2013_xiii international colloquium on roman provincial art_abstracts.pdf

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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 materialsused or commissioners. The quantity of monuments is not large; the information on the sculpture is given notonly 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 properlydocumented. 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& ascollections of sculptures, the other three #'orolissum, 'raetorium, (o)ia Montana& as cases of intendeddestruction 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 eldermonuments as building material. mong those are fragmentary inscriptions, funerary monuments but also basesand 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 offunerary 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 forthe 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 thearchaeological 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. *neway of achieving that was throw consecratio in formam deorum, namely the iconographic rendering of a deceasedperson as a deity. Consecratio in formam Veneris represent the particular case of rendering deceased withiconographic attributes of the goddess /enus. 0t is a phenomenon which progresses simultaneously withadopting the image of the divine couple Mars and /enus by the imperial couples. $tarting from this point, thema1ority of women in the imperial family are associated with /enus. The empresses were then imitated by thewomen from aristocratic and ordinary families, and less than 23! cases of consecratio in formam Veneris werearchaeologically identified on the scale of the entire mpire. Most of these representations have a funerarynature. -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 andthe 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 TraianaSarmizegetusa 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, thedisappearance of the ribbon from the hips or the altar on which /enus rests are 1ust a few of the argumentswhich could suggest this is a case of consecratio in formam Veneris. The sarcophagus wall from -6ile 7erculanewas discovered in the 28th century, but the piece was lost and is known only from a contemporary engraving. *nthe sarcophagus wall the deceased is represented in the centre, lying on kliné . The type used in the rendering ofthe 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 fromthe deceased4s wrist, exceptions or deviations from the imitated type. *ther two statues found in the collection ofthe (omanian :ational 7istory Museum are most likely a part of the same phenomenon5 one of the type /enusSyracusa 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 donot have any plan of the temple in antis, prostil, tetrastil, hexastil, or peripter, although the main elements thatconstitute a (oman temple were found5 cella, narthex, nave and altar.

0n (oman Dacia are known by specialists inscriptions dedicated to <upiter. The most important templededicated 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 thearchaeological research in the forum area #'alace of the Augustali& began, was brought to light a relief whichdepicts scenes with the 2 labours of 7ercules #it was possible to identify the fight with the lion, with the bulland probably the fight with the boar&.

The present study plans to reveal a discovery made in =aransebe) in 2?@@, belonging to a templepediment, with dimensions of 23! x 28 x AB x 3B m made out of white marble which bears the representation ofone 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 templesdedicated to <upiter and decorated with labours of 7ercules. The theme related with decorations of temples withlabours of 7ercules has its roots in 9reek tradition.

The discovery from =aransebe) questions the existence of a temple dedicated to the =apitoline Triad atTibiscum.

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 ancienttheatre of 'hilippi #avala 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 carvedafter 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 thesame period. Their presence not only reveals their connection to gladiatorial games, but it reflects the existenceof their cults in the region of avala 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 $outhCestern part ofDacia $uperior. $everal units were garrisoned in the fort, manly from oriental provinces of the mpire. -eside thefortification the civil settlement quickly flourished, which at the beginning of the 3rd century .D. becomes amunicipium #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 havebeen 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 easydistinguishable 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, cheugusto aveva suddiviso seguendo la linea del 'o in regio $" a nord, e regio "$ a sud, erano assai scarsi. +e recentiindagini 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%adell4architettura templare nei diversi centri urbani del territorio, pervenendo a nuovi dati utili per comprenderele modalitF di attua%ione del progetto architettonico dell4impianto urbano.

Tutti i monumenta antichi #templi, edifici di spettacolo, archi, trofei, etc.& hanno come comunedenominatore il valore inten%ionale di GmemoriaH, esplicitato dagli apparati iconografici ed epigrafici e dalladecora%ione architettonica. d I proprio partendo da tale fun%ione che si intende in questa sede anali%%are unaserie 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 immediatamenteprealpina, e presentano esiti e solu%ioni eterogenei sia a livello architettonico, sia per la loro colloca%ioneurbanistica 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 ampiamentedocumentato 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 triadecapitolina o al culto imperiale. 'er questo ultimo caso tre sono le cittF che hanno restituito strutture rilevanti5Segusio #$usa& , Al&a 'ompeia #lba& e Augusta (agiennorum #presso -ene /agienna&, le cui fonda%ioni sicollocano 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 dellacittF 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 conporticati su tre lati e prospiciente una pia%%a aperta, da identificarsi con il Capitolium secondo i modelli attestatiin ambito gallico, ma per il quale non I esclusa una fun%ione legata al culto della famiglia imperiale, con cui lacittF del regulo =o%io aveva uno stretto legame K come contribuiscono a confermare il celebre arco onorario, lestatue di loricati, l4iscri%ione onoraria dedicata ad grippa e i frammenti di una statua raffigurante lo stessogenero di ugusto.

d Al&a 'ompeia sono stati individuati tra il !!2 e il !!A i resti di un tempio di grandi dimensioni sualto podio, con un disegno architettonico di probabile matrice centroCitalica, che chiudeva lo spa%io del "oro sullato occidentale.

l modello augusteo del tempio pseudoperiptero sine postico, probabilmente con quattro colonne sullafronte 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 partiredall4etF 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 lacella 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 sottendono unagenesi monumentale pubblica&, lastre con iscri%ioni celebrative o dedicatorie di grande formato. -asti citare ilsacellum rinvenuto recentemente a 'ollentia #attuale 'ollen%o, fra%ione di -ra& in prossimitF della necropolimonumentale occidentale e forse riconducibile al culto della /ittoria attestato da un4epigrafe giF rinvenuta nellamedesima area.

$empre da $usa, in prossimitF dell4area forense, proviene un insieme di strutture identificate con untempietto prostilo tetrastilo cui era affiancato un ambiente quadrangolare volto ad accogliere le ceneri deldefunto, che sono state interpretate come l4)eroon di =o%io.

:umerosi sono poi i rinvenimenti di elementi architettonici #fusti di colonna, capitelli, basi, lesene& e leindica%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&, unodei centri piemontesi piJ antichi a nord del 'o, dove gli scavi della $oprintenden%a degli ultimi anni stanno

mettendo in luce edifici pubblici di grandi dimensioni #anfiteatro, teatro& nel settore meridionale del centrocittadino, portando a una nuova defini%ione della forma urbana. +uoghi preposti al culto della famiglia imperialee 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, aVercellae compaiono dei sex#iri Augustales socii cultores domus di#inae e nell4area del +ago Maggiore Idocumentata la presen%a di un flamen omae et Augusti, peraltro plausibile in un territorio, come quelloverbanese, di probabile proprietF imperiale.

Tali recenti acquisi%ioni permettono quindi una rilettura organica dell4architettura sacra e deimonumenti 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 postCclassica.

Autour du symbolisme fun3raire 4 $otaissa5 deux sc6nes rares

*ihai +/rbulescu

Deux monuments funNraires de 'otaissa se distinguent par la raretN de scInes symboliquesreprNsentNes. *n retrouve l4Ncho de la croyance dans le Destin sur un fragment d4une edicule5 =lotho avec lefuseau 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 $everus in the +amta Museum shows the emperor in his G$erapisHportrait type, with four curls over the forehead and a forked beard. This type of portrait is usually dated after hisvisit 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. Theprovenance 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 ntiquityand archaeology, by elaborating a multifunctional working tool. The monuments included in this digital formatwill 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 morecomplicated ones such as the onomastics of dedicants, votive formulae, language errors, phonetic development ofsounds etc. The main quality of this corpus is that the LM+ #xtensible Markup +anguage& records created can beimported at any time in other databases and reorgani%ed according to future needs. 0n what regards artisticrepresentation 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 Iun4elabora%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 surrogatodell4allineamento di figure intere a rilievo sulla lastra posteriore, con una cornice architettonica che suggerisce lastruttura 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 eranoperQ scolpite su commissione5 i riquadri contengono solo una sele%ione antologica di motivi di repertorio, chepermetteva all4acquirente la scelta dei piJ adatti alle sue esigen%e; temi su richiesta erano talvolta eseguiti incampi ribassati o a rilievo incassato sulle pareti esterne, normalmente lisce. 0n epoca antonina si generali%%a ilbanchetto, con il gruppo dei commensali sulla parete di fondo e servitori sulle laterali. ll4interno del minuscoloedificio 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 conintenti narrativi, nN il monumento cambia aspetto5 i banchettanti equivalgono gli allineamenti statuari, comepresen%e d4apparato di figure frontali affacciate dal piano della kline. =ontemporaneamente, in 'annonia0nferiore gli edifici si fanno piJ ambi%iosi, nelle dimensioni e soprattutto nella tematica5 si diffonde una vastanarrativa mitologica, simile a quella dei sarcofagi attici e urbani #anche se non sempre coincidono iconografie emodelli&, e che ha la stessa fun%ione d4innal%are la figura del defunto accostandola agli exempla degli eroi delmito. 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%ioniespressive 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 figurés relati#es aux yst-res de

it)ra #2@?AC2@??& sparked intense scholarly interest in the (oman cult of Mithras. "ollowing in =umont4sfootsteps, 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 centurydeciphering the material culture, art, rituals, and beliefs associated with this enigmatic mystery cult. Set, despitea 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 withinthe cult. *nly in passing have scholars described an assumed cult meal4 shared by initiates within themithraeum. This meal has consistently been presented #implicitly or explicitly& as an imitation of the ucharistUa view pioneered by =umont that is based entirely on the descriptions in early =hristian accounts #cf. ane 2?8B&.

Drawing on extant iconographic and archaeological evidence, we argue that the widely perpetuatednarrative of a ucharistic meal finds little support outside of =hristian texts and fails to take into account therichness and complexity of the material evidence for dining within Mithraic contexts. The starting point for thisanalysis is a catalogue of all identifiable meal scenes within the extant corpus of Mithraic art compiled bymanuela -ocancea, initially in !!? and since then expanded to include more recent discoveries. This endeavorhas 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 scenesfound 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 nowbeen 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 particularlytheir physical placement within the sacred space of the mithraeum, we will examine these meal scenes aspossible 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 thesescenes, depicted either on the front or reverse of tauroctonies, were physically located at the far end of themithraeum, in the cult niche. Thus, these depictions occupied one side of the tricliniumClike space of themithraeum, in which initiates reclined #and apparently dined& on podia alongside the depiction of the dininggods. 0n several Mithraic meal scenes, moreover, it is unclear if the dining gods4 are in fact initiatesimpersonating 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 representactual cult practice or merely an ideali%ed vision of an initiate4s experienceV re Mithraic iconography and ritualsof 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 potentiallyassociated rituals within the wider cultural and religious context of the (oman world by comparing theseMithraic 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 usefullyviewed5 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 theMithraic 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 religioustraditions, both public and private #or official and unofficial&, involving gods and dining helps to further detachMithraic banqueting from a =hristiani%ing interpretation, and to place it more securely against the backdrop ofinitiatory 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 of0sis across the Mediterranean world apparently engaged, and the dining customs of voluntary religiousassociations #collegia&.

