THIASOS Festschrift fˇr Erwin Pochmarski zum 65. Geburtstag herausgegeben von Christiane Franek ^ Susanne Lamm Tina Neuhauser ^ Barbara Porod ^ Katja Z˛hrer Wien 2008 Earrings on Stone Monuments from Pannonia Annama¤ria R. Facsa¤dy One of the most popular and most frequently worn types of jewellery in the Roman imperial period was the inaures framing the face. These items of varied design and made particularly for decorative purpose are worthy representatives of a specific branch of Roman jewellery making that originates in the Hellenistic period. Several Roman authors attest the wearing of this type of jewellery. However, their opinion is not too favourable. Ovidius1, Iuvenalis2 and even Seneca3 disapprove their wearing and their oversize, yet the reason for their criticism is not the lack of aesthetic value. Any kind of jewellery meant the decline of the old ^ and according to their opinion proper ^ virtues, the end of simple lifestyle, and the wanton ostentation of riches. The more and more widespread custom of wearing jewellery ^ such as earrings that had neither distinctive feature nor symbolic meaning ^ symbolised the Greek-Hellenistic or Oriental value system that op4 posed the Roman values. Although in the first and second centuries AD they cannot be found on ‘‘official’’ representations ^ on coins, busts, and reliefs ^ they are present among material findings and on ‘‘private’’ ornaments. They can be seen in the ears of the ladies of Pompeii. In addition, the Egyptian mummy portraits testify that as early as the first centuries of the imperial period even the more ‘‘puritanic’’ women, who had less jewellery, were wearing at least earrings. 5 As this fashion became generally accepted, the rate of its pictorial representation and its diversity significantly increased. This process is also ref lected by finds, particularly by stone monuments, from Pannonia. The typology of earrings The earring ^ worn right next to the face ^ is the most characteristic type of jewellery, and at the same time it is particularly suitable for many variation possibilities. The question of typology makes dating difficult. In lack of the same principles applied in classification there are fundamental differences in the typological approach of scholars. The use of improperly selected and perhaps too distant analogies may therefore result in wrong periodization. For the typology of the jewellery two fundamental points of view have to be taken into consideration. 6 One concerns the design and the other concerns the whole of the jewellery, which is only partly inf luenced by the former. As far as the design is regarded, the greatest difference can be observed in the structure of the hoop, which may be closed or open. As far as the whole of the jewellery is concerned, plain and composite variants can be differentiated consisting of one or more parts respectively. The open, S-shaped hoop made a greater variability and more types of decoration possible during the manufacturing of the jewellery, and the deviations brought about new types of jewellery. Certain designs were fashionable at the same time and for a long period. There are only a small number of types that were worn 1 Ovidius, De medicamine faciei, 17^22. Juvenalis, II. 6, 457^ 459. 3 Seneca, De beneficiis 7, 9, 4. 4 Alexandridi, A., Schmucklos oder trachtlos. Bildnisse r˛mischer Frauen vom 1. Jh. v. ^ 2. Jh. n. Chr, ANODOS. Studies of the Ancient World 3/2003 (Trnava 2 2004), 9. 5 Doxiadis 1995, no. 33, 36, 110, 111, and from the second century, no. 106. 6 Facsa¤ dy A, Az aquincumi fˇlbevalo¤k (Earrings from Aquincum), BpRe¤g 40 (2007) ^ in print. 229 Annama¤ria R. Facsa¤dy for a short, datable period or at a territory of limited size. In addition to the form, in many cases it is the pattern and the technique that makes dating more exact. It is particularly true for items with openwork motifs. The same forms used in different provinces of the Roman Empire may come from archaeological contexts of different periods. However, this must not always be explained by a use of the form throughout many generations. In Aquincum earrings (fig. 1) were ^ ahead of all types of jewellery ^ primarily made of gold, and there are only a few bronze examples (In addition to 46 gold pieces, there are only four pieces made of silver and nine pieces made of bronze). The investigation of other Pannonian cemeteries demonstrated that the ratio found there was different from the ratio found in Aquincum. Out of the 108 pieces preserved in late Roman cemeteries there were only 17 pieces made of gold. 7 The simplest and most widespread form was the closed hoop. Its varieties derive from the pattern of the wire, the structure of the fastener, and the thickness of the basic material. Because the hoop also formed the basis of other types, it is difficult to decide whether they were, in fact, worn in themselves as early as the early imperial period. 8 The design of one of its very frequent subtypes, equally made of gold and bronze, is the same as that of bracelets9 and fingerings10 with a ‘‘spring mechanism’’. The origins of this easily shaped form goes back to the Hellenistic period. In Britain it already appears in the Bronze Age, and it occurs after the Roman period, as well. 11 Its analogies are known from second-century Thrace,12 Viminacium,13 and the oriental territories. 14 In the late Roman cemeteries of Pannonia this is one of the most common type of earring. 15 The closed hoop could be decorated in two ways. In the first case the hoop itself was decorated, most frequently with a spiral motif. 16 (It must be noted here that the spiral motif is also known on earrings from Britain. 17 However, they had an s-shaped hook, and thus they cannot be regarded as analogies of our type.) The other possible way for the variation of earrings created from a closed hoop concerns the whole of the jewellery: there is a separate pendant suspended from the hoop (fig. 2). Variations come from differences in the form of the pendants. (On identifying the analogies one cannot disregard the fact that some scholars took no notice of the variants of the pendants when creating their typologies.) This type was in use for a long time. The small closed hoop made of plain or twisted wire and a small, suspended bead was worn from the early Imperial period onwards. It can already be found among the jewellery types of Pompeii,18 but it became widespread from the second century on. There are some datable items known even from the late imperial period. 