (Ngis =olson, entreprirent de fouiller F nouveau le site. +es diverses explorations qu4ils menIrent alors rNvNlIrent quantitN de nouvelles sculptures, en particulier des exC voto, qui furent donnNes en 2?3A au MusNe d4,rt et d47istoire de +angres. $i quelques unes des piIces de cette seconde collection, les plus complItes, furent publiNes dans les revues locales et immNdiatement exposNes, les autres, qui constituent la ma1oritN, sont demeurNes inNdites et sommeillent dans les rNserves depuis leur entrNe au musNe. +a redNcouverte de ce formidable ensemble lapidaire remonte F !!?; elle a eu lieu lors du travail de recensement des sculptures antiques du musNe entrepris par nos soins dans le cadre du pro1et du !ou#el .sprandieu, patronnN par l4,cadNmie des 0nscriptions et -ellesC+ettres et dirigN par M. 7enri +avagne. =ette confNrence a pour ob1et de prNsenter les principales conclusions auxquelles nous sommes parvenu au terme de l4Ntude de ces sculptures. .lle nous permettra tout d4abord de faire le point sur la topographie sacrNe de cette agglomNration antique, ainsi que sur le panthNon de divinitNs qui y Ntait vNnNrN. +es sNries homogInes d4exCvoto qui y ont mises au 1our dans les annNes !C3! nous offriront par ailleurs l4opportunitN d4entrevoir la maniIre dont fonctionnaient les ateliers qui ont [uvrN F leur production. +a grande originalitN de certaines des reprNsentations exhumNes sera enfin l4occasion de rNflNchir F la place qu4occupent les images que l4on peut qualifier d4\atypiques] dans la sculpture religieuse du nord de la 9aule. An rilie#o con 9odiaco nabateo a Gerusalemme 1ul#ia Ciliberto :ella ricca colle%ione lapidea del Museo ,rcheologico 'rivato dello Studium (i&licum *ranciscanum a 9erusalemme #0sraele&, si conserva un piccolo ed interessante rilievo architettonico frammentario, che raffigura uno %odiaco nabateo. Del pe%%o, ancora inedito, si conosceva pochissimo. Tuttavia, gra%ie alle ricerche di archivio e bibliografiche svolte, I stato possibile risalire al contesto originario del pe%%o, che certamente faceva parte della decora%ione architettonica del tempio nabateo di Dhirbat ,tCTann r, in Giordania, interpretare correttamente la decorazione a rilievo e collocarlo cronologicamente. Les dieux fleu#es en Dacie romaine . probl6mes dBiconographie et de style Radu Ciobanu 'lusieurs statues ou textes votifs se rapportent d4une maniIre ou de l4autre F des dieux marins mais qui prNsentent une certaine ambigu^tN iconographique et de sens par rapport F leur apparition en Dacie plus exactement F ,pulum, oJ une nouvelle dNcouverte vient d4enrichir le volumes de donnNes dont nous disposons actuellement. +4auteur essaye de discuter tout d4abord le contexte gNnNral dans lequel s4Ntait dNveloppN le culte des dieux fleuves, Ntroitement liNs F l4histoire d4un endroit prNcis; dont (ome fut; sans aucun doute, l4une des villes les plus vNnNrNes de toute l4,ntiquitN. ,u point de vue religieux, le Tibre ; le fleuve qui traversait; la ville Nternelle, a connu plusieurs sens, F partir m_me de l4Ntymologie de son propre nom. Ti&ernum ou T)y&ris K signifiait pratiquement Gtorrent qui vient de la montagneH et dNsignait F la fois un ancien roi Ntrusque au nom de T)e&ris, un roi sacrN de $icile au nom de T)y&ris, ou bien Ti&erinus, un autre roi ancien d4,lbe. +e Tibre Ntait donc un deus loci, extr_mement prNsent dans la vie de la citN. ,u point iconographique ce dieu fleuve Ntait reprNsentN comme un monstre marin K un triton ou une pieuvre K qui peu F peu, sous l4influence de l4art hellNnistique, vient d4acquNrir des traits essentiellement humains. 0l s4agit notamment de deux types iconographiques 5 un monstre au visage humain pourvu de cornes et un personnage, gNnNralement un homme, allongN sur les rives d4un cours d4eau dont luiCm_me constituait la source. <ustement ce dernier type iconographique devient le plus rNpandu F

travers tout le monde romain et F partir de celuiCci allaient se dNvelopper toute une sNrie de variantes locales. +es deux villes romaines C Colonia !o#a et Colonia Aurelia Apulensis C ainsi que le camp de la +Ngion L000 9emina, font d4,lba 0ulia un centre important de la province conquise par Tra1an et l4hypothIse de l4existence d4une station portuaire dans leur voisinage devient de plus en plus claire en ce moment. +4apparition, dans ce contexte, de quelques piIces reprNsentant des divinitNs aquatiques est alors bien normale. +eur prNsence est d4autant plus importante F signaler car par rapport F ce que nous connaissons dN1F du rNpertoire iconographique de la Dacie, ces divinitNs sont plut`t rares. )oti#monumente #on Colonia Dacica 2armi9egetusa Carmen Ciongradi . 0milian +ota Die 'roduktion von /otivmonumente in der ersten und ein%iger colonia deducta der 'rovin% folgt auch die .ntwicklung der $teindenkmaler fbr diese $iedlung. $o wurden in der ersten 7alfte des . <hs. Monumenten aus Dalkstein und $andstein angefertigt, Monumente, bei denen der Dekor schwerer an%ubringen ist. ,b der Mitte der . <hs., mit der grocangelegten ,usbeutung der Marmorsteinbrbche von -ucova in der :ahe von $armi%egetusa, kommt es %u einer $erienproduktion verschiedener Typen von Marmormonumente. <et%t entwicklen sich /er%ierungen, die nur anhand von Marmormonumente %u finden sind. radition and ino#ation in the #oti#e sculpture from Roman Dobrud8a Caharia Co#acef The analysis of votive sculptural monuments discovered in Dobrud1a shows that, in local sculptural workshops, votive representations were made, in most cases, following classical iconographic patterns. This is due primarily to craftsmen who were brought from the 9recoC,sian world and have contributed to the development of some local workshops. ,uthor4s approach is aiming, primarily, to detect classical iconographic patterns preferred in ancient Dobrud1a and then to bring into discussion some pieces considered local creations. Through innovations brought in representing some deities like Mars, /enus of Tomis, 7ercules from TXrgu)or, Dobrud1an Danubian (iders and 9lycon K which form in fact local types, as well as through ways of expression of traditional types, sculptural art of (oman Dobrud1a emphasi%es the specific character of its cultural facies during the first to third century ,.D. Aegyptiaca *onuments from the Roman Danube Area %0gyptian <mports or <mitations in Local Contexts' Dan-Augustin Deac "rom the 2st to the Oth century ,.D. in the area of the provinces of 'annonia, Moesia and Dacia influences of the .gyptian culture have made their mark on the life of the people living here. The climax of this phenomenon is reached in the last part of the nd century ,.D. and throughout the entire 3 rd century ,.D., when the cults of the .gyptian 9ods 0sis and $arapis are among the most important of the .mpire. -ut with these cults come not only religious beliefs but also artefacts coming from .gypt, for instance s)a&tis, cultic or other types of statuettes, hieroglyphic inscribed monuments #stelae, funerary cones etc.&. *n the other hand the adepts of these deities elaborate magnificent cultic places #shrines and temples& which they decorate with elements of .gyptian art or imitations #imitations of the hieroglyphic script, obelisks, locally made statuettes with an unique iconography found nowhere else except .gypt itself, e.g. 0sis impudica of (omula&. -earing in mind the new published monuments #the obelisk from 'otaissa with imitations of the hieroglyphic script, shabti statuettes from ,quincum& and the reCexamination of older ones #the 'haraoh depiction from 'otaissa, the symplegma figurine from 'orolissum&, this presentation will examine different artefacts of the aegyptiaca category found in local Danubian context and analy%e their use, purpose or if they are genuine .gyptian pieces of art or (oman style imitations. hree significant reliefs of grape#ine and forest deities in Dardania

0xhlale Dobruna-2alihu 0n this paper we present three votive plaques depicting these two groups of deities in Dardania during the (oman period, which exhibit idiosyncratic iconographic and stylistic features. The plaques come from the southern and central parts of the territory. Two of the plaques K both made of local marble, of a rectangular shape with a semicircular terminal K belong to a grapevine deity, +iber K Dionysus. They are very well preserved, of excellent workmanship, made by skilled local or itinerant craftsmen, primarily in local workshops during the nd century or the beginning of the 3 rd century. 0n both cases the deity has a retinue, and is dressed the same, in a nebris and deep boots, although the compositional schemes are different. ,nother piece comes from the area of $cupi. 0t was discovered in the village of -arovo, where it is still kept today. The iconography reveals that this is a depiction of the divine couple of Dionysus and ,riadne. ;ith his left arm Dionysus embraces ,riadne4s shoulder, while in his right hand he holds a wineCfilled kantharos, turned upsideCdown, above a panther. ,riadne is barefoot, semiCdressed, holding a cluster of grapes in her right hand. .ven though this scene appears from the =lassical period to the (oman times, there are very few closer analogies for this relief. $o far, the closest resemblance is found on a relief plaque from 'otaissa in Dacia, particularly regarding ,riadne. 'erhaps a similar scene is shown on a statuary group, also from $cupi from the nd century, of which only the pedestal with the remains of feet is preserved. Taking into consideration the analogy of the depiction of $ilenus on a fragmented plaque from Timacum Minus in northern Dardania with the $ilenus on the statuary group of +iber and +ibera from ,pulum in Dacia, where +ibera is dressed very similar to ,riadne, it is possible that this piece from Timacum Minus is also a votive relief depicting the same divine couple. The second relief comes from the central part of Dardania #Dosovo&. 0t was discovered in the village of /rela near the city of 'e1a, in the territory of a municipium of unknown name, where it is still kept today. The deity, occupying the central position, is depicted with a retinue # t)iasus& K a satyr on the right, $ilenus on the left, with an indeterminate ob1ect, and a seated 'an playing a syrinx K in a scene of 1oy. ,lthough figural depictions of Dionysus4 thiasus with music are found throughout the .mpire, for the time being we have no direct iconographic analogies for this relief. The relief is all the more important because it documents iconographically the epigraphic evidence from the northern part of Dardania K the area of :aissus, where +iber appears with the ad1ective GlaetusH #merry&, and in both cases the findspot points to an ancient epichoric deity of fertility and vegetation, venerated in the entire territory of Dardania as a divinity of 1oy. 0ncidentally, from the northern part of Dardania, from Mediana, come three statuary groups of which only the pedestals have remained, in which the deity was depicted with only a single follower. The third relief plaque, made of local stone and fragmented, comes from the village of Matka in the area of $cupi. 0t depicts a very rustically carved female figure, barefoot and dressed in a short shirt, missing the head, the right arm and the attributes. 0n spite of the lack of attributes, based on the iconographic depiction, shown en face and with raised right arm seemingly about to grasp an indeterminate ob1ect, we believe that it could be interpreted as the goddess Diana. This is further corroborated by the depiction of a barefoot Diana from Dalmatia. ;hen all is considered, it is very important due to the fact that its dress, apparently a dalmatica, and the rustic workmanship of the relief, clearly point to its local folk character. ,ll three votive reliefs are very important both in terms of their iconographic scheme as well as in terms of style and significance.

2culptures from the Dsacellum AesculapiD in the legionary hospital at 7o#ae $iotr Dyc9eE The legionary hospital ##aletudinarium& discovered by the 'olish archaeologists from ;arsaw >niversity in :ovae, fortress of legio " "talica, is a unique structure. 0t is the best preserved ancient hospital known up until now all over the (oman .mpire. , small building was discovered in the middle of its inner courtyard. 0ts function was under discussion. During the excavations have been found5 small inscribed altars, bases and a great altar with the inscription 5H,esculapio sacro, +eg 0 0talH. These finds support the sacral function of this small building. ,fter many campaigns of excavations, we are sure that it was a sacellum of healing gods5 ,sclepiusP,esculapius

and 7ygieia. 0n the layers of destruction from the sacellum we have found small si%e representations of feminine deities. 0n an area of about 2! m around this building, we have found fragments of sculptures of masculine deities, among them the head of ,sclepius. -ecause of the disintegration of sculptures, it was not so easy to determinate the identity of some of them. 0n the paper we will present our attribution of the sculptures and our point of view on Gideological programH of decoration of sacellum in sculptures, inscribed bases and altars. Das &ulttheater in *ogontiacum %*ain9? Germania 2uperior' Christine 0rtel . ;alburg +oppert Der charismatische 7eerfbhrer Drusus der dltere verstarb ? v. =hr. in Mogontiacum. (und um sein 9rabmal vor den Toren des +egionslagers entstand ein grocer Dultbe%irk, der auch ein Theater umfasste. Eu dem 'ersonenkult um Drusus gesellte sich spater die /erehrung seines $ohnes 9ermanicus und des ,ugustus hin%u. Das Theater spielte eine wichtige (olle bei den bekannten Memorialveranstaltungen. Die =avea des -auwerks nut%te die 7angbeschung des (heintals. *bwohl ihre frbhkaiser%eitlichen (adialmauern %erstert sind, dbrfte das -auwerk schon in augusteischer Eeit in $tein errichtet worden sein. 0m $cheitel der *rchestra fand man einen .ckblock eines Donsolengesimses, auf dem im O. <h. ein neuer ,ltar aufgestellt wurde. 0n den Metopen %wischen den Donsolen sind kleine (eliefs%enen aus der Triumphalikonographie dargestellt. $ie %eigen ;affen und (bstungsteile, 0nstrumente, sowie einen *pferdiener mit (ind und eine fliegende /ictoria. Das bberaus fein gearbeitete ;erkstbck stellt vermutlich das ,bschlussgesims des 'ulpitums #-bhnensockel& dar und war somit in ,ugenhehe angebracht. ,ndere ,rchitekturfragmente und (eliefs unterstbt%en die Datierung des Theaters in die frbhe Daiser%eit. Relocation of Greco-Roman sculpture in Christian >oly Land5 reuse and ideology *oshe 1ischer . Rachel 1eig )ishnia GMThe lateCantique :ear .ast was a kind of miracle and its like has never been seen in that region againH #-owersock !!A52 &

During the past decades the main trend of research of +ate antiquity is dominated by the idea of a rather continuous use of principles of the 7ellenistic and (oman periods in -y%antine era in spite of the ethnic and religious changes occurring in the area after =onstantine the 9reat. 0t seems, however, that one should try and reC examine this matter on the base of recently excavated and published archaeological contexts. , rather dramatic event occurring in 9a%a in O!2 ,.D. is worthy to be mentioned in this context, namely the violent demolition of the pagan temples of the city under the supervision of 'orphyrius #Marcus Diaconus, #ita 'orp)yrii 8A& /0t)e ru&&is) t)at remained from t)e mar&le 1ork of t)e arneion...2it 1as decided3 to lay do1n for a pa#ement &efore t)e temple outside t)e street, t)at it mig)t &e trodden under foot not only of men, &ut also of 1omen and dogs and s1ine and &easts04 0t seems obvious that at 9a%a of O!2 ,.D. classical monuments including their artistic design were still standing and perhaps even in use, which probably was the case in other 'alestinian cities as well. ;as the transition to the new conception in other cities as dramatic as in 9a%aV ,lthough without hearing of this from the sources, it seems that there is enough archaeological evidence for such a situation. 0t seems that the urban society of O th century ,.D. 'alestine was oscillating between =lassical tradition and =hristian reality while its attitude later on during the -y%antine period should be examined according to different historical stages. Thus, often there is either a rupture with the past, or acceptance of some of the older principles and this, varying between different places and periods. ,ny attempt at a closer examination of this process is somewhat limited by the lack of exact chronological frame of the contexts. *n the other hand, statistically, a great share of architectural and artistic structure is deteriorating, thus ca. @!f of the 9recoC(oman statuary retrieved in 0srael were found while their heads lacking, and those having their heads preserved had their noses broken, and, moreover, with heavily mutilated genitals. , great part of these items were found reused as spolia mostly far from their original use. , similar situation occurs in architectural milieu5 almost all buildings which have been built following =lassical principles did not survive the -y%antine period in their original shape and function. 'artly they were reused as foundations and frames adapted to religious buildings following the new trends, and partly they simply became stone quarries.