-y focusing on this important but largely ignored component of Mithraic iconography and ritual, and byplacing such images and practices within their wider (oman contexts, we hope to show that dining between godsand men is a more important, complex, and multifaceted phenomenon than has been generally recogni%ed notonly for the worship of Mithras, but also forwider (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, thepossibility to extract blocks, uniformity of appearance of the stone mass in its deposit, and the quantity of thestone mass&; technological and economical criteria #quality of blocks and possibility of economical industrialprocessing&; 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 arewell known nowadays thanks to the written sources. The problem we need to resolve is of which stone type theoriginal 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 postelungo 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 cometale si contrapponeva alla sta%ione nota come Statio 'lorucensis, sita in territorio italico nei pressi del modernoabitato di (esiutta.

ttorno alla sta%ione di =amporosso sorse un centro che rivestW un ruolo importante almeno fino allatarda 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 suacompeten%a, come attestano le numerose testimonian%e di adepti fra gli schiavi e i liberti impiegati nelle diversesta%ioni. =iQ I confermato anche da =amporosso, dove, alla fine degli anni $ettanta del :ovecento, I stata messain luce parte di un mitreo e sono stati recuperati numerosi materiali pertinenti all4edificio, soprattutto are votivee 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 lestrette rela%ioni che sussistevano a piJ livelli tra i mitrei presenti nelle sta%ioni della circoscri%ione doganaledell40llirico.



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 7auteCMarne, 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 9rignonentre 288 et 288O, a malheureusement NtN dispersNe au dNbut du L0L e s.; on ne la connaYt plus au1ourd4hui quegrXce aux dessins, parfois asse% maladroits, qu4en donna le fils de l4archNologue, dessins qui furent notammentreproduits dans le sixiIme volume du ecueil général des &as%reliefs, statues et &ustes de la Gaule romaine d4ZmilespNrandieu, 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. +esdiverses explorations qu4ils menIrent alors rNvNlIrent quantitN de nouvelles sculptures, en particulier des exCvoto, qui furent donnNes en 2?3A au MusNe d4rt et d47istoire de +angres. $i quelques unes des piIces de cetteseconde collection, les plus complItes, furent publiNes dans les revues locales et immNdiatement exposNes, lesautres, qui constituent la ma1oritN, sont demeurNes inNdites et sommeillent dans les rNserves depuis leur entrNeau musNe. +a redNcouverte de ce formidable ensemble lapidaire remonte F !!?; elle a eu lieu lors du travail derecensement des sculptures antiques du musNe entrepris par nos soins dans le cadre du pro1et du !ou#el

spérandieu, patronnN par l4cadNmie 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 sacrNede cette agglomNration antique, ainsi que sur le panthNon de divinitNs qui y Ntait vNnNrN. +es sNries homogInesd4exCvoto qui y ont mises au 1our dans les annNes !C3! nous offriront par ailleurs l4opportunitN d4entrevoir lamaniIre dont fonctionnaient les ateliers qui ont [uvrN F leur production. +a grande originalitN de certaines desreprNsentations exhumNes sera enfin l4occasion de rNflNchir F la place qu4occupent les images que l4on peutqualifier d4\atypiques] dans la sculpture religieuse du nord de la 9aule.

n rilie#o con 9odiaco nabateo a Gerusalemme

1ul#ia Ciliberto

:ella ricca colle%ione lapidea del Museo rcheologico 'rivato dello Studium (i&licum *ranciscanum a9erusalemme #0sraele&, si conserva un piccolo ed interessante rilievo architettonico frammentario, che raffigurauno %odiaco nabateo. Del pe%%o, ancora inedito, si conosceva pochissimo. Tuttavia, gra%ie alle ricerche di archivioe bibliografiche svolte, I stato possibile risalire al contesto originario del pe%%o, che certamente faceva parte delladecora%ione architettonica del tempio nabateo di hirbat tCTannūr, 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 quiprNsentent une certaine ambigu^tN iconographique et de sens par rapport F leur apparition en Dacie plusexactement F pulum, oJ une nouvelle dNcouverte vient d4enrichir le volumes de donnNes dont nous disposonsactuellement. +4auteur essaye de discuter tout d4abord le contexte gNnNral dans lequel s4Ntait dNveloppN le cultedes dieux fleuves, Ntroitement liNs F l4histoire d4un endroit prNcis; dont (ome fut; sans aucun doute, l4une desvilles les plus vNnNrNes de toute l4ntiquitN. u point de vue religieux, le Tibre ; le fleuve qui traversait; la villeNternelle, a connu plusieurs sens, F partir m_me de l4Ntymologie de son propre nom. Ti&ernum ou T)y&ris Ksignifiait pratiquement Gtorrent qui vient de la montagneH et dNsignait F la fois un ancien roi Ntrusque au nom deT)e&ris, un roi sacrN de $icile au nom de T)y&ris, ou bien Ti&erinus, un autre roi ancien d4lbe. +e Tibre Ntait doncun 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, vientd4acquNrir des traits essentiellement humains. 0l s4agit notamment de deux types iconographiques 5 un monstreau visage humain pourvu de cornes et un personnage, gNnNralement un homme, allongN sur les rives d4un coursd4eau 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 d4lba 0ulia un centre important de la province conquise par Tra1an et l4hypothIse de l4existenced4une station portuaire dans leur voisinage devient de plus en plus claire en ce moment. +4apparition, dans cecontexte, de quelques piIces reprNsentant des divinitNs aquatiques est alors bien normale. +eur prNsence estd4autant plus importante F signaler car par rapport F ce que nous connaissons dN1F du rNpertoire iconographiquede 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 auchdie ntwicklung der $teindenkmler fr diese $iedlung. $o wurden in der ersten 7lfte des . <hs. Monumentenaus alkstein und $andstein angefertigt, Monumente, bei denen der Dekor schwerer an%ubringen ist. b derMitte der . <hs., mit der groangelegten usbeutung der Marmorsteinbrche von -ucova in der :he von$armi%egetusa, kommt es %u einer $erienproduktion verschiedener Typen von Marmormonumente. <et%tentwicklen sich /er%ierungen, die nur anhand von Marmormonumente %u finden sind.

radition and ino#ation in the #oti#e sculpture from Roman Dobrud8a

aharia Co#acef

The analysis of votive sculptural monuments discovered in Dobrud1a shows that, in local sculpturalworkshops, votive representations were made, in most cases, following classical iconographic patterns. This isdue primarily to craftsmen who were brought from the 9recoCsian world and have contributed to thedevelopment of some local workshops.

uthor4s approach is aiming, primarily, to detect classical iconographic patterns preferred in ancientDobrud1a 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 and9lycon K which form in fact local types, as well as through ways of expression of traditional types, sculptural artof (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 influencesof 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 3rd century .D., when the cults of thegyptian 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 instances)a&tis, cultic or other types of statuettes, hieroglyphic inscribed monuments #stelae, funerary cones etc.&. *n theother hand the adepts of these deities elaborate magnificent cultic places #shrines and temples& which theydecorate with elements of gyptian art or imitations #imitations of the hieroglyphic script, obelisks, locally madestatuettes 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 thehieroglyphic script, shabti statuettes from quincum& and the reCexamination of older ones #the 'haraohdepiction from 'otaissa, the symplegma figurine from 'orolissum&, this presentation will examine differentartefacts of the aegyptiaca category found in local Danubian context and analy%e their use, purpose or if they aregenuine 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 duringthe (oman period, which exhibit idiosyncratic iconographic and stylistic features. The plaques come from thesouthern 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 byskilled 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 thecompositional schemes are different. nother piece comes from the area of $cupi. 0t was discovered in the villageof -arovo, where it is still kept today. The iconography reveals that this is a depiction of the divine couple ofDionysus and riadne. ith his left arm Dionysus embraces riadne4s shoulder, while in his right hand he holds awineCfilled kantharos, turned upsideCdown, above a panther. riadne is barefoot, semiCdressed, holding a clusterof grapes in her right hand. ven though this scene appears from the =lassical period to the (oman times, thereare 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 intoconsideration 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 isdressed very similar to riadne, it is possible that this piece from Timacum Minus is also a votive relief depictingthe same divine couple.

The second relief comes from the central part of Dardania #osovo&. 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. Thedeity, 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 ofDionysus4 thiasus with music are found throughout the mpire, for the time being we have no direct iconographicanalogies for this relief. The relief is all the more important because it documents iconographically the epigraphicevidence from the northern part of Dardania K the area of :aissus, where +iber appears with the ad1ectiveGlaetusH #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 wasdepicted with only a single follower.

The third relief plaque, made of local stone and fragmented, comes from the village of Matka in the areaof $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 beinterpreted as the goddess Diana. This is further corroborated by the depiction of a barefoot Diana fromDalmatia. hen all is considered, it is very important due to the fact that its dress, apparently a dalmatica, andthe 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 termsof style and significance.

2culptures from the sacellum Aesculapi in the legionary hospital at 7o#ae

$iotr Dyc9eE

The legionary hospital ##aletudinarium& discovered by the 'olish archaeologists from arsaw >niversityin :ovae, fortress of legio " "talica, is a unique structure. 0t is the best preserved ancient hospital known up untilnow 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 altarwith the inscription 5Hesculapio 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 sclepiusPesculapius



and 7ygieia. 0n the layers of destruction from the sacellum we have found small si%e representations of femininedeities. 0n an area of about 2! m around this building, we have found fragments of sculptures of masculinedeities, among them the head of sclepius. -ecause of the disintegration of sculptures, it was not so easy todeterminate the identity of some of them. 0n the paper we will present our attribution of the sculptures and ourpoint 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 7eerfhrer Drusus der ltere verstarb ? v. =hr. in Mogontiacum. (und um sein9rabmal vor den Toren des +egionslagers entstand ein groer ultbe%irk, der auch ein Theater umfasste. Eu dem'ersonenkult um Drusus gesellte sich spter 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 7angbschung des (heintals. *bwohl ihre frhkaiser%eitlichen (adialmauern %erstrt sind,drfte das -auwerk schon in augusteischer Eeit in $tein errichtet worden sein. 0m $cheitel der *rchestra fandman einen ckblock eines onsolengesimses, auf dem im O. <h. ein neuer ltar aufgestellt wurde. 0n den Metopen%wischen den onsolen sind kleine (eliefs%enen aus der Triumphalikonographie dargestellt. $ie %eigen affen

und (stungsteile, 0nstrumente, sowie einen *pferdiener mit (ind und eine fliegende /ictoria. Das beraus feingearbeitete erkstck stellt vermutlich das bschlussgesims des 'ulpitums #-hnensockel& dar und war somitin ugenhhe angebracht. ndere rchitekturfragmente und (eliefs unterstt%en die Datierung des Theaters indie frhe aiser%eit.