19 In spite of the fact that it can be easily manufactured, the final result is very decorative, depending on the length of the wire and the material, colour, and size of the suspended bead. Jewellery consisting of a closed hoop and a 16^29 mm long, conical or pyramidal hollow pendant decorated with granulation or with beaded wire frame, and filled with paste20 is known from the third century on. 21 However, it also occurs in fourth-century female and 7 La¤nyi 1972, 183. Siviero 1954, 298, Pompeii. 9 R. Facsa¤ dy A, Bracelets d’Aquincum, ANODOS. Studies of the Ancient World 3 (2003): 44. 10 Henkel 73, Types no. 695^705 . 11 Allason-Jones 1989, 6 (Type 3). 12 Ruseva-Slokoska 1991, Cat. no. 3 made of gold, no. 67 made of silver. 13 Milovanovic¤ 2003, 133. 14 Popovic 2001, Cat. no. 32, 33, 34, 38; BMCJ no. 2454, 2468, 2473 ^ dated to the second and third centuries, and with Cyprus and ‘‘Roman tomb at the Karpa8 230 thos’’ provenance. 15 La¤nyi 1972, 65/1 and 183. 16 BMCJ no. 2463; Milovanovic¤ 2003, 138 (Type III b); Ruseva-Slokoska 1991, Cat. no. 9, 10, 16, 19; Alf˛ldi M 1957, C15. 17 Allason-Jones 1989, 8, Type 9. 18 Siviero 1954, 74^75. 19 BMCJ 2377, 2659; Pfeiler 1970, 18^19; RusevaSlokoska 1991, Cat. no. 6; Milovanovic¤ 2003, 1538. 20 La¤nyi 1972, Abb. 65, Types 4^17; Va¤ go¤-Bo¤na 1996, Taf. XL 9^10 and 11^12; Alf˛ldi M 1957, C 50, C 65. 21 Popovic 2001, Cat. no. 44. Earrings on Stone Monuments from Pannonia child burials. 22 (The size and the shape of the pendant leads us to the question of the so-called Hercules’ club pendants of uncertain origin. 23) Jewellery with an ‘‘S’’-shaped hoop shows a much greater variability. In the case of the simplest items the decoration is merely a hollow knob or truncated pyramid soldered right on the end of the hoop. 24 Earrings with a band mount must have been slightly more labour-intensive types. The framework of the prismatic or cylindrical bead was made up of two gold bands soldered together in the shape of a cross, which was bent on the bead from two or four directions. As an additional decorative element a gold drop was soldered to the ends of the bands25 (fig. 3). The look of the jewellery was primarily determined by the colour and size of the prismatic or cylindrical bead inlay, and secondarily by the width of the bands. The S-shaped hoop was soldered to the rear of the framework. This easily producible type of earring came into general use in Pannonia in the third century. The second- or third-century piece of the British Museum must be regarded as the prototype of the form, 26 which began to f lourish in the third century. 27 The piece known from Silchester, Britain, was made with emerald. 28 In Aquincum the pair of earrings the parts of which are of dissimilar design, representing both subtypes, was buried together with a coin of Constantius II. 29 A very eye-catching type of earring was made from an S-shaped hoop, an open framework, and a round shield. Concerning the technique, these earrings must be regarded as further developments of earrings with band mounts. For the looks of the jewellery the bead inlay is of secondary importance. The thin wire holding the bead is partly covered by a round shield decorated in various ways. As the framework is not closed, the suspension of the bead, normally a prismatic emerald bead, in the middle is not only very well visible, but it is also dominant due to the rewinding of the thin wire. The gold shield may be decorated with incision, openwork, granulation, and even with further beads. These pieces of jewellery are therefore of very diverse looks (fig. 4). An item identical with the one from Aquincum is also known from Intercisa. 30 The surface was divided by incision between the semi-circular embossed parts, which resulted in a shape resembling a f lower. 31 Its development goes back to the simplification of the palmette motif. This highly decorative and easily producible pattern was applied on the frames of coins32 and gemmae,33 yet it also appeared on other types of jewellery from various parts of the Empire. 34 The motif is the same in each case, and there are great territorial differences only in the design. Although one of its distant varieties was still used in the fourth century,35 it was widespread from the end of the second century to the time of Gallienus. The colourful effect was intensified by the suspended real pearls. The third-century Pannonian fashion of round earrings with an S-shaped hoop is testified by hoards (from Balozsameggyes36 and Szalacska37), hidden in about 260 AD, and by a 38 grave find dated by a coin of Caracalla. 22 Werner, J, Herculeskeule und Donar-Amulett, Jahrbuch des R˛misch-Germanischen Zentralmuseum Mainz 11, 1964 (1966): 177. 23 Facsa¤ dy 2002, 222. 24 BMCJ no. 2634 ^ together with no. 2486; RusevaSlokoska 1991, Cat. no. 45; Jewellery no. 25; Popovic 1999, Cat. no. IV/1; Popovic 1999, 41. 25 Facsa¤ dy 2002a, 521. 26 BMCJ no. 2638. 27 Deppert-Lippitz 1985, Kat. 77; Popovic 2001, Cat. no. 45, 46, 47; Va¤go¤-Bo¤na 1976, Taf. XVII, 8^9; Barko¤ czi, L., New data on the history of late Roman Brigetio, Acta Antiqua Hung. 13 (1965): 236. 28 Allason-Jones 1989, no. 58. 29 Po¤czy K., Ro¤mai e¤pˇletek OŁ buda¤n, a Kiscelli u. 10. sza¤m alatt (Roman buildings at Kiscelli Street 10, Old Buda), BpRe¤g. 16 (1955): 61. 30 Va¤go¤-Bo¤na 1976, grave 57, Taf. XXV, 4^5. Facsa¤ dy 1999/2000, 282. 32 Facsa¤ dy 1999/2000, 282^283. 33 Deppert-Lippitz 1985, Kat. 11. Together with a cameo from the Severan period; BMCJ no. 2726, 2867, 2937; Segall 1938, no. 214; Bastien ^ Metzger 1977, 173, B15 and B16, 172, no. B14; Filow 1914, 46, fig. II/2; Coche de la Ferte¤ 1956, 122; Greifenhagen 1970, Taf. 54/3. 34 Heurgon 1958, 63; Deppert-Lippitz 1985, Kat. 75; Henig 1978, Cat. no. 742; Ruseva-Slokoska 1991, Cat. no. 50, 61; Popovic¤ 1996, Cat. no. 92; Yeroulanou 1999, Cat. no. 365, 366. 35 Facsa¤ dy 1999/2000, 290. 36 Sey ^ Ka¤ rolyi ^ Szentle¤leky 1971, 190^204. 37 Darnay 1912, 312; Ja¤rda¤nyi-Paulovics 1953, 124. 38 Pulszky 1885, 198. 31 231 Annama¤ria R. Facsa¤dy The design is fundamentally different in the case of earrings with closed framework. Contrary to the former types the mount completely surrounds the bead or gem used as an ornament. The ‘‘box’’ may have further ornaments, which increases the range of variations. The hoop is soldered to the back of the box. The box mount hides the suspension of the bead39 (fig. 5). In the case of one variant the box-shaped head is filled with frit. 40 A narrow stamped band imitating twisting is soldered to the side. In addition to Brigetio, many examples are known from Intercisa,41 where, according to the opinion of R. Alf˛ldi M., they may have arrived as imported artefacts. 