The main question of this presentation concerns the character of this development; in fact, to what degree was it motivated by concerns with the =lassical heritage or was it 1ust a cynic response of a new victorious society. ,n attempt is made in this presentation to reCexamine some architectural and artistic structures of some of the main urban centres of (oman and .arly -y%antine 'alestine, such as =aesarea Maritima, ,scalon, $cythopolis, $epphoris and 7ipposC$usitha. 1unEtion und +edeutung monumentaler 2teinmale in >eiligtFmern der Gstlichen *ittelmeerwelt aus rGmischer Ceit &laus 2tefan 1reyberger 0n der estlichen Mittelmeerwelt %eichnen sich mehrere 7eiligtbmer aus remischer Eeit durch ein markantes sakrales Monument aus, dessen "unktion und -edeutung in der archaologischen "orschung bis heute nicht ausreichend geklart sind. .s handelt sich dabei um ein kubusfermiges $teinmal monumentaler ,usmace, das als isoliertes -auwerk im Temenos aufragt. Eu den bekanntesten -eispielen dieser ,rt geheren der g9roce ,ltarG in -aalbek, der g9roce TurmG in Dalat "akra und die -lockmonumente im 7eiligtum von Masnaqa und Rasr :eba #Tsarnaba& im +ibanon. dhnliche -auwerke finden sich auch in $yrien und <ordanien, wofbr die 7eiligtbmer des -el und :ebo in 'almyra sowie die g-lockgraberG in 'etra anschauliche Eeugnisse liefern. ,n einigen -auten wie dem g9rocen ,ltarG in -aalbek und dem g9rocen TurmG in Dalat "akra lassen sich im 0nnern Treppen nachweisen, wahrend es sich bei den 9ebauden in Masnaqa, Rasr :eba und 'almyra um reine $teinblecke handelt, die original mit einem $aulenbaldachin versehen waren. ;enn auch all diese 9ebaude in der architektonischen "ormgebung variieren, so haben sie stets die isolierte 'osition und die "orm des Dubus als gemeinsame Merkmale. .ine "unktionsanalyse der .inrichtung und ,usstattung kann klaren, in welcher ;eise diese Dultbauten genut%t wurden und in welcher ;eise sie %weckbestimmt fbr die verschiedenen ,ufgabenbereiche in den 7eiligtbmern, insbesondere fbr den Dultbetrieb, waren. Darbber hinaus sind die monumentalen $teinmale im Dontext der heiligen -e%irke %u interpretieren. .s fallt auf, dass einige $akralbauten wie der g9roce TurmG in Dalat "akra und das -lockmonument im 7eiligtum von Masnaqa allein in einem -e%irk stehen, wahrend die entsprechenden Dultbauten in den genannten 7eiligtbmern in 'almyra sich neben monumentalen Tempeln befinden. 0n .rgan%ung %u den archaologischen Eeugnissen sind die schriftlichen hberlieferungen antiker ,utoren und ;eihinschriften in die -etrachtung mit ein%ube%iehen, deren Texte in /erbindung mit dem materiellen -efund eine ,ntwort auf die "unktion, :ut%ung und -edeutung der monumentalen $teinmale in den 7eiligtbmern geben kennen. )isuali9ing Deities in the Roman 7ear 0ast5 he Role of Reliefs 0lise A( 1riedland ,cross the (oman :ear .ast, sculptural visuali%ations of deities varied widely, not only in material, iconography, and style, but also in format. "or example, at the $anctuary of 'an at =aesarea 'hilippiP-anias in (oman <udaea #later $yria and today modern 0srael&, cult statues and votive dedications are created almost solely in expensive, imported marble, carved in three dimensions and 9raecoC(oman style, and depict exclusively classical deities. 0n contrast, other temples in (oman $yria, such as the Temple of ,thenaC,llat in 'almyra, featured #sideCbyCside& sculptural dedications representing both local gods #$emitic warrior deities like ,llat, dressed as nomadic dessert people, mounted on camels& and 9raecoC(oman deities #,thena& K in both local format #relief&, native materials #limestone&, and indigenous styles #'almyrene& and imported ones #threeC dimensional, marble, and classical&. ,t still other sanctuaries in ,rabia, such as Rasr alC-int at 'etra, sculptural representations of deities were aniconic baetyls K rectangular slabs of local sandstone occasionally turned relief via the addition of eyes, a nose, and a mouth. ,fter a brief introduction, this paper will focus on the role of relief sculpture at sanctuaries in the (oman :ear .ast such as those noted above. ;hile multiple scholars have noted that $yrian figurative cult reliefs and ,rabian baetyls functioned entirely differently than threeCdimensional, 9raecoC (oman cult statues, questions remain about the consequences of format for cult practice as well as for human interactions with these visuali%ations of the gods. 0n addition to addressing these issues, 0 will argue that differences not only in the material, iconography, and style, but also in the format of religious statues allow us to track changes and conservatism in religious practice and indicate broader cultural responses to (oman conquest and rule of the :ear .ast.

<l monumento trionfale Tropaeum Traiani5 simbolismo iconografico al ser#i9io dellBideologia imperiale Anca Ce9arina 1ulger +o scopo della presenta%ione riporta in primo piano l4analisi di due monumenti artistici romani che rispondono all4ideologia imperiale nell4epoca traianea5 =olonna Traiana e Tropaeum Traiani, identificando tra loro le similitudini e le particolaritF artistiche, procedimento che valori%%erF il rapporto tra l4arte ufficiale e l4arte provinciale. $i individueranno le scene che hanno come soggetto principale di raffigura%ione artistica il motivo del comandante rappresentato in diversi momenti. 0n seguito all4analisi comparativa tra i due monumenti si scaturiscono afferma%ioni di carattere estetico, iconografico nonchN iconologico, che attraverso una lettura contestuali%%ata argomenterF che il monumento Tropaeum Traiani, con le sue particolaritF di raffigura%ione artistica appartenenti ad un medio provinciale, rimane particolare per la sua unicitF non solo per il suo significato storico quanto per il messaggio iconografico che I strettamente legato alla propaganda imperiale e che riguardava la superioritF dell4esercito romano e la virtJ militare dell4imperatore. , livello iconografico la novitF che emerge dalla costru%ione del monumento risiede proprio nella sua conce%ione propagandistica imperiale e il suo messaggio verso la popola%ione autoctona. 0l valore aggiunto del tema iconografico della guerra, imposto dai conquistatori, scuote la mentalitF locale e offre adesso dire%ioni d4arte su un fondo artistico locale. 0l messaggio simboleggiava l4associa%ione al livello iconografico del rapporto tra combattente e sottomessi, anche dalle raffigura%ione i daci e i loro alleati non mostrano una postura umi liata ma bensW fiera. 0l Tropaeum richiedeva quindi di essere raffigurato in questa maniera, un messaggio semplice reali%%ato in una conce%ione artistica locale, nella maniera in cui gli autoctoni erano capaci di percepire l4arte. +4esalta%ione della vittoria e la marcatura del territorio in una conce%ione apotropaica verrF a sottolineare la monumentalitF della crea%ione. 'arliamo tuttavia di un4arte provinciale che arriva, cosi come affermava -andinelli, ad imporsi di piJ nell4 epoca traianea, potendo parlare di una vera arte romana I non d4intrusioni artistiche o canoni di raffigura%ioni grechi. , livello iconologico il codice socioCpolitico si esprime attraverso un imperatore vittorioso, conquistatore ma non universale. Traiano conserva anche ad un livello artistico una certa vicinan%a, sen%a distaccarsi totalmente, spesso raffigurato nel me%%o del suo esercito, al contatto con il suo popolo che lo governa, a cui parla e istruisce. =ome I stato sempre sottolineato il confronto con la =olonna Traiana appare subito evidente il diverso stile artistico del trofeo locale che I rudimentale e rappresenta una manifesta%ione autentica dell4arte provinciale romana della prima decade del 00 secolo d.=. 0l monumento di Tropaeum Traiani deve essere considerato unico per la sua complessitF ideologica reduce della propaganda imperiale romana, I manifesta il livello artistico nella oesia "nferior agli ini%i del 00 secondo d.=., momento in cui l4arte provinciale romana comincia a confluire verso nuove dire%ioni d4arte e tematiche iconografiche. =ome procedimento artistico il monumento trionfale di ,damclisi I un prodotto dell4arte scultorea provinciale e rileva due livelli di maestran%e plastiche5 il primo rivela artigiani che hanno piJ esperien%a e professionalitF e il secondo caratteri%%ato invece da una grossolanitF di esecu%ione dovuta ad apprendisti delle officine lapicide, utili%%ati per lo svolgimento nel modo piJ veloce dell4opera. , livello artistico le raffigura%ioni iconografiche del monumento possono essere considerate rigide nonchN statiche, gli scultori elaborano le composi%ioni in una maniera selettiva caratteri%%ate dalla schemati%%a%ione dei fatti. +a teoria che Tropaeum Traiani fosse l4espressione di un4arte romana in pieno processo di decadimento, a causa della sua mancan%a di consisten%a iconografica se facciamo il paragone con la =olonna Traiana, certifica la sconoscen%a delle realtF locali prima della conquista romana del territorio, dove l4arte autoctona abbiamo visto che sviluppa caratteristiche e specificitF proprie. 0l decadentismo artistico con cui I stato catalogato Tropaeum Traiani si confonde nell4ambito scientifico delle ricerche con la conce%ione rudimentale dei rilievi. *ithridates of $ontus? *en $harnaEou and the *ithraic imagery Agnies9Ea 1uliHsEa The rise of the Mithraic religion in (ome is the sub1ect of a broad academic debate, which concentrates

on the doctrinal aspects, while the iconographic studies focus on particular monuments, even though attempts at monographic approaches to the sub1ect are made #=umont, =ampbell&. *ne of the most perplexing facts is that in (ome the Mithraic iconography appears fully developed, moreover5 without obvious antecedents in 0ranian art, and as such is consequently propagated throughout the empire to become one of the most prominent and omnipresent elements of provincial art. *ne of the possible sources of the Mithraic iconography, tentatively suggested in earlier scholarship #*ikonomides&, can be the representations of 9raecoC0ranian deities worshipped in the 7ellenistic kingdom of 'ontus. $uch images appear on the coins of the kings of the Mithridatids dynasty, whose last king, Mithridates /0 .upator, was one of the most important and indomitable enemies of (ome in the 2st century -=. The legions of $ulla, +ucullus and eventually 'ompey were engaged in long struggle in the 'ontic area; the incorporation of 'ontus into the (oman empire and the client status of the -osporan Dingdom, which was the last refuge of Mithridates /0 and was consequently ruled by his descendants, provided continued contacts in the 0mperial age. This in turn allowed for the flow of ideas and iconography to (ome. 0n my paper 0 would like to present a short overview of the possible influences of the complex iconography of the syncretised deities, as they are present in 'ontic ad -osporan coinage and art, on the fully developed Mithraic imagery, in order to show the probable link between the iconography of the 'hrygian deity Men, in his 'ontic version merged with a number of 9reek divinities #,pollo, Dionysos, the deified ,lexanderP7elios&, as one of the possible sources for the iconography of the (oman Mithras. -eing a solarPlunar god himself, having close relations with 0ranian deities worshipped by the Mithridatids, and taking on the traits of 9reek gods, and having among his attributes the 'hrygian cap, sun and moon, Men is a perfect candidate for one of the antecedents of Mithras. Les monuments sculpt3s relatifs 4 Attis en Gaule 7arbonnaise )assiliEi Gaggadis-Robin $i =ybIle fut reprNsentNe dans la rNgion en question dIs le /0e s. av. <.C=., dans un contexte grec # na5skoi de Marseille&, en revanche, son compagnon, le berger phrygien ,ttis, a NtN reprNsentN bien plus tardivement. 0l est gNnNralement admis que le culte de =ybIle fut introduit en 9aule par l4empereur =laude. +4arrivNe de ces nouvelles divinitNs a NtN mise en relation avec l4installation des populations venues de la partie orientale de l4.mpire, comme l4Npigraphie le laisse d4ailleurs suggNrer. +e corpus des documents analysNs dans cette communication est constituN de statues, mais aussi de reliefs, ou bien de sarcophages, qui par leur iconographie se rattachent F ,ttis de maniIre claire, ou implicite. =es sculptures proviennent d4,rles, de /ienne, d4*range, et de :Ymes, certains parmi eux sont inNdits. he 2culpture of hree Graces from Timacum Minus %*oesia 2uperior' 7adeIda Ga#rilo#iJ 0n late summer of year !2!, during the archaeological excavations in one lateCantique residential complex in Mediana near :ii # !aissus&, in one of the storage rooms, was found a fragmented marble statue featuring the Three 9races, which was missing for many decades from the :ational Museum of :ii. The documentation showed that it was found in 2?3 , in Timacum Minus, an important (oman centre and military camp. The statue presents a unique iconography, since all the three 9races frontally depicted, nude, embracing each other. The composition4s originality opened various questions concerning several issues5 where the statue was made, how it ended up in the residential complex of Mediana and most importantly, what was the inspiration source for the iconography of the Three 9races from Timacum Minus. The aim of this paper is to try, through detailed iconographic and stylistic analysis, to answer to these, but also to many other intriguing questions and to tickle the possibility if the Three 9races from Timacum Minus were made following the model of a long lost basCrelief from 'aros dated to the OthC3rd century -.=. <l mondo al femminile nei monumenti funerari di Aquileia5 le stele( Donne tra famiglia e societ4? fra < sec( a(C( ed epoca tardo-antica