Relocation of Greco-Roman sculpture in Christian >oly Land5 reuse and ideology

*oshe 1ischer . Rachel 1eig )ishnia

GThe lateCantique :ear ast was a kind of miracleand 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 andreligious changes occurring in the area after =onstantine the 9reat. 0t seems, however, that one should try and reCexamine 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, namelythe 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 stillstanding 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 thesources, 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 traditionand =hristian reality while its attitude later on during the -y%antine period should be examined according todifferent historical stages. Thus, often there is either a rupture with the past, or acceptance of some of the olderprinciples and this, varying between different places and periods.

ny attempt at a closer examination of this process is somewhat limited by the lack of exactchronological frame of the contexts. *n the other hand, statistically, a great share of architectural and artisticstructure is deteriorating, thus ca. @! of the 9recoC(oman statuary retrieved in 0srael were found while theirheads lacking, and those having their heads preserved had their noses broken, and, moreover, with heavilymutilated 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 asfoundations and frames adapted to religious buildings following the new trends, and partly they simply becamestone quarries.



The main question of this presentation concerns the character of this development; in fact, to whatdegree was it motivated by concerns with the =lassical heritage or was it 1ust a cynic response of a new victorioussociety.

n attempt is made in this presentation to reCexamine some architectural and artistic structures of someof 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 stlichen *ittelmeerwelt aus rmischer eit

&laus 2tefan 1reyberger

0n der stlichen Mittelmeerwelt %eichnen sich mehrere 7eiligtmer aus rmischer Eeit durch einmarkantes sakrales Monument aus, dessen "unktion und -edeutung in der archologischen "orschung bis heutenicht ausreichend geklrt sind. s handelt sich dabei um ein kubusfrmiges $teinmal monumentaler usmae,das als isoliertes -auwerk im Temenos aufragt. Eu den bekanntesten -eispielen dieser rt gehren der 9roeltarG in -aalbek, der 9roe TurmG in alat "akra und die -lockmonumente im 7eiligtum von Masnaqa undRasr :eba #Tsarnaba& im +ibanon. hnliche -auwerke finden sich auch in $yrien und <ordanien, wofr die

7eiligtmer des -el und :ebo in 'almyra sowie die -lockgrberG in 'etra anschauliche Eeugnisse liefern. neinigen -auten wie dem 9roen ltarG in -aalbek und dem 9roen TurmG in alat "akra lassen sich im 0nnernTreppen nachweisen, whrend es sich bei den 9ebuden in Masnaqa, Rasr :eba und 'almyra um reine$teinblcke handelt, die original mit einem $ulenbaldachin versehen waren. enn auch all diese 9ebude in derarchitektonischen "ormgebung variieren, so haben sie stets die isolierte 'osition und die "orm des ubus alsgemeinsame Merkmale. ine "unktionsanalyse der inrichtung und usstattung kann klren, in welcher eisediese ultbauten genut%t wurden und in welcher eise sie %weckbestimmt fr die verschiedenenufgabenbereiche in den 7eiligtmern, insbesondere fr den ultbetrieb, waren. Darber hinaus sind diemonumentalen $teinmale im ontext der heiligen -e%irke %u interpretieren. s fllt auf, dass einige $akralbautenwie der 9roe TurmG in alat "akra und das -lockmonument im 7eiligtum von Masnaqa allein in einem -e%irkstehen, whrend die entsprechenden ultbauten in den genannten 7eiligtmern in 'almyra sich nebenmonumentalen Tempeln befinden. 0n rgn%ung %u den archologischen Eeugnissen sind die schriftlichen

berlieferungen 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 dermonumentalen $teinmale in den 7eiligtmern geben knnen.

)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 exclusivelyclassical deities. 0n contrast, other temples in (oman $yria, such as the Temple of thenaCllat in 'almyra,featured #sideCbyCside& sculptural dedications representing both local gods #$emitic warrior deities like llat,dressed as nomadic dessert people, mounted on camels& and 9raecoC(oman deities #thena& K in both localformat #relief&, native materials #limestone&, and indigenous styles #'almyrene& and imported ones #threeCdimensional, marble, and classical&. t still other sanctuaries in rabia, such as Rasr alC-int at 'etra, sculpturalrepresentations of deities were aniconic baetyls K rectangular slabs of local sandstone occasionally turned reliefvia the addition of eyes, a nose, and a mouth. fter a brief introduction, this paper will focus on the role of reliefsculpture at sanctuaries in the (oman :ear ast such as those noted above. hile multiple scholars have notedthat $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 forhuman 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 totrack changes and conservatism in religious practice and indicate broader cultural responses to (oman conquestand rule of the :ear ast.



<l monumento trionfale Tropaeum Traiani 5 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 cherispondono all4ideologia imperiale nell4epoca traianea5 =olonna Traiana e Tropaeum Traiani, identificando traloro le similitudini e le particolaritF artistiche, procedimento che valori%%erF il rapporto tra l4arte ufficiale e l4arteprovinciale.

$i individueranno le scene che hanno come soggetto principale di raffigura%ione artistica il motivo delcomandante rappresentato in diversi momenti. 0n seguito all4analisi comparativa tra i due monumenti siscaturiscono afferma%ioni di carattere estetico, iconografico nonchN iconologico, che attraverso una letturacontestuali%%ata argomenterF che il monumento Tropaeum Traiani, con le sue particolaritF di raffigura%ioneartistica appartenenti ad un medio provinciale, rimane particolare per la sua unicitF non solo per il suosignificato storico quanto per il messaggio iconografico che I strettamente legato alla propaganda imperiale e cheriguardava 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 deltema iconografico della guerra, imposto dai conquistatori, scuote la mentalitF locale e offre adesso dire%ionid4arte su un fondo artistico locale. 0l messaggio simboleggiava l4associa%ione al livello iconografico del rapportotra combattente e sottomessi, anche dalle raffigura%ione i daci e i loro alleati non mostrano una postura umiliatama bensW fiera. 0l Tropaeum richiedeva quindi di essere raffigurato in questa maniera, un messaggio semplicereali%%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 lamonumentalitF 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 d4intrusioniartistiche o canoni di raffigura%ioni grechi.

livello iconologico il codice socioCpolitico si esprime attraverso un imperatore vittorioso, conquistatorema 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 parlae istruisce.

=ome I stato sempre sottolineato il confronto con la =olonna Traiana appare subito evidente il diversostile artistico del trofeo locale che I rudimentale e rappresenta una manifesta%ione autentica dell4arte provincialeromana della prima decade del 00 secolo d.=.

0l monumento di Tropaeum Traiani deve essere considerato unico per la sua complessitF ideologicareduce della propaganda imperiale romana, I manifesta il livello artistico nella oesia "nferior agli ini%i del 00secondo d.=., momento in cui l4arte provinciale romana comincia a confluire verso nuove dire%ioni d4arte etematiche iconografiche.

=ome procedimento artistico il monumento trionfale di damclisi I un prodotto dell4arte scultoreaprovinciale e rileva due livelli di maestran%e plastiche5 il primo rivela artigiani che hanno piJ esperien%a eprofessionalitF 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%ioniiconografiche del monumento possono essere considerate rigide nonchN statiche, gli scultori elaborano lecomposi%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 diconsisten%a iconografica se facciamo il paragone con la =olonna Traiana, certifica la sconoscen%a delle realtFlocali prima della conquista romana del territorio, dove l4arte autoctona abbiamo visto che sviluppacaratteristiche e specificitF proprie. 0l decadentismo artistico con cui I stato catalogato Tropaeum Traiani siconfonde 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 atmonographic 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 andomnipresent 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. $uch images appear on the coins of the kings of the Mithridatids dynasty, whose last king, Mithridates /0upator, was one of the most important and indomitable enemies of (ome in the 2st century -=. The legions of$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 ingdom, which was the last refuge ofMithridates /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 complexiconography of the syncretised deities, as they are present in 'ontic ad -osporan coinage and art, on the fullydeveloped Mithraic imagery, in order to show the probable link between the iconography of the 'hrygian deityMen, in his 'ontic version merged with a number of 9reek divinities #pollo, Dionysos, the deifiedlexanderP7elios&, as one of the possible sources for the iconography of the (oman Mithras. -eing a solarPlunargod 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 forone 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 estgNnNralement admis que le culte de =ybIle fut introduit en 9aule par l4empereur =laude. +4arrivNe de cesnouvelles divinitNs a NtN mise en relation avec l4installation des populations venues de la partie orientale de

l4mpire, 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. =essculptures proviennent d4rles, 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 residentialcomplex in Mediana near :i #!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 :i. Thedocumentation showed that it was found in 2?3, in Timacum Minus, an important (oman centre and militarycamp.

The statue presents a unique iconography, since all the three 9races frontally depicted, nude, embracingeach other. The composition4s originality opened various questions concerning several issues5 where the statuewas made, how it ended up in the residential complex of Mediana and most importantly, what was the inspirationsource 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 Minuswere made following the model of a long lost basCrelief from 'aros dated to the O thC3rd 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 modirappresentativi delle donne di quileia attraverso le grandi are, che portano a data%ioni comprese nelljarco del 0secolo d.=., si intende passare al vaglio le medesime tematiche attraverso altre classi di monumenti funerari5 fraqueste, in primis, le stele, che consentono di continuare il percorso di studio ini%iato, nella prospettiva diproseguire 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 laquale, 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 these#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 rmischer 2teindenEmler

homas >agn

0n dem 'oster sollen entsprechend dem olloquiumsthema die rmischen $teindenkmler des

interdis%iplinren onlineC'ro1ektes M*: C M*:umenta ntiqua lectronica http5PP wwwCgewi.uniCgra%.atPmonae hinsichlich 0konographie, $ymbolik und :achleben sowie die da%u angewendeten digitalenMethoden %ur 'rsentation und rschlieung vorgestellt werden. 0n dem genannten 'ro1ekt des Eentrum ntikeder >niversitt 9ra% wird versucht, mit 7ilfe digitaler 0nformationstechnologien rmische $teindenkmlersowohl be%glich des epigraphischCschriftlichen als auch ikonographischCbildlichen 0nhaltes fr "orschung und+ehre an >niversitten und allgemein bildenden hheren $chulen nher %u bringen.