42 Dating to the third century is supported by analogies from a wide territory. 43 The other part of earrings with a closed framework is round-shaped. Similarly to the former pieces, a closed cylindrical mount encloses the emerald bead. The mount is surrounded by beads strung on a gold wire in the case of the pair of earrings found in a burial of the Be¤csi Road cemetery. The beads did not survive, similarly to many other pieces of jewellery, and only the wires fastened to the setting testify that once they were more colourful. Gold plates imitating small leaves are soldered between the beads. They must have been made in the third century. A typical representative of this period is an earring from a rich grave find. The workmanship of the wire surrounding the oval sapphire makes it probable that there used to be pearls on it, which have mouldered by now. The closed setting of the stone is surrounded by a grooved frame, which covers the bent-back gold wires that originally held the bead. A similar piece with ruby is known from a fourth-century graveyard in Serdica. 44 Earrings imitating the form of a f lower, with an open or closed framework, came into fashion in the Western provinces before the mid-third century. 45 The central stone is surrounded by beads of different colour. An emerald green or blue stone may be surrounded by white true pearls, or a white pearl may be encircled by red garnets, for example. The former pieces from Aquincum with emerald ^ true pearl and sapphire ^ pearl (?) combination also follow this design. On these pieces gold falls into the background. It is the strong colour of the gems that is dominating, which is supported by the form, too. Earrings of the Eauze treasure and the Bonn grave find46 help dating them. 47 Composite types combining many basic types differ from the earrings discussed so far. They mostly combine two parts: The hook is fastened to the part next to the upper hoop, and a pendant makes the whole piece of jewellery eye-appealing. The upper part can be a closed box setting with a band ornament, and the pendant is soldered directly to the setting. One piece of the pair of earrings, coming probably from the territory of the Civil Town, still has a green frit bead in the framework decorated with a twisted ornament. A true pearl is suspended from it. 48 Often further pendants were added to the ‘‘box’’, particularly east of Pannonia. 49 It is known to have been used from the late second century, and it became even more popular in the third century. The form of the box setting can be oval, drop-shaped, or square. 50 The type with an S-shaped hoop soldered to a horizontal bar is essentially different from the former types. Ornaments made of wire are hanging from it. This type was less popular in the province of Pannonia,51 but it can be often seen on Egyptian mummy portraits. Se39 Facsa¤ dy 2002a, 521. Borhy ^ Sza¤mado¤ 1999, 14. 41 Alf˛ldi M. 1957, C5, C36. 42 Alf˛ldi M. 1957, 403. 43 Ruseva-Slokoska 1991, Cat. no. 47; BMCJ no. 2655; Allason-Jones 1989, 8 (Type 11), 53, no. 38. 44 Ruseva-Slokoska 1991, Cat. no 48. 45 Bastien ^ Metzger 1977, 176, B21. 46 Haberey 196, Pl. 57. 40 232 47 Oliver, A. Jr., Roman Jewellery. A stylistic Survey of Pieces from Excavated Context, in Ancient Jewellery and Archaeology, ed. A. Calinescu (Bloomington, 1996), 136. 48 Kuzsinzky, BpRe¤g. 1 (1889): 153. 49 Ruseva-Slokoska 1991, Cat. no 49, silver: Cat. no. 62; BMCJ 2390, 2655; Jewellery 4 and 6. 50 Popovic 1999, 40, with further analogies. 51 Kuzsinzky, BpRe¤g 2 (1890): 127. Earrings on Stone Monuments from Pannonia veral variants of the earrings consisting of a cross-bar and a suspended bead were in use from the early Flavian period to the second half of the second century. 52 This simplified form served as a basis for other types. In the case of composite earrings with an S-shape hoop and an open, reversed framework the two components had equal importance during the making. The earring is divided into two parts by a horizontal bar. The upper round part and the lower pendants are fastened to that bar. In Aquincum a piece of jewellery made of gold wire 53 (fig. 6) represents this variable type, which is popular in many forms. The addition of pendants to the one-part rosette-shaped earrings came into fashion in the third century, parallel with the former type. In the case of pieces that belong to this type of jewellery the central pearl is surrounded by openwork ornament. Apart from this, their design is similar to the piece from Aquincum. 54 Yeroulanou considers these pieces with very similar motifs and design to be mass products. 55 They were particularly widespread in the East. The piece from Aquincum made of wire has no analogies according to our knowledge. It resembles real openwork artefacts only in the general aspect. The representation of earrings on stone monuments Compared to the number of earrings among artefacts, female figures are only rarely represented with earrings on stone monuments. One reason for this is that tombstones show the deceased wearing their indigenous garb, which did not involve this type of jewellery. Thus the representation of earrings was spread only by the acceptance of Roman clothing and hairstyle. The number of earrings among artefacts increased ^ similarly to other types of jewellery ^ in a period when the number of stone monuments had significantly decreased as a result of changes in the custom of erecting tombstones. The other reason is due to the material and workmanship of the stone monuments. Jewellery was only roughly carved on monuments made of easily workable yet very delicate limestone. The details must have been added by painting. By now not only the painting has disappeared but often even the stone itself has been damaged or worn. In the course of the secondary use the face often nearly completely disappeared. The ‘‘clumsiness‘‘ of the stone mason, or even more the rough workmanship of the coiffure may cause further uncertainties concerning the wearing of the jewellery. It cannot be unequivocally decided in every case whether the stone mason meant to represent the jewellery or a lock of hair. In the case of reliefs the identification is even more difficult because of the fact that the persons are presented from one viewpoint. In one badly damaged multi-figured funerary stele from Aquincum,56 (fig. 7) despite the missing faces, the outline of the heads, the ears, and the coiffure can be recognized well. There is a male figure on the left, and next to him there are two nearly identical female figures. All of the three figures have longish heads. The stone mason placed the ears unusually high. Beside the heads of the two women three spheres are visible on each side, which could well be regarded as large earrings. However, the spheres are behind the ears, and in spite of the damaged state of the stone the coiffures of the two women, falling in curls on the shoulders, are well discernible. The hairstyle is once more misleading in the case of a Pannonian tombstone preserved in Eisenstadt: 57 On the roughly carved, worn stone the ears of 52 Doxiadis 1995, no. 23 (with two pendants), no. 24, 29, 40, 63, 72, 116 (with three pendants), no. 102 (with four pendants). 