T E R R A C o fl^ p iro a tó W
D e v o t io n in R oM ^ fes
J an De Beenh o uw er
Publications o f the Gallo-Roman
Colofon
De deputatie: Herman Reynders, gouverneur
Mare Vandeput, Ludwig Vandenhove, Igor Philtjens, Frank
Smeets, Jean-Paul Peuskens, Inge Moors, gedeputeerden
Renata Camps, provinciegriffier
Cover Image
© Gallo-Roman Museum
Print
Drukkerij Paesen, Opglabbeek
Paper
Artie volume white gogr/rn2
ISBN
9789074605694
Atuatuca / Publications o f the Gallo-Roman Museum
Tongeren,
Under the supervision of Guido Creemers
Kielenstraat 15 B-3700 Tongeren
Tel 003212 670330
e-mail: grm@limburg.be
http://www.galloromeinsmuseiim .be
All rights, including translation, reserved in all countries. No
part of the text or illustrations may be reproduced without
written permission of the publisher Any reproduction by any
means including photocopy, photographing microfilming,
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ished by law
Tongeren, 2014
T e r r a c o t t a F i g u r i n e s a n d D e v o t io n
in Ro m a n T o n g e r e n
J a n D e Be e n h o u w e r
Publications o f the Gallo-Roman Museum
Tongeren, 2014
PR EFA C E
Dear reader
am delighted to introduce the fifth issue in the scholarly A t u a t u c a series from the GalloRoman Museum. The focus this time is the Roman terracotta figurines in the Museum’s own
collection.
I
The reason for devoting an entire issue to these simple figurines is clear: despite their simplicity,
they are hugely fascinating.
Nonetheless, it has taken rather a long time for them to be studied in depth. The largest and most
interesting find of such figurines was made back in the early 20thcentury. They were then super
ficially interpreted by various researchers, including Renard, Van de Weerd, Dheedene, Paquay,
Mertens and Marien. After that, it was a question of waiting for Jan De Beenhouwer to be bitten
by the ‘figurine bug’, first as an ordinary student and later as a PhD candidate. When he present
ed his substantial doctoral thesis in 2005, his startling conclusions attracted a good deal of media
interest.
The Gallo-Roman Museum asked Jan some time ago to supplement the findings from his PhD
research with new insights about Roman Tongeren, especially in relation to Roman religion. The
result is the new A t u a t u c a series publication that lies before you.
Thanks to Jan De Beenhouwer we finally have a fully documented inventory of our fine collection
of terracotta figurines. And thanks to his interdisciplinary research we are now in a position to
present these new insights and conclusions to the public. This publication represents the first
step in the process - communicating this information to academics, researchers and museum
staff. At a later date we will of course incorporate the results of this research into our new muse
um presentation so that it can reach the public at large.
Bringing the results of scholarly research to a wider audience is one o f the core tasks of the GalloRoman Museum. I am delighted that this publication is yet another step in this constant and
ongoing process.
Happy reading!
Igor Philtjens
Deputy for Culture
Atu a tu ca 5 - Co n ten t
Preface.......5
Introduction......8
Terracotta figurines as an expression of local devotion in the Greco-Roman
tradition.......10
The reproduction process of moulded terracotta figurines....... 12
Terminology
The reproduction process
Shrinkage
Moulding errors and retouches
Production areas with special mould characteristics and assembly technique
The research method....... 20
The classification model: generation, series, and tree of descent.
Dating.
The collections.......24
The Contexts.......30
The importance of context in the dating and meaning of thefinds
Roman Tongeren
The discovery of thefigurines: details on thefinds
The north temple
The ‘Thien Schuur’ find
‘Broekberg’
‘A an Paspoel’
‘Kielenstraat’
‘Sint-Truidersteenweg’
‘de Schaetzengaarde’
‘Elfde Novemberwal’
The southwestern cemetery
The isolated burial group of the ‘Armand Meesenlaan’
Research into the trees of descent.......50
Tree of descents: Portuna, Minerva,Juno, and Venus
Tree of descent 32: Portuna
Tree of descent 45: Minerva
Tree of descent 69: woman with dog and woman withfruit (Vindex and VR coroplasts)
Tree of descent 75: Portuna andJuno capite velato (Vindex)
Tree of descent 84: Mercurius
Tree of descent 89: horseman with hooded cloak
Tree of descent 101: bust of a woman
Tree of descent 105: bust of a boy
Conclusion
Painting.......74
Slip
Glaze
Background painting
Accent painting
Unintended traces ofglaze and colouring slip
Coroplasts.......80
-6-
Vius and (At)ticus
Servandus, 155/160-180/210 AD
Victorfrom Cologne, 180-200/210 AD
Vindex, 140/150-180 AD
Provenance....... 86
Stylistic analysis: the ‘Thien Schuur’ example
A thorough observation
Chemical analysis
Petrographic analysis of the paste
Conclusion
The fu n ctio n o f terracotta figurin es and th eir m eaning fo r the u se r .. ...98
Function of terracottas and user behaviour based onfindspot analysis
Settlement finds of the civitas Tungrorum
Finds relating to cult places
Terracotta figurines from burial grounds
Some Conclusions
The significance of clayfigurines
Conclusion
C atalogu e....... 128
Cybele
Diana
Fortuna
Juno
Minerva
Venus
Venus and Amor
Matrona
Woman withfruit
Apollo
Horseman
Mercurius
Couple
Bust of a boy
Bust of a woman
Bull
Dog
Goat
Animal
Hen
Rooster
Pigeon
Handmade and wheel-turnedfigurines
Moulded unguentaria
Other moulded terracottafigurines
P hotograph cred its....... 225
R eferences....... 229
-7-
IN T R O D U C T IO N
allo-Roman terracotta figurines were made in large batches. As serial products, they have
less of an individual character than stone sculptures. They do not bear an inscription
G
explaining who they depict or the occasion for which they were made. They are also small
and fragile. All this makes it difficult for anyone looking at these objects today to gauge con
sumers’ intentions when they purchased a particular figurine and the meaning they invested in
it. This book seeks to look at these figurines through different eyes. Firstly, through the eyes of
researchers who analyse figurines and endeavour to place them in the context of today1s surviv
ing terracotta production from Antiquity. But also through the eyes of those who made the fig
urines and the buyers who gave them a particular purpose.
Underpinning this work is a PhD study which I defended at the KU Leuven in 2005 and which
explored Belgian terracottas within a broader Northwest European context. Guido Creemers sug
gested applying the results of that study to the rich collection of terracotta figurines held at the
Gallo-Roman Museum in Tongeren. This has given me an opportunity to publish the research
methodology for mould-made pottery that I developed for my doctoral research. Because the fig
urines were imported during the Roman period from present-day Germany and France, their sig
nificance transcends the local. We therefore opted to publish in an international language so that
this work can also be valorised in the international arena and be used for research purposes in
other countries.
The Tongeren collection is special in several respects. The majority of the figurines come from an
exceptional hoard discovered in the early twentieth century. Many have been preserved virtually
intact and still bear traces of the original paint. In addition, the Gallo-Roman Museum holds fig
urines that were excavated in the city and in nearby Roman cemeteries during the nineteenth and
twentieth centuries.
In order to present a comprehensive picture, however, it did not make sense to confine the cata
logue to the Gallo-Roman Museum collection. Guido Creemers and I therefore decided to incor
porate the entire repertoire of figurines found in Tongeren. This meant including finds from
excavations carried out by the Flemish Government and the city of Tongeren.
The Tongeren figurines are described in all their many facets: their iconography, the clay paste
used, the painting, hallmarks, assembly characteristics and the place occupied by the figurines
within serial production as a whole. The result is a nuanced picture of their origin and chronology.
-8-
An evaluation of the fmdspots has allowed us to form a picture of the people who consumed these
terracotta statuettes. We have chosen to do this within a framework that will have been meaning
ful to these consumers, namely the administrative boundary of the civitas Tungrorum. Gathering
together the finds from the civitas has made it possible to compare the capital and the hinterland.
The entire repertoire of finds is also compared with known inscriptions from this same region.
I would like to thank all those who helped put this publication together. My special gratitude goes
to Guido Creemers who took the initiative for this book and who was responsible for the final
draft. He was a constant source of encouragement. I wish to thank the staff at the Gallo-Roman
Museum - Linda Bogaert, Guido Schalenbourg, Igor Van den Vonder and Oreane Vandenreyt - for
providing logistical support. The Museum’s director, Carmen Willems, and the Limburg
Provincial Council of Deputies also gave assistance with this publication. Geert Vynckier, Alain
Vanderhoeven, Kristien Borgers and Jan Box were always happy to answer my questions about the
excavations that they had worked on in Tongeren. Lu Ruyters, Ghislain de Schaetzen for interme
diating concerning some photographs, furhtermore André van Doorselaer (KU Leuven),
Raymond Brulet & Fabienne Vilvorder (UC Louvain). Annette Visser of Wellington, New Zealand
translated the preface and chapters 10 and n. Restauratieatelier Restaura provided the photos of
many figurines.
Also deserving of thanks are all the museum and excavation depot staff at home and abroad who
gave me access to their collection, in particular the Römisch Germanisches Museum in Cologne
(F. Naumann-Steckner), the Musée National d’Histoire et d’A rt in Luxembourg (J. Krier and F.
Dövener), the Rheinisches Landesmuseum Trier (S. Faust), the Institut National de Recherche
Archéologiques Préventives in Autun (S. Alix and A. Delor-Ahii), the Universität zu Köln (C.
Höpken), the Rijksmuseum van Oudheden in Leiden (S. Rutten) and the Musée Curtius in Liège
(J.-L. Schütz).
My final word of thanks goes to Marken, who was always ready to exchange views with me and
who cast a critical eye over the many versions of the text.
- 9 -
T e r r a c o t t a f ig u r in e s
AS A N E X P R E S S IO N OF
LO CAL D EV O TIO N IN T H E
G r e c o -R o m a n
T R A D IT IO N
The Greco-Roman world knew a rich figurative
in the first century AD. Figurines of animals,
tradition. The famous sculptures from the
Classical and Hellenistic period have been
admired and imitated widely throughout
gods and human beings were mass-produced.
In the second century, major production
centres were situated on the upper course of
the Loire River valley, in particular in the Allier
history. Less known however, are the small
terracotta figurines that were massmanufactured in the production centres of
valley, as well as along the Rhine and Moselle.
From these centres the terracotta figurines
Greece, Asia Minor, Egypt, and southern Italy
from the Archaic period onward. These
were traded throughout the northwestern
provinces of the Empire. They have been
figurines are often found in sanctuaries where
they were used as votive offerings. The Celtic
world did not have a tradition in offering
terracotta figurines. During the pre-Roman
discovered in excavations from southern
France to the Rhine, and from Great Britain to
period, gods were rarely depicted in nonperishable materials.' Most widely demon
strated is the custom of consecrating objects
Made of fired clay paste, the figurines are
usually smaller than 25 centimetres.3 The
majority of the Gallo-Roman figurines were
in holy places, such as the weapons of the
defeated enemy, which fulfilled vows to the
formed using moulds. Hand-built and wheelturned figurines are rare.
Switzerland and Austria (fig.i).
gods.2
Under the influence of Greco-Roman culture,
the production of terracotta figurines in the
Gaulish and Germanic provinces commenced
1
1
1
Gallo-Roman terracotta figurines are often
expressions of devotion. Most of the themes
depicted are embedded in the Greco-Roman
figurative tradition. Although none of the
Haffner 1995,26; Watson 2007,6-12: general discussion about ‘aniconism’ within the Celtic world
Derks 1995,123.
Lange 1994,212-213 Serie 22 No. 1, Taf.3,22, Abb. 2: one o f the largest figurines is a Venus that was found in
Cologne, measuring 38,5 cm.
Fig. 1. The location o f
Tongeren and the main
production places in the
Rhineland and Central Gaul.
preserved figurines bear inscriptions that
allow us to unambiguously identify the
Romanized society, the local pantheon
acquired a new status stimulated largely by the
representation, many gods and goddesses are
traditionally recognized by their specific
attributes. Mercurius, often accompanied by a
institutional and social changes within the
boundaries o f the new territories, the
billy goat and a rooster, holds a herald’s staff
(caduceus) and purse. Apollo is represented
holding a lyre and plectrum, whereas Minerva
can be recognized by her helmet and shield.
Behind some of these representations ancient
native gods may be hidden, the character of
which resembles that of their Roman
counterparts. These old gods were not carried
on in an unaltered form. Influenced by the new
‘
dvitates.“
In addition to figurines of gods, human beings
were also depicted: worshippers who made an
offering to their god, but also military men
with their horse or even caricatures.
Furthermore depictions of animals and fruit
were sold. Dogs, horses, pigeons, hens and
roosters were particularly popular. Many of
those have been recovered from sanctuaries
and graves and were an expression of devotion.
Van Andringa 2002,133-158.
-11 -
T h e r e p r o d u c t io n
PR O C ESS OF M O U LD ED
TER R A C O TTA F IG U R IN E S
Terminology
generations of a series are derived. In French
Several specific terms are used in terracotta
research, most of which refer to the typical
reproduction process of mould-made
literature, special attention is paid to the
figurines. In this work we seek to include
technical terms that are consistent with the
scope of existing terminologies.1The meaning
rarely found and, even then, it is difficult to
determine with certainty whether it is a first
model.
of these terms is adjusted to the implemented
research model.2 In addition, this research
model also produced new terms beyond the
scope of some currently prevalent terms in the
literature on figurines.
Barbotine (DE: Tonschlick; FR: barbotine; NL:
barbotine): watered-down day paste, mainly
used to attach the various separate parts of a
piece of work.
C oroplast (DE: Tonbildner, Koroplast; FR:
coroplathe, coroplaste; NL: coroplast):
producer of terracotta figurines. The word is
derived from the Greek Kopo'trX.acrrrio'.
archetype or prototype. Both terms are current
and used interchangeably.3 A model is only
G eneration (DE: Generation; FR: génération;
NL: generatie): a range of figurines, entirely or
partly derived by moulding from a common
model, the common parts of which have the
same measurements. When one o f these
figurines is used as a model, a new generation
begins. Details and internal proportions
remain largely unchanged in relation to the
previous generation. Each next generation is
scaled down, because of the shrinkage caused
by the water evaporating from the clay paste
during the drying and firing processes.
G laze (DE: Glasur; FR: glaçure; NL: glazuur):
glassy layer on the surface of pottery. The
First model , A rchetype , P rototype (DE:
Archetyp, Erste Ausformung; FR: archetype,
primary constituent is silicon dioxide.
Potassium, lead or sodium oxide were added to
lower the melting point. Depending on the
prototype; NL: archetype, prototype, eerste
model): first model from which the various
components, the melting point varies from
900 to 1200 °C.4 If the glaze is *applied
2
3
*
NichoILs 1952; Bemont et al. 1993,297-298; Muller 1997; Champion 1981, for more general terms; Vorschläge zur
systematischen Beschreibung von Keramik. Suggestions for the systematic recording o f pottery, Kunst und
Altertum am Rhein, 124,1986.
De Beenhouwer 2007.
Bemont et al. 1993,297; Muller 1997,450-451: according to Muller, the archetype is the idea the artisan has in minH,
while manufacturing the prototype. The archetype is the source o f inspiration. The prototype marks the start o f
the mechanical moulding.
Champion 1981,40.
-12 -
intentionally, it usually covers a large part of
the surface.
G r o u p (DE: Grappe; FR: groupe; NL: groep): a
range of figurines based on the relationship of
separate characteristics that aren’t due to a
mechanical relationship. Examples are a
common hairstyle or a special painted design.
A group often goes beyond the limits of theme
and type. For example, representations of
Minerva and Fortuna possibly belong to the
same group because of common iconographie
features or clay paste characteristics.
M e c h a n ic a l
r e l a t io n
(DE:
mechanische
two parts. The separate parts are called h a l f
m o u l d s (DE: Halbform, Formhalfte; FR: valve;
NL: maldeel, vormhelft). Complex themes
require several p a r t ia l m o u l d s (DE: Teilform,
Teilhohlform; FR: pièce, moule partiel; NL:
partiële mal, deelmal).
(DE: Tonperlen, Tonpunkte; FR:
nodosités; NL: malknobb eitjes): typical
rounded clay knobs on the surface of figurines,
M o u l d b liste r s
as a result of the use of plaster moulds. They are
the imprints of small cavities, caused by the
presence of air bubbles on the surface of the
mould, which form during the drying process
of the plaster mix.
Verwandtschaft; FR: parenté mécanique; NL:
mechanische verwantschap, malverwant-
M o u l d in g
schap)5: relationship by moulding. Mechanical
relationship can only be attributed to the
moulage; NL: moulage, afdruk): product of the
act of moulding. In French literature, the term
reproduction process. This term enables the
classification of mass-produced figurines into
‘surmoulage’ is used commonly to indicate
each moulding after the first generation.6Since
it is very difficult to determine for certain
series and trees of descent.
M o d e l , P a t r ix
(DE: Vorlage, Modell, Patrize; FR:
(DE: Abformung; FR: objet moulé,
whether an object belongs to the first
generation, one should be careful using the
modèle; NL: model, patrijs): object from which
a mould has been derived. Only models that
were made in durable material, for instance
term ‘surmoulage’.
clay paste consolidated by firing, are preserved.
Models made in perishable materials such as
mix prepared by the potter, as a raw material, to
make pottery. The main element is natural or
purified clay or a combination of several clay
unbaked clay paste or wax, are not found on
archaeological sites. An engraved line that
follows the dividing line of the various partial
moulds is a typical characteristic of the model.
M ou ld
(DE: Abformen; FR: mouler; NL:
afvormen, mouleren): act of reproduction by
means of a mould in order to obtain represen
tations of the model.
(DE: Form, Hohlform, Model,
Matrize; FR: moule, matrice; NL: mal, matrijs):
M o u l d , M a t r ix
solid form in which the paste is cast or pressed.
The raw material mostly used for the
production of figurines in antiquity was clay or
plaster. The model is the object used to produce
the mould. The majority of Gallo-Roman
figurines are made in a mould consisting of
5
6
Pa s t e , c l a y p a s t e
(DE: Ton; FR: pâte; NL: pasta):
types. Depending on the quality of the clay and
the desired result, substances called temper, can
be added: sand, crashed pottery and organic
ingredients like chopped straw. The terms
‘paste’ or ‘clay paste’ are preferable to the term
‘clay to prevent confusion with the chemical or
mineralogical meaning of the word.
S eries (DE: Serie; FR: série; NL: serie): a range of
figurines, similar in form, that were derived
from a common model. Differences in size
within the series occur because of various
successive moulding generations. If touching up
the model changes important details, or if the
internal proportions are changed dramatically
when moulding, it is advisable that the
researcher branches off a new series, thus
NichoUs 1952.
Bemont et al. 1993,297; Muller 1997,454-456: the author distinguishes “surmoulage interne” in the original
workshop and “surmoulage exteme” in another workshop.
-13 -
increasing the number of comparative points
within the research of the tree of descent.
Relationships between the series are guaranteed
by their position in the tree of descent.
S l ip
(DE: Überzug, Engobe; FR: engobe; NL:
engobe): watered down clay paste that was
applied on pottery in a thin layer before firing.
The layer could have been intended to improve
the porosity of the surface, but it could also
have been applied simply for decoration.
Depending on the firing atmosphere in the
kiln and the composition of the slip, the colour
of the end product varies. For example, a slip
rich in hematite results in either a red or black
colour, depending on the amount of oxygen
during firing. The slip layer can be applied by
submerging. Sometimes, a thin slip-like layer
is formed naturally when drying the piece of
attributes. In some cases, the relationship only
refers to the front, the back or parts of the
body such as the head. The complex sequence
o f generations within the series is expressed in
the descent scheme. Figurines of several series
related by moulding, the mould-related parts of
which have the same size, belong to the same
generation.
T ype
(DE: Typ; FR: type; NL: type): a range of
representations within the same theme, with a
well-considered choice o f attributes or
posture. A different choice of attributes forms
a new type.
V a r ia n t
(DE: Variante; FR: variante; NL:
variant): a range of representations within the
same type, with common details such as the
position and form of the attributes.
work, in the process of which the finest clay
parts surface by the migrating water.7
The reproduction process
(DE: Statuette,
Terrakotte, Tonfigur; FR: statuette en terre
T e r r a c o t t a fig u r in e / s t a t u e t t e
The manufacturing o f figurines implies a
meticulous process including various steps.8
The coroplast starts creating a first model.