>nter den bisher %unchst aus sterreich online dargestellten 0nschriftenCMonumenten der 'rovin%enDacia, :oricum und 'annonia befinden sich 2B /otivmonumente, davon ? mit ornamentalen oder figrlichen(eliefschmuck, weitere werden noch folgen. Die ombination mit dem epigraphischCschriftlichen 0nhalt dieser$teindenkmler erlaubt %ust%liche berlegungen %u rmischer 0konographie und ultC$ymbolik und gibt indidaktischer 7insicht gute -eispiele fr die mehrfachen ussagemglichkeiten solcher Monumente.

0nsbesondere 1ene aus der 'rovin% Dacia stellen darber hinaus bedeutende Eeugnisse fr das

:achleben antiker $teindenkmler dar5 Denn sie gelangten im 2@.<h. unter aiser arl /0. nach ien, wo sieheute noch die nde des $tiegenaufganges %ur sterreichischen :ationalbibliothek schmcken. s bleibt dabei%u fragen, inwieweit eine uswahl der Monumente nach bestimmten riterien, wie etwa nach bevor%ugten9ottheiten #%.-. Mars und /ictoria V& oder ikonographischen lementen, damals vorgenommen wurde.

Die 'rsentation des onlineC'ro1ektes Monae dient aber auch da%u, die unterschiedlichen Mglichkeiten,welche die digitalen Methoden %ur rschlieung von 0konographie und $ymbolik rmischer $teindenkmlerbieten, %ur Diskussion %u stellen. bgesehen von den traditionellen digitalen Datenbanken, auf deren 'roblemebewut hingewiesen werden soll, ist nach der :ut%barkeit digitaler Technologien fr neue wissenschaftlicherkenntnisse spe%iell im -ereich rmischer ultmonumente %u fragen. elche /orC und :achteile kann die/erwendung bestimmter digitaler Methoden bringen, inwieweit werden damit 0nterpretation undussagemglichkeiten beeinflutV $o %.-. lt sich mit 7ilfe digitaler (ekonstruktionen das vermeintlichursprngliche ussehen rmischer $teindenkmler sehr anschaulich wiedergewinnen. <edoch kann sich damit

auch eine bestimmte /orstellung eventuell viel schneller einprgen als etwa durch geschriebenen Text. inekritische instellung gegenber den digitalen Methoden sollte insbesondere bei ihrer didaktischen nwendungwie %.-. fr die issensvermittlung %u rmischen ult und (eligion an 7and von #rekonstruierten&



ultmonumenten nicht bersehen werden.>nterschiedliche inscht%ungen und nsichten %u diesen digitalen Methoden sollen nicht nur helfen,

das vorgestellte 'ro1ekte M*: %u verbessern, sondern knnen auch als nregungen fr hnliche digitale'ro1ekte dienen.

2AG* . u chronologischen %1ehl-'<nterpretationen

eines Eeltisch-rmischen &leidungsstFcEes

*anfred >ain9mann

Der fransenbeset%te Mantel K mit der keltischen -e%eichnung sagum K findet sich wiederholt aufkaiser%eitlichen $teindenkmlern. :ach diesen Eeugnissen %u schlieen, kannte ihn die mnnliche -evlkerungsowohl als EivilC wie auch als Militrtracht. r soll %unchst #nurV& als $oldatenmantelG und danach #auch& als%iviles leidungsstck getragen worden sein. Dieser echsel vom militrischen %um %ivilen 7abitus wurde%ulet%t von . 'ochmarski postulativ mit der (egentschaft aiser =aracallas verknpft. 0n diesem Eusammenhanggilt es %wei methodische nst%e %u hinterfragen5 0st K ohne :achweis eines kaiserlichen diktes K selbiges<unktim berhaupt %ulssig, und kann ein solcher echsel innerhalb der leiderordnung4 ohne-ercksichtigung aller #vorhandenen& -ild%eugnisse feinchronologisch bestimmt werden. uf eben diese "ragen

versucht das (eferat eine ntwort %u geben.

wischen &aiserEult und Gallischer Religion5 Der $feiler der Nautae Parisiaci

Ortolf >arl

Die -lcke des im Museum von =luny aufbewahrten 'feilers gehren %u den wichtigsten und am meistendiskutierten Denkmler %ur (eligion der elten. Da die ntdeckung der -lcke mit der 9eburt +udwig des L0/verknpft ist, sind sie %ugleich mit einem der 7hepunkte der fran%sischen 9eschichte verknpft. Das fhrte %ueiner berbetonung der keltischCreligisCkulturellen spekte und bercksichtigt die Tatsache %u wenig, dass der'feiler als Denkmal des aiserkultes C und %war %u hren des Tiberius C errichtet wurde. Die archologische

:eubewertung dieser "unktion legt religise $puren frei, die in die =isalpina des . vorchristlichen <ahrhundertsfhren, whrend philologische Ruellen darauf hinweisen, dass bei der >mset%ung von -ildmotiven kulturellCreligise Missverstndnisse passiert sind. Dadurch erweist sich der 'feiler als ein synkretistisches Denkmal ausder beginnenden aiser%eit, in der sich eine rmische -ildsprache %ur keltischen (eligion erst aus%uprgenbegann.

>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 andpaintings& of the great masters was common, something that raised moral and splendor of kings, dictators andleaders. 'ausanias in his +escription of Greece # z& enunciated spoliation as something normaland customary, which for generations accompanied chiefs and their troops on the war spoils, looting not onlyworks of art and enriching their estates #'aus. /000, OA, 2CB&. This practice can be seen in many areas such assymbolic, aesthetic and cultic. Lerxesj army, who in the fifth century -.=. looted thens and the cropolis, tookthe statue made by nteona depicting 7armodius and ristogeiton. Transposition of the sculpturecommemorating 7armodios and ristogeiton has an aesthetic value but also a symbolic one, because for sometime 'isistratos tyrantjs son, 7ippias lived at the court of the 'ersian king Darius. fter his great easternconquest, 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 ofturn 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 andDelphi from @8 -.=. can help reali%e the importance of wealth that was exported by commanders in formation ofthe (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 theprovince would go to them. Thus, works of art looted during the late (epublic were mostly utilitarian in natureand 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 #. n%l, +er r6misc)e Triump), Munich, 2?@@, p.2!?&, whosacked $yracuse in 2 -.=., began to have a very different function during the mpire as they had in the times of$ulla and =aesarjs dictatorship. ugustus, Tiberius and :ero appreciated the value of works acquired andtransported 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 bythe princeps and his successors #'lin. nat. 3B, @&.

he Cult of Dionysus and )oti#e *onuments in 2alona

!asna !eliiJ-RadoniJ

The cult of Dionysus, extremely widely disseminated in the 9reek world, was to be found on the easterncoast of the driatic as early as the O th century -=, in the colonies of 0ssa and 'haros founded at that time. The9reek colonists of these islands of =entral Dalmatia took the cult to the mainland as they created settlements andemporia. *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 theforum of the oldest part of the city #Ur&s #etus&. 0n addition to the temple, a number of sculptures of the deity areknown, such as a marble torso, or a lower part of a sculpture with a panther, or a sculpture showing Dionysus4followers K the satyrs and maenads, his t)iasos. These sculptures might have been put up as cult statues or votivegifts in the temple mentioned or in some other shrines, individual inscriptions of which on stone beams andaltars have been found.

$cenes of the Dionysus cult are also to be found on $alona sarcophagi, such as Dionysus4 triumph in theeast on some recently discovered fragments of an ttic sarcophagus; on tombstones there are frequentlymentioned 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.

Gttliche 1rFchte

te &latt

0nsbesondere auf den :ebenseiten von eihesteinen der nrdlichen 'rovin%en finden sich wiederholtDarstellungen sowohl von $chlangen, die sich in einem -aum winden als auch von verschiedensten 9efen, diemit "rchten gefllt sind. Die $chlange wird in der (egel als chthonisches $ymbol b%w. als 7inweis auf eine nichtCirdische $phre aufgefasst. Die gefllten 9efe werden %umeist nicht weiter beachtet und als dekoratives-eiwerk bergangen.

ber ikonographische /ergleiche scheint es 1edoch mglich, weitere inhaltlicher -e%ge her%ustellen

und neue Deutungsmglichkeiten %u erffnen. uch der 7erstellungspro%ess muss in diesem Eusammenhangreflektiert werden.

Gtterbild und 2aEralraum im *ithrasEult

An8a &lcEner

Der ult des Mithras besit%t eine (eihe von -esonderheiten, die ihn von anderen ulten im 0mperium(omanum abset%en. Dies betrifft neben spekten des (ituals, der 0konographie und der rchitektur auch die9estaltung der 9tterbilder und der ultrume. nders als gemeinhin blich, sind die %entralen 9tterbilder derultsttten im "alle des Mithras seltener $tatuen, sondern weit berwiegend (eliefs oder Malereien.

Eweidimensionalitt ist offensichtlich ein wesentlicher Eug der Mithrasbilder. 0n dem -eitrag werden dieonsequen%en dieser spe%ifischen Medialitt fr den ultvoll%ug errtert. uerdem soll geklrt werden,inwieweit diese /erschiebungen im rituellen $ymbolsystem mit genderten religisen /orstellungen



einhergehen. in %weiter bschnitt geht auf das on%ept der Mithren als symbolisch konstruierte 7hlen ein.

2culptures and #oti#e monuments of deities in Aenona

*ari8a &olega

:umerous votive monuments which confirm veneration of native, (oman and *riental deities werefound 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 avotive inscription were found outside the city walls. The statue is interesting from stylisticCiconographic and cultaspect. The goddess is depicted as the classical Venus pudica type with nude upper part of the body and a cloakfalling 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 testifyingabout overlapping of local tradition and new (oman element. :ative female deities appear in other +iburniancommunities such as "utossica, Aitica and Sentona in lbona, "ca and "ria in "lanona, 9atra in :adin and someother 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 ofstanding $ilvanus with goat legs. *n the basis of preserved inscriptions we can conclude that the god $ilvanuswas honored much earlier in +iburnia and that it belonged to a native male deity which had wider regionalimportance particularly for the neighbouring Delmatae.