53 Topa¤ l 1993, 23. 54 El-Chadeh 1972, no. 19 and 20; Ruseva-Slokoska 1991, 31; Yeroulanou 1999, Cat. no. 370^381, 413, 414. 55 Yeroulanou 1999, 72. 56 Ne¤meth 1999, 46, Nr. 115. 57 Diebold, Die r˛merzeitlichen Steindenkm
ler des Eisenst
dter Landesmuseums, Diss. Wien 1993, 151. Taf. 68. 233 Annama¤ria R. Facsa¤dy the female figure of the represented pair are uncovered. The lower part of the coiffure, combed behind the ears and pinned at the back of the head, is well discernible. On some tombstones, however, it is clear beyond doubt that the female figure represented on the sculptural work or in the image field is wearing earrings. In addition to adult women, girls could also have earrings in their ears, the presentation of which is the same as of the adults’ earrings. It is more difficult, often impossible, to recognize and identify the type of the earring. In each case the earrings touch the earlobes, or they even slightly cover them. The earrings are conspicuous and large-sized, and their holders often wear other pieces of jewellery, most often a necklace, too. One of the most richly bejewelled families is shown on a medallion from Intercisa, kept in the Hungarian National Museum. 58 The female member of the family of four is wearing a broad twisted bracelet, a string of beads, a lunula, and round and rectangular earrings. Aurelia Florentia,59 who lived only one year, is also depicted on her tombstone, discovered in Intercisa, with round earrings fitting close to the ears. Aelia Dubitata 60 is also wearing a similar piece of jewellery on the tombstone erected for her daughter, Zebuca, in Aquincum (fig. 8). These earrings belong to a type of varied design and colour scheme fashionable from the AD second third of the third century on. In spite of the damage of the stone and the strong wear of the faces, the depiction of the earrings has fortunately been preserved on a fragment from Sopianae. 61 The fragment of the multi-figured family tombstone shows the fragmentary figure of a woman resting her both hands on the shoulders of her child. The lower part of her coiffure is bent backwards, and rectangular earrings can be seen in front of the locks. The stone mason made even the enclosed gem perceptible. Thus it can be concluded that this jewellery belongs to a type of earring with a so-called closed box setting. It is not so easy to determine the type of the jewellery worn by the woman depicted together with her husband and two children on a family tombstone in Aquincum62 (fig. 9). Although her face is worn, the shape of her head and her hairstyle have remained. Her face is long and narrow, like that of her husband, who is wrinkling his forehead. Her hair, parted in the middle, is combed in slight waves in two directions and strongly bent backwards above the shoulders. She has earrings with drop-shaped pendants hanging from her emphatically carved ears, which can be clearly distinguished from the coiffure. A funerary stele from Intercisa shows a female figure represented in the same way. 63 Contrary to the former, the large fragmentary tombstone may have been prepared for one woman, whose features are discernible in spite of the minor damages to the stone. Her face is narrow and long, and her hair is parted in the middle and combed backwards in great waves. It is bent back above the shoulders and pinned at the nape of the neck. The carving of her ears is identical to that of the female figure’s ears on the tombstone from Aquincum. Large, drop-shaped jewellery is hanging from her ears, which is identical in size and shape with the ear-pendants of the other figure. The carving of her ears is also conspicuous. The upper eyelids, the iris and the pupil of the eyes are carefully depicted. A female head from Intercisa is represented in the same way. 64 She is also depicted with a long, narrow face. Her hairstyle is more intricate. The hair carefully arranged side-ways in waves is decorated by a small braid above the forehead, and below it curls towards the neck. Her earrings are different from those of the former figures. They are indicated by three small spheres carved one under the other. This jewellery belongs to the type of earring with a bead decoration. It is preserved on Egyptian 58 59 60 61 234 Intercisa 1954, no. 109. Intercisa 1954, no. 74. Ne¤meth 1999, 58. no. 159. Barko¤czi 1985, 100, Taf. VIII/2. 62 63 64 Facsa¤ dy 1997, 105, Taf. 20/5. Intercisa 1954, no. 91; Barko¤czi 1985, Pl. XIII/1. Intercisa Mu¤zeum, Dunau¤jva¤ros. Earrings on Stone Monuments from Pannonia mummy portraits and can be identified by finds, as well. 65 According to the dating of the mummy portraits, this type of jewellery was in fashion in the second century, at least in Egypt. Her necklace, fitting tight to the neck, is also different from the standard portrayal. It can be identified as a necklace made up of small pressed pieces. It was rare among finds. An example was found in the Szalacska treasure. 66 Small single spheres indicate that the female figure depicted together with her son on the portrait medallion from Aquincum was also wearing earrings. 67 Compared to the wide square face as well as the rough features and drapery, the moderate, wig-like hairstyle and the large jewellery are surprisingly finely wrought. The fragment of a relief representing a female head from the Aquincum Civil Town must have been originally part of a tombstone68 (fig. 10). The hair, parted in the middle, is indicated by strong parallel lines. It covers the forehead, and it may be overlaid by a hair-net. Double discs can be seen at the ears, which must be interpreted as earrings consisting of two parts that were widely worn in the second half of the third century. The carving of the two sides is not identical. The upper discs can also be interpreted as jewellery used for fixing the hair-net. However, the rough carving of the relief and the frontal representation make this explanation uncertain. The small spheres visible below them indicate earrings that cannot be more exactly specified. In addition to the earrings, the lady is wearing a necklace made of rectangular parts, which are also carved more roughly at the sides of the neck. The identification of the jewellery belonging to the female figure represented on another tombstone fragment form Aquincum is less ambiguous. 69 Although we focus on the specification of the type of the earring here, we cannot leave another characteristic of the fragment unmentioned, either. On the merely 45