From this model one or more first-generation
cuite, terre cuite, figurine; NL: terracottabeeldje): figurine manufactured from clay
paste. In French literature, a distinction is
moulds are made. These moulds are then used
made between ‘statuette’, the height of which
is smaller than or equal to half the natural size
of the subject (usually smaller than 80
for the production o f first-generation
figurines. The drying and firing of the clay
paste involves a shrinking process, both of the
centimetres), and ‘figurine’, the height of clay mould and the figurine. This process
which is lower than or equal to 25 centimetres.8* causes a decreasing size o f the figurine
compared to the model. If one of the firstT h e m e (DE: Leitform, Theme; FR: thème; NL:
generation figurines is used as a new model for
thema): a range of representations depicting the production of a second-generation mould,
the same subject, which can be elaborated in the new mouldings again are smaller. This
different typologies. Examples are ‘Mercurius’
and ‘the horse’.
T ree
of
d escen t,
d escen t
sch em e
(DE:
Stammbaum, Stammfolge, Dendrogramm;
FR: arbre généalogique, schème de descen
dance, dendrogram; NL: stam, dendrogram)
arrangement of partly mould related series,
classified according to their origin. In a tree of
descent, the related series deviate because of a
slight change in the position or change of
7
8
5
Muller 1997,440: “engobe naturel, pseudo-engobe”.
Bémont et aL 1993,297.
Jastrow 1941; Nicholls 1952.
-14-
action can be repeated several times, each time
involving a considerable loss of height. In that
way, the industrial process results in a series of
mould-related figurines, derived directly or
indirectly from the same model (Fig. 2).
Starting from the specific principles of the
reproduction process, it is theoretically
possible to reconstruct the mechanical
sequence of mouldings through a comparative
study into the form and sizes of the terracotta
figurines. It is therefore important to gain
insight into the processes that affect form and
size. W ith regard to form, we mean
unintentional moulding errors, intentional
retouches, and adding new details. W ith
respect to size, we mean factors that affect
shrinkage.
the model while making a mould, thus
decreasing the number of figurines produced
from the model and increasing the frequency
of the succession of generations. A fired model
is more durable and can be used to
manufacture several moulds o f the same
generation.
When working with clay moulds, both mould
and figurine are equally responsible for the
shrinkage. Using plaster moulds, the
shrinkage of the mould is negligible. In that
case the loss of height can chiefly be ascribed
to the shrinkage of the moulding. When
interpreting measurements of the figurines, it
is important to keep in mind that the
difference in size between several generations
will be much smaller using plaster moulds and
that successive generations will succeed each
other more rapidly.
Shrinkage
The study of shrinkage allows us to determine
the mechanical order of specific generations
of figurines. The shrinkage is measured in
terms o f percentage by comparing digital
images. To correctly interpret the results, it is
necessary to understand the factors that cause
and affect shrinkage.
Model, mould, and moulding are the chief
agents in shrinkage. Depending on the
Various experiments give an indication of the
degree of shrinkage. Measurements conducted
with modem mouldings in Attic clay of an
original Attic figurine, fired in a kiln at an
estimated temperature o f 850 to 900 °C,
indicate that the shrinkage of the clay mould
and the statuette each are responsible for half
of the shrinkage.“ The total shrinkage in
height amounted to 14.4 % in this experiment.
The shrinkage in width diverged slightly and
amounted to 12,8 %, measured at shoulder
production method, they take on a varying
portion of the total amount of shrinkage.1012In
height.
Other tests with clay paste from Toulon-surAllier assume a shrinkage of 20 % for each
general, the coroplast used a figurine, whether
dried or fired, as the model for a mould of a
new generation. It has been demonstrated
generation when using clay moulds.13
According to these modern experiments, the
expected reduction per generation can be
experimentally that the difference in height
calculated. Depending on the composition of
the paste, the height decreases by 14 up to 20 %
between a dried and a fired mould-formed
terracotta figurine is minor.“ Most o f the
shrinkage occurs during the drying of the
piece of work, not during the firing. In this
respect it is an advantage if the clay model is
not completely dry and preserves its plasticity,
when producing plaster moulds. The loss of
height will be less. The main disadvantage
using unfired models is the inevitable loss of
when using clay moulds and by 7 up to 10 %
using plaster moulds, or even less when the
model has not been fired or dried completely.
Nevertheless, these figures have to be used
with caution, as the precise operating
procedure of the antique coroplast remains
unknown. Attempts to classify series in equal
generations are not feasible because it is
10
Van Boekel 1987,227-230: Advantages and disadvantages o f the use o f clay and plaster; Rose 2006,14-16.
11
12
0
Nicholls 1952,220 nt. 21, Pi. 44(bi).
Nicholls 1952,220 nt. 23.
Lahanier 8r Revel 1993,257: “...le coefficient de rétraction de cette terre de Toulon-sur-Allier est voisin de 10 %".
The firing temperature, preparation o f the paste, and the measurements o f the firing tests were not described.
-15-
Fig. 2. Clay mould for the
production o f Venus fi
gurines signed by the coro
plast Pistillus and frag
ments o f figurines made
w ith that mould. Autun,
‘Porte d’Arroux* (INRAP).
Height o f the m ould 15,4
cm.
impossible to determine the precise
percentage of shrinkage for each generation.
Consequently, throughout the literature
varying figures have been proposed with
respect to the shrinkage percentage per
generation.14In reality, the evolution of a series
shows no regular steps of 10 or 20 %. The
development is gradual. Differences in size of
only 2 or 3 % are measured frequently. This is
undoubtedly caused by the complexity of the
evolution of a series. For example, it is possible
that not one but several models, deriving from
a common first model, were used to produce
figurines o f the same generation. These
models were not necessarily developed in the
fill gaps in the series and thus change the
order. Therefore, it is more accurate and
objective to express the relation between two
comparable figurines by means of a reduction
percentage.15*18
Finally, it is important to bear in mind that the
reduction percentage differs depending on
whether one measures the height or width of
the figurine. Modern experiments have
indicated that the vertical measurements are
particularly important when determining
shrinkage, since horizontal measurements are
subject to distortion and give less significant
variation15.
same workshop: a different compound of clay
paste could cause variations in the shrinkage.
Variations in wall thickness of the figurine and
the non-firing of the model also affect the
changing dimensions. In the complex
evolution of the series, these small differences
accumulate. The number o f deviations
increases from generation to generation.
Moulding errors and retouches
Not every detail on the figurines originated in
the same way. Within one generation up to
three levels of detail can be distinguished,
which reflect three steps in the production
process, in particular the creation o f the
Consequently, the succession of generations
cannot be expressed in precise, regular steps.
When trying to represent the complex
model, the mould and the figurine. The overall
evolution of the series, one has to deal with
creation of the model. In the next step, some
details can be introduced by carving the
these often small and irregular differences.
The antique coroplast was plagued by the
problem of the sizable loss in height as
recorded in various modern experiments.
Theoretically, with shrinkage of 10 % each
generation, a figurine of 20 cm in the first
generation would be reduced to 13 cm by the
fifth generation. We often see that the
coroplast tried to compensate the loss of
height by stretching the torso or the legs, or
heightening the plinth. Consequently, the
number of generations cannot be determined
with certainty. To use terms as first or second
form of the figurine and most of the details
can be traced back to the first step, the
mould. In the third and final phase, the
figurine itself can be retouched. This was
mainly done to trim moulding errors. In
research focused on finding relationships
between series, it is important to distinguish
between the characteristics that are inherent
to the model, the mould or the figurine. In
practice, this is not easy, as the evolution of
the detail cannot be limited to one generation.
Adding and reworking details is a continuous
generation would in most cases be an over
simplification. Moreover, we have to keep in
mind that the number of generations depends
process. Usually, the researcher has to proceed
according to the relative sharpness of the
detail. Strongly blurred or vaguely discernible
details date from an early production stage,
while sharply cut details are from a later stage.
on the completeness of a series. New finds can
A difference in sharpness can often be
H
15
18
Rey-Delqué 1985,9-10: “environ 10
Rouvier-Jeanlin 1986,16: “il faut compter environ 10 % de déperdition de
tadle par surmoulage”; Lange 1990,44: “ca. 10-20 %” ; Kassab Tezgôr et Abd El Fattah 1997,357: “une différence de
taille supérieure à 6 %”; Rose 2006,16: “ca. 20%”.
Jastrow 1941,2 f£; Nicholls 1952,220 nt. 21: according to Nicholls, the shrinkage caused by differences in clay paste
or wall thickness is insufficient to affect the classification in generations. However, he does not take into account
the complexity o f the production process, accumulation o f errors, and possible compensations b y the coroplast.
Nicholls 1952,224-225 nt. 47.
discerned between the front and back halves of
the figurine. This could be attributed to the
combination o f two half moulds from
different production stages. Another reason
could be that the figurines were usually placed
frontally, the back being considered less
important. Consequently, it was less
frequently touched up than the front. In
addition to the difference in sharpness, there
are other methods for discovering the relative
moulds were drawn from the same model, this
could result in figurines of the same
generation, which showed slightly different
details. Nicholls sketched this process for
Greek moulded terracotta production in the
Archaic period.17According to Nicholls, some
details were not fully elaborated on the model.
Fig- 3- Mouldblisters on the
back o f Fortuna TO 21 from
the Tongeren ‘Thien Schuur’
find.
age of the details. Undoubtedly, the most
important is the comparative research of the
various specimens that are part of a series.
Details common to various generations can be
traced to an early phase. Details that change
during the succession of generations or new
details that were added can be attributed to the
generation in which they first appear. To be
able to sketch the mechanical succession of
the generations, it is important to know which
details are inherent to the model and which
details were added by retouching the mould or
For the head, this may involve the hair, brows,
eye definition, exact outer edges of the lips,
the figurine. The use o f plaster moulds
provides a special advantage here. The surface
and ears. The missing details were cut into the
mould. Depending on the depth of detail, this
o f figurines that were moulded in plaster
moulds shows characteristic mould blisters
could happen in various drying stages of the
that often lodge in hair curls or pleats (Fig. 3).
The presence of these mould blisters proves
that the details on the figurine or in the mould
were not secondarily retouched but that they
are inherent to the model.
Retouches applied on the figurine are difficult
to discern from those applied in the mould.
They are obvious when applied to correct
moulding errors or to restore defaults, due to
the assembly of the different parts of the piece
of work. Most apparent is the restoration of
details that were blurred during the
smoothing of the joins. These retouches are
inherent to the current figurine and are not
clay. The last retouches were sometimes
etched with a fine metal point in the dried clay
to make sure the detail appeared on the
figurine with the intended sharpness. As such,
manufacturing the mould is as important as
manufacturing the model. Nicholls assumes
that the first model and mould of the first
generation were manufactured at the same
time and by the same artisan. When various
moulds were fabricated from the same model,
this operating procedure would, in spite of
similar measurements, result in a slight
variation of the detail. The development of a
series of Minerva produced in Roman Cologne,
demonstrates the use of parallel moulds in the
Rhineland (Fig. 4).
passed on from the previous generations.
Figurines originate from the same mould if the
dimensions are identical, and particularly, if
Production areas with special mould
characteristics and assembly technique
they show characteristic mould errors. Again, A simple observation of the surface of the
mould blisters can be of help here in addition figurine and characteristics of the joins can
to damaged or blurred details. When different17 lead to important findings with respect to the
17
Nicholls 1952,221.
-17-
production technique.18 In most cases, the
surface, joins, and creation of the plinth
immediately give a definite answer about
Rhineland or Central Gaulish origins.
Secondly, we distinguish between details that
mould blisters on the surface of the figurines
were present before firing and originate from
the original design, or from a manipulation of
the mould, and details that were applied after
firing The position of the vent, modelling of
the interior hollow, and the finish of the lower
already present on the model and were not
retouched in the mould or on the moulded
figurine. Details that, on first sight, seem to be
secondarily etched after the moulding, can
not only indicates the use of plaster moulds.
They are also important for the description of
the detail of the mould. Their presence in folds
o f clothing shows that these details were
rim o f the plinth can provide important
indeed be confidently ascribed to the mould in
t>iat way.20 Generally speaking, Gallo-Roman
additional information.
figurines were only rarely retouched after the
Fig. 4. Variation o f details
within one generation of
Minerva statuettes
produced in Cologne. From
left to right TO 38, TO 39,
TO 42, TO 43.
Many moulds and half-moulds have been
found in Central Gaulish production centres
moulding. An exception is the reworking of
along the Allier. In the Rhineland, some clay
moulds have been found in Trier, Xanten,
Frankfurt-Heddernheim, Bad Bertrich, and
was heavily smoothened over a broad surface.
Blurred details were often re-etched or cut.
The smoothing of the seat or the plinth was
Karden. However, it is uncommon to find
also done after the assembly of the different
moulds in this area around the Rhine and
Moselle, because the production there was
mainly characterized by the use of plaster
moulds. Although the plaster moulds
parts of the figurine. These are secondary
characteristics that do not concern the mould.
The broad smoothing out of the surface of the
themselves have not been preserved, one can
recognize their use on the surface of the
figurine that was moulded in it. Plaster
moulds leave typical traces. The most
characteristic are the small, rounded clay
knobs called mould blisters (fig.3). They are
the impression of air bubbles that arise while
mixing water and plaster and that are marked
off in the skin of the mould.19The presence of
*
19
“
the join. Especially in Rhineland products, it
seat, the plinth or the join is generally
characteristic of Rhineland products (Fig. 5).
Repeatedly, the lower rim of the plinth was
smoothed on the outside, but often also on the
inside. Equally on the inside, the corners of the
plinth were often cut out. The interior of the
figurines also has to be examined at the
position of the joins. Figurines manufactured
Van Boekel 1987,216-231.
Rüger 1980,18-19; Van Boekel 1987,230; Van Boekel 1996, 6-7; Rose 2006,14-15.
Catalogue TO 63.
in plaster moulds were assembled, while the
clay paste was still plastic. The parts remained
in the half-moulds, while joining them." This
is visible from a shift of the interior join in
assembling the parts, with the redundant
paste pushed aside on the inside. Until now,
this phenomenon has been observed in
Rhineland specimens only (Fig. 6).
modelling of the lids
or the pupil o f the
eye. Depending on
the freshness of the
Fig-5- Broad smoothing of
the join. Fortuna TO 17 from
the Tongeren ‘Thien Schuur’
find.
mould, these charac
teristics may or may
not be visible in
individual
moul
dings. It is not always
obvious whether cer
A shift of the interior join cannot occur when
the parts of the figurines had already dried
before assembly, as was common in Central
Gaul.“ When dried, the separate halves of the
figurines have to be carefully assembled using
thin slip or harbotine. This requires more
precision in manufacturing the various parts
tain details are in
herent to the mould
or added later. For
instance the ears of
animals were not
always
integrated
into the mould. In
because the joins have to fit almost perfectly.
Fig. 6. Shift o f the interior
join visible at the fracture
area o f the mane. Horse TO
55 from Tongeren 'Aan
Paspoel'.
In addition to the observation regarding the
surface and joins, it is important to verify
which parts of the figurine were integrated in
the main mould and which parts were formed
apart. The plinth of Central Gaulish figurines
was usually formed separately. This closed the
interior space of the body at the bottom. A
vent through the wall prevented the figurine
many cases, they were formed separately and
from cracking during firing.
In the Allier area, the legs and plinth were
usually formed separately in mammals,
the ear cavity was sculpted out. This is often
apparent from the cracks and modelling traces
around the ear. In that case, the ears are not
whereas they were integrated into the mould
in the workshops around the Rhine and
characteristic of the mould and the various
specimens of the same series may differ
Moselle. In spite of this general tendency,
slightly.24
exceptions have been recorded (Fig.
7I.23 Therefore, caution is called for
when determining the production
Fig. 7. Horse originating
from a Rhineland workshop
found in Taviers w ith legs,
tail and plinth integrated in
one mould (left). Height u,4
cm. Horse from Elewijt pro
duced in the Allier area
(right). Head and trunk are
made in one mould. The
legs, tail and plinth were
formed seperately and
attached to the body using
harbotine. Height 16 cm.
region. It is wise to take into account
several criteria.
As a rule, the general iconographic
characteristics that define a series are
inherent to the mould from which
the figurines originate. This is also
true for small details such as the
“
“
•3
■»
De Beenhouwer 1990,11-13.
Rouvier 1972,25; Jeanlin 1993,96-102
De Beenhouwer 2005,364, no. 3605 (204) and no.728 (728): a vent is pierced in some Rhineland specimens; De
Beenhouwer 2005; the plinth is integrated into the mould in some central Gaulish series 267,268,585,592,828,
594, and 709; De Beenhouwer 2005: mammals showing atypical assembly series 805,807, and 971.
De Beenhouwer 2005, Series 797: The mould for the production o f bulls by Sacrillos does contain the horn, but not
the ear.
-19-
Resea r c h
m eth od
The classification model: generation,
reduction percentage differs for the horizontal
series, and tree of descent
After specifying which factors affect the form
and measurements of the moulded products
during the reproduction process,
a
and vertical measurements, as the coroplast
himself could compensate for the loss in height
reconstruction of the mechanical order of the
form cannot be converted into identical
moulded figurines can be carried out. Based on
uniformity, the examined objects are classified
in corresponding classification units. The basic
products. Sometimes the successive changes in
details are so dramatic that the uniformity
compared to the original model is
unit is the series. A series can be defined as a
number of figurines, similar in form, that were
compromised in the end. For practical reasons,
it is therefore advisable that the researcher
derived from the same model by moulding.
Differences in size within the series occur
because of the use of various successive
separates a new series if important details were
generations of moulds. Based on the reduction
in scale, the series is classified in generations.
The basic definitional criteria of a series are the
similarity in form and the common model. We
have already mentioned various factors that
affect the uniformity in mouldings, more
specifically, the moulding errors and successive
retouches. Another agent is the gradual change
of the internal proportions, such as the relation
of the length of the torso and the length of the
legs, during the reproduction process. The
1
by artificially lengthening the legs and
narrowing the loins. Therefore, the similarity in
altered retouching the model, or if the internal
proportions were dramatically altered*. This
offers the advantage of an improved series
definition, more accurate descriptions, arid
more precise chronologies. On the other hand,
it means that the series in turn has to be
inscribed in a larger tree of descent. The tree of
descent can be defined as the classification unit
that represents the mutual relationships
between the various series, each including
several generations. To succeed in relative
dating of these relationships, it is necessary to
determine in which generation the branching
Nicholls 1952,225: sometimes, the working o f a mould can be so radical that the result leads to the creation o f a new
series.
- 20 -
Fig. 8. Detail o f Tree o f
descent 104. Bust o f a
woman wearing a necklace
and earrings. On the left TO
75 from Tongeren and on
the right a specimen o f the
cemetery ‘La Spetz’ in Arlon.
The reduction percentage is
nine per cent.
off of new series occurs. Therefore, the complex
succession of generations within the series has
to be integrated into the examination of the tree
series evolved faster in the workshops that used
plaster moulds than in the workshops that used
clay moulds.3The only way to achieve absolute
of descent. Figurines belonging to several series
related by moulding, of which the mould-
dating is by deriving data from archaeological
contexts. The series dating has more evidential
related parts are of similar size, belong to the
same generation of the tree of descent. To
value if similar dates for the series are gathered
in various archaeological contexts. In its turn, a
well-dated series is an important chronological
guarantee the objectivity of the generational
research, both the reduction percentage and the
guide in the evolution of the tree of descent.
two compared objects in the scheme of the tree
of descent have to be stated (Fig. 8).
The tree of descent reproduces a complicated
web of relations. A relationship between two
A great advantage of this classification system
is that it displays the succession in time, in
other words the relative chronology. It shows
that one generation is younger or older than
another or that one series is older or younger
than another. It does not express how much
time passed before the new generation or series
came into being.2 We may assume that the
■
f
series in the descent tree only
mechanical relationship and the
the descent. To find out where
workshop or production area was
expresses a
direction of
the original
situated and
which workshops imitated the original
production, external data have to be connected,
concerning find-circumstances, coroplasts,
production technique, and composition of the
paste.
Nicholls 1952,226: in connection w ith the chronology, it is clear that the derived production can lengthen the age o f
a series considerably. There is no measuring instrument to determine whether a series, consisting o f several
generations, had been in use during four years, 40 years, or longer. The dating o f the contexts can be helpful, bearing
in mind that it only offers a terminus ante quem for the start o f the production,
Rose 2006, 15: whereas clay moulds slowly wear away, a plaster mould only produces around 30 well-defined
impressions. After around 100 impressions, it is worn out.
- 21 -
It is dear that moulded pottery can provide a
wealth of data that is inherent to the
reproduction process. The tree-of-descent
schemes that are the result of this research
grow along with the current state of research. It
is an illusion to think that they give a complete
picture of the production in antiquity. The
rdationships we can establish are limited by the
archaeological finds that come to light, which
in reality is only a fraction of the real
potter’s inscription cannot be used as an
argument to date the potter. As research makes
progress, it is advisable to record and preserve
each dating level. If, tomorrow, we have better
arguments to date a certain coroplast more
accurately, then only the level of the dating
from the inscription will be adjusted for the
series involved. The archaeological level
obviously remains unchanged.
production size.