Annalisa Gio#annini . $aola )entura Dopo avere esaminato nelljincontro di 'ola nel !22 la problematica delljiconografia e dei modi rappresentativi delle donne di ,quileia attraverso le grandi are, che portano a data%ioni comprese nelljarco del 0 secolo d.=., si intende passare al vaglio le medesime tematiche attraverso altre classi di monumenti funerari5 fra queste, in primis, le stele, che consentono di continuare il percorso di studio ini%iato, nella prospetti va di proseguire cronologicamente fino ai secoli piJ tardi #000C0/&. +jinsieme delle stele permette, inoltre, di ampliare la casistica, esaminando la realtF femminile anche attraverso esempi di donne lavoratrici, come la mima -assilla5 la quale, pur non aquileiese, ha ricevuto sepoltura nella cittF altoadriatica con un monumento prodotto localmente, che certamente riflette realtF iconografiche contingenti. <conography and 2ymbolism on Cult and )oti#e *onuments of the Roman $ro#ince of Dalmatia &orneli8a A( Giunio "ollowing the traces of the silent images of 9ods and 9oddesses, divine figures and representations of myths and rites of sacrifice on a chosen group of monumental sculptures and monuments from the (oman 'rovince of Dalmatia, the intent is to create a revived image of the (oman +ife and (eligion in the area. (oman provinces abound in monuments closely connected to the emperorjs cult mostly erected by the se#iri Augustales, being built pro salute et reditu imperatoris. ;ere all the sacrifices and vows # sacrifices et #ota& related to the .mperor himself, is the question that we will try to answer. *O7A0 - 0in $ro8eEt 9ur digitalen 0rschlieKung rGmischer 2teindenEmLler homas >agn 0n dem 'oster sollen entsprechend dem Dolloquiumsthema die remischen $teindenkmaler des interdis%iplinaren onlineC'ro1ektes M*:,. C M*:umenta ,ntiqua .lectronica http5PP wwwCgewi.uniC gra%.atPmonae hinsichlich 0konographie, $ymbolik und :achleben sowie die da%u angewendeten digitalen Methoden %ur 'rasentation und .rschliecung vorgestellt werden. 0n dem genannten 'ro1ekt des Eentrum ,ntike der >niversitat 9ra% wird versucht, mit 7ilfe digitaler 0nformationstechnologien remische $teindenkmaler sowohl be%bglich des epigraphischCschriftlichen als auch ikonographischCbildlichen 0nhaltes fbr "orschung und +ehre an >niversitaten und allgemein bildenden heheren $chulen naher %u bringen. >nter den bisher %unachst aus ksterreich online dargestellten 0nschriftenCMonumenten der 'rovin%en Dacia, :oricum und 'annonia befinden sich 2B /otivmonumente, davon ? mit ornamentalen oder figbrlichen (eliefschmuck, weitere werden noch folgen. Die Dombination mit dem epigraphischCschriftlichen 0nhalt dieser $teindenkmaler erlaubt %usat%liche hberlegungen %u remischer 0konographie und DultC$ymbolik und gibt in didaktischer 7insicht gute -eispiele fbr die mehrfachen ,ussagemeglichkeiten solcher Monumente. 0nsbesondere 1ene aus der 'rovin% Dacia stellen darbber hinaus bedeutende Eeugnisse fbr das :achleben antiker $teindenkmaler dar5 Denn sie gelangten im 2@.<h. unter Daiser Darl /0. nach ;ien, wo sie heute noch die ;ande des $tiegenaufganges %ur ksterreichischen :ationalbibliothek schmbcken. .s bleibt dabei %u fragen, inwieweit eine ,uswahl der Monumente nach bestimmten Driterien, wie etwa nach bevor%ugten 9ottheiten #%.-. Mars und /ictoria V& oder ikonographischen .lementen, damals vorgenommen wurde. Die 'rasentation des onlineC'ro1ektes Monae dient aber auch da%u, die unterschiedlichen Meglichkeiten, welche die digitalen Methoden %ur .rschliecung von 0konographie und $ymbolik remischer $teindenkmaler bieten, %ur Diskussion %u stellen. ,bgesehen von den traditionellen digitalen Datenbanken, auf deren 'robleme bewuct hingewiesen werden soll, ist nach der :ut%barkeit digitaler Technologien fbr neue wissenschaftliche .rkenntnisse spe%iell im -ereich remischer Dultmonumente %u fragen. ;elche /orC und :achteile kann die /erwendung bestimmter digitaler Methoden bringen, inwieweit werden damit 0nterpretation und ,ussagemeglichkeiten beeinfluctV $o %.-. lact sich mit 7ilfe digitaler (ekonstruktionen das vermeintlich ursprbngliche ,ussehen remischer $teindenkmaler sehr anschaulich wiedergewinnen. <edoch kann sich damit auch eine bestimmte /orstellung eventuell viel schneller einpragen als etwa durch geschriebenen Text. .ine kritische .instellung gegenbber den digitalen Methoden sollte insbesondere bei ihrer didaktischen ,nwendung wie %.-. fbr die ;issensvermittlung %u remischen Dult und (eligion an 7and von #rekonstruierten&

Dultmonumenten nicht bbersehen werden. >nterschiedliche .inschat%ungen und ,nsichten %u diesen digitalen Methoden sollen nicht nur helfen, das vorgestellte 'ro1ekte M*:,. %u verbessern, sondern kennen auch als ,nregungen fbr ahnliche digitale 'ro1ekte dienen. 2AGA* . Cu chronologischen %1ehl-'<nterpretationen eines Eeltisch-rGmischen &leidungsstFcEes *anfred >ain9mann Der fransenbeset%te Mantel K mit der keltischen -e%eichnung sagum K findet sich wiederholt auf kaiser%eitlichen $teindenkmalern. :ach diesen Eeugnissen %u schliecen, kannte ihn die mannliche -evelkerung sowohl als EivilC wie auch als Militartracht. .r soll %unachst #nurV& als g$oldatenmantelG und danach #auch& als %iviles Dleidungsstbck getragen worden sein. Dieser ;echsel vom militarischen %um %ivilen 7abitus wurde %ulet%t von .. 'ochmarski postulativ mit der (egentschaft Daiser =aracallas verknbpft. 0n diesem Eusammenhang gilt es %wei methodische ,nsat%e %u hinterfragen5 0st K ohne :achweis eines kaiserlichen .diktes K selbiges <unktim bberhaupt %ulassig, und kann ein solcher ;echsel innerhalb der lDleiderordnung4 ohne -erbcksichtigung aller #vorhandenen& -ild%eugnisse feinchronologisch bestimmt werden. ,uf eben diese "ragen versucht das (eferat eine ,ntwort %u geben. Cwischen &aiserEult und Gallischer Religion5 Der $feiler der Nautae Parisiaci Ortolf >arl Die -lecke des im Museum von =luny aufbewahrten 'feilers geheren %u den wichtigsten und am meisten diskutierten Denkmaler %ur (eligion der Delten. Da die .ntdeckung der -lecke mit der 9eburt +udwig des L0/ verknbpft ist, sind sie %ugleich mit einem der 7ehepunkte der fran%esischen 9eschichte verknbpft. Das fbhrte %u einer hberbetonung der keltischCreligiesCkulturellen ,spekte und berbcksichtigt die Tatsache %u wenig, dass der 'feiler als Denkmal des Daiserkultes C und %war %u .hren des Tiberius C errichtet wurde. Die archaologische :eubewertung dieser "unktion legt religiese $puren frei, die in die =isalpina des . vorchristlichen <ahrhunderts fbhren, wahrend philologische Ruellen darauf hinweisen, dass bei der >mset%ung von -ildmotiven kulturellC religiese Missverstandnisse passiert sind. Dadurch erweist sich der 'feiler als ein synkretistisches Denkmal aus der beginnenden Daiser%eit, in der sich eine remische -ildsprache %ur keltischen (eligion erst aus%upragen begann. >ow the Roman looted worEs of art from the Mrd to the Nst century +(C( Adam !arych The plunder of cities from the statues and paintings was an essential component of most (oman military campaigns conducted against opponents within the Mediterranean culture. +ooting works of art #sculptures and paintings& of the great masters was common, something that raised moral and splendor of kings, dictators and leaders. 'ausanias in his +escription of Greece #mnnopqr stuvwxyzvr& enunciated spoliation as something normal and customary, which for generations accompanied chiefs and their troops on the war spoils, looting not only works of art and enriching their estates #'aus. /000, OA, 2CB&. This practice can be seen in many areas such as symbolic, aesthetic and cultic. Lerxesj army, who in the fifth century -.=. looted ,thens and the ,cropolis, took the statue made by ,nteona depicting 7armodius and ,ristogeiton. Transposition of the sculpture commemorating 7armodios and ,ristogeiton has an aesthetic value but also a symbolic one, because for some time 'isistratos tyrantjs son, 7ippias lived at the court of the 'ersian king Darius. ,fter his great eastern conquest, ,lexander the 9reat recaptured the sculpture and returned it to ,thens. The main aspect discussed in this article will be the differences between capture and plunder at the times of turn of the (epublic and the .mpire. The (epublican leaders wealth C for example of $ulla, 'ompey, =rassus and =aesar C were created in a large part from looted works of art of 7ellas. Mentioning the looting of ,thens and Delphi from @8 -.=. can help reali%e the importance of wealth that was exported by commanders in formation of the (oman order in legion structures #'lut., Sulla, 2 &. $oldiers seeing wealth coming to the country fought more

likely because they hoped that, in time of peace, a tiny percentage of works of art and money looted from the province would go to them. Thus, works of art looted during the late (epublic were mostly utilitarian in nature and constituted a guarantee of the maintenance of numerous soldiers of the legions. ;orks of art coming to (ome in mass since the time of Marcus Marcellus #.. Dbn%l, +er r6misc)e Triump), Munich, 2?@@, p.2!?&, who sacked $yracuse in 2 -.=., began to have a very different function during the .mpire as they had in the times of $ulla and =aesarjs dictatorship. ,ugustus, Tiberius and :ero appreciated the value of works acquired and transported to the capital. $ince then the images of popular artists such as ,pelles were on display, so that each citi%en could get familiar with the symbolic, ideological and artistic messages intended through works of art by the princeps and his successors #'lin. nat. 3B, @&. he Cult of Dionysus and )oti#e *onuments in 2alona !asna !eliOiJ-RadoniJ The cult of Dionysus, extremely widely disseminated in the 9reek world, was to be found on the eastern coast of the ,driatic as early as the O th century -=, in the colonies of 0ssa and 'haros founded at that time. The 9reek colonists of these islands of =entral Dalmatia took the cult to the mainland as they created settlements and emporia. *ne such was the place where, with the coming of the 0talics and (omans, $alona, capital of the (oman province of Dalmatia, was to be formed. 0n $alona, the cult of Dionysus, or +iber, was particularly strong, as shown by monuments uncovered to date, particularly the temple. This is a tetrastyle temple opposite the theatre, in the immediate vicinity of the forum of the oldest part of the city # Ur&s #etus&. 0n addition to the temple, a number of sculptures of the deity are known, such as a marble torso, or a lower part of a sculpture with a panther, or a sculpture showing Dionysus4 followers K the satyrs and maenads, his t)iasos. These sculptures might have been put up as cult statues or votive gifts in the temple mentioned or in some other shrines, individual inscriptions of which on stone beams and altars have been found. $cenes of the Dionysus cult are also to be found on $alona sarcophagi, such as Dionysus4 triumph in the east on some recently discovered fragments of an ,ttic sarcophagus; on tombstones there are frequently mentioned allusions to the connection of Dionysus with the underworld, in other words, with immortal life. These monuments indicate a considerable presence of the cult of Dionysus, or +iber, in $alona. GGttliche 1rFchte Ate &latt 0nsbesondere auf den :ebenseiten von ;eihesteinen der nerdlichen 'rovin%en finden sich wiederholt Darstellungen sowohl von $chlangen, die sich in einem -aum winden als auch von verschiedensten 9efacen, die mit "rbchten gefbllt sind. Die $chlange wird in der (egel als chthonisches $ymbol b%w. als 7inweis auf eine nichtC irdische $phare aufgefasst. Die gefbllten 9eface werden %umeist nicht weiter beachtet und als dekoratives -eiwerk bbergangen. hber ikonographische /ergleiche scheint es 1edoch meglich, weitere inhaltlicher -e%bge her%ustellen und neue Deutungsmeglichkeiten %u ereffnen. ,uch der 7erstellungspro%ess muss in diesem Eusammenhang reflektiert werden. GGtterbild und 2aEralraum im *ithrasEult An8a &lGcEner Der Dult des Mithras besit%t eine (eihe von -esonderheiten, die ihn von anderen Dulten im 0mperium (omanum abset%en. Dies betrifft neben ,spekten des (ituals, der 0konographie und der ,rchitektur auch die 9estaltung der 9etterbilder und der Dultraume. ,nders als gemeinhin bblich, sind die %entralen 9etterbilder der Dultstatten im "alle des Mithras seltener $tatuen, sondern weit bberwiegend (eliefs oder Malereien. Eweidimensionalitat ist offensichtlich ein wesentlicher Eug der Mithrasbilder. 0n dem -eitrag werden die Donsequen%en dieser spe%ifischen Medialitat fbr den Dultvoll%ug erertert. ,ucerdem soll geklart werden, inwieweit diese /erschiebungen im rituellen $ymbolsystem mit geanderten religiesen /orstellungen