(oman gods <upiter, <anus, :eptune, /ulcan, Diana and Dionysus were also venerated as confirmed byvotive monuments and a statue bust. 'robably this was a statue of the god Dionysus of which a headless bustwas preserved, with long hair locks falling over the shoulder. *riginally he was depicted standing, withoutclothes, with long hair and attributes that were not preserved, but they are a part of his cult image #wreath ofvine 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 somesanctuary. 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 anattribute "icus. mergence of the cult of the god $abasius in enona is reflected in *riental elements, and it isparticularly 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, sollein berblick ber die sekundre /erwendung von $teindenkmlern in =arnuntum gegeben werden. DiesesThema ist von besonderer ktualitt, da in den let%ten <ahren mehrere spektakulre "undensembles mit

wiederverrwendeten $teindenkmlern geborgen wurden.nhand der 7andwerksspuren und der "undsituation wird %unchst der Eustand der Denkmler

analysiert. >nterschiedliche =harakteristika der iederverwendung werden herausgearbeitet,Eerstrungsvorgnge so weit wie mglich rekonstruiert.

0n einem %weiten $chritt wird das Motiv der sekundren /orgnge hinterfragt. >nterschieden wird%wischen der intentionellen 'rsentation im ontext #$polien& und den verschiedenen rten deriederverwertung #recycling& von $teinen.

bschlieend sollen die iederverwendungen einem Eeithori%ont %ugewiesen werden, damit derEusammenhang mit dem historischen ontext betrachtet werden kann.

ls -eispiele %eigen wir ergn%end da%u die noch unpubli%ierten :eufunde der let%ten <ahre, um soeinen 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 certainpoint in history was led by rulers C emperors. Those, in addition to a number of secondary functions of theposition of primus inter pares #first among equals&, acted as a military leader. <ust like in any other period ofhistory, 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 ofimperial portraits5 wearing the toga #statua togata&, horseback riding #statua e:uestris&, as a naked figure with aspear and the characters with the attributes of the gods. *ne of the most important representations of rulers wasshowing them as (oman generals, wearing lorica #statua loricata&.The leaders dressed in military tunic, which wore a breastplate C lorica, were usually portrayed in situationsdelivering 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 ofugustus 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 byordinary legionaires and even officers.The main ob1ective of my dissertation is to collect and to examine in a comprehensive manner the images of theemperors 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, aswell as the divine origin of their power. The lorica of the emperor was a usul element associated with the powerof the emperor, as a leader of the people and the head of the army. Thus, the breastplate K lorica, worn by leadersof 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, whoserved as sacred herald in the leusinian Mysteries, was erected after his death in the sanctuary of leusis inttica. 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 depictingleusinian 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 leusisrchaeological 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 itdisplays 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 ore, in leusis during the celebration of the 9reatMysteries. :ummius :igreinos, serving as the sacred herald of the Mysteries still in the decade D 2O!C2B!, wasone 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 thestatue 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 ahandful 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 reliefand its quality is rather crude, notwithstanding that this is a sculpted monument of thenian art in the (oman0mperial 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 onlyvarious 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 forleusinian initiates from the =lassical to (oman 0mperial times, but also, most intriguingly, gives us theopportunity to combine literary and epigraphical sources with iconographical evidence as to the participants ofthe mystery cult and to reconstruct at least in part the appearance of its most open and splendid element, theprocession of the 9reat Mysteries. These rites, celebrated throughout ntiquity, were recogni%ed as the secondgreatest thenian festival after the 'anathenaia, whereas from a 'anhellenic perspective were comparable inreligious importance only to the *lympian games #'aus. B.2!.2&.

2culpting 2pace . he iconography of the architectural sculpture

in the Roman Villa of Rabaal %$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 westof 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 beenabandoned 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 beensystematically performed since 2?@O under the guidance of Miguel 'essoa, producing a vast, valuable and variedcollection.

This communication aims to describe a unique set of limestone and marble basC and highCreliefs thatdecorated the walls of the most imposing building of the (aba|al Villa, the triclinium. rchitectural decorationwas associated with an ambitious construction plan around an octagonal, mosaicCfilled peristyle. The naturalelements surrounding the Villa and its influence on the architecture are demonstrated in the decoration of thereliefs. 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 vegetaldepictions such as flowers, acanthus leaves, vegetal crowns, cobs, fleshy fruits, grape clusters. 0t is an exuberantperformance of nature.

There is no clear sign of the presence of =hristianity in this +ate ntiquity uilla. 7ow can we understandthe symbolism of this vivid presence of natureV hat is the importance of architecture and geometry in thissculpting programV Does it intend to tell us something in quite a veiled way using these significants with a newmeaningV

This study aims to question and analy%e the intentions, meanings and implications of the architecturalsculpture 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 auxappartements impNriaux. lle comprend deux temenos de dimensions diffNrentes, placNs djune part et djautredjune 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 diffNrentesthNories issues des sources historiques 5 ljNdifice octogonale est mentionnN comme temple de <upiter etPoucomme 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 untemple 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/0e

siIcle en tant que temples de /enus et =ybIle&, ont NtN considNrNs comme des mausolNes secondaires, comme desmonopteroi. tant donnN qu4ils n4avaient pas d4escalier d4accIs, ils pourraient _tre simplement des NdificesdNcoratifs.

+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 lesdNtails. +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_mesmotifs 5 des t_tes diffNrentes, des masques, des rinceaux peuplNs etc., mais parfois appliquNs sur diffNrentsNlNments 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 lam_me importance. =es deux Ndifices placNs sur le m_me axe, ljun visCFCvis de ljautre, se complItent. +eur dNcor, Fnotre 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 consNquentde blocs antiques, rNemployNs dans les constructions tardoCantiques et mNdiNvales, permet d4envisagerl4identification de quelques monuments funNraires et d4un sanctuaire sur la colline d4nis ou aux environs. +ecorpus 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 lesstructures 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 structuresbXties, offrant quelques NlNments de datation grXce aux remblais de comblement de la terrasse, seront NgalementdNcrites et leur datation argumentNe.

+e devenir du quartier monumental est Ngalement une question essentielle au 'uyCenC/elay puisque laterrasse antique soutient au1ourd4hui le baptistIre de l4antiquitN tardive, la cathNdrale et le cloYtre romans, ainsique l4Nv_chN moderne. $i la terrasse a clairement perdurN aprIs l4antiquitN, le sanctuaire a peutC_tre NtN conservN1usqu4F la construction de la cathNdrale carolingienne. 0l est possible qu4il ait NtN rNutilisN dans son volumecomme cathNdrale primitive. +4analyse des rNemplois et la rNutilisation des fondations de la cella au chevet de lacathNdrale 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 loroprovenien%a dalle tutte le regioni della Dacia $uperior e 'orolissensis, specialmente dai centri urbani ma ancheda 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 cheprodussero questi monumenti. 0l nostro studio ha raddoppiato questa ricerca con le analisi petrografiche, chehanno offerto dati concreti per la determina%ione della provenien%a delle roccie dalle quali furono reali%%ati imonumenti. Z stata reali%%ata cosW un4analisi interdisciplinare complessa, che oggi ci consente un approccionuovo 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 dallerappresenta%ioni figurate su monumenti cultuali e votivi. Dal repertorio delle immagini divine del mondo grecoCromano abbiamo scelto l4iconografia di un culto regionale, la cui diffusione I limitata alla %ona balcanodanubiana5 il culto dei cosiddetti =avalieri Danubiani. 0n questo quadro molto ampio, abbiamo isolato alcunevarianti iconografiche regionali che contengono, sullo stesso monumento, un gran numero di scene e simboliraggruppati 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 'annonia0nferiore, nella %ona del centro di $irmium. 'artendo dall4albero tipologico e dal contesto archeologico di alcunimonumenti, 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 ingeneral, is greatly attested on the (oman monuments from the (epublic of Macedonia. Throughout the studiedregion 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 characterof the material, it seems that his cult was mostly connected to the funerary aspect. Dionysos was perceived as asymbolic figure of death and regeneration, which is a common feature among mystery gods, as he was locallyknown as well. This paper gives an overview of all the attested monuments with recogni%able bacchiciconography and concludes with possible resolutions of some of the important issues of the local cult of DionysosK 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 anucleus for spreading and development of many religious cults, starting with the official 9reekC(oman andcontinuing 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, hasled to unprecedented development on the territory of the urban centre pulum. The building of the legionary fortand 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 thatfacilitated the opening of some workshops to fabricate religious ob1ects which satisfy the increasing demand ofgrowing population. *f course, those with a good material state afforded to command marble statues and votivereliefs from sia Minor and 9reece, where there were famous sculpture workshops, and the marble has betterquality than that found in Transylvania. 0n this study we try to discuss on the basis of sculptural material found sofar, the existence of stone workshops in pulum, their evolution along the time, as well as the artistic level of themaster 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 religiousknowledge, even anatomical information held by the craftsmen in stone. 0t is supposed the existence of two stoneworkshops at pulum5 the first, situated 3!! m west from legionary fortress; the second, situated northCeastfrom the legionary camp, probably outside the cana&ae, but near by the second (oman cemetery from pulum.The first workshop was intuited by =l. +. -6lu•6 based on summary field observations reali%ed with the occasionof utility works where the museum from lba 0ulia didn4t carry out archaeological researches. 7e informs us thatwere discovered some anepigraphic altars and blocks of stone in progress of being processed, limestone powderand other waste produced by cutting. -ut -6lu•6 didn4t publish any images or profiles from the excavation inorder to confirm or not this theory. :o doubt, 0 have a reserved attitude concerning this supposition of a stoneworkshop existing in this place. s for the second stone workshop, its existence is more plausible, becausethrough archaeological researches carried out by M. -l61an, he observed a lot of blocks of stone in progress ofbeing 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 inthe area of canabaeP municipium $eptimium or colonia urelia, or even outside of these settlements. There was abig demand of construction materials from the militaries or civilians. Many funerary monuments are made inthese workshops #sarcophagi, stelae, aediculae etc.& and, not least, they, surely, developed a production of cultand votive statues which were dedicated especially to official cults. "or example, we can relate about the cult orvotive statues showing 0upiter on the throne, the most numerous of this type in Dacia. e are raising the problemof whether the local marble #marble of -ucova& statues or votive reliefs were made in pulum or >lpia Traiana$armi%egetusa. 0t is known that in >lpia Traiana $armi%egetusa has functioned a stone workshop of micro siansculptors which has activated from the second century .D. and the following decades. e ask ourselves whichwas the artistic level of the stone masters from pulumV =an we talk about simple craftsmanCstone masters orreally sculptorsCartistsV "rom our point of view the stone masters from pulum rarely overcame the mediumprovincial 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 componentparts of human body. e can4t establish exactly, at this moment, the starting point when these stone workshopsbegan 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 mythologicalscenes. The central theme of this paper is the analysis of the mythological reliefs. *n this point, 0 would like to usethe 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 halfof the nd century and 3rd centuries D for people with mediumChigh financial means. The ma1or findings areknown in 'o%%uoli, =apua, $alerno and -enevento.