42 cm large fragment only a female head has been preserved. Her hair, parted in the middle and combed on both sides behind the ears, is covered by a turban made of narrow bands, which was also popular in the 1970 s. The ears are slightly standing off, and the oval upper parts of the two-parted earrings are set close to the earlobes. A three-figured funerary stele was discovered without an epitaph in Aquincum. The limestone relief shows two men and the half of a female figure. The woman in the middle is holding an apple and wearing a string of round beads around her neck and two-parted earrings with three pendants in her ears 70 (fig. 11). Her hair is combed backwards, and behind the large-sized ears it comes down to her shoulders. The cross-bars of her earrings fitting very close to her earlobes may have been decorated on the base of the carving. The two parts of the pair of earrings are not completely identical. Only the heads of the family members depicted have remained on a richly decorated tombstone fragment from Sopianae. 71 Although the eyes are distinct, the stone mason carved them without pupils. There is a kind of mysterious smile on the faces. The cheeks are bulgy. The ears are thick, f leshy and slightly standing off. There is a thick and smooth headgear on the head of the woman. Her hair is combed behind the ears and is apparently held together at the nape. Considering that the stone mason took care to carve the details, particularly in the case of the little girl, it is difficult to explain the representation of the haistyle together with the hair-net. The coiffure of the little girl consists of carefully arranged braids and is ornamented by jewellery (a diadem ?). Its central piece is identical with the earrings of both female figures: it is a two-part type with pendants. The shape of the upper part of the 65 Walker 2000, 54, no. 16, 88, no. 49, 101, no. 63, 108, no. 67, 109, no. 68. 66 Darnay K, ‘‘UŁjabb leletek a szalacskai barba¤ r kelta pe¤ nzvero¤¤ e¤ s ˛nto¤¤mu¤¤hely terˇlete¤ n‘‘ (Recent finds from the territory of the barbaric Celtic mint and casting-house), Arch. EŁrt. 31 (1911): 311. 67 68 69 70 71 Schober 1923, no. 352. Szirmai 1999, 56, no. 36. Barko¤czi 1982/83, 135. Facsa¤ dy 2007 ^ in print. CSIR Sopianae 28. 235 Annama¤ria R. Facsa¤dy earring fitting close to the earlobe is rectangular. The box setting is holding a gem, and a three-parted pendant is hanging form it. The carving of the earrings is somewhat different. Nevertheless, from the basis of the earring that the mother is having in her right ear it can be assumed that the pendants were decorated by beads at the bottom. Similar earrings may have decorated the ears of the female figure of another fragment from Sopianae. 72 Little has remained of their shape. However, on the left, next to the lock, the pendant of the woman’s earring and a part of her necklace are visible. The young girl represented on the same fragment is wearing the same type of jewellery. The dating of the tombstone is aided by the cross-bow brooch of the cape of the man standing beside the woman. Aurelia Ianuaria is wearing the same type of jewellery on the funerary stele of Aurelius Ianuarius. 73 The girl has a mounted coin or a medallion suspended from the string of beads around her neck. Two-parted earrings with box settings and pendants can be identified on a tombstone of unknown provenience preserved in the Hungarian National Museum, 74 and on the repre75 sentation of Aurelia Valentina from Celje. The dating of the strongly damaged tombstone with five figures and a blank epitaph field from the Military Town of Aquincum was also supported by the earrings of the depicted woman. 76 The relief shows the figures of three adults, two men and a woman, standing close to one another, and the busts of two children in front of them. Their faces are damaged, and their features and the carving of their eyes are not preserved. The woman standing in the middle has a long, narrow face. Her hair is parted in the middle. Her locks are indicated by thin lines, and she has earrings with two beads in both ears where her hair is bent back. Earrings constructed from one or two hemispheres were worn in the late Roman period. A pair of such earrings made of gold is known from the Intercisa cemetery. 77 A similar earring made of double hemispheres can be seen on a head of strange history preserved in the King Matthias Museum in Visegra¤d. 78 The re-carved head walled up in the watch tower of Visegra¤d-Lepence originally belonged to a female figure identified as a funerary statue from Aquincum. When the head was discovered, the set of jewellery of the represented lady was completed for us, too (fig. 12). Earrings or ‘‘clips’’? Notes on the wearing of Roman earrings The earring is the only type of jewellery the wearing of which requires some kind of external intervention, some ‘‘modification’’ of the body. Plinius the Elder refers to the custom of piercing the earlobe. Writing of the ear, he says, ‘‘† in alia parte feminis maius inpendium margaritis dependentibus †’’79 Although there are no exact data for it, the operation may have been carried out already in childhood. This is supported by several representations and a great number of earrings discovered in child burials, which have the same form as the jewellery of adult women. In addition to the representation of young girls on stone monuments, two mummy portraits preserved in Berlin may serve as evidence. On these portraits the deceased children were painted together with their jewellery. 