einhergehen. .in %weiter ,bschnitt geht auf das Don%ept der Mithraen als symbolisch konstruierte 7ehlen ein. 2culptures and #oti#e monuments of deities in Aenona *ari8a &olega :umerous votive monuments which confirm veneration of native, (oman and *riental deities were found in the municipum of ,enona. +ocal +iburnian goddess ,nsotica had particular importance appearing in (oman interpretation 7interpretatio ,omana8 as Venus Anzotiea. 7er cult statue together with 'riapus and a votive inscription were found outside the city walls. The statue is interesting from stylisticCiconographic and cult aspect. The goddess is depicted as the classical Venus pudica type with nude upper part of the body and a cloak falling from her hips downwards. *n her left side 'riapus is represented, only smaller, with a beard and long hair, lifting lower part of his clothes with his hands and showing a hypertrophic phallus and lower part of the body. This cult image is unique in the region of (oman +iburnia and it appears only in the ,enona community testifying about overlapping of local tradition and new (oman element. :ative female deities appear in other +iburnian communities such as "utossica, Aitica and Sentona in ,lbona, "ca and "ria in "lanona, 9atra in :adin and some other communities testifying to their regional distribution and veneration. /otive inscriptions to $ilvanus, god of agriculture, forests and water, were preserved on four votive monuments, and his depiction was carved on one of them. This is an altar on whose lateral side is a depiction of standing $ilvanus with goat legs. *n the basis of preserved inscriptions we can conclude that the god $ilvanus was honored much earlier in +iburnia and that it belonged to a native male deity which had wider regional importance particularly for the neighbouring Delmatae. (oman gods <upiter, <anus, :eptune, /ulcan, Diana and Dionysus were also venerated as confirmed by votive monuments and a statue bust. 'robably this was a statue of the god Dionysus of which a headless bust was preserved, with long hair locks falling over the shoulder. *riginally he was depicted standing, without clothes, with long hair and attributes that were not preserved, but they are a part of his cult image #wreath of vine leaves on his head, cantharos and thyrsus in his hand&, accompanied by some animal #panthera&. *ut of .gyptian deities the goddess 0sis takes a prominent place whose headless statue was found in :in. =ircumstances of its discovery are unknown, so that we can only assume that it originally stood in some sanctuary. There was also an altar with an interesting inscription5 "o#i Sa&asio "ico P 97ucius8 'lotius .perastus P #7otum8 s7ol#it8 l7i&ens8 m7erito8. <upiter was syncreti%ed with $abasius, an *riental and native deity bearing an attribute "icus. .mergence of the cult of the god $abasius in ,enona is reflected in *riental elements, and it is particularly important that it got its native confirmation in the local surrounding. P2polienQ und recycling in Carnuntum Gabrielle &remer -asierend auf den .rkenntnissen, die im Euge der ,rbeiten am =$0( =arnuntum gewonnen wurden, soll ein hberblick bber die sekundare /erwendung von $teindenkmalern in =arnuntum gegeben werden. Dieses Thema ist von besonderer ,ktualitat, da in den let%ten <ahren mehrere spektakulare "undensembles mit wiederverrwendeten $teindenkmalern geborgen wurden. ,nhand der 7andwerksspuren und der "undsituation wird %unachst der Eustand der Denkmaler analysiert. >nterschiedliche =harakteristika der ;iederverwendung werden herausgearbeitet, Eersterungsvorgange so weit wie meglich rekonstruiert. 0n einem %weiten $chritt wird das Motiv der sekundaren /organge hinterfragt. >nterschieden wird %wischen der intentionellen 'rasentation im Dontext #$polien& und den verschiedenen ,rten der ;iederverwertung #recycling& von $teinen. ,bschliecend sollen die ;iederverwendungen einem Eeithori%ont %ugewiesen werden, damit der Eusammenhang mit dem historischen Dontext betrachtet werden kann. ,ls -eispiele %eigen wir ergan%end da%u die noch unpubli%ierten :eufunde der let%ten <ahre, um so einen ersten .indruck des aktuellen "orschungsstandes %u vermitteln. 2tatua Loricata in the iconography of the !ulio-Claudian period

*arius9 &wasny (oman .mpire C one of the most important state formations that ever appeared in the world C from a certain point in history was led by rulers C emperors. Those, in addition to a number of secondary functions of the position of primus inter pares #first among equals&, acted as a military leader. <ust like in any other period of history, in the (oman .mpire, the rulers and their families were one of the most important groups of citi%ens, which was sub1ect to continual process of {documentation of their image.{ 0n iconography, (oman emperors were portrayed in different ways, of which there are several basic types of imperial portraits5 wearing the toga #statua togata&, horseback riding #statua e:uestris&, as a naked figure with a spear and the characters with the attributes of the gods. *ne of the most important representations of rulers was showing them as (oman generals, wearing lorica #statua loricata&. The leaders dressed in military tunic, which wore a breastplate C lorica, were usually portrayed in situations delivering speech urging the army to fight, or as a gesture of giving orders. 7owever, we must remember that the images of the (oman generals, known even to the famous portrait of ,ugustus from 'rima 'orta are unusual portraits of emperors. .mperors known to us from the official statues, reliefs and portraits on coins are portrayed in armor, which in no way can be compared to the armor worn by ordinary legionaires and even officers. The main ob1ective of my dissertation is to collect and to examine in a comprehensive manner the images of the emperors of the <ulioC=laudian dynasty as military superiors, wearing a sumptuous or propagandistic breastplate. The decoration of the breastplate was to illustrate the remarkable emperors, their conquests, their policies, as well as the divine origin of their power. The lorica of the emperor was a usul element associated with the power of the emperor, as a leader of the people and the head of the army. Thus, the breastplate K lorica, worn by leaders of the (oman .mpire, because of its diversity and unusual form, is a very interesting part of armor, a work of art, and it is a point of interest and wider development.

he relief statue base of 7ummius 7igreinos? sacred herald of the 0leusinian mysteries <phigeneia Le#enti , statue base for a portrait statue of +ucius :ummius :igreinos from the ,ttic deme of 9argettos, who served as sacred herald in the .leusinian Mysteries, was erected after his death in the sanctuary of .leusis in ,ttica. The monument, whose bron%e statue is not preserved, is dated ca. ,.D. 2B! on prosopographical evidence #"G 00 3B8O&. 0ts main interest lies in the relief representations on three sides of the extant base depicting .leusinian initiates marching along its lower part in two superimposed rows. The statue base, which is made of 'entelic marble, but is today mutilated and broken into two pieces, is kept in the courtyard of the .leusis ,rchaeological Museum #inv. no. . 22O3&. The relief base already captured the attention of the .nglish travelers <acob $pon and 9eorges ;heler in the seventeenth century and was drawn by both of them. :evertheless, its representation remains rather unknown in the modern scholarship, even though it displays the only existing visual testimony for the annual procession of .leusinian initiates from the city of ,thens to the sanctuary of the two 9oddesses, Demeter and Dore, in .leusis during the celebration of the 9reat Mysteries. :ummius :igreinos, serving as the sacred herald of the Mysteries still in the decade ,D 2O!C2B!, was one of the leaders of this procession along with the other prime officials, namely the dadouc)os and )ierop)ant , as well as other priests and priestesses of the .leusinian Mysteries. Thus, apart from the bron%e statue, :igreinos may also have been portrayed, on the relief frie%e of the statue base, on the missing part of the procession that may have continued on a fourth side of the marble base. This would be a rare attestation of an .leusinian cult official on duty, since such representations appear only on a handful of artistic depictions of .leusinian cult events in ,thenian vase painting and reliefs from the ,rchaic to (oman periods. The relief procession of .leusinian initiates on the statue base under discussion is rendered in low relief and its quality is rather crude, notwithstanding that this is a sculpted monument of ,thenian art in the (oman 0mperial period. 0ts iconography, however, is of primary importance in regard to the iconographical types of the .leusinian initiates, both men and women, depicted here carrying the main symbol of the .leusinian initiate, the &ack)os staff. .vident are variations in drapery, especially among the male figures, which may reflect not only various ages but most spectacularly, various grades of initiation represented by the participants.

The study of this relief monument not only gives us insight into the continuing pictorial tradition for .leusinian initiates from the =lassical to (oman 0mperial times, but also, most intriguingly, gives us the opportunity to combine literary and epigraphical sources with iconographical evidence as to the participants of the mystery cult and to reconstruct at least in part the appearance of its most open and splendid element, the procession of the 9reat Mysteries. These rites, celebrated throughout ,ntiquity, were recogni%ed as the second greatest ,thenian festival after the 'anathenaia, whereas from a 'anhellenic perspective were comparable in religious importance only to the *lympian games #'aus. B.2!.2&. 2culpting 2pace . he iconography of the architectural sculpture in the Roman Villa of RabaRal %$ortugal' 1ilomena LimSo . *iguel $essoa The (oman Villa of (aba|al constitutes one of the most monumental +ate ,ntiquity #illae in currently 'ortuguese territory. 0t integrates the administrative region that also includes the =on}mbriga ciuitas, to the west of the road linking ;lisipo #+isbon& and (racara Augusta #-raga&, an important :orthC$outh connection axis in (oman 7ispania. The (aba|al Villa was newly constructed in the midCOth century, and it is thought to have been abandoned in the early Bth century upon the $uebi, ,lan and /andal invasions or, alternatively, in the midCBth century upon the $uebi decimation of =on}mbriga. ,rcheological excavations in the (aba|al Villa have been systematically performed since 2?@O under the guidance of Miguel 'essoa, producing a vast, valuable and varied collection. This communication aims to describe a unique set of limestone and marble basC and highCreliefs that decorated the walls of the most imposing building of the (aba|al Villa, the triclinium. ,rchitectural decoration was associated with an ambitious construction plan around an octagonal, mosaicCfilled peristyle. The natural elements surrounding the Villa and its influence on the architecture are demonstrated in the decoration of the reliefs. These bas C and high C reliefs represent architectural elements #columns, capitals, cornices, and free%es&, architectural representations #porticoes&, geometric plans and perspectives. The architectural sculpture in (aba|al shows a sensitive preference for figurative elements such as vases and cornucopias and vegetal depictions such as flowers, acanthus leaves, vegetal crowns, cobs, fleshy fruits, grape clusters. 0t is an exuberant performance of nature. There is no clear sign of the presence of =hristianity in this +ate ,ntiquity uilla. 7ow can we understand the symbolism of this vivid presence of natureV ;hat is the importance of architecture and geometry in this sculpting programV Does it intend to tell us something in quite a veiled way using these significants with a new meaningV This study aims to question and analy%e the intentions, meanings and implications of the architectural sculpture program of (aba|al as well as the close relationships between sculpted nature and constructed space.

La 9one sacro-fun3raire du palais de Diocl3tien 4 2plit &at8a *araso#iJ . Daniela *atetiJ $ol8aE . 2n8eIana $ero8e#iJ +a %one sacroCfunNraire du palais de DioclNtien est situNe au centre du 'alais, devant l4accIs aux appartements impNriaux. .lle comprend deux temenos de dimensions diffNrentes, placNs djune part et djautre djune cour rectangulaire K ~'Nrystile~, djoJ on y accIde. +e temenos F ljest du 'Nristyle inclut un Ndifice octogonal, tandis que celui F ljouest en comprend trois 5 un temple rectangulaire et deux Ndifices circulaires. $ur la fonction des Ndifices principaux on trouve diffNrentes thNories issues des sources historiques 5 ljNdifice octogonale est mentionnN comme temple de <upiter etPou comme MausolNe, tandis que le Temple rectangulaire comme temple de <anus, ,esculape ou <upiter. +a plupart

des chercheurs voyaient dans ljNdifice du temenos est le MausolNe de DioclNtien et dans celui du temenos ouest un temple dNdiN soit F <upiter soit F <anus, .sculape ou au concept politique de la TNtrarchie. +es deux Ndifices, pourtant, possIdent aussi tous les NlNments d4un templeCtombeau. +es Ndifices circulaires #mentionnNes au L/0 e siIcle en tant que temples de /enus et =ybIle&, ont NtN considNrNs comme des mausolNes secondaires, comme des monopteroi. .tant donnN qu4ils n4avaient pas d4escalier d4accIs, ils pourraient _tre simplement des Ndifices dNcoratifs. +jNtude du dNcor architectural dNcouvre que les deux temenos et le 'Nrystile dNsignent un ensemble. =jest la %one la plus richement dNcorNe dans le 'alais, elle possIde un programme figuratif trIs NlaborN dans les dNtails. +janalyse des particularitNs de ljordre architectural et des motifs figuratifs dNcouvre son importance. +4ordre corinthien a NtN uniquement appliquN dans cette %one. Dans les deux temenos on trouve les m_mes motifs 5 des t_tes diffNrentes, des masques, des rinceaux peuplNs etc., mais parfois appliquNs sur diffNrents NlNments architecturaux. +es particularitNs d4exNcution montrent qu4ils sont issus d4un m_me atelier. +a position du MausolNe et du Temple rectangulaire entourNs du mur du temenos rNvIle qujils ont la m_me importance. =es deux Ndifices placNs sur le m_me axe, ljun visCFCvis de ljautre, se complItent. +eur dNcor, F notre avis, possIde le m_me caractIre. Le temple antique du $uy-en-)elay? construction? d3cor et de#enir 0lise 7ectoux +e site du 'uyCenC/elay est une agglomNration secondaire de la citN des vellaves. >n corpus consNquent de blocs antiques, rNemployNs dans les constructions tardoCantiques et mNdiNvales, permet d4envisager l4identification de quelques monuments funNraires et d4un sanctuaire sur la colline d4,nis ou aux environs. +e corpus lapidaire comprend au moins BA blocs provenant du sanctuaire 5 grand appareil, dNcor architectural, statuaire, inscription. +e temple fut NdifiN sur une terrasse artificielle NrigNe au dNbut du 00e siIcle de notre Ire, dont les vestiges #murs de terrasses, caissons de soutInement, cryptoportique& ont NtN NtudiNs dans la cathNdrale :otre Dame, sous le cloYtre, dans le -aptistIre $aintC<ean, F l4h`tel de $aintC/idal, place du "or et F l4Nv_chN. +4ob1ectif de la prNsentation est F la fois d4exposer le corpus architectural et sculptN, mais aussi de dNcrire les structures bXties subsistantes. +e corpus architectural sera remis dans le contexte des programmes Ndilitaires de 9aule, et comparN F la chronoCtypologie du dNcor architectural, en vue d4affiner et d4argumenter la datation du bXtiment. +es structures bXties, offrant quelques NlNments de datation grXce aux remblais de comblement de la terrasse, seront Ngalement dNcrites et leur datation argumentNe. +e devenir du quartier monumental est Ngalement une question essentielle au 'uyCenC/elay puisque la terrasse antique soutient au1ourd4hui le baptistIre de l4antiquitN tardive, la cathNdrale et le cloYtre romans, ainsi que l4Nv_chN moderne. $i la terrasse a clairement perdurN aprIs l4antiquitN, le sanctuaire a peutC_tre NtN conservN 1usqu4F la construction de la cathNdrale carolingienne. 0l est possible qu4il ait NtN rNutilisN dans son volume comme cathNdrale primitive. +4analyse des rNemplois et la rNutilisation des fondations de la cella au chevet de la cathNdrale en sont les principaux arguments.