Dating
Assigning chronology to a series of figurines is
a complex process. As several criteria are
included in the research, it is necessary to
distinguish between the various dating criteria.
Evidence gained from an archaeological context
is more conclusive than iconographical
interpretations. It is therefore important to
distinguish between various levels and keep
them separated in order to avoid circular
reasoning. For example, a series dated by a
g . g. Ten steps to date a
lie s o f figurines.
Various steps have to be carried out to date a
series (Fig.g). First, all figurines are dated by the
chronology of the site, the find-spot and the
context in which they were found. A few
figurines are inscribed with the names of the
ruling consuls: these figurines carry an accurate
dating in a particular year. The archaeological
and consular dating of the figurines that
constitute a series forms a solid foundation for
dating these series (step 1). Taking into account
the internal and external mechanical
relationships, these archaeologically dated
DATING OF TH E TREE
OF DESCENT
DATING OF THE
SERIES
Archaeological dating
(site,find-spot, context)
and
C onsular dating
(inscriptio n)
2
*
Dating from context and
tree of descent
Dating from context
3
Dating updated by
tree of descent
6
Coroplast
(inscription)
Dating updated by
inscription
Dating updated by
inscription
Dating updated by
tree of descent
and inscription
7
* --------
GE NE RA L OATING WITHOUT
USIN G ICONOGRAPHY
10
Iconography
Dating updated by
iconography
- 22 -
Dating updated by
iconography
series help to sketch the evolution of the tree of
descent (step 2). The precise position of the
series within the evolution of the tree of descent
allows us to first correct the dating of the series
(step 3). The result is a dating of the series from
archaeological contexts, corrected by the
evolution of the tree of descent. This general
date is the starting point for the dating of the
coroplasts (step 4), which takes us to the second
dating level. Coroplasts are the figurine makers,
whose names are known to us from inscriptions
on figurines or moulds. At this level, external
arguments can be introduced. Next to
with the information about the coroplasts (step
6). Since the evolution of the tree of descent is a
mixture of signed and unsigned series, and
since external criteria were also considered
when deciding on the dating of the coroplast, in
a further step the series has to be updated again
with the corrected data from the tree of descent
(step 7).
In the end, the result of all these steps is a
general dating of the series without iconographical determinations. This general dating
is the basis of the third and final stage: the
statuettes, a coroplast could have manufac
iconographical level (step 8). At this level, we
examine which iconographical motifs are
tured other products that can be attributed to
the dating o f his activities. Additionally,
various mutual relationships between the
chronologically relevant. In rare cases, external
criteria are included, such as well-documented
hairstyles or important arguments from the
coroplasts, that become visible in the tree of
study of stone sculptures. Finally, these icono
graphie dating criteria are applied to the dating
descent, are considered in the determination of
the final dating. The result can be applied to a
series for which archaeological contexts are
unable to provide accurate dating (step 5). Next,
of the series (step 9) and the tree of descent (step
10). In doing so, the researcher can always weigh
the nature of the chronological determinations
the tree of descent, in turn, has to be updated
and assess each level separately.
- 23 -
The
c o l l e c t io n s
The current collection of the Tongeren GalloRoman Museum has come a long way since the
founding of the Société scientifique et littéraire
du Limbourg in 1851.12The fifty Roman objects
acquired by the society during its first year
were later supplemented by many new
acquisitions. In 1854, a part of the city hall was
set up for the collection.1 However, the
enthusiasm had waned 30 years later. After 15
years o f inactivity, the novice François
Huybrigts managed to breathe new life into
the society in 1895.3 Under his impetus, a
museum was founded in 1906 in a wing of the
city hall. During WO I some of the objects
disappeared. Until 1915, the archaeological
fund of the society curated Venus TO 50.
Unfortunately it was stolen on 8 January of
that year from the museum in the Tongeren
city hall.4In 1922, the collection moved to the
museum in the former Dominican cloister
that the city had acquired.56At that time,
1
2
3
4
s
6
7
8
various collections were being housed there.®
On the one hand, there was the archaeological
collection of the city of Tongeren, including
the Christiaens-Vanderijst collection, acquired
in 1921. Later, objects from large infrastructure
works in 1934-1935 on the sewer system were
added.7 On the other hand, the museum
housed the collection of the then Limburgsch
Geschied- en Oudheidkundig Genootschap. It
included the collection of Oscar Schaetzen
that had been donated to the society in 1908, in
addition to the fruits of the annual excavations
of Fr. Huybrigts, commissioned by the society
between 1906 and 1913.8 All these collections
later passed into the collection of the current
museum.
Oscar Schaetzen, Tongeren
The knighted Oscar Schaetzen, born in
Tongeren in 1836, became a member of the
Paquay 1934, 33-34: the society was founded in Tongeren on 22 December 1851 and later converted into a society
without commercial interests on 1 August 1924. In 1927, the SSLL was given a Dutch name: Het Limburgsch Geschied
en Oudheidkundig Gezelschap, later Genootschap.
Baillien 1951, XXI-XXIL
Baillien 1951, XXIX; Paquay in nécrologie 1924.
Paquay 1935,75 nt. 5.
Baillien 1951, XXXIV.
Paquay, 1935,68-69.
Paquay 1935,74.
Paquay 1934,33 and 34, w ith bibliography.
- 2 4 -
Fig. 10. Oscar Schaetzen.
Société Scientifique et Littéraire du Limbourg in
i860 (Fig io).s In 1869, he became a member of
the steering committee, and from 1897 to 1907
he was deputy chairman. He also built a
private collection. Shortly after his death in
1907, his collection of antiquities was donated
to the fund of the Société. This fund later
passed into the current museum collections of
the Gallo-Roman Museum. In the report on the
donation, two terracotta figurines were
mentioned: “Parmi les objets en terre cuite,
signalons deux figurines en terre blanche..
One of both figurines was specified as “une
statuette, en terre blanche, d’une déesse”. The
goddess in question is Diana TO 2." The other
statue was not specified and could not be
identified.
François Huybrigts, Tongeren
François Huybrigts was bom in Diepenbeek,
Belgium in 1845 (Fig. 11). He later moved to
Tongeren.“ He settled there as “hoofdconduc-
went up in flames. The remaining fragments
were collected into 18 crates. After his death in
1925, his wife gave it all to Baron Philippe de
Schaetzen. The content was described as heaps
o f partly calcified shards and formless
objects.14 Jan Paquay published in 1934 the
Fig. 11. François Huybrigts.
teur van Bruggen en Wegen”, official in charge
of bridges and roads. Together with the
knighted Oscar Schaetzen, he was the driving
force behind the activities of the Société
Scientifique et Littéraire du Limbourg in 1895. He
also became the secretary of the society from
1901 until his death in 1925. In 1906, he set up a
museum on the ground floor of the city hall of
Tongeren. Until the beginning of World War I,
the society funded the annual excavations, led
by Huybrigts.
He also built a valuable personal collection.
From 1885, he collected thousands of objects
from Tongeren and its surroundings.*10
*3 It
would become the largest and most important
private collection Tongeren has ever known.
When his house burned down in the violent
war night of 18 to 19 August 1914* the collection
»
Bulletin de la Société Scientifique et Littéraire du Limbourg 25,1907,413: summary o f his public career; Baillien 1951,
10
11
i
XIX: born in Tongeren in 1836, died there in 1907.
Bulletin de la Société Scientifique et Littéraire du Limbourg, 1907,131.
Inventory o f Oscar Schaetzen, preserved in the Gallo-Roman Museum o f Tongeren, inv. SC124.
Baillien 1951, XXI; Bulletin de la Société Scientifique et Littéraire du Limbourg 39,154 e.v. nécrologie 1924.
0
“
Anon. 1958. Tongeren Romeins Trefpunt, 49-50.
Anon. 1958. Tongeren Romeins Trefpunt, 1958,66-70.
-25-
report for the War Damage Tribunal, made up
on 7 June 1920 describing the destroyed
collection.'5However, this report is unreliable.
None of the objects from the southwestern
burial site mentioned in the data on the grave
collections in this report correspond with data
published in 1905 by Lucien Renard.15
16 When
assessing the damage, the financial interests
were probably more important than the
scientific interests. We may assume that
Huybrigts’s notes were also lost in the fire, so
Fig. 12. Philippe de
Schaetzen.
well-documented findings. This is not always
the case for the personal collection of
Huybrigts. Without questioning his sincerity,
it seems possible that Huybrigts supplied his
collection not only with the finds of his own
excavations, but occasionally bought objects
that were told to be of Tongeren origin. This
could explain the presence of a Mediterranean
figurine, an object from the antique market, in
his Tongeren collection.17
Philippe de Schaetzen, Tongeren
Baron Philippe de Schaetzen was born in
Tongeren on 30 August 1903 (Fig. 12). He was
the son of Baron Franz de Schaetzen.18He was
raised with an interest in his native city’s past.
His grandfather, the knighted Oscar Schaetzen
was, as already mentioned, interested in
Roman Tongeren as deputy chairman of the
Société Scientifique et Littéraire du Limbourg. His
parents also owned a mansion on ‘Stationstraat’ in Tongeren, next to the house of
François Huybrigts, who kept a valuable
archaeological collection. Both houses were
set afire by the advancing German troops on 18
an exact description of the objects and their
relationship was no longer possible. For that
reason, we only assigned value to the rather
concise notes of L. Renard from 1905 with
respect to the graves, published before the
August 1914. Consequently, Huybrigts’
collection was largely destroyed. Philippe de
Schaetzen came into the possession of some of
the remaining pieces of the collection and
acquired 18 crates with heavily damaged
remnants. This material formed the basis for
destruction of the collection, when financial
interests did not play a part.
his archaeological collection.192
0He moved into
villa ‘Van der Heyden’ along the ‘Sint
The journals o f the annual excavations,
executed by Huybrigts and his foreman
Truidersteenweg’. Its garden would prove to be
Timmermans on assignment for the Société,
have been published on a regular basis. There
is no doubt about the authenticity of these
15
16
17
fertile ground for excavations. He inherited
more property along the ‘Romeinse Kassei’
from his mother.” A large part of his collection
comes from this site, where excavations were
Paquay 1934.
Renard 1905.
According to L. Renard, a clay figurine w ith the representation o f a couple was found in a grave on Lot D19C, Renard
1905,289. This lot borders the ‘Sint-Truidersteenweg’ near the Roman road to Cassel. Among others the grave held a
dark colour coated vessel decorated w ith the motto “LVDE”. According to this vessel, the grave is dated to the second
half o f the third century or the first h alf o f the fourth century, Kiinzl 1997,129: general dating between 255 and 355
AD. The figurine is unfamiliar to the Gallo-Roman workshops in many aspects, such as the proportion o f the heads
compared to the body, the fabric, the flat unworked backside and the large vent in the middle o f the back.
* Baillien 1973? with bibliography o f the works o f Schaetzen by J. Smeesters.
19 Anon. 1958. Tongeren Romeins Trefpunt, 66.
20 House number 46, from 1963 changed into house number 36.
- 26 -
carried out starting in 1936.212He later equipped
the villa he built on this site with a special
property of the archaeological city fund.29
Today it is part of the collection of the Gallo-
room to show his collection.
In 1934 the Société Scientifique et Littéraire du
Limbourg appointed him curator of the small
museum in the ‘Predikherenstraat’ in
Roman Museum.
Tongeren, and in 1945 he also became
chairman of the society. In this capacity, he
convinced
the
Limburg
provincial
Christiaens31 was closely associated with the
city’s archaeological past (Fig. 13). Later, as a
structural engineer, he was professionally
government to build a new museum, and
devoted himself to the development of a fullyfledged Gallo-Roman Museum in Tongeren,
associated with the city’s groundwork. It is
thus not surprising that many of the city’s
Roman antiquities ended up in his possession.
for which the first credit was granted in 1948.“
He remained curator of the museum until 1968
Because of his valuable collection and close
association with the Roman past of Tongeren
Christiaens took part in the archaeological
Mathieu Christiaens, Tongeren
Through his parent’s collection30, Mathieu
and died on 22 September 1973.
In the period between 1930 and 1950, he
brought together an important collection of
policy as committee member of the Société
Scientifique et Littéraire du Limbourg.
antiquities, mainly from his own research in
Fig. 13. Mathieu Christiaens.
Tongeren. The terra sigillata collection alone
included around 5000 shards.23 His research
concentrated on ‘Broek’ along the ‘Hasseltsesteenweg’ and ‘Aan Paspoel’.24
Christiaens-Vanderyst, Tongeren
The Christiaens25 family owned properties at
the height o f the Roman southwestern
cemetery at ‘Aan Paspoel’, some parcels
leaning against the second-century city wall.26
During
the
exploitation
o f some
clay
extraction sites, grave finds were collected
that formed the basis of the ChristiaensVanderyst collection.27 Additionally, finds
from other places were also integrated into the
collection.28 In 1921, the collection was
acquired by the City of Tongeren and became
21
Inventory book o f P. de Schaetzen, No. 4201 to No. 5200.
22
23
24
Baillien 1951, XXXVIII.
Baron de Schaetzen & Vanderhoeven 1964,2.
Baron de Schaetzen & Vanderhoeven 1964,8: summary o f the various sites w ith cadastral lots; Vanvmckenroye 1984,
»
Tongeren city archive, civil records: Jan Hendrik Christiaens, bom in Tongeren in 1838 and married to Maria Joseph
“
Vanderiist in 1862.
■
..................... 1 . ,
De Schaetzen & Vanderhoeven 1956; Vanvinckenroye 1984,14 Afb. 3: near the Romemse Kassei, Komnksemsteenweg,
17
•*
Lindenstraat, and the second-century city wall.
Paquay 1934, 61; Anon. 1958,44.
Paqay 1934, 62: Kerkhofweg excavation, 1894.
«
I
Paqay 1935, 69.
See Christiaens-Vanderijst collection
_
,
.
Tongeren city archive, civil records: Jean Joseph Mathieu Christiaens, born in Tongeren m 1865 and married to Mane
Anne Christina Peeters in 1889.
- 2 7 -
Around 1900, either in the garden or at the
height of an outbuilding of his residence
adjoining a street named ‘Thien Schuur’,
Christiaens came across a remarkable deposit
consisting o f at least sixty-four terracotta
figurines. Apart from this noteworthy
collection of terracotta figurines from one site
in the Roman city, the collection also included
bronzes, coins, pottery, and glass, mainly from
the southwestern cemetery.32 On 3 September
1953, the ‘Mathieu Christiaens-Peeters’
collection was acquired by the Belgian
Province of Limburg and housed in the
Tongeren Gallo-Roman Museum.33At the time,
it still numbered fifty-one terracotta figurines.
The other figurines remained in private hands,
distributed over various collections.
Robert Christiaens, Tongeren
Mathieu Christiaens donated one Fortuna
figurine that belongs to the Thien Schuur find,
probably TO 38, to his brother Robert.34
Thien Schuur find.37The current depository of
these figurines is unknown.
Gilkens, Hasselt
One Minerva figurine from the Thien Schuur
find was given to Mr. Gilkens from Hasselt.38
This is probably TO 43. In 1967, this Minerva
figurine ended up again in the Tongeren
museum as a donation from the Begijnhof
museum collection from Hasselt.39
Huberts, Liège
Shortly after their discovery, four figurines
from the Thien S churn find were given to A.
Hubens.40 One of the figurines represents a
Fortuna; we don’t know much about the other
three figurines. The current repository of the
objects is unknown. Since we assume that the
donation only included double specimens, no
iconographical information was lost. It is
important for the interpretation of the Thien
Schuur find to realise that the number of
double specimens is larger than what we can
derive from the number of preserved or
Georges Meyers, Tongeren
Baron Georges Meyers was a committee
member of the Société Scientifique et Littéraire
du Limbourg.35Shortly after the discovery of the
Thien Schuur terracotta find in Tongeren,
published specimens.
Bust TO 68 and Fortuna TO 14 probably belong
three figurines from this collection were given
to Meyers. Lucien Renard published them in
Weerd in 1932. It is therefore plausible that two
of the four double specimens belong to the
donation to Hubens.
1905 as property of G. Meyers, without
mentioning the site.36Only in 1932 Hubert Van
to this donation. They were portrayed by
Paquay in 1913, but not described by Van de
de Weerd made clear that they belonged to the
32
33
34
De Schaetzen & Vanderhoeven 1956.
De Schaetzen & M. Vanderhoeven 1956; Anon. 1958,50
Van de Weerd 1932, 279, nt. 4:
een Fortuna aan wijlen Rob. Christiaens, broeder van den eigenaar der hier
besproken verzameling”.
35 Anon. 1958,43.
36 Renard 1905.
37 Van de Weerd 1932,279, nt. 4.
38 Van de Weerd 1932,279, nt. 4: “een Minerva werd geschonken aan den h. Gilkens van Hasselt”.
39 Inventory book from the Begijnhof collection, preserved in the Gallo-Roman Museum o f Tongeren.
40 Van de Weerd 1932, 279, nt. 4: “Vier dubbelen, waartusschen een Fortuna behooren toe aan den heer A. Hubens,
apotheker, te Luik”.
- 2 8 -
C o lle c tio n
N u m b e r in th e T o n g e re n catalo gu e
Société Scientifique et Littéraire du Limbourg
6,92
Oscar Schaetzen, Tongeren
2
François Huybrigts, Tongeren
79.85.87,90,94
Philippe de Schaetzen, Tongeren
7.49.54,55.77.78 ,97
Christiaens - Vanderyst, Tongeren
95
Mathieu Christiaens, Tongeren
3, 4, 8,9,11,12,13,14,15,16,17,18,19,20,21, 22,25,
26, 28,30,31,32,34,36,37,39, 40,41, 42, 44,45, 46,
47, 48,51,52,53,58,59, 60, 61, 63, 64, 65, 66, 67, 68,
69,70, 71,72 ,73 ,74 , 7 5 . 7 6 , 86
Robert Christiaens, Tongeren
38
Georges Meyers, Tongeren
5) 10, 29
Gilkens, Hasselt
43
Hubens, Liège
68,14
Table 1. Historie
collections acquired b y the
Gallo-Roman Muséum
Tongeren and the
catalogue numbers.
-
29-
The
contexts
The importance of context in the dating
information is acquired from the archaeo
and meaning of the finds
logical context or an individual archaeological
feature. Examples are a grave, a certain strati
In each study o f archaeological finds, the
interaction with field research is essential. The
excavation provides information on the origin
and spread of a series, its chronological
evolution and on the function of the figurines.
graphic layer in a temple, or a waste pit in a
residential area.
A consistent distinction between the site, the
find location and the context provides a solid
The value of a chronological or functional
interpretation of an archaeological object
often depends on the quality of the excavation
and its report. The more detailed the
information, the more valuable the inter
pretation will be, depending on whether the
object is known to be found in a site in general,
or in a certain location on the site, or in a
specific context on that location. Differen
tiating between these three levels is para
mount. The site has the widest chronological
limits and usually includes several areas that
would have experienced their own functional
and chronological evolution. For example, a
certain area of the site can be interpreted as a
sanctuary, another as a quarter for artisans, a
residence, or a burial site. Each of these
specific locations can have a more limited
chronological definition than the site in its
entirety. The most accurate and detailed
-30-
basis for chronological criteria and enables the
appropriate assessment of the specific values
used to date an individual figurine. The better
we know the site in its chronological and
spatial development, the more valuable the
information it provides on the finds.
Site, location, and context are firstly spatial
terms. In contrast to this spatial aspect, the
chronological and functional data of a site or
location are not necessarily constant data. It
often happens that a certain area was
reorganized in the course of the development
of a settlement and that its function changed.
For example, a potter’s quarter could be
reutilized later as a cemetery. Scientifically
precise interpretations require emphasis not
only on the site, but also on the individual
contexts. Without a good knowledge of the
contexts the researcher runs the risk of
erroneous interpretations for both the chrono
logy and meaning of the find.
Research into the specific contexts of figurines
seeks to provide answers to questions
concerning their use and meaning. Although
much has been written about terracotta
objects, and on the other hand, the age of the
objects at the time of the deposition has to be
indicated. These are two different aspects that
must remain separated as much as possible.
figurines in the last decades, work on their
particular find contexts has been widely
Both criteria are connected. The time of the
deposition provides a terminus ante quem for
the age of the objects, whereas the youngest
object from the context provides a terminus
post quem for the time of the deposition. We
ignored. This is most notably due to resear
chers placing most of their energies on the
typological and stylistic characteristics of
tried to enter both dating aspects, with the
first figure group representing the age of the
oldest objects from a particular context, and
figurines. Nevertheless, the context provides a
solid foundation for contemporary interpreta
with the second figure group indicating the
upper limit for the deposition of the objects.