80 After the operation, however, wearing was necessary. Scholars have so far taken no notice of this fact, which had no effect on the form of the jewellery, but which had a great impact on the mode of wearing. The earring could be put on with the help two different structural elements of imperial period jewellery. One possibility was the closed hoop, which had at a small hook fastener at 72 73 74 75 76 236 CSIR Sopianae 33. Barko¤czi 1985, Taf. XII/2. ID. Hampel J, ArchEŁrt (1910): 329. Schober 1923, no. 182. R. Facsa¤ dy A, Une ste' le fune¤ raire re¤ cemment trouve¤ e a' Aquincum, BpRe¤ g. 34 (2001): 105^107. 77 La¤nyi 1972, Abb. 65/12. 78 Szirmai 1999, 70, no. 50. 79 Plinius NH 11.136, and NH 12.1^2. 80 Doxiadis 1995, fig. 49 and 50. Earrings on Stone Monuments from Pannonia one end and a loop for the hook to pass through at the other. The hoop was normally made of plain wire, which could be decorated by soldered pieces or by various pendants. In the case of the other basic type the hoop was open. It was made of wire bent in the form of a slightly irregular letter S, and it was attached to the back of the jewellery. An earring consisting of a closed hoop could only be worn in a pierced ear. On stone monuments, because of the technique of the representation, we can only expect the two-parted type, or, to be more precise, in their present state we can only recognise these types. However, one variant of the so-called ‘‘S-hook’’ types could also be worn without the piercing of the ear, similarly to modern clips. In fact, its mode of wearing can be explained only in this way. The original mode of wearing can be reconstructed only in the case of the two-parted types with pendants, because the position of the pendants indicates the proper direction. Among finds from Aquincum there are examples for both modes of wearing of S-hoop composite variants. At the first variant, the upsweep of the hoop makes it easier to hook it into the pierced ear (fig. 13). In this case, however, the upper part of the jewellery could not sit close to the ear. Its distance from the earlobe depended on the length of the hook (fig. 15). At the other variant, the hoop curves towards the pendant, that is downwards, and thus it was impossible to hook it into the ear (fig. 14). When it was worn, the lower part of the earlobe was coiled around by the S-shaped hoop, which reversely to the ordinary suspension hook, was soldered to the back of the upper part of the jewellery. The fastening prevented the hook from becoming dislodged (fig. 16). Thus the upper part fit closely to the earlobe, as it can be seen, among others, on the representation of the unknown woman with ‘‘archaic’’ smile on the stone monument from Pe¤cs, or on the image of Primilla. 81 The bent wire was f lexible enough to be pressed on the earlobe, and at the same time its strength was sufficient for carrying the jewellery. This explains the existence of the excessively enlarged hooks. It is probable that the large earrings that came into fashion in the third century and the upper parts of which were often decorated with openwork were made in this way, covering the structure with pendants. 82 The pair of earrings of the Lyon treasure83 must have been worn in this way, and there are further examples of this design int other parts of the Roman Empire including Pannonia. 84 Dr. Annama¤ria Facsa¤dy Aquincum Museum Za¤hony u. 4. 1031 Budapest Ungarn Abbreviations Alf˛ldi M. 1957 Allason-Jones 1989 ArchEŁrt Barko¤czi 1982/83 R. Alf˛ldi, M. , Schmucksachen, Intercisa II. (Arch. Hung. 36.) Budapest 399^475. Allason-Jones, L., Ear-rings in Roman Britain (BAR Br. Serie 201.) Oxford Archaeologiai EŁrtes|¤ to¤¤ Barko¤czi, L., Die sˇd˛stlichen und orientalischen Beziehungen der darstellungauf den ostpannonischen Grabdteilen, Mitteilungen des Arch
ologischen Instituts der Ungarischen Akademie der Wissenschaften 12/13. 123^151. Barko¤czi 1985 Barko¤czi, L., R˛merzeitliche Steindenkmler aus dem dritten Jahrhundert im Komitat Feje¤r, Alba Regia 22. 97^107. Bastien ^ Metzger 1977 Bastien, B. ^ Metzger, C., Le tre¤sor de Beaurains, Wetteren BMCJ Marshall, F. H., Catalogue of the Jewellery, Greek, Etruscan and Roman, in the Department of Antiquities, British Museum, London 1911. Borhy ^ Sza¤mado¤ 1999 Borhy, L. ^ Sza¤mado¤, E., Brigetio kincsei (The treasures of Brigetio), Koma¤rom 81 Metzger 1999, 133, fig. 111. In most of the cases publications do not provide data for the direction of the hoop. 82 83 Metzger 1999, 123 and 124. Ruseva-Slokoska 1991, Kat. 49, 51, 54, Jewellery Cat. no. 4, 6; Ja¤rda¤nyi Paulovics 1953, 124. 84 237 Annama¤ria R. Facsa¤dy BpRe¤g Budapest Re¤gise¤gei Coche de la Ferte¤ 1956 Coche de la Ferte¤, E., Les bijoux antiques, Paris CSIR Sopianae CSIR VII, Burger, A. Sz. (Hrsg.), Die Skulpturen des Stadtgebiets von Sopianae und des Gebietes zwischen der Drau und der Limesstrecke Lussonium ^ Altinum Budapest, 1991. Darnay 1912 Darnay, K., Leletek a szalacskai barba¤r kelta pe¤nzvero¤¤ e¤s ˛nto¤¤mu¤¤hely terˇlete¤ro¤¤l (Finds from the territory of the barbaric Celtic mint and casting-house), Arch EŁrt. 32. 153^168. Deppert-Lippitz 1985 Deppert-Lippitz, B., Goldschmucke der R˛merzeit im R˛misch-Germanischen Zentralmuseum, Mainz ^ Bonn Doxiadis 1995 Doxiadis, E., The Mysterious Fayum Portrait. Faces from Ancient Egypt, London el-Chehadeh 1972 el-Chehadeh, J., Untersuchungen zum antiken Schmuck in Syrien, Berlin Facsa¤dy 1997 R. Facsa¤dy, A., Repre¤sentations de parures sur les ste'les fune¤raires du Muse¤e d’Aquincum. Akten des 4. internationalen Kolloquiums ˇber Probleme des provinzialr˛mischen Kunstschaffens, Celje 1995. Situla 36. 103^106. Facsa¤dy 1999/2000 R. Facsa¤dy, A., Roman mounted coins, Acta Arch. Hung. 51. 269^325. Facsa¤dy 2001 R. Facsa¤dy, A., Tre¤sors de bijouterie trouve¤s en Pannonie ^ Belgian Archaeology in a European Setting I. (ed. M Lodewijckx) Acta Arch. Lovaniensia, Monographiae 12. 57^69. Facsa¤dy 2002 R. Facsa¤dy, A., Arany e¤kszerek az aquincumi katonava¤ros nyugati temeto¤¤je¤nek u¤j felta¤ra¤saibo¤l (Gold jewellery from the recent excavations of the western cemetery of the Aquincum Military Town), BpRe¤g. 35. 221^225. Facsa¤dy 2002a R. Facsa¤dy, A., Les formes et techniques de fabrication des bijoux d’or d’Aquincum, I bronzi antichi: Produzione e technologia (ed. A. Giumlia-Mair) Montagnac 517^524. Filow 1914 Filow, B., Le tre¤sor de Nikolaevo, Izvesztija na blgarszkovo archeologiseszko druzsesztvo, IV. 1. Greifenhagen 1970 Greifenhagen, A., Schmuckarbeiten in Edelmetall I, Berlin Greifenhagen 1975 Greifenhagen, A., Schmuckarbeiten in Edelmetall II. Berlin Guiraud 1996 Guiraud, H., The Eauze Treasure. Questions of Workshop. Ancient Jewelry and Archeology, (szerk. A. Calinescu) Bloomington and Indianapolis, 62^72. Haberey 1961 Haberey, W., Ein Mdchengrab r˛mischer Zeit aus der Josefstrasse in Bonn, Bonner Jahrbˇcher 161. 