*onumenti #oti#i nelle colle9ioni del *useo 7a9ionale di 2toria della ransil#ania( 2tudio sulle officine e le ca#e di pietra di Dacia 2uperior e $orolissensis <rina 7emeti . Lumini"a 2/s/ran . 0ugen 2/s/ran :elle colle%ioni del Museo :a%ionale di $toria della Transilvania si trovano circa 8!! monumenti romani, votivi o di culto quasi la metF di essi. Ruesti monumenti furono reali%%ati con diverse varietF di pietra provenienti dalle cave della Dacia romana. +a mappatura del luogo della scoperta di questi monumenti mostra la loro provenien%a dalle tutte le regioni della Dacia $uperior e 'orolissensis, specialmente dai centri urbani ma anche da vici militari, abita%ioni rurali e villae rusticae. 'artendo dall4analisi iconografica e stilistica dei monumenti

raggruppati secondo il luogo di scoperta, I stata dimostrata l4identifica%ione delle officine dei lapicidi che produssero questi monumenti. 0l nostro studio ha raddoppiato questa ricerca con le analisi petrografiche, che hanno offerto dati concreti per la determina%ione della provenien%a delle roccie dalle quali furono reali%%ati i monumenti. Z stata reali%%ata cosW un4analisi interdisciplinare complessa, che oggi ci consente un approccio nuovo e piJ raffinato alla problematica delle officine dei lapicidi e delle cave di pietra della Dacia $uperior e 'orolissensis. < rilie#i dei Ca#alieri Danubiani( 2punti per lBinterpreta9ione diacronica delle #arianti regionali 2orin 7emeti +addove le fonti scritte mancano completamente, conosciamo i dati di un culto antico soltanto dalle rappresenta%ioni figurate su monumenti cultuali e votivi. Dal repertorio delle immagini divine del mondo grecoC romano abbiamo scelto l4iconografia di un culto regionale, la cui diffusione I limitata alla %ona balcano danubiana5 il culto dei cosiddetti =avalieri Danubiani. 0n questo quadro molto ampio, abbiamo isolato alcune varianti iconografiche regionali che contengono, sullo stesso monumento, un gran numero di scene e simboli raggruppati in piJ registri. $i tratta di rilievi di pietra con tre registri, prodotti e circolanti sul territorio della provincia Dacia, e di altre tre varianti di tavolette di piombo, che ebbero maggiore diffusione nella 'annonia 0nferiore, nella %ona del centro di $irmium. 'artendo dall4albero tipologico e dal contesto archeologico di alcuni monumenti, questo studio vuole anali%%are l4evolu%ione cronologica dell4iconografia del culto. Dionysos on *onuments from the Republic of *acedonia AleEsandra 7iEolosEa ,ccording to the traditional religion of the local population, Dionysos and the bacchic iconography in general, is greatly attested on the (oman monuments from the (epublic of Macedonia. Throughout the studied region which covers the (oman provinces of Macedonia, Moesia $uperior and Thrace, the cult of Dionysos was exceptionally popular, especially in the second and the beginning of the third century. ,ccording to the character of the material, it seems that his cult was mostly connected to the funerary aspect. Dionysos was perceived as a symbolic figure of death and regeneration, which is a common feature among mystery gods, as he was locally known as well. This paper gives an overview of all the attested monuments with recogni%able bacchic iconography and concludes with possible resolutions of some of the important issues of the local cult of Dionysos K the prevalence of the religious groups devoted to Dionysos and the main religious concepts of the local cult.

2e#eral remarEs regarding the production of stone religious artefacts from Apulum Radu Ota ,pulum, important centre of political, economic, social and urban life, constitutes in our opinion a nucleus for spreading and development of many religious cults, starting with the official 9reekC(oman and continuing with the *riental #$yrian, micro ,sian, 0ranian, 'almyran&, =elticC9ermanic, ThracianCMoesian, 0llyrian and northern ,frican ones. Massive coloni%ation, accomplished by Tra1an and continued by his successors, has led to unprecedented development on the territory of the urban centre ,pulum. The building of the legionary fort and establishment of the two civil settlements # cana&ae and uicus& that were urbani%ed at a certain time, has

constituted a good meeting place for 0talic, :oricoC'annonian, northern ,frican, oriental colonists, aspect that facilitated the opening of some workshops to fabricate religious ob1ects which satisfy the increasing demand of growing population. *f course, those with a good material state afforded to command marble statues and votive reliefs from ,sia Minor and 9reece, where there were famous sculpture workshops, and the marble has better quality than that found in Transylvania. 0n this study we try to discuss on the basis of sculptural material found so far, the existence of stone workshops in ,pulum, their evolution along the time, as well as the artistic level of the master masons that worked here. ;e don4t try to reali%e an exhaustive study, but to explain for how long were made votive and cult stone artefacts based on representative pieces, the level of mythological and religious knowledge, even anatomical information held by the craftsmen in stone. 0t is supposed the existence of two stone workshops at ,pulum5 the first, situated 3!! m west from legionary fortress; the second, situated northCeast from the legionary camp, probably outside the cana&ae, but near by the second (oman cemetery from ,pulum. The first workshop was intuited by =l. +. -6lu6 based on summary field observations reali%ed with the occasion of utility works where the museum from ,lba 0ulia didn4t carry out archaeological researches. 7e informs us that were discovered some anepigraphic altars and blocks of stone in progress of being processed, limestone powder and other waste produced by cutting. -ut -6lu6 didn4t publish any images or profiles from the excavation in order to confirm or not this theory. :o doubt, 0 have a reserved attitude concerning this supposition of a stone workshop existing in this place. ,s for the second stone workshop, its existence is more plausible, because through archaeological researches carried out by M. -l61an, he observed a lot of blocks of stone in progress of being carved with a lot of waste resulted from this activity. >nfortunately, he hasn4t published any plans of this archaeological research. $urely, stone workshops have existed in ,pulum, but we can4t establish their location in the area of canabaeP municipium $eptimium or colonia ,urelia, or even outside of these settlements. There was a big demand of construction materials from the militaries or civilians. Many funerary monuments are made in these workshops #sarcophagi, stelae, aediculae etc.& and, not least, they, surely, developed a production of cult and votive statues which were dedicated especially to official cults. "or example, we can relate about the cult or votive statues showing 0upiter on the throne, the most numerous of this type in Dacia. ;e are raising the problem of whether the local marble #marble of -ucova& statues or votive reliefs were made in ,pulum or >lpia Traiana $armi%egetusa. 0t is known that in >lpia Traiana $armi%egetusa has functioned a stone workshop of micro ,sian sculptors which has activated from the second century ,.D. and the following decades. ;e ask ourselves which was the artistic level of the stone masters from ,pulumV =an we talk about simple craftsmanCstone masters or really sculptorsCartistsV "rom our point of view the stone masters from ,pulum rarely overcame the medium provincial level concerning artistic finesse. They have possessed good knowledge of religious iconography, mythology as opposed to a lot of problems in rendering the volumes and respecting symmetry of the component parts of human body. ;e can4t establish exactly, at this moment, the starting point when these stone workshops began production, but we can affirm that they have functioned during the period of military anarchy.

o li#e with myths after the dead( he local production of Campania sarcophagi Angela $almentieri This abstract concerns an ongoing research about a group of =ampanian sarcophagi with mythological scenes. The central theme of this paper is the analysis of the mythological reliefs. *n this point, 0 would like to use the last important research of '. Eanker and -. =. .wald to compare the urban caseCstudies with the local context. This analysis shows a large group of sarcophagi, produced by local workshops between the second half of the nd century and 3rd centuries ,D for people with mediumChigh financial means. The ma1or findings are known in 'o%%uoli, =apua, $alerno and -enevento. The preference for some iconographic themes and stylistic performance suggests the taste of clients for certain 9reek myths and the capabilities of some marmorarii to contaminate the urban repertoire.

T7. *-<.=T0/.$ 1. To update our knowledge on the choices of mythological sub1ects by the local clients. 2. To understand the relationships with the urban and *stia sub1ects and style. T7. (.$>+T$ ,:D T7. =*:=+>$0*:$ *" T7. (.$.,(=7 1. The Dionysian theme is used mostly #triumph, abandonment of ,riadne, thiasos&. 2. The myth chosen by the women was specially the rapture of 'ersephone, while that chosen by the men was the hunting. 3. Marine thiasos was chosen by the married couple.

Local cult statues or itinerant coin-typesT 2ome remarEs on the iconography of the ;estern-$ontic coinage 1lorina $anait +,r9escu The importance of the coinCtypes for the ma1or art, and also for the iconography of various deities, has been frequently noticed, a well known case being that of a coinCtype struck by ,pollonia 'ontike, which was reproducing a statue of ,pollo 0etros, work of the sculptor =alamis. This kind of coinCtypes, that render the entire figure of the deity, has become common in the (oman period. The number of deities depicted on the coins struck by the ;esternC'ontic cities has increased. $ome coinCtypes may be borrowed from the mint of another city, they could be itinerant coinCtypes with little value for the local iconography. The present study aims to distinguish between these and the coinCtypes, which are reproducing a ma1or art work, in order to gain firm arguments for the knowledge of the local iconography and cults. Les croyances fun3raires des *ac3doniens5 lBh3roUsation et la di#inisation des d3funts 4 lB3poque romaine 7ade $roe#a 'armi les cultes les plus anciens est celui des anc_tres, qui Ntaient hNro^sNs. ,u dNbut, le culte n4Ntait rendu que F l4anc_tre commun, fondateur ou patron de la ville #<eros p)ylakos, 'ropylaios, Aulonites&, ensuite il l4Ntait Ngalement aux personnes illustres de la communautN, pour aboutir enfin F l4hNro^sation de tous les dNfunts. 'arfois, sur les Npitaphes, les dNfunts Ntaient dNsignNs comme hNros. Mais le plus souvent, l4hNro^sation Ntait exprimNe par des moyens iconographiques. >ne des fa|ons les plus anciennes de l4exprimer Ntait le schNma de cavalier, F tort interprNtN comme cavalier thrace et considNrN comme une reprNsentation votive. Mais les sources narratives #,nth. 'al. 0L, 33A; T. +iv, L+, O?; =nst. 'orphyr., De them., K akedon, l4anc_tre Nponyme&, et Npigraphiques #09 L, 00, , no O@, dNdicace au <eros <yppalkmios; =0+ /000, no B@2 0+$ O@@2, l4inscription de +ambIse sur le hNros de la ville (hisinium& dNcrivent le hNros comme cavalier. +es reprNsentations de cavalier sur les stIles funNraires sont parfois accompagnNes de l4NpithIte \hNros]. +a reprNsentation djun premier cavalier dans le fronton et djun autre dans le champ F relief prouve que par le premier sont reprNsentNs les anc_tres hNro^sNs et par le second le dNfunt luiCm_me. =ette fa|on d4exprimer l4hNro^sation a son origine dans la chasse chevaleresque des sangliers qui Ntait gentius suae more des MacNdoniens. >ne autre fa|on d4exprimer l4hNro^sation est le motif de buste, d4ailleurs trIs rare dans le rNpertoire funNraire en MacNdoine. (empla|ant le cavalier dans le fronton, il dNsigne les anc_tres, rempla|ant celui dans le champ F relief, il reprNsente le dNfunt luiCm_me. TrIs souvent, ce motif est prNsent sur les stIles des vNtNrans originaires du pays, qui l4avaient adoptN sous ljinfluence romaine. Deux autres fa|ons d4exprimer l4hNro^sation des dNfunts sont typiques pour la MacNdoine, et par les motifs et par leur schNmatisation. +4une d4elles se fait F travers l4image de l4arbreKdNfunt, et l4autre par la rosace ou le disque solaire #croyance astrale&, parfois flanquNe par une rosace plus petite ou par la capsule du pavot K signe de l4immortalitN. >ne autre maniIre djexprimer ljhNro^sation du dNfunt est ljhNro^sation PdNification 0in formam deorum{. +a dNification consiste dans la dNdication F la divinitN d4une stIle ou d4une statue F l4image du dNfunt dNposNes dans le temple, trIs souvent ordonnNe par la divinitN elleCm_me. +es dNfunts sont le plus souvent reprNsentNs sous la forme dj7NraclIs, de 7Nros et de Dionysos, mais aussi sous celle d4,rIs, de /enera 'udica, de 'osNidon. 'ar contre, le dNfunt en nuditN hNro^que, typique pour les 9recs, njest attestN qujune fois en 7aute MacNdoine, doublN par ljimage djun cavalier dans le registre infNrieur, ce qui est signe de contamination des deux maniIres d4hNro^sation des dNfunts.