Entering AD 50/110-130/140 for a context
tions of terracotta use in a particular region.
The figurines recovered from systematic
means that at least a part of the objects occur
both their occurrence and use.
in a period between 50 and 110, while their
deposition is situated between AD 110 and
Placing the context in the wider framework of
130/140.
When the research on the figurines provide
excavations enable a better understanding of
site, offers the advantage of a more accurate
characterization of the historical context,
dates that contradict the accepted date of a
context, or that are supplemental, this is
entered after the description under the
particularly in terms o f the level of
Romanization, urban development and
heading interpretation.
A corrected dating of the context was entered
functionality of the place.
i f the evaluation of the research into the
terracotta series could supplement the dating
The dating of a site or a specific location is
of the context. This dating is the result of the
rarely absolute. It is an illusion to think that
the start or end of the period of occupation of
research into the series and is not used when
dating the series. It does, however, provide
a site can be determined up to the calendar
year. This was taken into account in entering
supplemental information on the context.
the dating of sites and locations: the first
group of figures indicates the start date and
Roman Tongeren: historical sketch
the second group of figures, the end date. A
slash indicates uncertainty. In that way, a
dating of 90/100-200/220 AD indicates a start
antiquity as Atuatuca Tungrorum,' dates back to
around AD 10 and frames the administrative
between 90 and 100 AD and an end between
location along the Roman road from Boulogne
to Cologne was selected as the principal town
of the civitas Tungrorum. In the beginning, the
military took responsibility for the organi
the find location, and generally within the
200 and 220 AD.
At the level of the context, the breadth of
variation of the first group of figures that
indicates the start date is usually broader.
Dating closed contexts always has a double
character. On the one hand, one must try to
represent the time of the deposition of the
The foundation of Roman Tongeren, known in
organization of Gaul in the Augustan era.1 A
zation and designed a regular street grid.
Rather quickly, from the late Augustan era, the
first inhabitants from the surrounding area
settled in stable-houses, divided in a living
and stabling section, uniting people and
Raepsaet-Charlier 1995,43; Vanderhoeven 2004,481: the name is derived from various records, including Aduaga
Tungrorum in the Itinerarium Antonini, Atuaca on the Tabula Peutingeriana, and Atouatoukon according to
Ptolemaeus.
Vanderhoeven, Martens & Vyndrier 2001,71; Vanderhoeven 2007,311,315, and 324.
- 31 -
livestock. They were built according to the
native tradition, though respecting the
original street grid.3Around the middle of the
first century other loam and wooden houses
had replaced most o f these traditional
dwellings, with various rooms, organized
around a central courtyard. The early building
history shows the fast adaptation of the native
inhabitants to the Roman lifestyle. Romanization was a process of articulation of both
Roman and native values.4 In this respect, the
transition from Roman military to native
civilian population is demonstrated by the
shift of the import of kitchenware from
Mediterranean areas to the use of regional
kitchenware and in the dietary pattern.5
occasion is therefore associated with the
Batavian revolt in 69/70 AD,“ Traces of fire are
found throughout the city and provide a good
dating criterion.
After the fire in the Flavian period, various
districts were rebuilt in loam and wood. Little
by little, stone was also used as a building
material. This evolution continues at various
speeds, depending on the district and the
function of the buildings." In buildings with
artisanal activities, the inhabitants of
Tongeren kept to wood construction the
longest. Stone foundations were gradually
introduced for residential dwellings.
An aqueduct that entered the city from the
In the northern part of the town, which also
has the highest elevation, a monumental
north guaranteed the water supply. Its
construction is dated to the first half of the
first century.67A part of its route within the city
presumably was a district with a public
character to the south of the temple, which is
was identified in excavations along the
‘Elisabethwal’.'
evidenced by the dense spread of monumental
architectural elements and fragments of
Extensive cemeteries gradually stretched
along the large exit roads to Bavay and Cassel
in the southwest, and in the direction of
Nijmegen and Cologne in the north and east.
They remained in use from the first century to
the first decade of the fifth century.8
temple was built in the second century. There
sculptures." The construction of the medieval
wall in the thirteenth century badly disrupted
the zone, hampering the interpretation of the
remnants of the buildings.
The central area of the town at the northern
slope of the Jeker valley is better documented.
The excavations of the last few decades have
The first civilian settlement that developed at
the beginning o f the first century was
destroyed during the transition from the
Julian-Claudian to the Flavian dynasty.9*This
3
3
5,
‘
7
’
5
”
”
“
’’
contributed greatly to our knowledge of the
housing plans in this part of the urban area.13*
Some buildings had a decidedly residential
character. Others combined a residential
Vanderhoeven 2007,315-317 Fig. 4: farmsteads o f the Alphen-Ekeren type.
Vanderhoeven, Martens & Vynckier 2001. See also Derks 1998,70-71.
Vanderhoeven, Martens & Vynckier 2001,65; Vanderhoeven 2007,317-319: in the early period, consumption o f pigs
largely dominated, which is indicative o f Mediterranean influence. In the second phase, the share o f cattle
gradually increases.
Vanderhoeven 2007,313.
Vanderhoeven 2007,321,323 Fig.11.
Lesenne 1975,82; Vanderhoeven et al. 1992,387-402,395; Vanderhoeven 2007,309-311.
Vanvinckenroye 1985,40; Vanderhoeven et al. 1992,388-389; Vanderhoeven 2007,315.
Raepsaet-Charlier 8t Vanderhoeven 2004: however, the precise circumstances and date are unknown.
Vanderhoeven 2007,324-325: only after the second large fire, dated after 152 AD, they began to use more durable
materials for the construction o f houses. However in the Flavian period, stone was already used in foundations
and parts o f the superstructure in residential quarters.
Mertens 1977; Vanderhoeven 2007,310 Fig. 1.
Vanderhoeven 2007,327-331: summary o f the housing plans. Until now, around five per cent o f the city area has
been excavated.
- 3 2 -
function with artisanal activities. Intensive
economic situation caused a decline in wealth,
seasonal crafts such as working horn and glue
production were practised in several
but in the fourth century, the city experienced
a revival. During the first decades of the fourth
century a new city wall was built that defined a
residential town houses.14 These crafts
demonstrate the interdependence of town and
country.
The lower southern area near the river Jeker is
covered by a thick colluvium, and has hardly
been examined yet.15 Probably artisanal
activities and possibly a small dockland can be
expected in the marshy zone around the Jeker.
smaller city area.21 It ran around the highest
and most easily defendable part of the city. Its
course crosses the ruins of various deserted
districts. The building stones of the destroyed
buildings were systematically recycled for the
construction of this new enclosure.22
In the middle of the fourth century, Tongeren
was the seat of Bishop Servatius. This fixes the
An approximately 4500 meters long city wall
was constructed in the second half of the
presence of a Christian community in this
period in Tongeren.23 The construction of a
second century AD.16 There may be a
relationship between the construction of this
basilica in the fourth century attests these
wall and the incursions of the Chauci around
AD 170/175.17A second major fire that left traces
across a large part of the city was dated after AD
152 and probably testifies to these riots.18
An altar dedicated to Jupiter and the genius of
the municipium of the Tungri, dating from the
second half of the second or the beginning of
the third century, testifies to the city status as
municipium Tungrorum.'9There is a possibility
that the acquisition of this status is related to
the reorganization of public space, such as the
construction of the long city wall and the
temple terrace in the northern area of the city.
events.24 However, the revival was short-lived.
A gradual shift in the position of power from
Tongeren to Maastricht led to the depopu
lation of the city after the first decade of the
fifth century, caused by the gradual de
population of the hinterland and the declining
importance of the road transport in favour of
the rivers.25
The discovery of the figurines: details on
the find locations
The distribution pattern of the terracotta finds
includes various find locations inside and
outside the second-century city wall (Fig. 14)Intra
muros, many finds were made near the
In the second half of the third century a third
large fire ravaged the city, which has been northern temple complex, although we cannot
associated with the incursions of the Franks.20 prove a direct relationship. The most
In this period the general political and remarkable find is that of the ‘Thien Schuur’
“
Vanderhoeven 2007,332-333: refuse pits were found w ith horns o f around 500 cattle near a rich town house along
the Elisabethwal. This presupposes the presence o f a workshop for working horn and the proximity o f a tanneryIn the open space behind a house w ith a central courtyard in the Hondstraat, a large number o f pits were found
w ith remains o f long bones that testify to systematic extraction o f marrow and marrow oil and the production ot
»
16
v
18
■»
bone grease and bone glue.
Vanderhoeven 2007,311.
Vanderhoeven et al. 2007a, 185-187.
Vanderhoeven 2007,309,313.
Vanderhoeven 2007,313,324.
§2 I ,
___
Vanvinckenroye 1994; Raepsaet-Charlier 1995; Raepsaet-Charlier & Vanderhoeven 2004,53. 57; Vanderhoeven 2007,
«
311Vanvinckenroye 1985, 63; Vanderhoeven 2007,324.
”
**
|
Vanderhoeven 2007,309,324.
Raepsaet-Charlier 8i Vanderhoeven 2004, 63; Vanderhoeven 2007,325.
Raepsaet-Charlier & Vanderhoeven 2004,63; Vanderhoeven 2007,482.
“
“5
Arts et al. 2009.
Raepsaet-Charlier 2004.
-
33
-
Kg. 14. The find locations o f
figurines in second century
Tongeren.
some distance to the southeast o f the
The north temple26
sanctuaiy. One fragment was found at the
north side of the sanctuary, while on the
The sanctuary was built on an artificially
elevated site against the inside of the northern
the
city wall. The place is called ‘Ilzerbron’, which
‘Broekberg’ there were various finds. A second
concentration is located in the western
periphery at ‘A an Paspoel’, where presumably
adjacent
Roman
refuse
dump
of
refers to the wells with ferrous water that
originate in the vicinity.27As the proximity of
artisanal activities took place. A third major
intra muros concentration was in the
water was necessary to perform the rituals, it
should be noticed that the presence of springs
‘Kielenstraat’, where excavations unmis
in or near a sanctuary not always implies a
sacred or curative significance of the spring.28
takably demonstrated its artisanal character at
the time contemporary to the figurines. The
finds extra muros are almost exclusively
From 1964 to rg67, excavations revealed two
construction phases.25 The temple was built
according to the Gallo-Roman plan on an
concentrated on the southwestern cemetery.
Remarkably, these finds are clustered in a very
lrmrted zone of this extensive Roman burial
site. Until now, no clay figurine was found on
elevated terrace and surrounded by a porticus.
A number of outbuildings lay at the north
side. According to Mertens, when renovating,
the cemeteries at the north and east of the city,
apart from an isolated burial group at the
northeast of the city along the ‘A rmand
Meesenlaan’.
the original Gallo-Roman temple was adapted
to the classical architecture by incorporating a
promos within the front ambulatory.
There are indications that the area was
frequented from the middle o f the first
century until the end of the Roman occupation
in Tongeren. Mertens dates the oldest features
27
28
So far m Roman Tongeren one temple has been identified w ith certainty. We w ill refer to it as the north tem pi*
because o f its location against the northern city wall.
Mertens 1967,106, nt. 19: Mertens associates the temple with a text by Plinius that mentions a therapeutic well with
ferrous water in the Civitas Tungrorum; Plinius, Nat. Hist. X X X12.
Derks 1998,207.
Mertens 1967,103 Afb. 2 and 105 Afb. 4. Reconstruction in Vanvinckenroye 1975,70 Afb. 35. Referred to as a
classicized Gallo-Roman temple in Derks 1998,148.
-
34-
to the third quarter of the first century. The
archaeological items whose dating extends to
Flavian period is mainly represented by finds
from the infilling of the terrace on which the
temple was built.30 The temple, of which the
the middle of the second century.33
Furthermore, the city wall that was
constructed in the second half of the second
centuiy cuts these buildings.34 If the terrace
and the Gallo-Roman temple were built in the
middle of the second centuiy or shortly after
foundations were excavated, dates from the
second century. The fact that the sanctuary
was integrated within the area defined by the
much smaller fourth century city wall may
indicate the survival of the temple in the late
Roman period.
that, the adaptation to the classical building
style has to be dated to an even later period.
Indications of the gods that were worshipped
The precise dating of the temple still poses
problems. According to Mertens, the terrace
defined by the porticus, on which the first
in the sanctuary are limited. A stone pedestal
o f a Mercurius statue surfaced during
groundwork on the temple court.35 It was
podium temple was built, was constructed at
the end of the first or the beginning of the
found together with fragments of two
sculptures that once crowned columns,
showing Jupiter on a horse defeating two
second century. The adaptation to the classical
building style would have taken place in the
second half of the second century.3*
It can be argued that the large-scale construc
serpent-footed giants (Fig. is).36 This
monumental representation of the bearded
horseman god with a lightning bolt or wheel
tion of the terrace and porticus took place in
in his hand, vanquishing a giant with a snake’s
the second half of the second century. This is
demonstrated in the research o f W. Vanvinckenroye in 1979 and 1980 on the
tail, is a creation of provincial religious art in
Gaul and Germania. The theme is based on the
Graeco-Roman triumphal iconography of the
‘Broekberg’, the adjacent area west o f the
Gigantomachy, but is new as a way of
representing Jupiter. Some authors interpret it
temple terrace. This place served as a dump in
the Roman period. Both the abundantly
present terra sigillata and common pottery
determined the end of the refuse dump to
as alluding to the emperor’s victories, while
for others it signifies a cult in which Roman
and Celtic elements are blended.37
between 135/140 and 150/160 AD.32The levelling
package that covered the Roman dumping
The
layers over at least 5 metres was cut by the
terrace wall of the sanctuary and stretched out
behind that wall, in the terrace itself.
Therefore the construction of the terrace must
be dated to the middle of the second century
AD or later. A similar picture is provided by
plinth
of
a
terracotta
figurine
representing Juno (TO27) was found during
the 1965 excavation of the northern temple as a
stray find. An amateur collected the object in
the soil thrown up from the trenches, by the
northern outhouses near the city wall.383
9The
the infilling layers that covered the older
buildings on the slope during levelling of the
figurine was later sold to the Gallo-Roman
museum and published under the general
entry ‘Bilzersteenweg’.33 The fragment is
area north of the temple. These also include
signed by the Cologne coroplast Servandus
30
31
32
33
34
35
36
37
38
39
Mertens 1967,104-105.
Mertens 1967,103-105 Afb. 4, in particular p.105. The City o f Tongeren conducted new excavations on the temple
site in 2012 (Peter Cosyns).
Vanvinckenroye 1989,9-11, Afb. 1C , 55-57.
Mertens 1967,104.
Vanderhoeven et al. 2007a, 85-87.
Cahen-Delhaye & Smeesters 1981.
Noelke 1981,490.
Bauchhenss 8r Noelke 1981; Van Adringa 2002,190-191; Kemkes en W illburger 2004 31-33. Zie voor de civitas
Tungrorum: Raepsaet-Charlier 2003,53 en Raepsaet-Charlier 2007,444.
Found by P. Jadoulle, info. J. Box.
Despriet 1974,53-60 Fig. 1.
-
35-
and therefore dated in the second half of the
second century.40 Chronologically, it is
contemporary with the functioning of the
sanctuary.
The place is located southeast of the north
temple. A street that was part of the Roman
urban grid, ran in its vicinity.43 In 1966,
immediately to the south of the find location,
opposite the ‘Hemelingenstraat’, a massive
foundation of a major building was found.43
According to Mertens, it is possible that this
was part of a second temple. New excavations
in 1994 immediately to the west of the figurine
Fig. 15. Jupiter on a horse
defeating two serpent-foo
ted giants from the
Tongeren north temple.
deposit confirmed the official character of the
zone, when the remnants of a construction
with apsides were discovered on the corner of
the ‘Hemelingenstraat’ and ‘Pliniuswal’.44
There may be a connection with the
foundation found earlier. Judging from the
size and permanency of these constructions
the sector must have had a rich residential or
public function. As on the site of the northern
temple, a fragment of a Jupiter column was
found here in 1934.45
The interpretation of the archaeological
remains in this zone is gravely hampered by
The ‘Thien Schuur’find
major disturbances in the post-Roman era.
Because of the construction of the thirteenth
century city rampart and its demolition in the
The triangle between the current ‘Hemelingenstraat’ (formerly ‘Hasseltsestraat’), ‘De
Tieckenstraat’ (formerly ‘Thien Schuur’), and
nineteenth century, a large part of the Roman
layer in this part of the town has disappeared.
‘Pliniuswal’ is the location of a substantial find
Excavations in 1994 on the corner o f the
of well-preserved terracotta figurines at the
‘Hemelingenstraat’ and the ‘Pliniuswal’
revealed that the ancient occupation layers
from the second, third, and fourth century
have not been preserved.46
turn of the nineteenth century (Table 2). Until
now it was referred to as the find of the
‘Hasseltsestraat Tienden Schuur’ or ‘Hasseltse
straat depot’.41* Adjoining the former ‘Thien
Schuur’ street, the find is further on referred
to as the ‘Thien Schuur find’.
“
41
See the chapter on the coroplasts.
Van Boekel 1987, 679; Schauerte 1985,342, De Beenhouwer 2005,271.
41
43
44
This was established during public works on the Tongeren sewer system in 1934 and 1935: Paquay 1935,21: “een weg
m de nch tin g der huidige Hasseltsche straat. Bij den ingang der straat is de w eg waar te nem en m idden de straat,
verder wijkt hij a f in de richting van ‘thuis Mathieu Christiaens, nr. 47 (C 92tg), voorbij de kromming der straat.”
Mertens 1977,146-147 Afb. tan d 3; Mertens 1984,46 Fig. 6.
Vanderhoeven & Vynckier 1994,75-83, Fig. 1 and 2.
45
46
Paquay 1935,74: Hasseltsche straat tegenover huis nr. 3, C 948d; Vanvinckenroye 1985,114.
Vanderhoeven en Vynckier 1994,75.
- 3 6 -
Fig. 16. Map showing the
position o f the north tem
ple, the major building with
apsis (in brown, left) along
the ‘Hasseltsestraat* and the
terracotta finds in this area.
Around 1900, Mathieu Christiaens found a
large number of well-preserved terracotta
figurines on his property near the
‘Bilzerpoort’. The distribution of a part of the
find across various private collections, and the
publish and depicted three specimens of the
collection of baron Meyers in 1905.47
Apparently, Christiaens had given away
various specimens to this prominent resident
often incomplete, sometimes even contra
dictory reporting, has obscured the picture
of Tongeren almost immediately after the find.
It is Jan Paquay who, in 1913, was permitted to
publish an illustration with a selection of 38
until now, even concerning the number of
figurines. Collecting the dispersed short
specimens from the Mathieu Christiaens
collection.48
entries of the find in the literature made it
possible to reconstruct the facts to come to a
better understanding of the size, location, and
nature of the find.
In the first few years after the find, little
publicity was given to the discoveiy. Lucien
Renard, who could not appreciate the silence
that surrounded such an important discoveiy,
by-passed Mathieu Christiaens’ refusal to
47
48
49
50
51
Extensive publication at last followed in 1932
and 1933 by Hubert Van de Weerd. At that time
the collection still numbered 55 figurines.49In
the years before, Christiaens had given away at
least nine double specimens.50Altogether, the
original find therefore numbered at least 64
specimens.51
In total, 52 figurines of the original find are
preserved in the Gallo-Roman Museum of
TO 10,5, and 29: see also the Meyers collection.
Paquay 1913,94-95,2 photos between 88-89.
Van de Weerd 1932; Van de Weerd 1933. According to Van de Weerd, the collection numbered 54 specimens at that
moment, but he describes 55.
Van de Weerd 1932,279, nt. 4; also see the collections o f R. Christiaens, G. Meyers, A. Hubens, and Gilkens.
See the collections o f M. Christiaens-Peters, R. Christiaens, G. Meyers, A. Hubens, and Gilkens.
-
37
-
Fig. 17. Part o f the Thien
Schuur find first published
by Jan Paquay in 1913.
Tongeren.5
1*53 Only a photo remains of nine
missing figurines.53 Of three other missing
figurines, no image is preserved. Van de Weerd
mentioned one of these lost fragments.54 The
two other missing figurines belonged to the
Huberts collection. Because they were double
specimens, it can be assumed that no
iconographical information is lost.
51
a
“
!!