The preference for some iconographic themes and stylistic performance suggests the taste of clients forcertain 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, hasbeen frequently noticed, a well known case being that of a coinCtype struck by pollonia 'ontike, which wasreproducing 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 struckby the esternC'ontic cities has increased. $ome coinCtypes may be borrowed from the mint of another city, theycould be itinerant coinCtypes with little value for the local iconography. The present study aims to distinguishbetween these and the coinCtypes, which are reproducing a ma1or art work, in order to gain firm arguments forthe 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 n4Ntaitrendu que F l4anc_tre commun, fondateur ou patron de la ville #<eros p)ylakos, 'ropylaios, Aulonites&, ensuite ill4Ntait 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 NtaitexprimNe par des moyens iconographiques. >ne des fa|ons les plus anciennes de l4exprimer Ntait le schNma decavalier, F tort interprNtN comme cavalier thrace et considNrN comme une reprNsentation votive. Mais les sourcesnarratives #nth. 'al. 0L, 33A; T. +iv, L+, O?; =nst. 'orphyr., De them., K akedon, l4anc_tre Nponyme&, etNpigraphiques #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 lesstIles funNraires sont parfois accompagnNes de l4NpithIte \hNros]. +a reprNsentation djun premier cavalier dans lefronton et djun autre dans le champ F relief prouve que par le premier sont reprNsentNs les anc_tres hNro^sNs et par lesecond 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 rNpertoirefunNraire en MacNdoine. (empla|ant le cavalier dans le fronton, il dNsigne les anc_tres, rempla|ant celui dans lechamp F relief, il reprNsente le dNfunt luiCm_me. TrIs souvent, ce motif est prNsent sur les stIles des vNtNransoriginaires du pays, qui l4avaient adoptN sous ljinfluence romaine.

Deux autres fa|ons d4exprimer l4hNro^sation des dNfunts sont typiques pour la MacNdoine, et par lesmotifs et par leur schNmatisation. +4une d4elles se fait F travers l4image de l4arbreKdNfunt, et l4autre par la rosace oule disque solaire #croyance astrale&, parfois flanquNe par une rosace plus petite ou par la capsule du pavot K signede l4immortalitN.

>ne autre maniIre djexprimer ljhNro^sation du dNfunt est ljhNro^sation PdNification 0in formam deorum{. +adNification consiste dans la dNdication F la divinitN d4une stIle ou d4une statue F l4image du dNfunt dNposNes dansle 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 d4rIs, de /enera 'udica, de 'osNidon. 'ar contre, ledNfunt en nuditN hNro^que, typique pour les 9recs, njest attestN qujune fois en 7aute MacNdoine, doublN par ljimagedjun cavalier dans le registre infNrieur, ce qui est signe de contamination des deux maniIres d4hNro^sation desdNfunts.



La reconstruction de la partie centrale du 7ymph3e figurant le relief des 7ymphes

4 )araIdinsEe oplice % Aquae Iasae'

Ante RendiJ-*ioe#iJ

+e complexe thermal situN F A:uae "asae #/aradinske Toplice&, le centre urbain des "asi pannoniens, estle site antique, plus prNcisNment romain, le plus fouillN et le mieux prNsentN dans le nordCouest de la =roatie. +esite d4 A:uae "asae se distingue aussi des lieux de culte analogues par le grand nombre d4inscriptions et demonuments 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 etthNrapeutique. 0l faut noter que les murs originels de la piscine rectangulaire K oJ se trouvait la source principaleK qui servait au captage des eaux thermales K ont NtN mis F 1our durant les fouilles rNcentes. 'armi lesmonuments dNcouverts antNrieurement, une attention particuliIre doit _tre accordNe aux fragments en marbred4un 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 diffNrentsmotifs, 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 qualitNtrouvNs dans cette partie de la =roatie. +a partie centrale du nymphNe se composait d4une reprNsentation desnymphes5 il n4en reste que le buste dNnudN d4une femme dNnouant ses longs cheveux. +es premiIres publicationsle concernant signalaient l4existence de la partie infNrieure de ce relief, mais plus aucune mention n4en a NtN faitedepuis que relief avait NtN installN F l4entrNe du parc municipal de /aradinske Toplice. =e fragment, considNrNmanquant, est toutefois conservN dans le MusNe rchNologique de Eagreb. +es archives du MusNe, ainsi que lesarchives de la ville de Eagreb, contiennent les dessins faits dans la seconde moitie du 2? Ime siIcle par lecommandant Mi1at $abl1ar, qui confirment que ce fragment faisait bien partie de ce monument. 0l est dNsormaispossible de reconstruire cette partie la plus importante du nymphNe. +e dessin de la reconstruction complIte durelief des nymphes se trouvant dans des niches sNparNes, ainsi que des NlNments dNcoratifs correspondants, a NtNrNalisN 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 torebuild the religious life of the ancient city of merita ugusta. +ed by one of the first $panish archaeologists,<uan (am‚n MNlida, the pieces recovered still convey more questions than answers. -ecause of the iconographyof the findings, scholars began to theori%e over the possible presence of a big mithraeum or temple dedicated tooriental divinities in the provincial capital.

e are going to centre our attention on one of the sculptures recovered in 2?23. 0t has been cataloguedby 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 2.2m 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 chlamysfastened by a circular fibula on his right shoulder, while it folds over his back. 7e has a beautiful, almostpollonian face, and his slightly curly hair seems to be prepared for the insertion of a rayed crown. 7is right leg issupported by the trunk of a tree and a sitting lion. There might have been another point of support on the leftflank of the sculpture, but its base has not been entirely preserved. The piece has also lost the upper extremitiesand part of the right leg.

9iven the fragmentary state of the sculpture, there have been several attempts to establish the identity ofthe figure and understand the role that it would have played in the mithraic context. $ome scholars have tried toidentify him as one of the dadophors, 7elios, an initiated in the cult and, as Mithras himself. hile MNlida darenot 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 thedivinities 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 andsymbolism 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 contemporaryreligious architecture5 high podia, free standing architectural orders, front stairways and, in particular, pedimentswere used, singly or together, to evoke the cult monuments, thus suggesting the posthumous elevation in statusof the dead. This kind of funerary buildings, named therefore templeCtombs, knows its largest diffusion in theast, with a distinctive eclectic design, marked by regional tendencies.

0mportant researches have been devoted to the diffusion of this architectural type in sia Minor, wherethe 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 variedsample of templeCtombs5 the ongoing study tries to reconstruct a local history of the diffusion and transformationof 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 ofthe city. They generally request earth moving works in the rear side and are frequently placed side by side, thefront being the only part decorated, thus recalling the tradition of rock tombs largely developed in sia Minorsouthern regions.

+ater on, probably at the end of the 2st century -.=., a derivate of this type appears also in the plain areasof the necropoleis, along the roads leading out of the city5 they are free standing building enhanced by thepresence 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 antaepro1ecting. n engaged architectural order, with corner pilasters, decorates the perfectly disposed ashlarsconstruction, 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, isdecorated with simple mouldings. bench runs along each side of the building. The cella contains twosuperimposed 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 isassumed as a prototype for many other buildings in the necropoleis surrounding the city, which are notcharacterised by original solutions but rather by the accuracy of their building technique.

More complex buildings appear during the 2st century .=. with the introduction of hypostyle structures,thus corresponding to the wellCknown examples of the southern coastal regions of sia Minor. These hypostyletempleCtombs are not very frequent in 7ierapolis, being only used for citi%ens of outstanding importance. Themost famous is the soCcalled Tom&a (ella5 dating to the early 0mperial age, this tomb was composed of a highpodium sustaining a structure which is at least partially hypostyle and built in white local marble, and whichcontains 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 roomcovered with a large barrelCvault. common feature seems to be the large cella, which is no longer occupied withburial klinai, being intended instead as a covered space to host the sarcophagus. The appearance of thisarchitectural 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 abarrelCvault, 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 theruins.

Dating mainly to the period between the 2 st century -.=. and the 2st century .=., the tradition of templeCtombs 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 thebarrelCvaulted cellas of some templeCtomb, have instead no relationships with the temple building praxis in siaMinor, emerging as an architectural indication of the funerary usage.



The paper intends therefore to analyse the architectural type of templeCtombs in 7ierapolis, throughoutits elements and symbolism, its building techniques and materials, trying to verify the general assumption of adirect derivation of templeCtombs from the contemporary religious architecture and to define useful tools for thedating process.

0in *ehrfigurenrelief %T' mit 1ortuna aus der Germania superior5

Alte und neue ;ege unter Gtterschut9

!utta RonEe

usgangsC und Mittelpunkt meiner usfhrungen ist ein noch 32 cm hohes, in drei Teile gebrochenes(elieffragment aus $andstein. rhalten hat sich eine frontal dargestellte langgewandete weibliche "igur.>ngelenkChol%schnitthaft ausgefhrt, trgt die 9estalt einen bergegrteten peplos dicklicher Textur. 0n ihremlinken rm hlt sie einen konkav gebogenen 9egenstand, %weifelsfrei ein "llhorn #cornucopia&; dieanschlieende -ruchkante gibt einen direkten 7inweis auf die "ortset%ung der Darstellung #durch eine weitere'ersonV&. "llhorn und 9ewand lassen erkennen, da die $chicksalsgttin "ortuna wiedergegeben gewesen seindrfte.