La reconstruction de la partie centrale du 7ymph3e figurant le relief des 7ymphes 4 )araIdinsEe oplice %Aquae Iasae' Ante RendiJ-*ioOe#iJ +e complexe thermal situN F A:uae "asae #/aradinske Toplice&, le centre urbain des "asi pannoniens, est le site antique, plus prNcisNment romain, le plus fouillN et le mieux prNsentN dans le nordCouest de la =roatie. +e site d4A:uae "asae se distingue aussi des lieux de culte analogues par le grand nombre d4inscriptions et de monuments figurNs consacrNs aux nymphes. +es NpithItes donnNes aux nymphes dans ces inscriptions # augustis, sanctis, "asis et surtout salutari&us& dNmontrent l4importance que l4on attachait F leur caractIre local et thNrapeutique. 0l faut noter que les murs originels de la piscine rectangulaire K oJ se trouvait la source principale K qui servait au captage des eaux thermales K ont NtN mis F 1our durant les fouilles rNcentes. 'armi les monuments dNcouverts antNrieurement, une attention particuliIre doit _tre accordNe aux fragments en marbre d4un nymphNe reprNsentatif qui n4a malheureusement pas NtN prNservN et dont la forme originelle ne peut pas _tre devinNe. .n plus de l4inscription qui indique que le monument fut NlevN grXce F la cite de 'oetovio #respu&lica 'oeto#iensis&, on a aussi dNcouvert des colonnes et des demiCcolonnes, des festons avec diffNrents motifs, toute une sNrie de cubes avec des reprNsentations figurNes de hNros, ainsi que des plaques reprNsentant diffNrentes scInes mythologiques etc. 0l s4agit certainement de monuments figurNs de la plus haute qualitN trouvNs dans cette partie de la =roatie. +a partie centrale du nymphNe se composait d4une reprNsentation des nymphes5 il n4en reste que le buste dNnudN d4une femme dNnouant ses longs cheveux. +es premiIres publications le concernant signalaient l4existence de la partie infNrieure de ce relief, mais plus aucune mention n4en a NtN faite depuis que relief avait NtN installN F l4entrNe du parc municipal de /aradinske Toplice. =e fragment, considNrN manquant, est toutefois conservN dans le MusNe ,rchNologique de Eagreb. +es archives du MusNe, ainsi que l es archives de la ville de Eagreb, contiennent les dessins faits dans la seconde moitie du 2? Ime siIcle par le commandant Mi1at $abl1ar, qui confirment que ce fragment faisait bien partie de ce monument. 0l est dNsormais possible de reconstruire cette partie la plus importante du nymphNe. +e dessin de la reconstruction complIte du relief des nymphes se trouvant dans des niches sNparNes, ainsi que des NlNments dNcoratifs correspondants, a NtN rNalisN F partir des fragments prNservNs et des dessins retrouvNs dans les archives. A possible interpretation of a mithraic sculpture in 0merita Augusta Claudia Romero The excavations carried out in MNrida in 2?!3C2?23, in $aint ,lbin, proved to be extremely important to rebuild the religious life of the ancient city of .merita ,ugusta. +ed by one of the first $panish archaeologists, <uan (amn MNlida, the pieces recovered still convey more questions than answers. -ecause of the iconography of the findings, scholars began to theori%e over the possible presence of a big mithraeum or temple dedicated to oriental divinities in the provincial capital. ;e are going to centre our attention on one of the sculptures recovered in 2?23. 0t has been catalogued by the Museum of (oman ,rt of MNrida as G=autopatesH or Gmithraic figureH #0nv. no. =.!!AB2& and, although it does not possess inscriptions as other pieces, it is believed to date back from the end of the 00 century ,D. The marble sculpture depicts a young man, almost an ephebe, of 2.2 m tall with a !.!@m plinth. 0t stands in a soft contrapposto, resting on his right leg while his left is slightly bent. 7e is naked, only wears a chlamys fastened by a circular fibula on his right shoulder, while it folds over his back. 7e has a beautiful, almost ,pollonian face, and his slightly curly hair seems to be prepared for the insertion of a rayed crown. 7is right leg is supported by the trunk of a tree and a sitting lion. There might have been another point of support on the left flank of the sculpture, but its base has not been entirely preserved. The piece has also lost the upper extremities and part of the right leg. 9iven the fragmentary state of the sculpture, there have been several attempts to establish the identity of the figure and understand the role that it would have played in the mithraic context. $ome scholars have tried to identify him as one of the dadophors, 7elios, an initiated in the cult and, as Mithras himself. ;hile MNlida dare not to label it as a mithraic character, he recogni%es =umont4s authority when considering the lion as an attribute of those initiated in the mysteries. 9arc}a y -ellido associates the feline with the destructive power of the divinities that embody the eternal Time, while others think of it as a solar symbol. ;e will try to search all the options and offer a possible reconstruction of the piece based on similar

figures found all over the .mpire, especially in (ome as a creator of iconographic models. 0ts iconography and symbolism may be the key to understand the mithraic community in the city. emple-tombs as a reflection of cult monuments in Asia *inor( he case study of >ierapolis %$hrygia' Donatella Ronchetta . Giorgio 2obr4 0n several regions of the (oman .mpire, monumental tombs often adopt the design of contemporary religious architecture5 high podia, free standing architectural orders, front stairways and, in particular, pediments were used, singly or together, to evoke the cult monuments, thus suggesting the posthumous elevation in status of the dead. This kind of funerary buildings, named therefore templeCtombs, knows its largest diffusion in the .ast, with a distinctive eclectic design, marked by regional tendencies. 0mportant researches have been devoted to the diffusion of this architectural type in ,sia Minor, where the monumental necropoleis of 7ierapolis constitute one of the largest funerary contexts. These necropoleis, though being mostly characteri%ed by flat roof tombs sustaining the sarcophagi, also offer a large and varied sample of templeCtombs5 the ongoing study tries to reconstruct a local history of the diffusion and transformation of the model. 0n 7ierapolis, during the first century -.=., the templeCtombs architectural type starts its affirmation, contributing to the supplanting of the traditional tumulus type, of 7ellenistic memory, attested here since the 3 rd century -.=. During this early phase, burial buildings with gabled facades begin to occupy the hill4s slopes, east of the city. They generally request earth moving works in the rear side and are frequently placed side by side, the front being the only part decorated, thus recalling the tradition of rock tombs largely developed in ,sia Minor southern regions. +ater on, probably at the end of the 2 st century -.=., a derivate of this type appears also in the plain areas of the necropoleis, along the roads leading out of the city5 they are free standing building enhanced by the presence of a podium with a front stairway. ,n example is located near the later monumental entrance to the city, a regularly designed templeCtomb, on a high podium, with gabled fa|ade fronting the main road, and small antae pro1ecting. ,n engaged architectural order, with corner pilasters, decorates the perfectly disposed ashlars construction, and a gabled roof is composed by stone monolithic slabs running from the fa|ade to the rear side. The tympanum is decorated with a central shield in relief and the door, cut in the limestone masonry, is decorated with simple mouldings. , bench runs along each side of the building. The cella contains two superimposed orders of klinai for the disposition of the bodies, and also the interior of the high podium, accessible from behind, has a similar disposition. -eing probably one of the most ancient, this templeCtomb is assumed as a prototype for many other buildings in the necropoleis surrounding the city, which are not characterised by original solutions but rather by the accuracy of their building technique. More complex buildings appear during the 2 st century ,.=. with the introduction of hypostyle structures, thus corresponding to the wellCknown examples of the southern coastal regions of ,sia Minor. These hypostyle templeCtombs are not very frequent in 7ierapolis, being only used for citi%ens of outstanding importance. The most famous is the soCcalled Tom&a (ella5 dating to the early 0mperial age, this tomb was composed of a high podium sustaining a structure which is at least partially hypostyle and built in white local marble, and which contains an exquisitely carved sarcophagus. ,lso another tomb, located near the $everan age subCurban public baths, was endowed with a hypostyle structure, overlaid on an imposing podium, which contains a wide room covered with a large barrelCvault. , common feature seems to be the large cella, which is no longer occupied with burial klinai, being intended instead as a covered space to host the sarcophagus. The appearance of this architectural type is linked in fact to the diffusion of sarcophagi on a large scale, attested since the 0mperial age. , specific templeCtomb subtype attested in 7ierapolis is characterised by a large cella, covered with a barrelCvault, which sustains a gabled roof. The barrelCvault, evidenced in the front, forms a sort of $yrian gable, though sometimes occluded by the mean of a stone infill masonry wall, pierced by the central door. 7ere again, the large cella is used to host sarcophagi, as testified by the finding of several marble coffins fragments among the ruins. Dating mainly to the period between the 2 st century -.=. and the 2st century ,.=., the tradition of templeC tombs in 7ierapolis is of great interest in the study of the monumental architecture in this geographical context. $ignificantly, for example, the diffusion of marble hypostyle structure in cult and civic buildings and in the most important templeCtombs seems to have occurred almost simultaneously. *ther architectural elements, as the barrelCvaulted cellas of some templeCtomb, have instead no relationships with the temple building praxis in ,sia Minor, emerging as an architectural indication of the funerary usage.

The paper intends therefore to analyse the architectural type of templeCtombs in 7ierapolis, throughout its elements and symbolism, its building techniques and materials, trying to verify the general assumption of a direct derivation of templeCtombs from the contemporary religious architecture and to define useful tools for the dating process. 0in *ehrfigurenrelief %T' mit 1ortuna aus der Germania superior5 Alte und neue ;ege unter GGtterschut9 !utta RonEe ,usgangsC und Mittelpunkt meiner ,usfbhrungen ist ein noch 32 cm hohes, in drei Teile gebrochenes (elieffragment aus $andstein. .rhalten hat sich eine frontal dargestellte langgewandete weibliche "igur. >ngelenkChol%schnitthaft ausgefbhrt, tragt die 9estalt einen bbergegbrteten peplos dicklicher Textur. 0n ihrem linken ,rm halt sie einen konkav gebogenen 9egenstand, %weifelsfrei ein "bllhorn #cornucopia&; die anschliecende -ruchkante gibt einen direkten 7inweis auf die "ortset%ung der Darstellung #durch eine weitere 'ersonV&. "bllhorn und 9ewand lassen erkennen, dac die $chicksalsgettin "ortuna wiedergegeben gewesen sein dbrfte. :eben der ikonographischen soll die typologische >ntersuchung und .inordnung des (eliefs im "ocus der >ntersuchung stehen. Eu erertern sein wird dabei der "ragenkreis, ob es sich tatsachlich um eine %weiC oder mehrfigurige Darstellung gehandelt haben kennte #worauf die schwer interpretierbare ,nschlucdarstellung rechts schliecen lact&, und ob ein ;eihC oder ein kleinformatiges Dultrelief vorliegt #eine hberprbfung, die let%tlich nur unter -erbcksichtigung des "undorts geschehen kann&.C ,ufschlbsse unter formalCtypologischem ,spekt verspricht ein ,bgleich mit stadtremischCitalischen /orbildern5 *rientiert sich das (elief an entspechenden /orlagen oder weist es provin%ielle -esonderheiten aufV ;enn 1a5 welcheV +act sich ein 7inweis auf den Dedikantenkreis des ;eihC oder Dultreliefs findenV Die 1eweiligen ,ntworten lassen .inblicke in die religiesen 9epflogenheiten an der 'eripherie des remischen (eiches erwarten. "br die -evelkerung des 0mperium (omanum war "ortuna eine $chut%gottheit mit breitem ;irkungsbereich, die vornehmlich von kleineren 7andlern und 9ewerbetreibenden verehrt wurde. ,uf einen solchen 'ersonenkreis weisen neben "undort auch "ormat und ,usfbhrung der hier untersuchten $kulptur. Das "ragment stammt von einer 9rabung im Eusammenhang mit der 0=.CTrasse ;endlingenC>lm, vermutlich aus der :ahe einer remischen ,ltstrace. 0n direkter :ahe der "undstelle befindet sich ein rechteckiges Dalksteinfundament, das der ,usgraber kleinen ,ntentempeln remischer $tracenstationen #mansiones& in der 9ermania superior vergleicht. Meglicherweise wurde hier "ortuna Kmit DultgenossenC in ihrer .igenschaft als "ortuna redux, die $chicksalsgettin, die eine glbckliche (bckkehr sicherstellt, verehrt K ein im "undkontext $tracenstationP mansio sicherlich %weckdienlich C sinnvoller Eusammenhang.

2tadt . Land . &unst ;eihedenEmLler im Gebiet der *ediomatriEer . ein )ergleich 9wischen dem >auptort *et9 und der lLndlich geprLgten Region um 2arrebourg in den )ogesen >annelore Rose ;orin unterscheiden sich die /otivdenkmaler eines =ivitashauptortes von denen einer landlich gepragten (egion mit kleinen $iedlungen und .in%elgeheftenV >nd welche (bckschlbsse lassen die beobachteten >nterschiede %uV Diesen "ragestellungen widmet sich die vorliegende >ntersuchung fbr das 9ebiet der Mediomatriker in der 9allia -elgica. -etrachtet werden %um einen die ;eihedenkmaler aus Met% als dem Eentralort dieser =ivitas und %um anderen solche aus der (egion um $arrebourg in den /ogesen K die beiden (eferen%punkte liegen rund ?! km voneinander entfernt. ,us beiden 9ebieten sind %ahlreiche ;eihedenkmaler bberliefert. >ntersucht wird, ob Divergen%en im

$pektrum der 9etter oder ihrer 0konographie, in Technik und 0konologie fest%ustellen sind. "erner wird ein ,ugenmerk auf das verwendete Material und handwerkliche -esonderheiten gelegt. ,uf den ersten -lick fallt %. -. auf, dass aus dem =ivitashauptort neben %ahlreichen (eliefs auch eine gan%e (eihe an $tatuenfragmenten bberliefert sind. Das $pektrum der freiplastisch dargestellten 9etter ist groc; es umfasst u. a. Eeus, ,pollon, Minerva, 7ygieia und $irona, .ros und /ictoria. 0n der 9egend von $arrebourg wurde hingegen fast ausschlieclich <upiter in "orm von <upiterC9igantenC$aulen in freiplastischer "orm verehrt K dort bberwiegen eindeutig (eliefdarstellungen im "undspektrum. Eiel der >ntersuchung soll es sein, einen vergleichenden hberblick bber die /otivdenkmaler dieser beiden $iedlungsraume %u geben und .rklarungsmodelle fbr 9emeinsamkeiten und >nterschiede %u entwickeln. <dentity of the official power in Roman Dacia . #oti#e and cult monuments disco#ered in the $alace of the go#ernor from Apulum )iorica Rusu-+olinde" . Rada )arga The main coordinates of the current research consist, on the one hand, in correlating epigraphic data with evidence encoded in monuments and art pieces, and on the other, in the interpretation of such data not only through statistical and chronological means, but also as expressions of collective mentalities undergoing constant change. ,ccording to this latter direction of research, we intend to study two aspects of ancient mentality5 the selfCrepresentation of power #the way in which members of the elites saw and represented themselves through buildings, monuments, inscriptions etc.& and the way society envisaged its leaders. ;e will initially create a general and as complete as possible view of official power representativeness and the involvement degree of local elites in provincial government #by creating lists and chronologies that include the local origin and personal profile of those involved&. The next step envisages the correlation of such data with information provided by images of power, as reflected by monuments and visual representations. 0n order to reach this goal, we will study the monuments connected to the praetorium consularis in ,pulum, as reflection of power par excellence. ;e thus intend to analy%e the results of archaeological excavations performed for over the last century in the 'alace of (oman Dacia4s 9overnor in ,pulum. ;e ultimately hope to underline the manners in which the votive and cult monuments from the praetorium consularis contribute to the identification of the official power at the provincial level of Dacia. "rom this regard, we shall analy%e the sculptural techniques employed, trying to identify certain stylistic particularities as well as their provenience #local production or import&. The iconographic analyses of the votive and cult monuments from the praetorium consularis from ,pulum will be relevant in underlining the manners in which the symbolism of power was displayed at the province4s level. The comparison with other such official seats from (oman .mpire #A:uincum, Carnuntum, Colonia Claudia Ara Agrippinensium & and with the images of the official power reflected by the monuments in these places, will lead to the possibility of integrating Dacia in the general picture and of noticing the possibly existing particularities.