56
The first reference to the find by Renard in
1905, shortly after the discovery, neither
mentions the find location nor the owner.55
Renard, who had not seen the entire find at
that time, did not obtain permission to study
the figurines. From the 1932 publication by
Van de Weerd we do learn that the figurines of
the baron Meyers collection he describes, were
also part of the find of Christiaens.56
W hen the province o f Limburg acquired the collection in 1953, there were only 51 figurines left. The numbering in
the inventoiy book o f the ‘Oud Fonds’ o f the Gallo-Roman Museum precisely follows the order o f the publication
o f Van de Weerd: inventory numbers 2001 to 2051. Since the inventoiy, one Minerva figurine has disappeared:
inventory number 2019 is m issing (presumably TO 37). Two o f the figurines, once given away by Christiaens,
eventually ended up in the museum (TO 12 and 43).
This concerns three figurines from the Meyers collection, nos. 10,5,29, and nos. 59,60,16, and 37 and two
figurines that were possibly included in the donation to A. Hubens, No. 68 and 14.
Van de Weerd 1932,290: this concerns the same head as o f TO 28 w ith traces o f brown painting.
Renard 1905,285-286: “... récemment encore, une trouvaille, sans égale peut-être dans nos contrées, y a été faite. Il
s’agirait de la découverte d’une ‘boutique de figurines en terre cuite’ dont on aurait retiré, indépendamment de
quelques statuettes, une suite curieuse de petits bustes. Il est regrettable que le propriétaire actuel de ces objets
n’ait pas cru devoir en autoriser, dans un intérêt scientifique, la publication. On doit donc se borner aujourd’hui à
mentionner cette trouvaille sans plus de détails.”
Van de Weerd 1932,279, nt. 4.
-38-
J. Paquay is the first to mention the name
Christiaens in 1909. This author also provides
the first indication of the location near the
‘Bilzerpoort’.57 In 1934, Paquay gives an
accurate cadastral description o f the find
location that matches the division o f the
cadastre around the turn of the century.585
9In
1902, these parcels were in the possession of
the Christiaens family.55 They included both
the garden and an outhouse that were adjacent
to the then ‘Thien Schuur’ street.60It is clear
that Mathieu Christiaens became the owner of
a collection of terracotta figurines that he
himself had found around 1900 in his own
rather a description of the condition of the
collection in 1932. Although it is nowhere
explicitly said that the objects were found in a
closed context, various indications sustain
this proposition. On the one hand, there is the
large concentration of similar objects and, on
the other hand, there is the large profundity in
which the objects were found. In this area of
the city, on account of mediaeval groundwork
and recent sand extraction, the layers from the
second, third, and fourth century have not
been preserved. Therefore, the original depth
of the pit must have been even more than 2
metres.
garden or outhouse adjacent to the ‘Thien
Schuur’ street.
‘Broekberg’
For many years after the discovery, nothing
‘Broekberg’ is the name of the slope that marks
the steep boundary of the city plateau at the
was mentioned about the circumstances of the
find that could explain its nature. About 30
years after the find, Van de Weerd provided a
concise description: “The figurines were
found at a depth of about 2 metres. They lay
disorderly as if they had been emptied hastily
from a basket or barrel. Some figurines were
intact, but most of them were broken. Of
northeast side of the Roman town. From the
Roman wall and the lower ‘Broek’ it climbs into
the city, along the current Hasseltsesteenweg.
The find is located inside the Roman city wall
at the edge of the north temple complex.
Although the archaeological observations are
sparse and the comprehension is still incom
some, there was only debris. Other objects that
could have shed light on the date or of the
plete, in the early Roman period parts of the
place were used for sand extraction. Mainly
after the Batavian uprising a dump was built
nature o f the find were not discovered or
neglected.”616
2These data are of a general nature.
on the slope. A special find that surfaced here
in 1934 is a series of wooden writing tables.61
The first two sentences show that Van de
Weerd interviewed eyewitnesses about the
circumstances of the find. What follows is
57
58
59
60
61
62
Hoping to enlarge his personal collection,
baron P. de Schaetzen intensively searched the
Paquay 1909,51: “Récemment encore, M. Christiaens, ingénieur-architecte, a trouvé a Tongres, aux abords de la
Porte de Bilsen, section, C 921E, plusieurs statuettes de divinités provenant du lararium d’une maison privé.”
Paquay 1934, 66-67 and Fig. 7: “54 statuetten afkomstig van perceel C 921e en f ”.
Department o f spatial planning o f the City o f Tongeren: cadastral data associated with Jan Jozef Mathijs
Christiaens-Peeters, structural engineer in Tongeren. The residence o f Christiaens bordered the ‘Hasseltsetraat’
(then lot C92ig), while his garden and an outhouse bordered the ‘Thien Schuur’ street (then lots C92ie and f )..
There is no connection w ith the tith barn as Van de Weerd was led to suspect, indicating ‘Tiendenschuur’ as the
find location o f the figurines. See Van de Weerd 1932,279: “...in de Hasseltsche straat, op de plaats genaamd
Tiendenschuur”. Old map sheets show that ‘Thien Schuur’, was the name o f the street adjacent to the garden o f
Christiaens and is now called ‘De Tieckenstraat’. This street was named after the tithe barn, which, at least until
1864, remained preserved opposite the street. For the location o f the tith bam , see BaiUien 1978,181: “daar waar het
huis van de notaris Hougaerts (1977) staat”; Baillien 1995,131.
Van de Weerd 1932,280: “De terracotta’s werden op een diepte van ongeveer 2 m gevonden en lagen ordeloos
dooreen alsof ze haastig u it een mand o f vat waren uitgestort. Enige beeldjes waren gaaf, de meeste waren
gebroken, van enkele kwamen slechts brokstukken te voorschijn. Andere voorwerpen, die licht hadden kunnen
werpen op den datum o f de natuur der vondst werden niet ontdekt o f werden veronachtzaamd”.
Breuer & Van De Weerd 1935,495-496 Pl. XLI; Paquay 1935,74; Van De Weerd 1944,132,352 Pi. XXVII;
Vanvinckenroye 1985,114.
-39-
area between 1934 and 1949.63In addition to the
figurine fragments mentioned below, he
found hundreds of decorated terra-sigillata
sherds and stamps. According to de Schaetzen, the place was run as a sand quarry from
the middle of the first century AD, after which
the pits were filled up again with debris mixed
with pottery (Table 2).64
Terracotta fragments were found on locations
at both sides o f the ‘Hasseltsesteenweg’,
named ‘Broek I f and ‘Broek I lf after the
records of de Schaetzen. Based on archaeo
logical observations on a parcel656bordering
same Fortuna
‘Kielenstraat’.69
was
discovered
in
the
‘Aan Paspoel’
The toponym ‘A an Paspoel’ covers an area in
the southwest of the city, near the
southwestern cemetery, both inside and
outside the second century city wall. Between
1936 and 1944, Baron P. de Schaetzen excavated
two lots, situated between the large second
century wall and the smaller fourth century
enclosure.70 So the find locations were
‘Broek Ilf, W. Vanvinckenroye reached the
conclusion that the place was used as a dump
until between 135/140 and 150/160 AD.“ The
enclosed inside the city area in the second half
of the second and in the third century, thus
excluding the occurrence of graves during that
period.
supply of waste came to a sudden end, which
may be related to the construction of the
terrace of the north temple.
Though the context o f the figurines is
unknown, we can try to picture the nature of
the place using the objects collected by de
In 1935, a fragment of a Minerva figurine was
Schaetzen.71 According to his records, the
finds count a number of intact vessels and
found during work on the sewer system in the
‘Hasseltsesteenweg’ opposite the ‘Keverstraat’
(TO93). The museum inventory book mentions
numerous sherds of decorated terra sigillata.
Additionally, many bronze objects were found,
“Hasseltsesteenweg opposite the Keverstraat,
left trench”. This position corresponds to the
street rim that edges the find location ‘Broek
including a Mercurius figurine and coins.
Since the area is inside the second century
enclosure, it is not likely that the objects come
If, examined by de Schaetzen in the same
period.67
from a funerary context. Apart from the
‘Broek Ilf is located between the Hasseltse
steenweg and the temple terrace.68The back of
a Fortuna figurine and fragments of a bust
were found here (TO 7 and 77). The front of the
*
64
65
66
luxury goods, remains of artisanal activity
were recovered. Pieces of carved bone and a
large number of polished bone needles, in
addition to partly polished specimens,
indicate the vicinity of the workshop of a bone
craftsman.
Baron de Schaetzen & Vanderhoeven 1964,8: mention o f the precise lots; Schaetzen & Vanderhoeven 1953/1954,7:
“...emplacement qui, en partie, a été exploité comme carrière de sable et remblayé déjà à l’époque romaine, nous a
fourni 780 tessons ornés...”
Anon. 1958, 68; Vanvinckenroye 1989,11.
lots A526b2 and C 2 , bordering ‘Broek HT
68
69
See the north temple. The Roman soil formed a humous package o f successive layers holding both building waste
and household waste. It contained burned loam from walls, tiles, stone waste and charcoal, next to large
quantities o f animal bones, oyster shells, mussels, and especially many glass and pottery sherds.
Then Lot A537. In 1936, during excavations on the site, denoted by de Schaetzen as ‘Broek IT, along the
Hasseltsesteenweg on lot A537U2, a fragment o f a terracotta mask was found. See De Beenhouwer 2005, No. 813.
Then Lots A5250 and q. Archive o f the Gallo-Roman Museum o f Tongeren.
See ‘Kielenstraat*, stray find 1935.
71
Then Lots 0225a and 223d. Baron de Schaetzen & Vanderhoeven 1964, 8; Schaetzen & Vanderhoeven 1953/1954,7:
part o f the site was systematically examined; 250 decorated terra-sigillata sherds were found.
Anon. 1958,67-68.
67
-40-
The inventory book of the P. de Schaetzen
collection gives four fragments of figurines as
coming from “Mon terrain 46, Chaussée
romaine Tongres” and a fifth fragment “Mon
terrain aan Paspoel, Chaussée romaine
Tongres” (TO 49,54, 55,78).72Combining both
locations leads us to the conclusion that this is
the same place owned by P. de Schaetzen, on
the street named ‘Romeinse Kassei’ in the area
‘Aan Paspoel’.73 The so-called “Chaussée
romaine” does not refer to the Roman BavayCologne road but to the current street named
‘Romeinse Kassei’. Five fragments of figurines
were found here between 1938 and 1944 (Table 2).
They are representations of Venus, Apollo, a
horseman, and a bull. The fifth fragment,
probably part of an animal, has gone missing.
These terracotta finds are dated after the
middle of the second century by the series to
which they belong.74
‘Kielenstraat’
Between 1986
and
1995,
the
bitants settled in traditional stable-houses.
One of these houses is distinguished by the
absence of the stable section and the presence
of two wooden cellars. A ritual deposit was
hidden in one of the postholes. According to
Vanderhoeven, these distinguishing features
indicate a social hierarchy within the group of
inhabitants.76 In the third phase, during the
Claudian period, the street was gravelled for
the first time and the traditional stable-houses
were replaced by a large timber construction
with rooms arranged around a central court,
influenced by the Mediterranean architecture.
Under the reign of Nero, a number of
renovations took place, after which the
courtyard-house burned down by a large fire,
linked with the Batavian revolt around AD
69/70. The design of the residence and the
presence o f wall painting refer to the well
being and increasing Romanization of the
native inhabitants.
Flemish
The fourth phase covers the Flavian period and
Archaeological Service, systematically exa
mined the site on the corner of the ‘Kielen
straat’ and ‘Predikherenstraat’.75 The excava
the first half of the second century. After the
fire of 69/70, again timber houses were built,
although elsewhere in the city in this period
tion brought to light a street oriented north by
northwest, with occupation features on both
the use of stone was gradually introduced. In
the fifth phase, in the middle and third quarter
sides from the last decade of the first century
of the second century, continuing the plan of
the previous timber constructions, stone
pillars were added, using recycled building
BC to the second half of the third century AD.
Six occupation phases cover three main
periods, marked by the three large fires that
ravaged the city.
In the pre-Flavian period, the place went
through an evolution, as found in several areas
throughout Tongeren. The oldest structures
mainly consist of pits and ditches, following
the orientation of the street grid. They bear
witness to the military presence in the first
decade BC. In the second phase, during the late
Augustan and Tiberian reign, native inha
stones, and stone foundations were planted
under the wooden foundation beams. Around
AD 170/175, a fire raged on both sides of the
street and destroyed the last wooden buildings.
This catastrophe is probably related to the
incursions of the Chauci, the burnt layer of
which appeared here for the first time in
Tongeren.77The division between the fourth and
fifth phase is rather vague. At an architectural
level, there seems to be continuation. Artisans
among which were metalworkers, operated
72 Inventory o f P. de Schaetzen, preserved in the Gallo-Roman Museum o f Tongeren.
” Also see the collection o f P. de Schaetzen.
74 Series 30 after 150 AD, series 35 after 150/180 AD, and series 36 after 180 AD.
”
Vanderhoeven et al. 1987; Vanderhoeven et al. 1991; Vanderhoeven et al. 1992,90 Fig. 1: localization o f the excavation
pits 19 and 20); Vanderhoeven, Martens & Vynckier 2001, 61; Vanderhoeven 2007,311,314-3*7 K g. 3-4 and 313 Fig. 15.
74 Vanderhoeven 2007,317.
77 Vanderhoeven et al. 1991,113.
- 4 1
-
here in both occupation phases. The remains of
their activity mainly concern a group of ten
kilns stretched along the street, a few pits with
bronze slag and a water basin spread with clay.78
The function of six square pits with a depth of
three to four metres, arranged around a wooden
cellar is still unclear; they may be cesspits.
Large quantities o f cattle offal indicate a
butcher’s enterprise.79From an urban point of
view, the district held on to wood and earth
construction in the period between the large
fires of the first and the second centmy. The
consumer behaviour is marked by the relative
scarcity of terra sigillata and glass.80
group of craftsmen.83A fragment of a goat (TO
81), was found in a square pit that contained
burned loam and roof-tile fragments. The pit
belongs to the phases 4 and 5, dated between
AD 69/70 and 170/175. The bust of a wreathed
boy (TO 62) was found in an infilling layer of a
pit, at the edge of a stone construction from
the last quarter o f the second and third
century, near a building from the second h a l f
o f the second centuiy. The rectangular pit was
1.5 metres long and 90 centimetres wide and
its remaining depth was 1 metre. Above the
pit, the soil had already been dug off two
metres to construct a post-mediaeval
basement. At the time, the walking level of the
During the sixth and last phase the first stone
buildings appear. They were constructed at the
end of the second century and remained in use
stone-construction phase was at least 1.25
metres higher than the top level of the remains
into the third century. Presumably, they were
also destroyed by fire. This can be observed by
the walls were almost vertical. The tip of two
heavy posts in the corners at the edge of one
fire waste in a few third-century pits and wells.
The floor level of these houses has not been
short side did not reach the bottom level of the
pit. They were presumably set up after the pit
preserved. Even the foundations were removed
in the course the fourth century. After the
third century, the place was left fallow for a
had already been partly filled up. The dating of
the series that includes the bust demonstrates
long time. After the construction of the
smaller fourth-century city wall, it was no
longer part of the urban area.
In the twentieth century, figurines were found
in this area at various occasions. Two
fragments of the front of a figurine were found
in 1935 during work on the Tongeren sewer
system (T07).8‘The back of the same figurine is
found on the ‘Broekberg’.82The dating of the
series that includes the Fortuna figurine
demonstrates that it belonged to faze 6, dated
between AD 69/70 and 150.
Six other figurines were found during the
excavations conducted by the Flemish
Archaeological Service (IAP), five of which in
contexts that mainly belong to the fourth and
the sixth phase, when the place was nm by a*
of the pit. The bottom o f the pit was level and
that it belonged to phase 4, dated between AD
69/70 and 150. A figurine depicting Fortuna
(TO 23) was found in an occupation layer, just
above the floor level of a timber construction
from phases 4 and 5. There was a small oven in
the same room. The layer was dated to the last
quarter of the first century until before the fire
around AD 170/175. Furthermore a handmade
bird (TO 89) was found in an infilling layer
above some subsided pits. The layer contained
many roof-tile fragments. It is dated to the end
of the second centuiy. A wheel-turned bird
(TO88) was found in an occupation layer from
phases 4 and 5, dated between AD 70 and
vo/vs- And finally a figurine of a hen (TO 83)
was found as a stray find. The dating of the
series to which it belongs suggests that the
figurine belonged to phase 4, dated between
AD 69/70 and 150.
75
“
Vanderhoeven et al. 1991,111,115 Fig. 9 No. 8; Vanderhoeven et al. 1987,133 Fig. 8,13.
Vanderhoeven etal. 1987,137 Fig. 8,134; Vanderhoeven etal. 1991,121.
Vanderhoeven et al. 1991, 121.
”
Found on the 25tho f October 1935, ‘Kielenstraat’ 16, at a depth o f 2 metres.
See ‘Broek III’.
*
Vanderhoeven et al. 1991,121; letter o f G. Vynckier 15/2/99.
-42-
‘Sint-Truidersteenweg’
Excavations in 2000 and 2001 revealed the
and fourth-century wall.91 A small-scale
excavation in 2004, affected the middle of a
remains of timber constructions that were block, following the orthogonal plan of the
covered by a north to south oriented street.84 street grid.92 Pre-Flavian remains were not
To the west of the street and in the same found. They may have been destroyed as a
orientation, stood a building with stone result of later construction activities. The
foundations. The place is located in the occupation is recorded from the end of the
southwestern area of the Roman town, within first until the third century. An isolated sherd
the second-century city wall.85
from the fourth century is a silent witness to
Refuse pits were found throughout the place.
In the space between the stone construction
the human activity in the late Roman period.
In an occupation phase from the end of the
and the street, two cesspits were excavated; first and the first half of the second century,
they probably succeeded each other in time.86 five refuse pits were found.93 Three of them
In the infilling layers above the subsided fill of were completely excavated. They had been
one of these pits, a coarse pot covered with used simultaneously.94 The research into the
glass paste on the bottom indicates nearby
glass production.87 On a lower level, a Mercurius figurine (TO 56) was found.88 It was
carefully hidden under a large fragment of a
animal and plant remains in the refuse pits
provides a good picture of the nature of the
occupation in this period. Next to bones of
pigs, sheep, and cattle, a large volume of field
roof tile or tegula in one of the upper layers of
the cesspit. The layers on top included objects
and grass plants is considered the waste from
burnt hay.95This implies the presence of cattle
that cover the entire second century.89 in the vicinity. In the Flavian period and the
However, it is not probable that the figurine first half of the second century, this part of
was part of these layers. The density of the
ground around the figurine being much
looser, this led part of the context to collapse
before the section could be drawn. From the
density of the soil and the special position of
the figurine beneath the tile, it seams the
figurine was buried separately at a later time90.
‘de Schaetzengaarde’
The place is located in the southwestern part
of the Roman town, both within the second
®
*
89
25
”
18
89
90
91
92
93
94
95
96
town apparently had a rural aspect. A
fragment of a figurine, depicting a horse or
cattle (TO 82), was also found in one of these
pits. The representation clearly matched the
interest of the local inhabitants. The plinth of
the quadruped was found in an oblong refuse
pit.96The fill consisted of two layers of sandy
loam of equal thickness. In addition to bones
from cattle, pig, sheep and fish remains, the
bottom layer contained a lot of botanical
remains, in particular barley, spelt, wheat,
Excavations by the Tongeren Archaeological Service and the Flemish Archaeological Service (IAP)
Vanderhoeven, Van Rechem & Vynckier 2003,75-76; Van Rechem & Vynckier 2006,57-60.
Vanderhoeven, Van Rechem & Vynckier 2003,75.
Vanderhoeven, Van Rechem & Vynckier 2003,76: according to the authors, the dating entered here in the fourth
century has to he revised; Van Rechem & Vynckier 2006,60.
Sint-Truidersteenweg trench 001, trace 337, layer 391: Cadastral lot D215S
Information G. Vynckier.
Information G. Vynckier; Van Rechem & Vynckier 2006, 60: “mogelijk gaat het om een intentionele depositie uit de
fase van het dichten van de put”.
Tongeren dept. 1, section I)252t. Excavation conducted b y the Flemish Archaeological Service (VIOE), in
collaboration w ith the Tongeren Gallo-Roman Museum.
Vanderhoeven et al. 2007b, 159-161, Fig. 2-3: location plans.
Vanderhoeven et al. 2007b, 162 fig .4 ,165-166.
Vanderhoeven et al. 2007b, 172.
Vanderhoeven et al. 2007b, 174,176-177.
Vanderhoeven et al. 2007b, 166. A pit measuring 80 x 180 centimetres and w ith a level bottom at a depth o f 40
centimetres.