:eben der ikonographischen soll die typologische >ntersuchung und inordnung des (eliefs im "ocus

der >ntersuchung stehen. Eu errtern sein wird dabei der "ragenkreis, ob es sich tatschlich um eine %weiC odermehrfigurige Darstellung gehandelt haben knnte #worauf die schwer interpretierbare nschludarstellungrechts schlieen lt&, und ob ein eihC oder ein kleinformatiges ultrelief vorliegt #eine berprfung, dielet%tlich nur unter -ercksichtigung des "undorts geschehen kann&.C ufschlsse unter formalCtypologischemspekt verspricht ein bgleich mit stadtrmischCitalischen /orbildern5 *rientiert sich das (elief anentspechenden /orlagen oder weist es provin%ielle -esonderheiten aufV enn 1a5 welcheV +t sich ein 7inweisauf den Dedikantenkreis des eihC oder ultreliefs findenV Die 1eweiligen ntworten lassen inblicke in diereligisen 9epflogenheiten an der 'eripherie des rmischen (eiches erwarten."r die -evlkerung des 0mperium (omanum war "ortuna eine $chut%gottheit mit breitem irkungsbereich, dievornehmlich von kleineren 7ndlern und 9ewerbetreibenden verehrt wurde. uf einen solchen 'ersonenkreisweisen neben "undort auch "ormat und usfhrung der hier untersuchten $kulptur.

Das "ragment stammt von einer 9rabung im Eusammenhang mit der 0=CTrasse endlingenC>lm,

vermutlich aus der :he einer rmischen ltstrae. 0n direkter :he der "undstelle befindet sich einrechteckiges alksteinfundament, das der usgrber kleinen ntentempeln rmischer $traenstationen#mansiones& in der 9ermania superior vergleicht. Mglicherweise wurde hier "ortuna Kmit ultgenossenC inihrer igenschaft als "ortuna redux, die $chicksalsgttin, die eine glckliche (ckkehr sicherstellt, verehrt K einim "undkontext $traenstationP mansio sicherlich %weckdienlich C sinnvoller Eusammenhang.

2tadt . Land . &unst

;eihedenEmler im Gebiet der *ediomatriEer . ein )ergleich 9wischen dem >auptort *et9 und der

lndlich geprgten Region um 2arrebourg in den )ogesen

>annelore Rose

orin unterscheiden sich die /otivdenkmler eines =ivitashauptortes von denen einer lndlich geprgten(egion mit kleinen $iedlungen und in%elgehftenV >nd welche (ckschlsse lassen die beobachteten>nterschiede %uV Diesen "ragestellungen widmet sich die vorliegende >ntersuchung fr das 9ebiet derMediomatriker in der 9allia -elgica. -etrachtet werden %um einen die eihedenkmler 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 eihedenkmler berliefert. >ntersucht wird, ob Divergen%en im



$pektrum der 9tter oder ihrer 0konographie, in Technik und 0konologie fest%ustellen sind. "erner wird einugenmerk auf das verwendete Material und handwerkliche -esonderheiten gelegt.

uf den ersten -lick fllt %. -. auf, dass aus dem =ivitashauptort neben %ahlreichen (eliefs auch eine gan%e(eihe an $tatuenfragmenten berliefert sind. Das $pektrum der freiplastisch dargestellten 9tter ist gro; esumfasst u. a. Eeus, pollon, Minerva, 7ygieia und $irona, ros und /ictoria. 0n der 9egend von $arrebourg wurdehingegen fast ausschlielich <upiter in "orm von <upiterC9igantenC$ulen in freiplastischer "orm verehrt K dortberwiegen eindeutig (eliefdarstellungen im "undspektrum.

Eiel der >ntersuchung soll es sein, einen vergleichenden berblick ber die /otivdenkmler dieser beiden$iedlungsrume %u geben und rklrungsmodelle fr 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 datawith evidence encoded in monuments and art pieces, and on the other, in the interpretation of such data not onlythrough 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 theselfCrepresentation of power #the way in which members of the elites saw and represented themselves throughbuildings, 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 representativenessand the involvement degree of local elites in provincial government #by creating lists and chronologies thatinclude the local origin and personal profile of those involved&. The next step envisages the correlation of suchdata with information provided by images of power, as reflected by monuments and visual representations. 0norder to reach this goal, we will study the monuments connected to the praetorium consularis in pulum, asreflection of power par excellence. e thus intend to analy%e the results of archaeological excavations performedfor 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 particularitiesas well as their provenience #local production or import&. The iconographic analyses of the votive and cultmonuments from the praetorium consularis from pulum will be relevant in underlining the manners in whichthe 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 officialpower reflected by the monuments in these places, will lead to the possibility of integrating Dacia in the generalpicture and of noticing the possibly existing particularities.

<Eonographische *erEmale 9weier !anus Darstellungen

*ir8ana 2anader

Die umfangreiche -ibliographie ber den rmischen 9ott <anus wird von theologischen undphilologischen $tudien, sowie $tudien aus dem -ereich der lten 9eschichte geprgt. Diese haben immer wieder,aber natrlich mit neuen nsat%punkten, literarische Ruellen interpretiert. Mit 7ilfe dieser Ruellen wurde die7erkunft des 9ottes analysiert, weiters seine $tellung und (olle in der rmischen (eligion, aber auch der /ersuchangestellt, den esen seines ultes %u ermitteln. -esprochen wurden auch seine ttribute und seine -e%iehung%u anderen 9ttern. eiters wurden politische 7intergrnd der iederbelebungsversuche seines ultes unter

verschiedenen aisern analysiert. $eine ikonographischen Merkmale wurden am wenigsten besprochen, was aufdie Tatsache %urck%ufhren ist, da bis heute nur wenige Darstellungen bekannt sind. inen 9rossteil derDarstellungen bilden Mn%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 ikonographischenMerkmale 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 9ladyseinberg 9allery of ncient rt at the >niversity of MissouriC=olumbia. The Museum of rt and rchaeologyacquired the OA,B cm sculpture from a dealer in :ew Sork, who provided no documentation of provenance. Thisvotive provides a unique opportunity to study sculptural techniques, sub1ect, and ancient dress in order to arriveat 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 thesculpture and therefore must have occurred in antiquity. The girl4s right arm is also missing, but the shoulder hasbeen dressed for an attachment. There is no dowel hole, suggesting that such an attachment may have been madein lightweight plaster.

ccording to recent analysis, the statuette was sculpted from 'arian marble. The figure is reminiscent ofvotive statues of children found at classical 9reek sanctuaries, but the style of sandal on her right foot indicates a7ellenistic date or later. *ther stylistic details suggest that she may be a provincial imitation dating to the (omanperiod. The most telling of these is the rendering of the girl4s garment, a highCgirt sleeveless chiton or tunic ofvariable thickness with a deliberately cut vCneck and no layering. 'arallels for her dress are virtually nonCexistentin 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 theMissouri Dove 9irl may be the work of a provincial craftsman.

*ther stylistic evidence which may point to a provincial artisan includes the unrealistic proportions, thelack of movement in the sculpture, the way the drapery clings unnaturally to both legs, and the differencebetween the delicate carving of the right foot and the flat treatment of the left hand clasped around the bird. 0thas 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 werecommon dedications at sanctuaries of rtemis, ileithyia, sklepios, and even Dione CC the dove, after all, wassacred to Dione4s daughter, phrodite. ere any of these sanctuaries still receiving child votive statues in (omantimesV as the Missouri Dove 9irl created for another sanctuary in the manner of a 9reek votiveV *r did she playsome 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 theprovenance 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

ƒ @! km au nord de 'Ntra et F une centaine de kilomItres au sud d4mman, le site de hirbet edhCDharihse prNsente sur une terrasse naturelle qui, d4une part, domine d4une cinquantaine de mItres la rive droite duadi +aban, 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?@Osous 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. alCMuheisen avec le partenariat du dNpartement des ntiquitNs de <ordanie. =es travaux, NtalNs sur 3 annNes, ontpermis de mettre au 1our et d4Ntudier le sanctuaire, NlNment ma1eur du site.



+4importance du site de hirbet edhCDharih se constate F mesure de l4avancNe des Ntudes. u c[ur d4une%one densNment peuplNe durant l4ntiquitN, ce village devait avoir le r`le de chefClieu. +4Ntendue de l4endroitpermet d4avoir une vision globale d4un Ntablissement nabatNen en milieu rural avec toutes ses composantes 5 unsanctuaire, 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 Fl4mpire romain& sur un Ndifice cultuel antNrieur d4un siIcle. =e bXtiment est plut`t bien conservN, sur unehauteur 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 chaquemission, il a NtN possible de fournir certaines restitutions hypothNtiques.

=elle de la fa|ade du temple est bien avancNe et quasiment s„re. Mesurant environ 2B m de haut, cettederniIre prNsente une riche iconographie m_lant K traitNs dans un style local nabatNen K des motifs vNgNtauxneutres et des NlNments issus de la mythologie grNcoCromaine qui nous sont difficiles F interprNter, d4une part enraison de l4iconoclasme qui a frappN les figures animNes et d4autre part en raison de l4ambigu^tN de certainesscInes.

=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 deuxpiNdestaux symNtriques qui devaient supporter une statue ou une reprNsentation animale et auCdessus de chacundesquels 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 prNsentent trois grands types dedNcor5 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 despeltes 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 vNgNtauxet animaliers, d4une frise faisant alterner des bustes personnifiNs du %odiaque et des /ictoires ailNes debout, letout 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. ƒ c`tN se tient un bustehumain de face dont les membres antNrieurs sont des 1ambes de cheval et dont les membres postNrieurs sontremplacNs par une queue de serpent ou de monstre marin qui indiquent un centaure marin ou \triton]. >n aigledebout 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 desblocs architecturaux, rNvIle un dNcor exubNrant et une nouvelle fois, riche en motifs vNgNtaux. +a plateCforme estportNe par une base qui se dNcompose, de bas en haut, en une plinthe moulurNe, une assise mNdiane constituNede gros blocs et une corniche. +e tout est surmontN sur trois c`tNs #fa|ade exclue& d4un stylobate de 2 m de hautsur lequel reposent des colonnes. +4entablement est rythmN par des pilastres et des chapiteaux de pilastrealternant avec des blocs d4architrave. ntre les pilastres, le dNcor est abondant, constituN de rinceaux vNgNtaux. 0lreste F parfaire la restitution en repla|ant, entre autres, des bustes de divinitNs et notamment de Tyc)ai inscritesdans des cadres et dans des mNdaillons, le tout associN F un dNcor d4ros et de grenades.