<Eonographische *erEmale 9weier !anus Darstellungen *ir8ana 2anader Die umfangreiche -ibliographie bber den remischen 9ott <anus wird von theologischen und philologischen $tudien, sowie $tudien aus dem -ereich der ,lten 9eschichte gepragt. Diese haben immer wieder, aber natbrlich mit neuen ,nsat%punkten, literarische Ruellen interpretiert. Mit 7ilfe dieser Ruellen wurde die 7erkunft des 9ottes analysiert, weiters seine $tellung und (olle in der remischen (eligion, aber auch der /ersuch angestellt, den ;esen seines Dultes %u ermitteln. -esprochen wurden auch seine ,ttribute und seine -e%iehung %u anderen 9ettern. ;eiters wurden politische 7intergrbnd der ;iederbelebungsversuche seines Dultes unter verschiedenen Daisern analysiert. $eine ikonographischen Merkmale wurden am wenigsten besprochen, was auf die Tatsache %urbck%ufbhren ist, dac bis heute nur wenige Darstellungen bekannt sind. .inen 9rossteil der Darstellungen bilden Mbn%en und Medaillen die in ikonographischen $tudien besprochen wurden. 0n der

"achliteratur sind allerdings %wei <anusdarstellungen unbeachtet geblieben. Dabei handelt es sich um eine (eliefplatte aus Dalmatien und einen ;eihaltar aus Dakien. 0n dieser ,rbeit werden die ikonographischen Merkmale dieser %wei <anusdarstellung analisiert. *ystery of the *issouri Do#e Girl !ohanna 2androcE The votive statuette of a young girl holding a bird is an intriguing artifact in the $aul and 9ladys ;einberg 9allery of ,ncient ,rt at the >niversity of MissouriC=olumbia. The Museum of ,rt and ,rchaeology acquired the OA,B cm sculpture from a dealer in :ew Sork, who provided no documentation of provenance. This votive provides a unique opportunity to study sculptural techniques, sub1ect, and ancient dress in order to arrive at a possible date and place of origin. The condition of the sculpture offers the first challenge. The head of the girl, her left foot, and the head, tail and wingtips of the bird have been broken off. These breaks exhibit the same oxidation as the rest of the sculpture and therefore must have occurred in antiquity. The girl4s right arm is also missing, but the shoulder has been dressed for an attachment. There is no dowel hole, suggesting that such an attachment may have been made in lightweight plaster. ,ccording to recent analysis, the statuette was sculpted from 'arian marble. The figure is reminiscent of votive statues of children found at classical 9reek sanctuaries, but the style of sandal on her right foot indicates a 7ellenistic date or later. *ther stylistic details suggest that she may be a provincial imitation dating to the (oman period. The most telling of these is the rendering of the girl4s garment, a highCgirt sleeveless chiton or tunic of variable thickness with a deliberately cut vCneck and no layering. 'arallels for her dress are virtually nonCexistent in the ancient world, suggesting that the stonecutter was unfamiliar with the styles and dynamics of 9recoC (oman clothing. Misunderstanding of the drapery coupled with a lack of artistic sophistication suggests that the Missouri Dove 9irl may be the work of a provincial craftsman. *ther stylistic evidence which may point to a provincial artisan includes the unrealistic proportions, the lack of movement in the sculpture, the way the drapery clings unnaturally to both legs, and the difference between the delicate carving of the right foot and the flat treatment of the left hand clasped around the bird. 0t has been suggested that the chubbiness of the girl4s limbs and the use of the same si%ed drill to carve all the folds in her skirt may indicate an eastern provenance. $ome comparative material may be drawn from sites in Turkey, =rete, $yria and =yprus. 0f it is established that the Missouri Dove 9irl is indeed the product of (oman provincial craftsmanship, her function remains to be determined. 0n ancient 9reece, votive sculptures of children with birds or pets were common dedications at sanctuaries of ,rtemis, .ileithyia, ,sklepios, and even Dione CC the dove, after all, was sacred to Dione4s daughter, ,phrodite. ;ere any of these sanctuaries still receiving child votive statues in (oman timesV ;as the Missouri Dove 9irl created for another sanctuary in the manner of a 9reek votiveV *r did she play some other functional or decorative role in (oman provincial societyV ;ith the assistance of participants at the colloquium, 0 am confident we can further narrow down the provenance of this sculpture and solve the mystery of the Missouri Dove 9irl.

La sculpture du temple de &hirbet edh-Dharih5 restitution? iconographie et symbolisme dans la $ro#ince romaine dBArabie Delphine 2eigneuret @! km au nord de 'Ntra et F une centaine de kilomItres au sud d4,mman, le site de Dhirbet edhCDharih se prNsente sur une terrasse naturelle qui, d4une part, domine d4une cinquantaine de mItres la rive droite du ;adi +aTban, affluent de la rive gauche du ;adi alC7asa et, d4autre part, fait face, F l4est, au <abal >sba. +es fouilles archNologiques, prNcNdNes d4une campagne de prospection prNliminaire, ont dNbutN en 2?@O sous la direction de ". /illeneuve #professeur F l4universitN de 'aris 0& et s e sont achevNes en !!8. .n 2??2, s4est 1oint au pro1et une Nquipe 1ordanienne de l40nstitut d4archNologie et d4anthropologie du Sarmouk dirigNe par E. alC Muheisen avec le partenariat du dNpartement des ,ntiquitNs de <ordanie. =es travaux, NtalNs sur 3 annNes, ont permis de mettre au 1our et d4Ntudier le sanctuaire, NlNment ma1eur du site.

+4importance du site de Dhirbet edhCDharih se constate F mesure de l4avancNe des Ntudes. ,u c[ur d4une %one densNment peuplNe durant l4,ntiquitN, ce village devait avoir le r`le de chefClieu. +4Ntendue de l4endroit permet d4avoir une vision globale d4un Ntablissement nabatNen en milieu rural avec toutes ses composantes 5 un sanctuaire, des habitations, des nNcropoles, un caravansNrail ainsi que des bXtiments agricoles. +e temple a NtN bXti au dNbut du 00e siIcle de notre Ire #au moment de l4annexion de la :abatIne F l4.mpire romain& sur un Ndifice cultuel antNrieur d4un siIcle. =e bXtiment est plut`t bien conservN, sur une hauteur de huit F neuf assises 5 vestibule de plan barlong suivi d4une cella pourvue d4un m=ta& et de piIces latNrales, le tout traitN de fa|on symNtrique. +e travail de restitution de ce lieu de culte est colossal 5 @!! blocs, environ, se rapportent F l4NlNvation du temple du 00e siIcle et un grand nombre de ces NlNments sont richement sculptNs. 0l s4agira donc, dans le cadre de cette communication, de faire \l4Ntat des lieux] de toute cette documentation. .n effet, F partir de ce matNriel et des plans de chute rNalisNs par les fouilleurs lors de chaq ue mission, il a NtN possible de fournir certaines restitutions hypothNtiques. =elle de la fa|ade du temple est bien avancNe et quasiment sre. Mesurant environ 2B m de haut, cette derniIre prNsente une riche iconographie m_lant K traitNs dans un style local nabatNen K des motifs vNgNtaux neutres et des NlNments issus de la mythologie grNcoCromaine qui nous sont difficiles F interprNter, d4une part en raison de l4iconoclasme qui a frappN les figures animNes et d4autre part en raison de l4ambigu^tN de certaines scInes. =ette fa|ade est organisNe selon un arrangement symNtrique de quatre demiCcolonnes #pilastres et quarts de colonnes aux angles& surmontNes de chapiteaux corinthiens. >ne porte centrale est flanquNe de deux piNdestaux symNtriques qui devaient supporter une statue ou une reprNsentation animale et auCdessus de chacun desquels se trouvait un panneau de cadres dNcorNs, luiCm_me surmontN d4une fen_tre placNe F 8 m de haut. Mesurant en moyenne O! cm de haut et 2 m de long, ces cadres Nnigmatiques prN sentent trois grands types de dNcor5 des motifs vNgNtaux alternant entre des foudres, des fleurs, des rinceaux, des grappes de raisin, notamment dans l4ensemble des parpaings du c`tN ouest de la fa|ade; des ob1ets tels que des canthares et des peltes et enfin des scInes Nnigmatiques telles qu4une louve romaine, un bovin se faisant attaquer par un fauve, des processions et des Ntendards de culte. +e couronnement de la fa|ade est constituN, de bas en haut, d4une architrave sculptNe de motifs vNgNtaux et animaliers, d4une frise faisant alterner des bustes personnifiNs du %odiaque et des /ictoires ailNes debout, le tout surmontN d4une corniche denticulNe. =e couronnement porte un fronton triangulaire dont le c`tN ouest a pu _tre en partie restituN. =e fronton est scindN en deux par un arc clavN. >n poisson se trouve dans l4Ncoin|on du fronton, prNcNdN d4une petite /ictoire ailNe tenant une couronne de sa main gauche. c`tN se tient un buste humain de face dont les membres antNrieurs sont des 1ambes de cheval et dont les membres postNrieurs sont remplacNs par une queue de serpent ou de monstre marin qui indiquent un centaure marin ou \triton]. >n aigle debout regarde en direction du centre du fronton, vers l4intNrieur du tympan. "aisant Ncho F l4NlNvation reconstituNe de la fa|ade, l4essai de restitution de la plateCforme, F partir des blocs architecturaux, rNvIle un dNcor exubNrant et une nouvelle fois, riche en motifs vNgNtaux. +a plateCforme est portNe par une base qui se dNcompose, de bas en haut, en une plinthe moulurNe, une assise mNdiane constituNe de gros blocs et une corniche. +e tout est surmontN sur trois c`tNs #fa|ade exclue& d4un stylobate de 2 m de haut sur lequel reposent des colonnes. +4entablement est rythmN par des pilastres et des chapiteaux de pilastre alternant avec des blocs d4architrave. .ntre les pilastres, le dNcor est abondant, constituN de rinceaux vNgNtaux. 0l reste F parfaire la restitution en repla|ant, entre autres, des bustes de divinitNs et notamment de Tyc)ai inscrites dans des cadres et dans des mNdaillons, le tout associN F un dNcor d4.ros et de grenades. +e dNcor sculptN du temple de Dhirbet edhCDharih met en avant des symboles issus du monde mNditerranNen, le tout traitN dans un style indigIne. +es NlNments dNcoratifs et conceptuels de la fa|ade K liant tradition provinciale nabatNenne et \images] grNcoCromaines K sontCils un moyen de mettre en avant une victoire symboliqueV >n calendrier agraireV +es symboles livrNs par la sculpture soulIvent l4idNe d4un culte F une divinitN de la vNgNtation, des eaux et de la fertilitN tout en mettant en avant une dualitN dans le fronton entre l4eau et le ciel. 0l s4agira donc de mener une rNflexion sur la \lecture] des scInes entre elles afin de dNcrypter l4Nvocation 1uxtaposNe de ces reprNsentations cultuelles. :ous prNsenterons donc ici l4analyse stylistique des NlNments sculptNs de la fa|ade et du m=ta&, tout en proposant une hypothNtique Ntude iconographique et en confrontant ces images F des parallIles issus de la province romaine d4,rabie afin de mettre en contexte la riche et importante sculpture du temple de Dhirbet edhC Dharih. <ncense Altars and )isuali9ation of <ncense Offering in the Art of Roman 2yria

<lona 2EupinsEa-Lo#set The 0ncense ceremony constituted an important part of cultic procedures in (oman $yria and ;estern Mesopotamia and it was commonly illustrated in the art of important cities as 'almyra, Dura .uropos and 7atra. The ceremony was recorded on paintings and reliefs of the category Gex votoG and probably also on the cult reliefs themselves. The scheme of decoration was the following5 in the centre of large compositions, the deities were presented frontally and hierarchically, and in the corner there was a figure of a mortal, similarly to the position of the donor in Mediaeval art. 0n 'almyra such motives are recorded from the first century -.=. to the end of the third century ,.D. Many altars for burning of incense were discovered not only in the city of 'almyra, but also in villages and trading stations in the entire 'almyrene territory, some of them still in situ in modest buildings serving as temples in the countryside. 7owever, only a few altars of this kind have been published. Dura .uropos shows many instances of reproduction of the incense ceremony on wall paintings. .xtremely important is the painted decoration inside the building known as GThe Temple of the 'almyrene 9odsH. 7ere the colours help to get an impression of an officiality in the context of the incense burning ceremony. 0n Dura .uropos was discovered an interesting limestone stele of small dimensions #B2.B x 32 cm&, dedicated to the god ,phlad, wearing (oman armour and standing on two eagleCheaded griffins. The offer of incense is directed to him. (egarding the persons involved in the act of offering, we have documentation reaching back to the ,ugustan period, more precisely a stele, now in 'rovidence, (.0. >$,, on which a presumably 'hoenician priest or high dignitary is performing an incense ceremony by throwing powdered incense, probably, directly by hand on a small altar. The incense offer performed by highpriest ,pollodoros from the main sanctuary of Dea $yria shows him in a similar gesture #though his right forearm is damaged&. 0mpressive is a well preserved figure of a priest in the act of offering from inland 'hoenicia. ,s a rule, the altars for the burning of incense are small, composed of a stand and a cup, made of various materials and decorated. $tone altars recorded in the 'almyrene countryside are larger and carved from one piece of local stone. >sually, the lower part is square, with a profilation and on the top is modelled a hemispherical bowl for burning incense. The front side may be decorated with a reliefCscene or symbols, pointing to the act of adoration or indicating the deity to whom the altar is consecrated. The altars from the countryside may also bear an inscription with a kind of invocation. $ome of the altars may constitute a votum given to a deity in order to ask for some specific favours. The altars, in all the varieties, point to the importance of the incense offerings and to the usage of such offerings by a broad section of the population in the (oman period +evant.