318^332. Henig 1978 Henig, M. , A Corpus of Roman Engraved Gemstones from British Sites, BAR British Series 8. Oxford, Henkel 1913 Henkel, F., Der r˛mischen Fingerringe der Rheinlande und der benachbarten Gebiete, Berlin Higgins 1961 Higgins, R. A., Greek and Roman Jewellery, London Heurgon 1958 Heurgon, J., Le tre¤sor de Te¤nes, Paris Intercisa 1954 Erde¤lyi, G., Steindenkmler. In: Intercisa I. Geschichte der Stadt in der R˛merzeit, Budapest, 168^231. Ja¤rda¤nyi-Paulovics 1953: Ja¤rda¤nyi-Paulovics, I., Szalacska, a kaposv˛lgyi ro¤maikori fe¤mmu¤¤vesse¤gi k˛zpont (Szalacska, ein Zentrum des Metallschmiedegewerbes im Kapostal unter den R˛mern) Arch.EŁrt. 80. 115^129. Jewellery Nakit. Jewellery. Magic Power of Shape, Exhibition Catalogue, Ljuljana 1992 Jovanovic¤ 1978 Jovanovic¤, A., Jewellery in the Roman Dardania, (Dissertationes et Monographiae 21.) Belgrade Kuzsinzky 1923 Kuzsinzky, B., Aquincumi s|¤ rlelet (Grave find from Aquincum), BpRe¤g. 10. 56^73. La¤nyi 1972 La¤nyi, V., Die sptantiken Grberfelder von Pannonien, Acta Arch. Hung. 24. 53^213. Metzger 1999 Aubin, G. ^ Baratte, F. ^ Lascox, J.-P. ^ Metzger, C., Le tre¤sor de Vaise a¤ Lyon (Rho“ne) Lyon Milovanovic¤ 2003 Milovanovic¤, B., Earrings ^ Symbol of Feminity of Roman Ladies of Viminacium Anodos. Studies of the Ancient World 3/2003. 131^143. Ne¤meth 1999 Ne¤meth. M. , Vezeto¤¤ az Aquincumi Mu¤zeum ko¤¤ta¤ra¤ban (Guide to the lapidary of the Aquincum Museum), Budapest Pfeiler 1970 Pfeiler, B., R˛mischer Goldschmuck des 1. und 2. Jahrhunderts, Mainz Plinius NH C. Plini Secundi Naturalis Historiae Popovic¤ 1996 Popovic¤, I., Les bijoux romains du Muse¤e National de Beograd II. Les bijoux d’or. Belgrad Popovic¤ 1999 Popovic¤, I. ^ Donevski, P., Gold and Silver Jewelry from Durostorum Burials, Svishtov Popovic¤ 2001 Popovic¤, I., Late Roman and Early Bizantine Gold Jewery in Narional Museum in Belgrade, Belgrad, Pulszky 1885 Pulszky, F., Egy ro¤mai s|¤ rlelet Bolga¤rorsza¤gbo¤l (Roman grave find from Bulgaria), ArchEŁrt. 5. 198. Ruseva-Slokoska 1991 Ruseva-Slokoska, L., Roman Jewellery. A Collection of the National Archaeological Museum ^ Sofia, London Schober 1923 Schober, A., Die r˛mischen Grabsteine von Noricum und Pannonien, Sonderschriften des AI Band X, Wien Sey ^ Ka¤rolyi ^ Szentle¤leky 1971: B. Sey, K. ^ Ka¤rolyi, M. ^ Szentle¤leky, T., A balozsameggyesi ro¤mai e¤kszer e¤s e¤remlelet (Der r˛mische Schmuck- und Mˇnzfund aus Balozsameggyes) Arch. EŁrt. 98. 190^204. Siviero 1954 Siviero, R., Gli ori e le ambre del Museo Nationale di Napoli, Firenze Szirmai 1999 Szirmai, K., Kaiserzeitliche Portr
ts in Aquincum. Katalog der Ausstellung, Budapest Topa¤l 1993 Topa¤l, J., Roman Cemetery of Aquincum, Pannonia ^ The Western Cemetery, Be¤csi Road I. Budapest Yeroulanou 1999 Yeroulanou, A., Diatrita. Gold piercied- work jewellwery from the 3rd to the 7th centery Athen, 238 Earrings on Stone Monuments from Pannonia Va¤go¤ ^ Bo¤na 1976 Walker 2000 Va¤go¤, E. ^ Bo¤na, I., Die Gr
berfelder von Intercisa I. Der sp
tr˛mische Sˇdostfriedhof, Budapest Walker, S. (ed.), Ancient Faces. Mummy Portraits from Roman Egypt2 London Abb. 1: Drawing of the types of earrings in Aquincum 239 Annama¤ria R. Facsa¤dy Abb. 2: Two-part earring with closed loop from Aquincum Abb. 3: Earring with band framework from an Aquincum burial Abb. 4: Earring with S-hoop and Abb. 5: Two-part earring with open framework from an Aquin- ‘‘box setting’’ cum sarcophagus Abb. 7: Detail of a funerary monument with curled locks 240 Abb. 6: Two-part gold wire earring with open framework from Aquincum Earrings on Stone Monuments from Pannonia Abb. 8: Aelia Dubitata and Zebuca represented on an Aquincum tombstone Abb. 9: Woman wearing drop-shaped earrings on a tombstone with four figures from Aquincum Abb. 10: The fragment of a female head with jewellery Abb. 11: Female figure wearing two-parted earrings with pendants ^ detail of a funerary relief Abb. 12: Re-carved head from the Visegra¤dLepence watching tower Abb. 13: The wearing of earrings with ‘‘suspension hook’’ Abb. 14: The wearing of ‘‘clips’’ 241 Annama¤ria R. Facsa¤dy Abb. 16: The back shield of an earring with pendant worn as a ‘‘clip’’ Abb. 15: The back shield of an earring with ‘‘suspension hook’’ 242 Inhaltsverzeichnis Geleitwort der Herausgeberinnen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 P. Noelke, Erwin Pochmarski. Pater colloquiorum artis lapidariae provinciarum . . . . . . . . . . 11 W. Muchitsch, Versuch eines Geleitwortes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Tabula Gratulatoria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Schriftenverzeichnis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 S. Ahrens ^ A. Pomeroy ^ J. Deuling, The Sarcophagus of Albius Graptus in Wellington . . . . 31 H. Aigner, Ein geraubtes ,,Herakles-Relief‘‘ aus dem oberen Nadura-Tempel der Oase Charga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 A. Ambrogi, Polychrome Lastra mit dextrarum iunctio- Darstellung in der Catacomba di S. Panfilo in Rom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 B. Andreae, ,,Einer neuen Wahrheit ist nichts sch
dlicher als ein alter Irrtum.‘‘ Noch einmal zum Praetorium Speluncae . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 R. Ardevan, Ein Gryllos aus gebranntem Ton aus Gherla (Dakien) . . . . . . . . . . . . . . . . . . . . 65 W. Artner ^ F. Belitti, Die bronzezeitlichen Funde aus dem Bereich der r˛mischen Villa II von Grafendorf bei Hartberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 A. Bammer, Der Baldachin und das ,,Foundation Deposit‘‘ im Artemision von Ephesos . . . . 83 F. Blakolmer, Zum Lentoidsiegel mit Keilerjagd aus dem frˇhmykenischen Tholosgrab von Vapheio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 J. Bouzek, Das Ende der mitteleurop
ischen Kelten: Was ist von ihnen geblieben? . . . . . . . 103 E. Christof, Das sp
tptolem
ische K˛nigsbildnis in Mailand ,,Inv. E 0.9.4075‘‘ . . . . . . . . . . . 109 F. Ciliberto, Die Anf
nge der Sarkophagproduktion Aquileias. Kritische Beobachtungen . 117 O. Czirke, Sekund
rbestattungen in den Hˇgelgr
bern der sp