-
43
-
pulses and nuts, together with field weed and
meadow plants.37 Apart from the figurine the
upper layer held a piece of Egyptian blue
pigment, as another exceptional find.
Stratigraphically, the pit is older than the
stone baths and held a lot of ceramic finds,
mostly tableware, kitchenware, and storage
pots, dating from the second half of the first
and the first half of the second century.
In the second half of the second century and in
the third century, the view of the area changed.
In that period monumental baths were built on
this location.38 Old finds from the wider
surroundings
indicate
that
the
‘de
Schaetzengaarde’ zone in this period belonged
to a monumental and luxurious district,
possibly with a public function.33Around and
outside the ‘Sint-Truiderpoort’, remains of
side the smaller fourth-century rampart.'" It
was intersected by a Roman road running
north-south which was resurfaced seven times
in all from the early first century to the early
third century.'03 Initially, wooden buildings
were erected along the road. In the second
century, two stone buildings with a stone
cellar were constructed on either side of the
road. A small oven, possibly for food prepa
ration, a chalk pit and some hearths attest to
the artisanal activities that took place there.
The western building had at least three small
rooms on the street frontage, which the
excavators interpreted as shops. The stone
dwellings underwent different building
phases, but were abandoned in the course of
the third century and demolished. In the
fourth century the site lay outside the walled
section of the city.
sculptures and monumental architecture have
regularly been discovered since the nineteenth
century, among which an inscription to
Behind the western building with its ‘shops’
lay open ground. Three of the pits found here
Fortuna, fragments of Jupiter and Juno
statues, a bust of a genius, parts of pillars and
capitals, and an itinerary.“0On the location of
yielded special finds: a stone statuary group of
Juno and Jupiter,“4 terracotta fragments of a
Mercurius figurine (TO 57), and a fragment of
the baths a gold ring with the portrait of
emperor Commodus was found (AD 180-193).“'
Clearly, the 2004 excavation demonstrates that
the rather rural character of the occupation in
the Flavian period and first half of the second
century differs fundamentally from that of the
environment of the later bathing facilities.
‘Elfde Novemberwal’
a glazed flask in the shape of a monkey (TO 92).
The stone sculpture group can be dated to
between the last part of the second to the first
half of the third century“5 Judging by the
pottery the pit, in which the Mercurius
figurine was found, was dug in the second half
of the second century or later.“6 The monkey
was found in a pit with an irregular shape.'07Its
stratigraphic
position
in
the
topmost
The area excavated in 2008 was located insidp
excavation plane, suggests that the feature
the large second-century enclosure but out* could date to the third century.
Vanderhoeven et al. 2007b, 171-172,175-177
Vanderhoeven et al. 2007b, 160-165.
Vanderhoeven et al. 2007b, 178.
Vanderhoeven et al. 2007b, 178 nt. 31-33.
Vanderhoeven et al. 2007b, 177; Sas & Creemers 2002,121-123
Excavation NV Anicius TO 08 AN, situated at Tongeren lots, 7th division, sections A 363ms and 363I5. NV Anicius
is a partnership project between De Lijn, the Flemish Community and the City o f Tongeren
Borgers et al. 2009.
6
Find number 041, pit 3, plane 2, feature 8.
Borgers 2009,34-35 and Appendix 5: identified by T. Panhuysen.
Pit 03, plane 03, feature 116. The oval pit had a width o f 3.6 m. It had an irregular cross-section and a stratified fill. A
Mercurius figurme was found in layer 116.2, next to a fragment o f a Dragendorff 27 bowl in terra sigillata, a fragment
. “ ” se pot 311(1013 dun-walled colour-coated beaker related to Brunsting 6b (IIB-IIIA). The layer below, 116 3
yielded among other things a wall fragment o f a pot with a lid seating, whose rim profile matches Gose 506 toe).
Pit 03, plane 01, feature 011. The brown-grey sandy fill contained charcoal, mortar, chalk and brick. The ceramics
were m ainly made up o f kitchenware, alongside storage vases such as amphora and dolia. Also found were a large
number oitegulae fragments, iron nails and two chunks o f lead. A mortarium in terra sigillata dates all o f these
rinds to after the middle o f the second century.
-44-
The southwestern cemetery
The cemetery stretched out along the south
western exit road. Leaving the Roman town,
the road subdivided in a north-western branch
to Cassel via Tienen and a southwestern
branch to Bavay. The necropolis that
developed alongside these branches was used
during the entire Roman period.
Since the nineteenth century, the area was
intensively investigated in search for antiqui
cemetery were discovered on two adjacent
lots, located between the current ‘Romeinse
Kassei’ and the Roman road to Bavay (Table 2).“
The lots directly border to the west the area
that was examined by Vanvinckenroye.
Between 1898 and 1906, during the excavation
campaigns of F. Huybrigts and the Société
Scientifique et Littéraire du Limbourg, four
ties. The section of the burial site embedded
between the Roman roads to Bavay and Cassel
figurines and two unguentaria were discovered.
Most o f them ended up in the private
collection o f Huybrigts and were heavily
damaged by the fire that ravaged his collection
is undoubtedly the best documented. In
excavation campaigns of the Tongeren
museum between 1972 and 1981, W. Van-
in 1914.“ Exactly one hundred years later, in
1997 and 1998, the place, threatened by
allocation, was re-examined by the Flemish
vinckenroye was able to survey 291 graves.“8In
archaeological service.“3 Traces from at least
two old excavations were recorded. They were
small exploration pits from the nineteenth
earlier excavations, dozens of graves had
already been discovered in the same zone.“9A
gravel path ran straight through the mapped
area and parallel to it a fencing ditch. Nearly all
graves from the middle Roman period (70-275
AD) are located to the west of the path. It may
have been the boundary with a residential zone
to the east that, from the Flavian period on
developed along the Roman roads. Only two
pre-Flavian graves were discovered on the
century and small-scale trenches from the
beginning of the twentieth century that were
presumably related to the activities of
Huybrigts and the Société Scientifique et
Littéraire du Limbourg. In spite of these
disturbances, another twenty-two inhumation
graves and one hundred and eighty cremation
entire area.“ They were located to the east of
the fence, in the zone that was used for
graves surfaced in the new campaign. Again
three o f the graves contained terracotta
figurines. In the entire zone, no graves from
habitation from the Flavian period on. In the
late Roman period (275-4.ro AD), this
the third and fourth century were recorded. In
general, the burials date from the middle of
residential zone was also in use as burial site.
In spite of the large number of graves that were
the first to the end of the second century.
excavated, fragments of figurines didn’t occur
or passed unnoticed in these campaigns.
In 1898 Huybrigts excavated a grave that held a
All terracotta figurines and figurative unguent
dog figurine (TO 79), an unguent bottle with a
human shape (TO 90), and two coins, one of
Trajan (AD 98-U7) and one of Hadrian (AD 117-
flasks that were found on the southwestern10
*4 138).“4According to L. Renard, it was a child’s
9
8
108 Vanvinckenroye 1984: w ith general excavation plan attached.
109 Vanvinckenroye 1984,14-15. Between 1931 and 1934, baron P. de Schaetzen found some late Roman inhumation
graves. The first systematic research took place in 1957 and 1958, when ten graves were examined by the Belgian
Archaeological Service, and forty-four graves b y the excavation service o f the Tongeren museum (Roosens &
Mertens 1970); Vanvinckenroye 1963. Thirty-five o f these graves were found on the lots bordering those that
produced the terracotta finds by Huybrigts and the Société Scientifique et Littéraire du Limbourg
(Vanvinckenroye 1963,19:23 graves excavated on lot B680 and 12 graves on lot B69b3). They date from the middle o f
the first to the end o f the second century.
110 Vanvinckenroye 1984, 62,144-145,223, nos. 95 and 289: this concerns the ‘Brandschüttungsgràber’, one o f which
was covered by the m ound o f a tumulus, together with the stake.
m Lots B67 and B68.
m See Huybrigts collection.
1,3 Lots B67f, g, and d , Vynckier and Vanderhoeven 1999.
114 Lot B68c, Grave 5/12/1898. The grave was excavated on 5 December 1898 on Lot B68c. Its inventory belonged to the F.
Huybrigts collection. Renard 1905,291 and nt. 1; Paquay 1934,45 No. 103 and 102: unreliable description o f the grave
(see Huybrigts collection).
-
45“
grave. The idea is probably supported by the
fact that the anthropomorphic bottle was not
functional. The neck of the vase is not
completely pierced. According to Renard, that
is why it served as a toy. This conjecture is
unfounded. The burial is dated between AD 117
and 200, the coin of Hadrian counting as
contained two vessels made of green glass, of
which a small unguent bottle, two worn-off
coins, and a flat metal box enclosing a small
stone. The metal box that produced a clear
terminus post quern, and the part o f the
cemetery in which it was found, offering a
terminus ante quern.
period of use of this part of the cemetery, dated
between 50 and 200 AD. The series to which
the Fortuna figurine belongs allows for a more
On the same day in January 1905 Huybrigts
discovered two adjacent graves that held
terracotta figurines.11516
*In the first one he found
a figurine of a pigeon (TO 87). According to L.
Renard, besides the pigeon, the grave
contained fourteen different vessels, four
silver fibulae, and an Antoninus Pius coin
(i38-i6i)."s Because of this coin and the dating
sound was interpreted to be a rattle. No
cinerary run was mentioned. The dating could
only generally be determined according to the
precise dating of between 140 and 180 AD.
The second grave was a cremation burial.”9
According to the report of the society from
1907, in addition to the pigeon-shaped bottle
(TO 91), the following were found: a terracotta
lamp, a black beaker, three coins, a fragment
o f a fibula, and a handful of cremation
remains. The concise description o f the
objects does not allow a chronological
determination of the context. The part of the
of the part of the cemetery in which it was
found, the grave must have been dug between
AD 138/161 and 200.
cemeteiy in which it was found, is dated
between 50 and 200 AD.
In addition to a hen figurine (TO 85), the
second grave contained another nine ceramic
During the
vessels and four large silverfibulae.“7Renard is
more precise on two objects: “deux belles
Archaeological Service in 1997 and 1998, again
three figurines were found."0 A Minerva (TO
poteries en terre rouge décorées sur les bords
de feuilles de lotus en relief”. This could refer
to the forms in terra sigillata Ritterling 12 or
Curie i f Drag. 35 or Drag. 36. In spite of this
35) was found just beneath the plough layer.
There was no sign of a burial pit, or of other
information, it is the particular area of the
50 and 200 AD. The series to which the
cemeteiy in which it was found that offers a
general dating between 50 and 200 AD.
Minerva figurine belongs is dated after the
middle of the second century.
On behalf of the Société Scientifique et Littéraire
du Limbourg, in October 1906, Huybrigts
excavated two graves holding a Fortuna
figurine and a zoomorphic unguent flask.”8In
addition to the Fortuna (TO 6), the first grave
“s
campaigns
o f the Flemish
grave goods. The part of the cemetery in which
it was found, offers a general dating between
A Cybele (TO 1) was found in a cremation
burial from the second century. The series to
which the figurine belonged can be dated to
after 130/140 AD.
The hen (TO 84) was found in a cremation
burial. The bird was placed on top of the
Lot B67C, found on 20/1/1905.
116 Two bronzed vessels were stamped “ ...MANI”, and a terra sigillata plate was stamped “XII”, Renard 1905,298 nt. 5;
Bulletin de la Société Scientifique et Littéraire du Limbourg 25,1907,228-229; Paquay 1934,41 No. 61: unreliable
description o f the grave (see Huybrigts collection).
Renard 1905,299; Paquay 1934,41 No. 60: unreliable description o f the grave (see Huybrigts collection).
Bulletin de la Société Scientifique et Littéraire du Limbourg 25,1907,226-227. The grave was found at a depth o f 1.3
metres. Lot B68i, grave 23/10/1906.
”
Bulletin de la Société Scientifique et Littéraire du Limbourg 25,1907,228. The grave was found at a depth o f
between 70 and 80 centimetres. Lot B68i, grave 27/10/1906.
Lot B 67 f, g, and d.
-46-
cremation remains, and found together with a
painted, coarse jar of Tongeren origin, named
‘honingpot’.“ This type of jar was in use from
the end of the first century and throughout the
second century.“2 The grave did not hold any
further gifts.
The isolated burial group of the ‘Armand Meesenlaan’
In 1982, constructing a house in the ‘Armand
Meesenlaan’, two cremation graves were partly
northeastern cemetery of Tongeren.*12
*62812
4
3
9Upon
further examination of the building
excavations of the nearby construction sites,
no graves were found.
Previously, the remains of a building complex
from the Roman period were located to the
west of ‘Hazelereik’, about 110 m north of the
graves.“5A second, isolated collection of three
graves from the Flavian period was excavated
in the ‘Merkenstraat’, at around 120 m
disrupted.“3With a mutual distance of about 2
metres, two burials and a pit took shape in the
northwest o f the graves of the ‘A rmand
Meesenlaan’ and at a distance of around 100 m
profile o f the building excavation.“4 from the remains of the Roman buildings.
Fortunately, the Tongeren amateurs J. Box and Chronologically, there is a connection between
P. Jadoulle, examined and sketched the graves. both isolated burial groups. The relationship
Initially J. Box kept the objects in his private between the graves and the remains of the
collection and restored them.“5 The Gallo-
buildings has not yet been demonstrated.
Roman Museum acquired the grave goods in
2007.
Size, characteristics and dating of both graves
are very similar. All objects can be dated
Flavian. One of the graves held a terracotta dog
(TO 80).“6 The broken fragments of the dog
figurine lay at the edge of the cremation
remains, concentrated at the northwestern
side of the grave. The grave also contained
luxurious ceramics and a bronze fibula.“7
This small, isolated collection of graves, south
of the diverticulum from Tongeren to Berg,
does not seem to be related to the larger,
m
m
123
124
“s
126
1x7
128
129
Information G. Vynclder.
Vanvinckenroye 1991,77 type 357.
‘A rm and Meesenlaan’ 37. Tongeren 6de afd. Sect. C, lot 292g and partly bordering lot 292f.
The trapezoidal p it was 2.2 m wide at the top and 1.4 m wide at the bottom at the height o f the level bottom. Its
depth was 1.2 m. The dark grey loamy and humous infilling contained fragments o f roof tiles, carbon, and
cremation rest, but no ceramic fragments.
J. Box is preparing a publication o f the collection.
The rectangular burial pit was 60 cm wide. The bottom was 40 cm under the ground level. O f the actual grave, only
a layer 12 cm thick was preserved under the plough layer.
It held a fragm ent o f a bowl in an orange-coated white fabric, a cup Drag. 27 and a plate Drag. 18, both in South
Gaulish terra sigillata and w ith the stamp OF CALyi. In addition, two objects were not salvaged because o f their
poor condition: a fragment o f a bronze fihula and fragments o f a brown jar. Creemers et al. 1991,24-25: B1-B3, B11
and B12; Oswald 1983,55: CA LW S o f La Graufesenque: Nero-Domitian, especially Vespasian.
The northeastern cemetery almost reaches the ‘Sint Antoniusstraat’. J. Box examined the building excavations
between the ‘Sint Antoniusstraat’ and ‘Hazelereik’, but without results. The exception is a very rich grave north o f
the ‘Merkenstraat’, salvaged by J. Box and currently preserved in the Tongeren Gallo-Roman Museum. It m ay have
been a tumulus grave.
Creemers et al. 1991,24-25.
-
47-
C o n te x t
C a ta lo g u e n u m b e r
North temple
27
Thien Schuur’ find
3. 4,5. 8, 9.10, u , 12,13,14,15,16,17,18,19, 20,21, 22,
25,26, 28, 29,30,31,32,34,36,37,38,39, 40, 41, 42, 43,
44,45, 46, 47, 48,51,52,53,58,59, 60, 61, 63, 64, 65,
66, 67, 68, 69,70,71, 72, 73,74, 75, 76, 86,96
Broekberg’
7. 7 7 ,9 3
Aan Paspoel’
4 9 , 5 4 , 5 5 , 7 8 ,9 7
Kielenstraat’
7, 23, 62, 81, 83, 88, 89
Sint-Truidersteenweg’
56
de Schaetzengaarde’
82
Elfde Novemberwal’
57 , 9 i
Soutwestem cemetery
1, 6 , 3 5 , 7 9 , 84, 85, 87,90,92,
Armand Meesenlaan’
80
Table 2. Different find
locations and correspon
ding catalogue numbers o f
the figurines.
- 4 8 -
R e s e a r c h in t o t h e
T R EES OF D E SC E N T
Revealing the evolution of the series, including
the relative chronology o f the successive
production generations, can best be achieved
by comparing the forms and dimensions of the
image-processing program, we have the ability
to slide the images with a different
transparency level on top of each other in
layers, making the similarities and differences
clearly observable.3The reduction in scale, due
to the moulding process, can be calculated
individual figurines. In the past this was done
by systematically photographing the figurines
in front of a grid.1 This way, changes could be
with great precision. The results are repre
estimated. Comparing the dimensions proved
to be useful, not only for figurines. The study of
sented in a visual form in the ‘tree of descent’. A
selection of major descent schemes in which
the decoration of mass produced relief lamps
also indicated the benefit of such research.2The
method consisted of placing traced drawings
finds from Tongeren take centre stage gives us
a good idea of the possibilities of such a study.
of the lamps based on rubbings or photos on
top of each other. Because of the timeconsuming nature of this activity it was never
applied on a large scale.
The result of image comparison, expressed in a
In the current research environment, the
development of new technology and new
media to preserve and process images opens
the door to a new research phase, in particular
the digital image comparison. By using an
2
reduction percentage, is represented as a web
of relations between the figurines. In this web,
all individual figurines are connected, each
with a different story that contributes to the
entire descent scheme. Workshop finds,
assembly characteristics and data from the
chemical and petrographic analyses lead to the
identification of the workshops. The painting •
on the figurines can provide additional
De Beenhouwer 1986; De Beenhouwer 1991b, 75 fig. 12; De Beenhouwer 1996b.
Bemont & Bonnet 1984,142.
The accuracy o f the results depends on the care with which the photos were taken. Ideally, photos should be used
in which the recording areas form a vertical projection with respect to the camera. To prevent distortion o f the
perspective, there has to be sufficient distance between the object and the camera. Therefore, the results o f the
comparisons with visual material from the literature depend on the accuracy o f the mentioned dimensions and
quality o f the recordings.
- 5 0 -
arguments to the origin. If the names of
shrinkage of the seated specimens DB 3663 and
manufacturers are preserved on the figurines
or the moulds, the descent scheme provides an
interesting perspective on their correlation.
The rise and disappearance of certain themes,
attributes, and styles uncover the iconographic
DB 3664 is 5 and 10 per cent, respectively. The
youngest Fortuna, DB 3597, is 20 per cent
smaller than DB 3601. Minerva TO 33 has the
evolution. Finally, the tree of descent allows
gaining new insights about the production
method.
The following summary, in which series from
Tongeren play a key role, depicts several tree of
descent evolutions. The numbering of the
specimens preceded by DB refers to the
numbering in De Beenhouwer 2005, where
more tree o f descent relationships are
described.4 In order to distinguish them from
same dimensions as Fortuna TO 5 and DB 3598.
The common parts of the folds falling down are
identical. The sitting Juno DB 4106 is 5 per cent
smaller than Fortuna DB 3664 but has slightly
higher shoulders; also, the upper part of the
body has shifted more to the right. The falling
folds are almost identical. Juno TO 29 and TO 31
are 3 per cent smaller than DB 4106. The Venus
series is related to the Juno series through the
head. The front of the head of Venus DB 3153
almost equals that of Juno DB 4108. The face of
Venus TO 44 is rounder. The head of Venus DB
the Tongeren specimens, the catalogue number
of the current catalogue is preceded by TO.
508 has the same proportions as that of Juno
TO 29 and TO 31, but is 4 per cent smaller. It is
12 per cent smaller than that of Venus DB 3153.
Tree of descent 5: Fortuna, Minerva, Juno,
Chronology: Four dates determine the
chronology of the tree of descent. The oldest
and Venus
The relationship between seven series that
belong to four different themes provides a
good picture of the complexity of the terracotta
industry. In addition to the mechanical
relationship of the moulding process, the
touching up that refreshes each new gene
ration is executed in the same style, which
reveals that a single workshop manufactured
the entire tree of descent. The products from
this workshop are well represented in
Tongeren. They were found not only in the
town centre but also on the burial sites.
Specimens from the Tongeren find of the
‘Thien Schuur’ are spread over the entire
figurine, Fortuna DB 3601, was found in a grave
in Bingen and is dated between 100/125 and 150
AD. Venus DB 3153 from the Hasengasse depot
find in Bingen is situated halfway in the
evolution of the tree of descent. This depot was
closed around 150 AD, but in particular held
finds from the second quarter of the second
century. The plinth of Minerva DB m o from
Braives comes from a pit with terra sigillata
from the second quarter of the second centuiy.