2hort remarEs concerning some sculptural pieces from the 2ibiu county Alexandru Gh( 2onoc . *ihai Chiriac During the archaeological survey and the study of some archaeological collections from the $ibiu county were found following sculptural pieces5 a stylophoric lion, put in the exterior wall of the +utheran parish court from ,poldu de $us, a free staying lion #already vandalised at his discovery through painting and fitting of a plastic eye, but now completely destroyed&, at the +utheran church of 0acobeni #where functioned a children centre administered by the {=asa Don -osco{ "oundation& and a head of a strongly damaged funerary statue in the school4s collection of /alea /iilor. A fragment of a Roman funerary stela disco#ered at !ibert %+ra-o# county' and some ethnoarchaeological remarEs concerning the local habitat

Alexandru Gh( 2onoc . ;olfram G( heilemann "rom the ruins of a Transylvanian $axon house was saved a fragment of a (oman funerary stela, the single (oman ,ge sculptural monument discovered in this village. =onsidering some older archaeological discoveries, but also some Transylvanian $axon place names which indicate some geomorphologic particularities or how the land was used by the inhabitants, as well as the presence of some mineral water resources are made some remarks concerning the local (oman ,ge habitat. <conographical ransmission in Roman $ro#incial )oti#e Reliefs $eter 2tewart ,lthough relatively neglected in scholarship, simple votive reliefs in local stones constitute one of the single most plentiful and widespread survivals of (oman sculpture. $uch reliefs, bearing images of classical deities with conventional iconography, also demonstrate some of the central tensions in (oman provincial art. Their iconographical genealogy is jclassicalj, yet for technical or cultural reasons they frequently depart from the stylistic protocols of Mediterranean classicism. They are rooted in their local, material circumstances, yet to the eyes of the classical archaeologist they also manifestly participate in an empireCwide visual culture that could scarcely have been evident to the makers and users of the reliefs. ,gainst that background, this paper examines representative cases of the reception of classical imagery in provincial votive reliefs. The focus is on those iconClike reliefs which represent single or grouped deities, often in frontal poses. .xamples are drawn mainly from -ritain and the .uropean provinces of the .mpire, but broader consideration is given to the transmission of iconography in other parts of the (oman .mpire and beyond. The paper will concentrate not on the regional interpretation of 9raecoC(oman gods, or religious syncretism etc., but rather on technical and mechanical aspects of transmission. 0t will consider the relationship of gods on votive reliefs to statuary in the round and other media; their connections with local, provincial cult images; and their general lessons for understanding the diffusion of classical imagery in the ancient world. 7oncanonical representations and the cult of *ithras in Roman Dacia Csaba 29abV The =ult of Mithras was one of the most important religious cult inspired from *riental beliefs, which changed the religious and spiritual hori%on of the (oman .mpire in the 2 st K 3rd century ,.D. -eing a mystery cult formatted in the age of 7ellenism, one of the most important characteristics of the cult is the >ult&ild, the central relief with a strict iconographical aspect, containing a soteriological and astrological message. The iconographical program of a cult reflects the essential message of a religious group, thus the changing, varieties and anomalies appeared in the religious art reflects the dynamic changes of a cult. 0n this paper we 4ll analy%e some unusual and provincial representations of Mithras from Dacia #=0M(M 2?2?, !!!, !!2, ! B, !38& and other provincies. he >ead of a Cult 2tatue +elonging to !upiter )erospi from Apulum Anca imofan 0n the spring of !2!, following an urban development pro1ect on the Trinitarian raveline, inside the /auban citadel from ,lba 0ulia, an area of over .!!! sqm was excavated. 7ere was the southCwest area of the camp of the legio L000 9emina, including its civil settlement # cana&ae&, which later #3rd century ,D& became Municipium $eptimium ,pulense. The (oman levels and the construction phases have been removed mechanically, process during which a number of archaeological contexts have been destroyed. The head of a cult statue belonging to <upiter /erospi Type was recovered. The statue4s head is made of limestone with a preserved height of !.3? C !.O! m. The deity has short, curly beard, bushy mustache and the hair is set up. The curly hair is tied with a taenia. ,rches are prominent, eyes and eyelids are well marked. The area behind the head is broken, as the nose, part of the cheek and right eye as well. There is a certain artistic finesse of execution and details, and the god has a serene and ma1estic

expression which is similar to the ideali%ed image of Eeus from *tricoli. 0t is a superior artistic craft and the sculpture can be dated in the 3 rd century ,.D. because of the eyes facing up as a similar feature existing in the case of another head of a statue of <upiter found in ,pulum. The dimensions and the artistic execution of the statue4s head found recently in ,pulum support the inclusion of the piece in the category of cult statuary. The existence of sanctuaries space #a possible sacred area& of the first settlement around the legionary camp is possible in the context of findings made in the last @! years within the south and southwest area of the camp of legio L000 9emina. Gottheiten und &ulte im nGrdlichen eil 7oricums nach Aussage der ;eihedenEmLler ;olfgang ;ohlmayr - 2tefan raxler /on !! bis !!A sind von einer "orschungsgruppe der >niversitat $al%burg #,rchaologie b%w. 9eologie& bber 8!! remische $teindenkmaler im nerdlichen Teil der 'rovin% :oricum erfasst worden. :eben einer 9esamtkatalogisierung und der fotographischen Dokumentation der noch auffindbaren Denkmaler ist das 7auptaugenmerk auf die Material%uweisungen gelegt worden, um let%tendlich $teinbrbche oder %umindest ,bbaugebiete %u definieren. Die .rgebnisse %u den 9rabdenkmalern des ,rbeitsgebietes sind beinahe geschlossen in hberblickdarstellungen publi%iert worden, %u ein%elnen 9ebieten liegen bereits Detailuntersuchungen vor #9auriacum und 9entia& b%w. befinden sich kur% vor Drucklegung #"u#a#um und >mgebung; ;#ila#is&. Die ;eihedenkmaler sind %war nicht flachendeckend erfasst worden, dennoch kennen %u etwa drei /iertel ,ussagen %um verwendeten Material getroffen werden, die 0nschriften und bildlichen Darstellungen sind ohnehin in den einschlagigen $ammelwerken publi%iert. 0n diesem -eitrag wird der /ersuch unternommen, die ;eihedenkmaler hinsichtlichl $tein K (elief K 0nschriftT aus%uwerten und die .rgebnisse auch kartographisch dar%ustellen5 0n welchen (egionen finden welche Materialien bevor%ugt /erwendung und entspricht das dem -ild, das bei den "orschungen %u den 9rabdenkmalern gewonnen worden istV ;elche 9ottheiten werden wo verehrt und lassen sich regionale $pe%ifika ablesenV #da%u besonders auch Teil von ;. ;ohlmayr& 9ibt es Darstellungen, die sich in bestimmten (egionen besonderer -eliebtheit erfreuenV >nd5 +assen sich die gewonnen .rkenntnisse korrelierenV Der hohe /erbreitungsgrad von ;eihedenkmalern innerhalb des $pektrums remischer $teindenkmaler bietet die einmalige Meglichkeit, die 7aufigkeit von Dultbelegungen sowie Don%entrationen ein%elner Dulte innerhalb eines 9ebietes fest%uhalten. Darbber hinaus besit%en ;eihedenkmaler gegenbber anderen (eliefgattungen durchwegs eine hohe chronologische $ignifikan%. Dadurch werden sie %u 0ndikatoren fbr die ,uftragslage, "ertigung und auch /erbreitung innerhalb eines 9ebietes. ,uch bleiben ;eihedenkmaler in der (egel an bestimmte 9esellschaftsgruppen von Dedikanten gebunden, was ihre so%ialgeschichtliche ,ussagekraft erheht. .in weiterer wesentlicher 'unkt ist, dass die 9rundtypologie von ;eihedenkmalern offenbar von bestimmten ;erkstatten aufgenommen und nach bewahrtem Muster weitergegeben wird. Die 9egenbberstellung solcher "ormtypen ermeglicht es in ein%elnen "allen auch, die Transportwege bestimmter $teinmaterialien %u verfolgen und sie in /erbindung %u bestimmten 'roduktionskreisen %u stellen. Die uns erhaltenen Denkmaler geben in gleichem Mace ein differen%iertes Materialspektrum %u erkennen, das innerhalb der ein%elnen ,ufstellungsorte %ur ,nwendung kam. -eobachtungen %u solchermacen lverwandtenT ;eihedenkmalern bieten umgekehrt die Meglichkeit, Materialgruppen %u sondieren und in .in%elfallen sogar l;erkstattenfragenT nach%ugehen. ;eiterhin %eigt sich, dass die 9ruppe der ;eihedenkmaler gemac ihrem 1eweiligen $tiftungsanlass, in gewisser ;eise aber auch als $erienprodukte und nicht %ulet%t durch ihr /erbreitungsmuster gute ,nhaltspunkte fbr die 'roduktion von $teindenkmalern im 9an%en abgeben. A possible statue of a Genius from Apper Dacia Oana util/-+/rbat The purpose of this paper is to present a new find K a large dimensions marble statue representing a halfCnaked male deity.

The artefact was a part of the (oman antiquities collection of the noble family <os%ika, from -r6ni)ca, 7unedoara =ounty. Their collection consists of a series of monuments brought up from the fortress, #icus, pagus and the cemeteries of Micia. Most probably it is the statue of an abstract deity, a Genius 'opuli ,omani, the largest one of (oman Dacia. >nfortunately there are not preserved iconographical details such as the attributes but the manner in which it is arranged the garment and the position of the legs are plausible arguments. The halfCnaked character was leaning on the left leg, the right one being curved. 0t carries around the hips a )ymation, which covers his legs up under his knees. 0t is not out of the question to be the representation of Genius 'agi iciensis or Genius Co)ortis "" Commagenorum, which are epigraphically attested here. >nfortunately this is a fragmentary statue K there are missing the head, the hands and the legs from the knee down and the left half torso is strongly damaged. Maximum height to which the statue is preserved #including the base& is 23A cm. The real height of the deity must have reached around 2B! cm, so human dimensions. The geochemical analyses made on thin section taken from the monument shows that the marble comes from the -ucova quarry, near =olonia Dacica $armi%egetusa. The craftsmanship and decoration lead to the idea that the statue is the product of the artistic centre of (oman Dacia capital. The body is being played correctly anatomically, folds are natural and their directions are dictated by the slight bending of the leg straight. 'leats are carried out with a chisel; there are not too deeply interventions into the sculptural field, giving ultra smooth decoration. $adly, the chest area is much damaged, but what was saved of the musculature and the hip 1oint indicates a good knowledge of human body and a great capacity to translate that knowledge in practice. 0n relation to chronological classification the statue has the features of the second half of the second century, more precise the end of the ,ntoninian period. This new find is especially interesting in the first place because there are very few stone statues representing a 9enius in (oman Dacia and, secondly, it would be the first cult statue which comes from Micia, either from the (oman fortress or from the civil settlement. Artistic influences manifested in the typology of #oti#e reliefs from Dacia Carmen )escan The present study refers to Dacian votive reliefs representing 9recoC(oman deities. -esides presenting the typology depicted on these documents, according to +0M=, the paper will analy%e the influences of .astern and ;estern art exhibited in this typology. ;e illustrate this by several examples5 2. ,esculapius and 7ygieia are presented as an iconographic type particularly widespread in the $outh of the Danube, but there are new situations K appearance of .pione, the wife of ,esculapius, on a relief from Apulum, less commonly found within the (oman .mpire; . ,pollo is characteri%ed by typological diversity, although the number of reliefs with the representation of divinity is reduced5 ,pollo Cit)aroedus #prevailing&, ,pollo Thracian #from 9il6u& and ,pollo 9ykeios #specific to Dionysian iconography&; 3. +iber 'ater is presented in the iconographic posture 9ykeios, identified in Ulpia Traiana Sarmizegetusa and $outh of the Danube, but also on a relief found in the ;albrookjs mit)raeum #here we advance the idea of an iconic series&; +iber "ather is also identified with two common iconographic postures within the entire .mpire5 a god alone accompanied by members of t)iasos or as god along with 9i&era and the rest of the procession. , special situation is the mythological scene specific for the .astern part of the (oman .mpire5 {unveiling{ of ,riadne by Dionysos; O. Diana is shown as ,rtemis of /ersailles on most reliefs and only in few cases as the $outhCDanubian version #Diana who rides a hind or deer&; B. $ilvanus is depicted in ;estern classical manner, but with the addition of specific attributes of $outhC.astern provinces etc. The typologies illustrated in the case of 9reek and (oman divinities generally follow the classical types, found in the ;estern part of the .mpire. The votive relief, as a form of representation, is a characteristic of the .astern part, while in the rest of the .mpire the statuary form is predominant. oolmarEs and stone car#ing in the Roman $ro#inces5 The Art of Makin in Antiquit! ;ill ;ootton . +en Russell T)e Art of aking in Anti:uity pro1ect develops an innovative approach to ancient sculpture by

interpreting carving techniques through the lens of practical craft experience. The first phase of the pro1ect built a web resource around an unpublished photographic collection assembled by 'eter (ockwell. This documents the tools, techniques and working practices of (oman stone carvers and covers imperial monuments and statuary, primarily from (ome and ,phrodisias. The second phase of the pro1ect has expanded the scope of these data to incorporate material from other regions, among them -ritain and 'almyra, in collaboration with the -ritish Museum and the 'almyra 'ortrait 'ro1ect at the universities of ,arhus and :ottingham. The pro1ect is concerned with the relationship between mark and tool but, as importantly, with the sequence in which the marks were made. The photographs will be published online K www.artofmaking.ac.uk K with links between the surviving marks on the worked stone and the type of tool that made them. These will be viewed in the sequence that they were produced in order to enhance our understanding of sculptural process and investigate the relationship between the surviving ob1ects and their makers; videos of stone carving will be included to bring the physicality of these processes to life. The pro1ect constitutes a different approach to most studies which group tools separately, thus failing to show how they might be used in the course of a single piece of work. This attention to process can be extended yet further by including the photographs of quarry sites, thus visuali%ing the actions from material acquisition to the completed ob1ect. T)e Art of aking goes beyond conventional archival pro1ects by integrating an expert analytical commentary on the ob1ects based on applied knowledge of creating and new synthetic studies which respond to and expand on the collected data. This paper will concentrate on the data recorded from -ritain and 'almyra, how these varied in comparison with other important centres of artistic production, like (ome and ,phrodisias, and what this adds to our understanding of stone carving across the (oman world.