+e dNcor sculptN du temple de hirbet edhCDharih met en avant des symboles issus du mondemNditerranNen, le tout traitN dans un style indigIne. +es NlNments dNcoratifs et conceptuels de la fa|ade K lianttradition provinciale nabatNenne et \images] grNcoCromaines K sontCils un moyen de mettre en avant une victoiresymboliqueV >n calendrier agraireV +es symboles livrNs par la sculpture soulIvent l4idNe d4un culte F une divinitNde la vNgNtation, des eaux et de la fertilitN tout en mettant en avant une dualitN dans le fronton entre l4eau et leciel. 0l s4agira donc de mener une rNflexion sur la \lecture] des scInes entre elles afin de dNcrypter l4Nvocation1uxtaposNe de ces reprNsentations cultuelles.

:ous prNsenterons donc ici l4analyse stylistique des NlNments sculptNs de la fa|ade et du m=ta&, tout enproposant une hypothNtique Ntude iconographique et en confrontant ces images F des parallIles issus de laprovince romaine d4rabie afin de mettre en contexte la riche et importante sculpture du temple de hirbet edhCDharih.

<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 esternMesopotamia 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 cultreliefs themselves. The scheme of decoration was the following5 in the centre of large compositions, the deitieswere 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 tradingstations in the entire 'almyrene territory, some of them still in situ in modest buildings serving as temples in thecountryside. 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 ofincense 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 orhigh dignitary is performing an incense ceremony by throwing powdered incense, probably, directly by hand on asmall altar. The incense offer performed by highpriest pollodoros from the main sanctuary of Dea $yria showshim in a similar gesture #though his right forearm is damaged&. 0mpressive is a well preserved figure of a priest inthe 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 variousmaterials 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 burningincense. The front side may be decorated with a reliefCscene or symbols, pointing to the act of adoration orindicating the deity to whom the altar is consecrated. The altars from the countryside may also bear aninscription 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 countywere found following sculptural pieces5 a stylophoric lion, put in the exterior wall of the +utheran parish courtfrom poldu de $us, a free staying lion #already vandalised at his discovery through painting and fitting of aplastic eye, but now completely destroyed&, at the +utheran church of 0acobeni #where functioned a childrencentre administered by the {=asa Don -osco{ "oundation& and a head of a strongly damaged funerary statue inthe school4s collection of /alea /iilor.

A fragment of a Roman funerary stela disco#ered at !ibert %+rao# 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, thesingle (oman ge sculptural monument discovered in this village. =onsidering some older archaeologicaldiscoveries, but also some Transylvanian $axon place names which indicate some geomorphologic particularitiesor 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 thesingle most plentiful and widespread survivals of (oman sculpture. $uch reliefs, bearing images of classicaldeities 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 thestylistic 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 couldscarcely have been evident to the makers and users of the reliefs.

gainst that background, this paper examines representative cases of the reception of classical imageryin provincial votive reliefs. The focus is on those iconClike reliefs which represent single or grouped deities, oftenin frontal poses. xamples are drawn mainly from -ritain and the uropean provinces of the mpire, but broaderconsideration is given to the transmission of iconography in other parts of the (oman mpire and beyond. Thepaper will concentrate not on the regional interpretation of 9raecoC(oman gods, or religious syncretism etc., butrather on technical and mechanical aspects of transmission. 0t will consider the relationship of gods on votivereliefs to statuary in the round and other media; their connections with local, provincial cult images; and theirgeneral 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, whichchanged the religious and spiritual hori%on of the (oman mpire in the 2 st K 3rd century .D. -eing a mystery cultformatted in the age of 7ellenism, one of the most important characteristics of the cult is the >ult&ild, the centralrelief with a strict iconographical aspect, containing a soteriological and astrological message. The iconographicalprogram of a cult reflects the essential message of a religious group, thus the changing, varieties and anomaliesappeared in the religious art reflects the dynamic changes of a cult. 0n this paper we4ll analy%e some unusual andprovincial 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 thecamp of the legio L000 9emina, including its civil settlement # cana&ae&, which later #3rd century D& becameMunicipium $eptimium pulense. The (oman levels and the construction phases have been removedmechanically, process during which a number of archaeological contexts have been destroyed. The head of a cultstatue 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 eyeas 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 thesculpture can be dated in the 3rd century .D. because of the eyes facing up as a similar feature existing in the caseof another head of a statue of <upiter found in pulum. The dimensions and the artistic execution of the statue4shead 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 legionarycamp is possible in the context of findings made in the last @! years within the south and southwest area of thecamp of legio L000 9emina.

Gottheiten und &ulte im nrdlichen eil 7oricums nach Aussage der ;eihedenEmler

;olfgang ;ohlmayr - 2tefan raxler

/on !! bis !!A sind von einer "orschungsgruppe der >niversitt $al%burg #rchologie b%w.9eologie& ber 8!! rmische $teindenkmler im nrdlichen Teil der 'rovin% :oricum erfasst worden. :ebeneiner 9esamtkatalogisierung und der fotographischen Dokumentation der noch auffindbaren Denkmler ist das7auptaugenmerk auf die Material%uweisungen gelegt worden, um let%tendlich $teinbrche oder %umindestbbaugebiete %u definieren.

Die rgebnisse %u den 9rabdenkmlern des rbeitsgebietes sind beinahe geschlossen in

berblickdarstellungen 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&. Dieeihedenkmler sind %war nicht flchendeckend erfasst worden, dennoch knnen %u etwa drei /iertel ussagen%um verwendeten Material getroffen werden, die 0nschriften und bildlichen Darstellungen sind ohnehin in deneinschlgigen $ammelwerken publi%iert.

0n diesem -eitrag wird der /ersuch unternommen, die eihedenkmler hinsichtlich $tein K (elief K0nschrift 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 9rabdenkmlern 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 eihedenkmlern innerhalb des $pektrums rmischer $teindenkmlerbietet die einmalige Mglichkeit, die 7ufigkeit von ultbelegungen sowie on%entrationen ein%elner ulteinnerhalb eines 9ebietes fest%uhalten. Darber hinaus besit%en eihedenkmler gegenber anderen(eliefgattungen durchwegs eine hohe chronologische $ignifikan%. Dadurch werden sie %u 0ndikatoren fr dieuftragslage, "ertigung und auch /erbreitung innerhalb eines 9ebietes. uch bleiben eihedenkmler in der(egel an bestimmte 9esellschaftsgruppen von Dedikanten gebunden, was ihre so%ialgeschichtliche ussagekrafterhht.in weiterer wesentlicher 'unkt ist, dass die 9rundtypologie von eihedenkmlern offenbar von bestimmtenerksttten aufgenommen und nach bewhrtem Muster weitergegeben wird. Die 9egenberstellung solcher"ormtypen ermglicht es in ein%elnen "llen auch, die Transportwege bestimmter $teinmaterialien %u verfolgen

und sie in /erbindung %u bestimmten 'roduktionskreisen %u stellen. Die uns erhaltenen Denkmler geben ingleichem Mae ein differen%iertes Materialspektrum %u erkennen, das innerhalb der ein%elnen ufstellungsorte%ur nwendung kam. -eobachtungen %u solchermaen verwandten eihedenkmlern bieten umgekehrt dieMglichkeit, Materialgruppen %u sondieren und in in%elfllen sogar erkstttenfragen nach%ugehen. eiterhin%eigt sich, dass die 9ruppe der eihedenkmler gem ihrem 1eweiligen $tiftungsanlass, in gewisser eise aberauch als $erienprodukte und nicht %ulet%t durch ihr /erbreitungsmuster gute nhaltspunkte fr die 'roduktionvon $teindenkmlern im 9an%en abgeben.

A possible statue of a Genius from pper Dacia

Oana util/-+/rbat

The purpose of this paper is to present a new find K a large dimensions marble statue representing ahalfCnaked 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 inwhich it is arranged the garment and the position of the legs are plausible arguments. The halfCnaked characterwas 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 GeniusCo)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 theknee 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 humandimensions.

The geochemical analyses made on thin section taken from the monument shows that the marble comesfrom 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 aredictated by the slight bending of the leg straight. 'leats are carried out with a chisel; there are not too deeplyinterventions 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 greatcapacity to translate that knowledge in practice.

0n relation to chronological classification the statue has the features of the second half of the secondcentury, more precise the end of the ntoninian period.

This new find is especially interesting in the first place because there are very few stone statuesrepresenting 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 presentingthe typology depicted on these documents, according to +0M=, the paper will analy%e the influences of asternand estern art exhibited in this typology. e illustrate this by several examples5 2. esculapius and 7ygieia arepresented as an iconographic type particularly widespread in the $outh of the Danube, but there are newsituations K appearance of pione, the wife of esculapius, on a relief from Apulum, less commonly found withinthe (oman mpire; . pollo is characteri%ed by typological diversity, although the number of reliefs with therepresentation of divinity is reduced5 pollo Cit)aroedus #prevailing&, pollo Thracian #from 9il6u& and pollo9ykeios #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 albrookjsmit)raeum #here we advance the idea of an iconic series&; +iber "ather is also identified with two commoniconographic 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 asternpart of the (oman mpire5 {unveiling{ of riadne by Dionysos; O. Diana is shown as rtemis of /ersailles on mostreliefs and only in few cases as the $outhCDanubian version #Diana who rides a hind or deer&; B. $ilvanus isdepicted in estern classical manner, but with the addition of specific attributes of $outhCastern 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 theastern 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 builta web resource around an unpublished photographic collection assembled by 'eter (ockwell. This documentsthe tools, techniques and working practices of (oman stone carvers and covers imperial monuments andstatuary, primarily from (ome and phrodisias. The second phase of the pro1ect has expanded the scope of thesedata 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 Kwith links between the surviving marks on the worked stone and the type of tool that made them. These will beviewed in the sequence that they were produced in order to enhance our understanding of sculptural processand investigate the relationship between the surviving ob1ects and their makers; videos of stone carving will beincluded to bring the physicality of these processes to life. The pro1ect constitutes a different approach to moststudies which group tools separately, thus failing to show how they might be used in the course of a single pieceof work. This attention to process can be extended yet further by including the photographs of quarry sites, thusvisuali%ing the actions from material acquisition to the completed ob1ect.

T)e Art of aking goes beyond conventional archival pro1ects by integrating an expert analyticalcommentary on the ob1ects based on applied knowledge of creating and new synthetic studies which respond toand 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.

http://www.artofmaking.ac.uk/

http://www.artofmaking.ac.uk/

2013_xiii international colloquium on roman provincial art_abstracts.pdf

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