The youngest specimen, Fortuna DB 3597, was
found in a zone of the Cologne workshop at the
Rudolfplatz, dated in the second half of the
second century. This demonstrates that the
series was still in production after the middle
descent scheme. This demonstrates that the
figurines from this depot were distributed over
a length of time.
of the second centuiy. In general, the evolution
of the tree of descent can be dated between 125
Evolution: Compared to the largest specimens
of the standing Fortuna, TO 4 and DB 3601, the
Workshop: Using the workshop finds and
results of petrographical research and
*
5
and 160/175 AD.S
The figurines and series to w hich they belong have numbers that refer to De Beenhouwer 2005: the number o f the
series follows the catalogue number between brackets. For example, “734 (839)” signifies “Cat. No. 734 belonging to
series 839”.
Because o f new data in connection w ith the relationship o f the find o f Fortuna DB 3597 (Hôpken 2005, No. 31-001),
the upper lim it o f the dating differs from that in De Beenhouwer 2005,849.
- 5 1
-
Fig. 18. Tree o f descent 5:
Fortuna, Minerva, Juno and
Venus.
DB 208 (274)
Tongeren
TO 33
DB 3153 (30)
Bingen
- 5 2 -
DB 3728 (274)
F rankfurt-Heddemhei m
■Jjpy*
éÊÊâ&k
DB 3596 (201)
Köln am Rudolfplatz
DB 3597 (201)
Köln am Rudolfplatz
-2
DB 298 (473)
Tongeren
TO 29
DB 4106 (473)
B ingen- B ingerbrück
300 (473)
Tongeren
TO 30
-6
DB 3201 (30)
Cologne
‘am Rudolfplatz’
DB 130(30)
Tongeren
TO 44
“ 53
-
chemical analysis as a guide, almost the entire
development of the tree of descent can be
situated in the Cologne workshop Am
Rudolfplatz. Three specimens o f the Venus
series were found there (DB 3201, DB 3202, and
DB 3203). Moreover, TO 45 can be attributed
petrographically to the Cologne workshop. The
typical development of the engraved detail,
especially the haircut of one of the youngest
pieces, DB 508, is very close to that of the
largest Venus figurine from Bingen, BE 3153.
they appear slightly later, the evolution of the
sitting Fortuna series runs almost parallel to
that of the standing Fortuna. The standing
Minerva also evolves in a parallel way. This
lends weight to the idea that these series were
created simultaneously from the same
archetype. A striking phenomenon is the
reworking of the standing and sitting figures
evolving in a similar way. The finely worked
retouches in linear style with parallel grooves
and herringbone motif link all figurines in this
Therefore we can assume that the same
workshop is responsible for the Venus series,
from the largest to the smallest specimen. Two
specimens from the standing Fortuna series
descent scheme. The entire production can
therefore be attributed to the same Cologne
workshop.
were also found in the Cologne workshop Am
The development o f the Juno series is in
Rudolfplatz (DB 3596). TO 4 can be attributed to
a Cologne workshop, both by chemical and
petrographic analysis. Petrographic analysis of
the standing Minerva made it possible to
contrast to this logical and uninterrupted
evolution. They appear halfway along the
attribute three specimens to Cologne (DB 208,
DB 209, and DB 1120). Finally, pigments and
traces o f painting also point to the same
workshop for Fortuna DB 3597 and DB 3598,
and Minerva DB 1120.
Pigment: A characteristic painting technique
connects the different series to a single
workshop. A Reddish-brown to black linear
painting, often in the form of a diamond
pattern, can be found on the plinth of the
sitting Juno DB 4107, the standing Minerva DB
1120, the standing Fortuna DB 3598 and Venus
DB 3153. On this last specimen, also anatomical
details are indicated. The left side of the plinth
of Fortuna DB 3598 is decorated with two
crossed lines.
Iconography: This tree of descent is exceptional
because it bridges both the sitting and
standing figures o f the themes Fortuna,
Minerva, Juno, and Venus.6 The connection
between the standing and sitting series of
Fortuna and Minerva is remarkable. Although
development o f the tree of descent and
iconographically form a mix of different series:
they derive the body from the sitting Fortuna
and the head from the Venus series (see
production technique). Because the head was
originally created for the Venus series, it sets in
slightly earlier than the Juno series. However,
these older mouldings of Venus were not
preserved. The similar reworking of the haircut
of one of the youngest Venus figurines (DB 508)
and the oldest preserved moulding (DB 3153)
reveal the same hand. Treated by the same
craftsman, these two figurines cannot be far
apart chronologically.
Production technique: An important conclusion
about the production technique is that not only
entire figurines underwent a development.
Separate parts of the body such as the torso or
the head often evolved independently. A
striking case in point is the relationship
between the seated and standing Fortuna
series. The common upper part of the body,
including the head, is clear proof o f the.
mechanical relationship. The lower part of the
body was reworked. Another example is the
See also Schoppa i960: attributes the series o f Juno and Fortuna to the same middle Rhine production centre; Van
Boekel 1987,317-320, Fig. 49-51: attributes the series o f Juno, Fortuna and Minerva to one workshop, also in the
middle Rhine area; see also the chapter on the origin.
-
54-
adding of new attributes to the Minerva series,
such as the helmet and shield, replacing the
horn and rudder of Fortuna. The coroplast
presumably made these adjustments already
during the creation of the first model. Other
adjustments such as the changing of the head
occur in the course of the succession of the
series. A good example of this process offers
the head of the Venus series that was adopted
by Juno. At the right, the round hairpiece of
Juno DB 4108 runs broadly over the shoulder.
At the left, it ends at the beginning of the neck.
The effect is unbalanced and unnatural. The
only explanation must be that the head
originally belonged to the Venus series. The
position of Venus’ hand, grasping the right
danger of dating based on the hairdo of
members of the imperial house.8
Starting with the oldest and ending with the
youngest specimen of the tree of descent, the
reduction percentage involves 22 per cent. The
large number of differences in height and
adjustments within the evolution of the tree of
descent demonstrates how complex the
production process was. This clearly is no
linear process whose evolution can be expres
sed in regular reduction percentages.
Undoubtedly, several moulds of the same series
were used simultaneously, each with their own
small deviations. These deviations accumu
plait explains the absence of the hairpiece at
the right side of Juno’s neck.
lated in the course of the evolution.
Generally, an evolution of the tree of descent
only gives us a relative chronology. It is
Method: The typical hairdo of the Venus and
difficult to get an idea of the real duration of
the evolution of the production. In addition to
Juno series also appears among the central
Gaul busts.7 ~A high rounded hairpiece
composed of several sections above each other
surmounts the head. The sections are divided
into small blocks. At the back, the hair is
brought together into a large bun in the
middle of the back of the head. Only Venus is
depicted with plaits falling freely on the
the archaeological dating in the scheme of
descent, clear stylistic characteristics can be
important. In the case of tree of descent 5, the
relationship in style of the retouches suggests
that the entire development took place within
the workshop of one coroplast and, conse
quently, also within one generation.
shoulders, along both sides of the neck. The
high degree of detail of the central Gaul busts
reveals that the bottom section above the
forehead is a free hair strip that does not
Tree of descent 32: Fortuna
belong to the hairpiece. The bun at the back of
analysis of the clay paste revealed that it was
not made in Cologne, but in another
the head consists of rolled-up braids. Haircut
and bun resemble that of Marciana, Trajan’s
sister, o f whom images were made during the
reigns of Trajan and Hadrian.89The Rhineland
Venus series has its origin in the Hadrian
period, but the majority of the production is to
be placed later. Consequently, the striking
similarity to an imperial haircut can only be
used as terminus post quem. In the field of
methodology, this is a good example of the
7
8
9
A Fortuna from Tongeren heads the develop
ment of tree of descent 32. The petrographical
Rhineland workshop. The precise area of
production is unknown. Specimens of terra
cotta figurines belonging to this tree of
descent were found in Trier, Cologne, and
Frankfurt, each known for their production of
terracotta figurines. The sudden change in
style in the younger figurines leads us to
suspect that several workshops enter into this
line of production.
Rouvier-Jeanlin 1972,279 nr. 747; De Beenhouwer 2005, series 611 and 612.
Wegner 1956,77 Taf. 35.
Schauerte 1985,132 “Beginn dieser Variante um 100”; Lange 1990 (Salzburg), 159 Nr. 160: “Ende i.-Anfang 2. Jh. n.
Chr. (Toupetfrisur)”; Lange 1994,203, series 2: “spätflavisch-trajanischer Toupetfrisur”.
-
55
-
Fig. 19. Tree o f descent 32:
Fortuna.
DB 166(204)
Tongeren
TO 7
DB 3607 (206)
Wederath
DB 3605 (204)
Kretz-Miesenheim
DB 181 (205)
Martelange
- 5 6 -
Evolution: Fortuna TO 7 is the largest specimen.
DB 3605 and DB 3606 are 3 % smaller but belong
to the same generation. With the exception of
the constriction under the torso, all folds of the
clothing remain practically identical. DB 3606
has a different head and the body is stretched at
the right arm and shoulder. The horn is also
raised and leans closer against the body. The
bundle of folds that falls free from the left arm
is shortened and reduced. DB 3607 is 6 %
smaller than DB 3605. The proportions have
slightly changed: the figurine is smaller and
the upper part of the body straighter, the lower
legs are shorter and the horn is pressed closer
to the upper part of the body. The coroplast
tried to compensate the loss of height caused
by the successive mouldings by stretching the
figurine. Compared to DB 3606, the loss of
height of DB 3629 amounts to 17 %. The
posture, the general development of the
clothing, and the position of the rudder and
horn were maintained, but the details become
blurred and the forms simplified. The head is
broadened and the right arm and shoulder are
raised again. The neck is almost missing. The
diadem is round and the horn less pointed. The
century, the transition to series 206 and 931 at
the beginning of the second century, and the
final phase with series 205 in the first half of
the second century. Fortuna TO 7 stands at the
beginning of the development of the tree of
descent and dates from the end of the first
century.
Workshop: The tree of descent originated and
evolved in the Rhineland. No workshop finds
were preserved. Specimens were discovered in
Trier (Series 204), Cologne (Series 93r), and
Frankfurt (Series 205). Petrographic analysis
attributes TO 7 to a workshop different from
Cologne, possibly Frankfurt or Trier.
Iconography: The opening of the horn of
Fortuna TO 7 points upwards. The fruit that
bulges out of the horn of DB 3607 are highly
blurred at the backside of the figurine. Finally
the cornucopia evolves into a horn with the
opening at the front in series 205. The plinth
changes from a highly constricted cylinder
with a sharp top and bottom edge into an only
slightly concave plinth with a softly rounded
top and bottom edge.
plinth is slightly concave.
Chronology: DB 3607 from the Wederath burial
site was found in a grave dug between 90 and
125 AD. DB 3629 from Frankfurt-Heddernheim
was found in a grave from the burial site of the
Feldbergstrasse that was dated 103/111-150 AD.
According to the image research, the evolution
starts with series 204, changes into series 206
and 931, and finally ends in the simplified
Production technique: The Fortuna figurines
from tree of descent 32 show an evolution from
faithful, well-detailed forms (Series 204) to
increasing schématisation (Series 205), with
simplified and rounded forms. This process
can be explained by the increasing smoothing
that can be expected when using successive
moulding. The right arm and shoulder are
design of series 205. The archaeological dating
seems to confirm this evolution with a first
systematically raised, the neckline disappears,
and the rudder is no longer placed diagonally
but right against the leg. The evolution from a
development of series 204 at the end of the first
horn with the opening pointing up to a horn
- 5 7 -
with the opening at the front may be inter
preted as a growing trend of attention on the
front of the figurine, making details at the back
less important.
At a technical level, tree of descent 32 illustra
tes that coroplasts tried to compensate the loss
of height by stretching the figurine, which may
lead to adjustments in the proportions.
Replacing or entirely reworking the horn and
head is another technique that emerges in the
evolution of tree of descent 32. The reworking
can become so substantial that the relationship
between series 204 and 205 can not be proved
without the link of series 931.
has his origins in a Trier workshop since red
firing paste was frequently used in Trier.
Pigment: The painting and colour preserved on
Minerva DB 4944 (292) refer to production in a
Cologne workshop. The figurine has a deep
brown diamond pattern at the front and sides
of the base. The same motif was applied at the
front of the plinth of DB 3761 (293).
Iconography: The specimens of series 293 have a
Gorgon head (gorgoneion) on the torso in a
frame of small circles. In Rhineland terracotta,
the origin of the Gorgon head with the typical
frame of circles is dated around 90 AD.*11 The
specimens of the younger series 292 do not
have a gorgoneion and the folds of the garment
cross each other diagonally on the chest.“
Tree of descent 45: Minerva
Tree of descent 45 connects two Minerva series,
both of which specimen have been found in
Tongeren. Tough diverse in detail, the
Tongeren specimens are closely related. They
were all manufactured simultaneously in
Cologne workshops with various sets of mould.
Their diversity illustrates the extent of the
production. The Cologne origin is not yet
certain for al the specimen belonging to this
tree of descent. Probably Trier also took part in
an early stage of the production.
Evolution: DB 3755 (292) is 7 % smaller than DB
3762 (293).
Production technique: The specimens of both
Minerva series were manufactured using a twopart plaster mould. A moulding from a
previous generation was often used as a model
for a new generation mould. If moulded from a
worn out mould, the blurred detail of this new
model was then reworked. The typical little
mould blisters in the freshly engraved folds, as
found in TO 38, show that the retouching was
not applied in the mould, but indeed on the
model.
Methodological consideration: The evolution of
series 293 sketches the complex development
Chronology: Tree o f descent 45 is dated between
90/100 and 150 AD.“
of several production generations.13 It is
remarkable that the six specimens from
Tongeren are halfway along the evolution of
Workshop: DB 3758 was found in the am
the series with shrinkage of 11 up to 14 per cent
compared to figurine DB 3762 (293) from Trier
Rudolfplatz workshop in Cologne. The figurines
TO 38, TO 42 and TO 43 were petrographically
attributed to Cologne. All specimens were
Altbachtal. They more or less belong to the
same production generation, but show
manufactured in white-firing paste, except for
DB 200 from Martelange, which is one of the
oldest specimens. It is possible that the series
remarkable differences in proportions and
detailing. Using parallel moulds, each of which
start off a new production fine, the differences
“
“
“
11
See catalogue: dated contexts o f series 26 and 27
De Beenhouwer 2005,1149, m otif 62.
De Beenhouwer 2005,1149, m otif 49.
See catalogue: internal mechanical relationships o f series 27.
- 5 8 -
Fig. 20. Tree o f descent 45:
Minerva.
DB 3759 (293)
Cologne
DB 200 (293)
Martelange
-14
DB 196(293)
Tongeren
TO 40
-19
DB 3757 (293)
Heerlen
-13
DB 3762 (293)
Trier ‘ AltbachtaP
DB 199 (293)
Tongeren
TO 43
DB 3755 (292)
Bingen ‘ Hasengasse’
in proportions and detail increase in each new
generation. According to recent experiments,
shrinkage makes jumps of 7 to 10 per cent every
generation when using plaster moulds.
However, the situation is much more complex.
For series 293, the entire shrinkage of the
specimens under discussion adds up to 19 per
cent in total, which theoretically corresponds
with two or even three production generations.
In reality irregular intervals of 9, 2, 2,1, and 5
per cent, respectively are measured. We can
also observe at least five adaptations of the
Medusa head. These observations demonstrate
that it is not advisable to define generations in
regular jumps. Small differences in height are
also significant. The main reason is found in
the use of parallel moulds, successive
reworking, trading moulds and copying from
-
59-
other workshops. Moreover, we should not
forget that the schemes only depict a small part
of the production discovered in excavations,
and that the techniques used in modern
experiments and antique production methods
may differ.
Tree of descent 6g: woman with dog and
woman with fruit (Vindex and VR
coroplasts)
The seated woman with fruit, TO 52, stands at
the beginning o f the development of the
iconography o f the Rhineland matrona
terracotta production. This specimen has a
quently, the dating of series 444 directs the ar
chaeological dating o f the tree of descent
between 140 and 260 AD.
Inscription: DB 3997 (411) was signed in relief at
the back by Vindex, who produced terracotta
figurines between 140/150 and 180 AD. The
figurine is at the beginning of the tree of
descent. At the back of the chair of DB 4050
(444) the letters VR were signed in relief. This
coroplast, who also worked in Cologne, stands
at the end of the evolution of the tree of descent
and is therefore younger than Vindex. The final
stage of this descent scheme can be situated
after the active period of Vindex, but before the
remarkable high-quality execution and is
richly painted. It is related to a design by the
coroplast Vindex from Cologne. The tree of
workshops am Rudolfplatz in
disappeared around 200/210 AD.
descent also represents the chronological
relationship between Vindex and another
Workshop: The tree of descent originated and
evolved in the Rhineland, more specifically in
coroplast who used the initials VR.
Cologne. The oldest specimen, DB 3997 (411),
was signed by the coroplast Vindex from
Evolution: The height of TO 52 is 2 per cent
smaller than that of DB 3997 (411). Both
specimens have similar width since the sides of
Cologne. According to petrographic analysis,
TO 52 was attributed to Cologne.
the chair in DB 3997 are almost completely
missing in frontal view. The folds on the lower
legs, the fruit in the lap and the position of the
Pigment: TO 304 (442) is decorated with a dark
lunula, the hands and the feet match perfectly.
The plinth of DB 3997 is higher than TO 52. The
right side of the plinth and the side of the chair.
head and back are different. TO 52 has a thicker
profile than DB 3997. DB 4047 (443) is 3 per cent
smaller in comparison with DB 304 (442). The
contours, proportions, and most folds are
similar. DB 4048 (444) is 3 per cent smaller than
DB 4047 (443) and 7 per cent smaller than TO 52.
The contours and general proportions are
similar, but the folds are slightly reworked. DB
4045 (442) is 9 per cent smaller than DB 3041
(442).
Cologne
brown, diamond-shaped painting on the front
of the plinth and a Saint Andrew’s cross on the
The outline of the chair’s contours and of the
plinth is preserved both on the left and right
side. The V-neck was highlighted by a dark
brown colour. DB 4048 (444) shows traces of
dark paint on the necklace and in the folds of
the garment. Both the motifs and the dark
brown pigment were used in Cologne
workshops.14
Iconography: The slight difference in height
between the seated woman with the dog DB
3997 and Matrona TO 52 being inconclusive,
Chronology: DB 4049 (444) from FrankfurtHeddemheim can be dated between 75/79-260
AD, based on the general occupation period of
the site. DB 1177 (444) from a villa in Ambresin
was dated between 140 and 275 AD. Conse
“
the fine elaboration of the cloak folds of the
seated woman with dog by Vindex leads us to
conclude that DB 3997 is closest to the original
model. The hair is arranged in rows of
superimposed braids that drop down from a
De Beenhouwer 2005,1,159-1,167, decoration techniques 5,14,16, and 17.
" 60 -
Fig. 21. Tree o f descent 69:
woman with dog and
Matrona (Vindex and VR
coroplasts).
DB 3997(411)
Cologne
DB 4047 (443)
DB 304 (442)
Tongeren
TO 52
DB 4048 (444)
Worms
4045 (442)
Koln
DB 4050 (444)
Cologne
centre parting and tied up into a bun at the
back of the head. This hairdo, which is
characteristic of Vindex, is dated between
De Beenhouwer 2005,1138, m otif 21.
140/150 and 170/180 AD.,SIn all other series, fruit
replaces the dog on the lap and the woman
wears the Ubian bonnet, a semi-spherical
headgear fastened with a pin beside the left
cheek16. This is a second important mono
graphic dating criterion. In terracotta figu
rines, the bonnet is generally dated to the
period between 140/150 and 250 AD.17Therefore,
at the earliest, the tree of descent commenced
shortly before this date with the specimen by
Vindex DB3997 (411), which is not yet equipped
with the Ubian bonnet.
All series depict a smooth chair, the armrests
articulated in front. The rim of the cloak falls
down on the chest, where it is clasped. Between
the legs, the folds fall down in the shape of a
zigzag or figure eight.18 In the course of the
It is possible that the introduction o f the
matronal triad in stone sculpture around 160
AD marks also the introduction of Ubian
clothing in the religious iconography.19 In
current research, it can be argued that the
Ubian triad dates from after 160 AD and that
there is no certainly about the iconography of
the matronae before that time.