ten Kaiserzeit und der frˇhen Arpadenzeit im Komitat Veszpre¤m (Ungarn) . . . . . . . . . . . . . . . . . . . . 125 St. Ditsch, Geh˛hlte Grabdenkmalfragmente aus der Pfalz. berlegungen zum Zusammenhang zwischen Grabmonument und Bestattung . . . . . . . . . . . . . . . . . . . . . . . 147 B. Djuric¤, Early Stelae from Poetovio and the Marble Studies . . . . . . . . . . . . . . . . . . . . . . . . 159 E. Dobruna-Salihu, Kaiserzeitliche reliefgeschmˇckte Sarkophage aus Dardanien . . . . . . 167 M. Donderer, Bildliche Darstellungen von Sklaven im G˛tterkostˇm? Die consecratio in formam deorum auf Abwegen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 P. Dyczek, Unde et quando cippi dalmatini dardanique initium ceperint . . . . . . . . . . . . . . . 197 C. Englhofer, Das Priestertum des Poseidon auf Kalaureia . . . . . . . . . . . . . . . . . . . . . . . . . 211 E. Fabbricotti, New Finds from a Roman Tomb in Cyrenaica. The Portraits . . . . . . . . . . . . . 219 A. Facsa¤dy, Earrings on Stone Monuments from Pannonia . . . . . . . . . . . . . . . . . . . . . . . . 229 F. Fazekas ^ A. Szabo¤, Ausgew
hlte Bronzegef
e aus dem Kastell von Lussonium . . . . . 243 G. Fuchs, Spuren der r˛mischen Landvermessung im Lanitztal (Weststeiermark, sterreich) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 V. Gaggadis-Robin, Ein r˛misches Grabrelief aus Buthrotum (Butrint) . . . . . . . . . . . . . . . . 273 U.-W. Gans, Ein Familienrelief am Mausoleum von Saint-Julien-le's-Martigues . . . . . . . . . . 277 5 Inhaltsverzeichnis V. Gassner, ,,Boische‘‘ Keramik und ,,boische Grabstelen‘‘ ^ zur Problematik ethnischer Zuweisungen in der Interpretation der materiellen Kultur in den r˛mischen Provinzen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 T. Gesztelyi, Die Gemmenfunde von Aquincum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 F. Glaser ^ G. P˛schl, Das Dionysosmosaik in Virunum. Entdeckung, Besitz und Restaurierung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 H. Gral, Der Prozess der Provinzialisierung im Ostalpen- und Donauraum im Bild der neueren Forschung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343 K. Gschwantler, Die Grotte des Pan und der Nymphen auf dem Parnes . . . . . . . . . . . . . . . . 349 M. Handy, Die Severer und das Aufkommen eines regionalen Bewusstseins am Donaulimes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 B. Hebert ^ U. Steinklauber, In Privatbesitz ^ dreimal antike Plastik in steirischen Burgen und Schl˛ssern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 N. Heger, EX UNGUE LEONEM PINGERE ^ Zu einem Freskenrest aus Loig . . . . . . . . . . . . . 385 G. Hoxha, Zwei altchristliche Gebetsschalen mit biblischen Szenen aus der Provinz Praevalis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 R. Kastler, Neuer Wein in alte Schl
uche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401 T. Kaszab-Olschewski, Das 3. nachchristliche Jahrhundert im Hambacher Forst . . . . . . . . 421 M. J. Klein, Die ,,Alsatia Illustrata‘‘ des Straburger Gelehrten Johann Daniel Sch˛pflin (1694^1771) und die Erforschung r˛mischer Steindenkm
ler des Rheinlandes an den H˛fen von Mannheim und Mainz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 E. Klenina, Some Remarks on the Topography of the Ancient Chersonesus Taurica . . . . . . 445 G. Koch, Ein Jahreszeiten-Sarkophag aus Nordafrika . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 G. Koiner, Die Grabstele des Stasis aus Marion. Eine attische Webkante in Zypern . . . . . . . 467 A. Kossatz-Deissmann, Orest in Delphi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479 P. Kova¤cs, Christian Epigraphy in Pannonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 J. Kraschitzer, Kliometherthal Euer Urpokal ^ Erato oder Terpsichore? . . . . . . . . . . . . . . . . 503 E. Krenn, Das norisch-pannonische Hˇgelgr
berfeld von Rothleiten, OG und KG St. Johann i. d. Haide, Grabung 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507 U. Kurz, Frˇchte und Opferkuchen in der Koroplastik des Demeter- und Kore/Persephonekultes von Herakleia/Policoro . . . . . . . . . . . . . . . . . . . . . . . 513 R. Kurzmann, Prata, Territorium & Co ^ R˛mische Milit
rterritorien und ihre Bezeichnungen 537 K. Kuzmova, Torques-Darstellungen auf den r˛mischen Grabsteinen Nordpannoniens . . . 545 S. Lamm, ,,Dieser Teller geh˛rt †‘‘ Ein instrumentum domesticum aus Grˇnau und Tellerinschriften in der Steiermark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553 F. Lang ^ D. Knauseder, berlegungen zum sogenannten Handwerkerviertel von Iuvavum/Salzburg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559 O. T. La¤ng, A Newly Discovered Statue of Jupiter from Aquincum . . . . . . . . . . . . . . . . . . . . 567 St. Lehmann, Der Kopf einer hellenistischen Athletenstatue in Olympia . . . . . . . . . . . . . . . . 579 M. Lehner, Die R˛mer in Leoben . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591 U. Lohner-Urban, Der Tempelbezirk des Juppiter Heliopolitanus in Carnuntum ^ Ein Vorbericht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605 Th. Lorenz, Pseudopolykleitos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613 6 Inhaltsverzeichnis T. Mattern, Ein Verm
chtnis Alexanders des Groen? Antiochos IV. und drei monumentale hellenistische Tempel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617 A. Maver, Funerary Aediculae in Poetovio and Her Ager . . . . . . . . . . . . . . . . . . . . . . . . . . . 627 M. Merczi, Sekund
rbestattungen im frˇhr˛mischen Hˇgel Nr. 1 von Kemenesszentpe¤ter-Dombi Flur. Eine anthropologische Auswertung der Skelettfunde . 639 H. Meyer, Polyklet ˇber Fingern
gel und Lehm. Zur Rezeptionsgeschichte eines Kˇnstlerausspruchs zwischen Horaz, Morelli und Beazley . . . . . . . . . . . . . . . 649 F. Mˇller, Die Statue eines Kybelepriesters aus Caesarea Mauretania und die Ausbreitung des Kybelekultes im r˛mischen Nordafrika . . . . . . . . . . . . . . . . . . . . . . . . . . . 661 U. Muss, Potnia Theron im Artemision von Ephesos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669 M. Nagy, A Lead Tank from Late Roman Pannonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677 E. Nemeth, Taktik und Strategie in der milit
rischen Zusammenarbeit zwischen den r˛mischen Provinzen Dakien und Pannonien . . . . . . . . . . . . . . . . . . . . . . . . . 685 T. Neuhauser, Das r˛mische Theater von Savaria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699 St. Oehmke, Ein unverhofftes Liebespaar. Zur Berliner Priapos/M
nadengruppe . . . . . . . 707 S. Pala¤gyi, Einige Angaben zu den Geb
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