Production technique: All specimens were
manufactured from a two-part mould. The
surface shows small mould blisters. The joints
are all broadly smoothed. This is indicative of
the use of plaster moulds and wet assembly.
evolution to the series, the folds on the chest
become simplified, more particular in series
443; the cloak folds on the upper arms run
Tree of descent 75: Fortuna and Juno capite
velato (Vindex)
concentrically and are arch-shaped, with a point
of contact in the middle of the chest. This trend
The tree o f descent relates three series
depicting women, the head covered with their
to simplification can be dated after 160 AD.
cloak: a woman with cornucopia and rudder, a
woman showing a round object in the right
Vindex’s design of a dog on a lap filled with
fruit stands at the beginning of the develop
hand and a woman holding a patera. The
scheme of descent leads to gain a clear insight
ment of the tree of descent. Almost immedia
tely, the dog disappears and only the fruit in
the lap remains. At the same time, the Ubian
into a special procedure: the coroplast used an
bonnet is added. In that way, shortly after the
creation of Vindex’s first design, the icono
graphy of the Ubian matrona is standardized in
terracotta.
16
"
“
"
armless model without attributes for the
production of various themes.
Evolution: Fortuna TO 6 is the largest specimen.
Juno DB 4120 (477) is 5 per cent smaller. From the
head to the plinth all proportions correspond,
The Ubian clothing was worn by native women in the area o f the Ubians, from the first to the third century (Horn
1987,36-37: grave monument from the Claudius-Nero period; W ild 1968 214: usually second h alf o f the second and
first h alf o f the third century; Van Boekel 1989 (Scheveningseweg), 19.
De Beenhouwer 2005,1144, m otif 39.
De Beenhouwer 2005,1151,1155, m otifs 56 and 71.
In the context o f religion, the oldest depictions o f matrons in Ubian clothing in stone sculpture can be traced to
the foundation o f the temple for the Matronae Aufaniae in Bonn (Rüger 1987,110-113,22-24,28; Horn 1987,41-42).
The circumstances o f the find ensure a dating after the middle o f the second centuiy for the building inscription
(Rüger 1987,10). Epigraphically, the building inscription and therefore the foundation o f the temple for the
Aufaniae has to be placed in AD 161, because it still mentions Antoninus Pius, but also already Lucius Verus (Rüger
1987,22 nt. 30). According to Rüger, the foundation o f the sanctuary for the Aufaniae in Bonn in AD 161 and the
sudden consecration fever in the following years are related to the war o f Marcus Aurelius against the-Parthians
(Rüger 1987,10-13: all other datable consecrations to the Rhineland Matronae would be o f a later date. The youngest
altars date from 250/260, shortly before the trouble w ith the limes (Rüger 1987,13; see inscriptions: consular
dating).
Epigraphic and monographic sources don’t provide indications o f the existence o f the typical Matronae in Ubian
clothing in the Rhineland before AD 160. According to Horn, the cult sculpture in the temple in Bonn m ust have
provided the monographic standard for the uniform ity o f the reliefs on the many altars that were consecrated in
subsequent years (Horn 1987,41-42; Derks 1998,126). This concerns the triad. Opinions differ on the phase before
AD 160. According to Rüger and Horn, before that date, the cult is in a pre-anthropomorphic phase (Rüger 1987,28;
Horn 1987,49-53 tree cult). According to Derks, the depiction is inherently anthropomorphic from a linguistic
point o f view (Derks 1998,126). Additionally, according to Derks, the two cult buildings from the first-centuiy
phase o f the Pesch sanctuary m ust also have included cult sculptures (Derks 1998,126).
- 62 “
Fig. 22. Tree o f descent 75:
Fortuna and Juno capite
velato (Vindex).
DB 3595 (200)
Worms
DB 193 (306)
Tongeren
TO 6
DB 3636 (306)
Melick
- 6 3 -
but DB 4120 (477) is considerably broader,
especially at the height of the right arm and
shoulder. These adaptations at the right side
and the change of attributes, show that the
same armless model formed the basis of both
the Fortuna and Juno figurines and that the
arms and attributes were applied separately.
Chronology and inscription: Fortuna TO 6 was
found in a sector of the southwestern cemetery
that was used between 50 and 200 AD. Vindex’s
workshop in Cologne stands at the origin of the
tree of descent: the back of the plinth of
Fortuna DB 3636 (306) from Melick is signed by
this coroplast, who worked between 140/150
and 180 AD (Fig. 38). The start of Vindex’s
workshop provides a terminus post quern for
the tree of descent.
Comparing the three series we can see that the
various creations are derived from an armless
model without attributes that is the starting
point of this tree of descent. This technique
had not yet been proven for the Rhineland, but
was already known from a series of figurines
originating from Central Gaul. Clay mould
parts of a figurine without arms and attributes
are found in the Toulon-sur-Allier workshop.”
They were used to manufacture Fortuna and
Minerva figurines, whose style is strongly
related to that of the Rhineland tree of Descent
75. The Rhineland as well as the Allier
workshops were probably exposed to common
external influences, which
chronological connection.”
suggest'
a
Tree of descent 84: Mercurius
Workshop: TO 193 (306) is petrographically
attributed to Cologne and DB 3636 (306) was
Two terracotta figurines depicting Mercurius
were discovered in Tongeren. One of them (TO
signed by the coroplast Vindex from Cologne,
56) belongs to the older figurines of tree of
what allows us to conclude that series 306 was
produced in Cologne. Since the other series are
a variation of the same armless model to which
descent 84 which were manufactured in
Cologne. One of the younger series, represen
various elements were added, they could be
attributed to the same workshop.
Pigment: DB 3636 (306) is decorated with multi
colour painting. At the back of the plinth, a
ted by a find from Martelange, was manufac
tured in the Moselle area (DB 332). During the
production process, the Treverian copyist
applied changes to compensate the shrinkage
caused by moulding.
grey-brown cross was painted. At the left side,
the coroplast applied a cross and a vertical
edging on the plinth.” Light red paint was
preserved on the dress, hand, rudder and base.
Development: DB 333 (947) and TO 56 have
similar dimensions. DB 4179 (526) also has the
DB 3637 (306) bears a faded brown painting on
the plinth: at the front a star shape executed in
in height but, nonetheless, the figurine is not
at the head of the tree of descent. The
double lines and cross patterns at the sides are
preserved.” This kind of painting points to
Cologne.
proportions clearly changed. The upper part of
the body is 2 per cent thinner than that of DB
Production technique: All specimens were
manufactured from two plaster mould parts.
The surface shows small mould blisters and the
joints were broadly smoothed.*2
3
“
**
23
same height, but is thinner, especially at the
height of the animals. DB 332 (949) is the largest
333 (947) and the torso is 10 per cent thinner in
profile. The back is straighter and the plinth
was raised by 1 cm. The wings of the winged
heat (petasus) are also raised. Of all specimens
belonging to tree of descent 84, the breast of
Mercurius DB 332 (949) has the thinnest profile.
De Beenhouwer 2005,1160 and 1163, decoration techniques 6 and 14.
De Beenhouwer 2005,1164, decoration techniques 5 and 13.
Rouvier-Jeanlin 1972» 188 no. 428 and 429; De Beenhouwer 2005,868-869,970, tree o f descent 26.
Concerning the influence o f stone sculpture, the resemblance to a statue o f a Vestal Virgin o f the Museo Nazionale
delle Terme is illustrative. Bieber 1977,198, Pi. 140 Fig. 820: dated about AD200.
-64-
Fig. 23. Tree o f descent 84:
Mercurius.
DB 1198 (948)
Tongeren
TO 56
DB 4197 (947)
Frankfurt-Heddemheim
DB 333 (947)
Hoeselt
DB 4179 (526)
Cologne
DB 332 (949)
Martelange
- 6 5 -
Chronology: DB 332 (949) from Martelange was
found in a tumulus containing amongst others
central and eastern Gaul terra sigillata from the
second century. DB 4182 (526) from Dieburg is
part of the contents of a grave from the first
half of the third century AD. The combined
data from Martelange and Dieburg suggest a
date between 125/200 and 250 AD.
Inscription: The upper edge at the back of the
rock on which Mercurius DB 333 (947) from
Hoeselt is seated bears the incomplete
inscription AI.TICVS.FIICIT/C.C.A.A. (Fig. 35)
Rhineland terracotta this motif is mainly found
in depictions of Mercurius, Bacchus and Apollo
manufactured by Servandus.26 The motif can
also be found in some Rhineland imitations of
central Gaul nutrices. All are dated to the second
half of the second century or later.
Production technique: The takeover of a Cologne
product by a workshop in the Moselle area
involved several changes to the original
figurine. The shrinkage associated with
copying figurines was clearly a problem. The
figurine from Martelange was stretched and
On the same spot the inscription VTVS FE CA
can be found on Mercurius TO 56 and TO 57
from Tongeren (Fig. 34). No other work of
artificially enlarged by extending the plinth
and raising the wings on Mercurius’s hat. •
either of these coroplasts is known.
All series were manufactured from two half
Workshop: The tree of descent originated and
further developed in the Rhineland. The
inscription C.C.A.A. on figurine DB 333 (947) is
an abbreviation for ‘Colonia Claudia Ara
Agrippinensium’, Roman Cologne. The letters
CA, found on TO 56 and TO 57, are a part of the
same abbreviation. DB 4179 (526) was found in
Cologne, but a connection with a specific
workshop cannot be proved. DB 334 (948) and
DB 333 (947) are petrographically attributed to
Cologne. The younger specimen DB 332 (949)
from Martelange is attributed petrographical
ly to the Treverian area.
Pigment: The painting on one of the specimens
o f Series 948 refers to Cologne: TO 56 is
embellished with dark brown paint, which
accentuates the wings of the winged head
(petasus) and the deeper cavities of the heralds
staff (caduceus).24 The same dark brown paint
was preserved on the rooster’s right eye, the
right side of the bottom edge of the base, and
two armrings around the right upper arm.25
Iconography: All figurines show a tongue
shaped cloak tip on the bare shoulder. In
24
25
26
moulds with an integrated rock-shaped plinth.
Specimens of series 526, 947, and 948 show
mould blisters, as a result of the use of a
plaster mould.
Method: When determining the successive
generations, comparing the heights o f the
specimens is not enough. This would wrongly
position the younger specimen from
Martelange at the head of the descent scheme.
Only full image comparison can lead to correct
interpretation.
Tree of descent 89: horseman with hooded
cloak
The tree of descent 89 shows that analysis of
the site and the context of the find have major
implications for the interpretation o f the
figurines. Although some inscriptions on
horsemen are related to the horseraces, other
figurines are linked to the military world.
Development: DB 4274 (566) is 6 per cent smaller
than TO 55 and 5 per cent smaller than DB 4276
(567). The head of the horse of DB 4276 (567) is
reworked in a clumsy way: the muzzle became
pointed, the eye is engraved lower and the
De Beenhouwer 2005,1160, decoration technique 16.
De Beenhouwer 2005,1159,1,161, decoration techniques 2,3, and 4.
De Beenhouwer 2005,1152, m otif 59.
- 6 6 -
Fig. 24. Tree o f descent 89:
horseman with hooded
cloak.
DB 786 (566)
Tongeren
TO 55
DB 4274 (566)
Bonn
DB 4279 (569)
Cologne
DB 4276 (567)
Niederursel
manes are no longer of equal length. This shows
that an older generation must have preceded DB
leg there is an inscription NTVS (?).
4276 and TO 55 although they are at present at
Workshop: The production originated and
the head of the tree of descent. DB 4279 (569) is
10 per cent smaller than DB 4274 (566).
developed in the Rhineland. TO 55 is attributed
to Cologne, both by chemical and petrographic
analysis.
Chronology: DB 4277 (567) from Altenstadt was
found in a grave that was dug at the end of the
second century or later. DB 4279 (569) from
Cologne was recovered from a grave in the
‘Neusser Strasse’, dated by a coin after 180 AD.
The grave also contained a figurine by
Servandus and one bearing the initials TM.
These finds from two different series lead to
the conclusion that this tree of descent
developed at the end of the second century.
Iconography: The man wears a hooded cloak that
stretches onto the hip and completely covers
the clothing underneath. Hooded cloaks occur
in the iconography of Gallo-Roman terracotta
figurines after the middle of the second
century, mainly in the last quarter o f the
century.28
Inscription: DB 4274 (566) has the letters ROX
engraved on a palm above the left front leg and
the letters TAN/S above the left hind leg under
Production technique: The mould knobs on the
surface point to the use of a plaster mould.
Horseman and horse are integrated into one
mould that consists of two half moulds. The
joint is broadly smoothed. Sometimes, the legs
an ivy leaf.27Above the piercing of the left front
and muzzle of the horse are pierced.
17
18
According to some authors, the name o f coroplast Roxtanus can be reconstructed: see Fremersdorf 1939,11 Taf. 7,7;
Lange 1994,291,292 series 261-262. Another possibility is that the name o f the triumphant horseman or horse is
indicated: see Van Boekel 1987,699.
De Beenhouwer 2005,1147-1148, m otif 46.
- 6 7 -
Function: The figurines from Bonn and
Tongeren show perforations that made it
possible to add reins and separately formed
terracotta wheels by means of a wooden axle.
This way, the unit could be pulled. Nonethe
less, these are not just toys. The palm, as well as
both names that were engraved before firing in
Tree of descent 101: bust of a woman
The tree o f descent illustrates the close
connection of the Thien Schuur find with the
Cologne production centre. No less than three
o f the four series related to Cologne are
represented in the find. Where the archaeo
logical dating of the specimens of the tree of
descent fails, the iconography fills this gap. A
the horse’s flank demonstrate that the Bonn
figurine depicts a victory scene after a horse
race. The central figures whose names are
mentioned are the winning horse and the
triumphing rider. Similar scenes are known
quem for some figurines represented in the tree
of descent (Fig. 25).
from mosaics and ancient medals.29It is clear
that this figurine was made as a reminder of an
important contest.3“ Another horseman
Development: TO 72 is the largest specimen
occurring in the tree of descent. TO 73 is -five
figurine completed with the name of the horse
was found in a military camp of the Roman
fleet on the Alteburg near Cologne.31 Not all of
per cent smaller. DB 4411 (636) is five per cent
smaller than TO 73. The head of TO 74 has
nearly the same dimensions as that of DB 4411
the representations of horsemen are
necessarily related to the horse races. In fact
only two of them bear an inscription. The
subj ect seems to have been very popular among
(636), but the eyes are larger.
nice sequence o f haircuts that refers to
imperial hair fashion provides a terminus post
Chronology: Based on the active period of the
soldiers. It clearly reflected their daily
activities. In addition to the Alteburg figurine,
Cologne workshops ‘am Rudolfplatz’ DB 4416
(632) and DB 4410 (636) are dated between 70/90
and 200/210 AD.
two figurines representing a horseman were
found near the military camps of ZugmantelKastell (DB 4275) and Altenstadt (DB 4277). To
Workshop: The figurines represented in the tree
of descent originated and developed in the
the owners they were of great consequence, so
special they even took them to the grave
(Altenstadt (DB 4277) and Cologne (DB 4279).
The horseman from the Cologne burial was
accompanied by a terracotta figurine
representing the god Bacchus with a panther
(DB 4213) and a third figurine depicting the
goddess Venus standing in a small shrine
(aedicula) (DB 3184). A profound analysis of the
site and the archaeological context is of crucial
importance in order to achieve a correct
interpretation of the depiction since its
meaning is connected with
environment of the owner.
”
30
*
31
the
social
Rhineland. DB 4416 (632) and DB 4410 (636)
were found in the Cologne workshops ‘am
Rudolfplatz’. In addition, petrographic analysis
made it possible to assign the figurines TO 73
and TO 74 to Cologne. Consequently, three of
the four series can be attributed to this
workshop.
Pigment: TO 74 shows traces of unintended
green lead glaze on the surface. The bottom
edge of the base is painted dark brown. The
same colour is used to fill the rectangular
frame on the upper edge of the plinth.32 This
type of painting is often used in the Cologne
workshops ‘am Rudolfplatz’.
Charioteers w ith victory palm and mention o f names, see Goethert 2007,344-349.
Sometimes, terracotta figurines were also manufactured on the occasion o f special celebrations, at w hich the date
was engraved: see Hopken 2004 and chapter coroplasts, Servandus.
Lange 1994,292 Series 262 No. 1 and commentary o f Series 261: interpretation o f the inscription as the horse’s
names. This figurine shows no perforations and does not belong to Tree o f Descent 89.
De Beenhouwer 2005,1163,1166, decoration m otifs 14 and 18.
-
68-
DB 4410(636)
DB 367 (631)
Tongeren
TO 72
4411 (636)
Münstermaifeld
Fig. 25. Tree o f descent 101
bust o f a woman.
366(632)
Tongeren
TO 73
368 (637)
Tongeren
TO 74
4416(632)
Cologne
‘am Rudolfplatz’
Iconography: In series 631 and 636 concentrically large hairpiece, divided into radial segments. A
arched folds cover the lower end of the chest.33 hair roll runs around the back of the head. That
This motif occurs seldom and is mainly found of Trajan’s sister Matidia inspires this hairdo,
on terracotta figurines from the first half of the as we know it from a bust preserved in the
second century. It creates a strong iconographie Palazzo dei Conservatori in Rome that dates
connection with specimens of tree of descent
105 that can be attributed to the same workshop.
The hairstyle presents a nice sequence. In series
631 and 632 the hair above the forehead is
parted in the middle and surmounted by a
33
34
from the Hadrianic period.34*Therefore, the
beginning of Hadrian’s reign in 117 AD is a
terminus post quem for the dating of these
figurines. In series 636 and 637 the hair is
constructed with braids that coil around the
De Beenhouwer 2005,1157, m otif 79.
Fittschen and Zanker 1983,9 No. 8, Taf. 10: Diva Matidia: Hadrian; Wegner 1956,82 Taf. 37; De Beenhouwer 1991
(statuettes), 74, De Beenhouwer 2005,1137, m otif 19.
- 69 -
head. Above a band of hair on the forehead,
various rows of braids were wound up around
the head into a ‘nest of braids’, in which the
The proportions of the eyes, hair, mouth, and
two V-shaped folds in the neck are similar, but
the plinth and width at the bottom of the chest
skull remains visible. The haircut represents
the hair fashion of a series of anonymous
private portraits from Hadrian’s period.35 The
comparison with the early-Hadrian hair
fashion again provides a terminus post quem
around 120 AD. Both hairstyles originated in
are different. TO 66 has nearly the same
dimension as TO 65. DB 4458 (665) is 5 %
smaller than TO 62. The contours of the torso
and plinth match. The position o f the diagonal
the Hadrian period. According the tree of
descent, the hairdo with the radial segments is
rim of the cloak and the orientation of the
diagonal folds are also similar. The head is
changed and, on the inside of the V-shaped
neckline, DB 4458 (665) has one fold more on
the left.
older.
Production technique: Mould blisters on the
surface indicate the use of a plaster mould. The
mould also includes the plinth. The support rib
on the back is integrated into the mould part of
the back.
Chronology: The current state of research
indicates a dating in the first half of the second
century, based on bust DB 4458 (665). It was
found on the southern burial site of St.
Matthias in Trier, in a grave from the first half
of the second century.36Two other specimens of
the same series were found in Trier Altbachtal
Tree of descent 105: bust of a boy
and come from the Nischenkeller, which was in
use in the second half of the second and the
Once again the oldest series of tree of descent
105 illustrate the relationship of the Thien
Schuur find with the Cologne workshops. An
beginning of the third century.37Consequently,
it is possible that this younger series was
analysis of the technical characteristics shows
that, although no mechanical mould relation
produced after the middle of the second
century AD.
ship can be proved, an example from central
Gaul must have inspired the Cologne
manufacturers. The youngest series of the tree
of descent were produced in the Treverian area,
none of which have reached Tongeren (Fig. 26).
Workshop: Although finds from a workshop
lack, there is enough evidence to attribute
series 671, 672, 673, and 674 to a Cologne
production centre. TO 61, TO 62, TO 63, TO 64,
Development: TO 61 and DB 4472 (671) are the
and TO 66 are attributed to Cologne by means
of petrographic analysis. Moreover, according
largest specimens of tree of descent 105. TO 62
is seven per cent smaller than TO 61. While the
folds on the breast are very similar, the facial
to chemical analysis, the clay paste of TO 64
can be attributed to Cologne. Series 665 was
not examined, but the distribution of the
features are retouched. The eyes are large and
simply outlined by a groove. The nose is much
broader and flattened, and the mouth is less
figurines suggests a production in the
Treverian area.
expressive. The head and top of the torso of TO
62 are two per cent smaller than those of TO 65.
Iconography: A low rectangular frame is
modelled between the torso and the front of the
!s
Fittschen & Zanker 1983,61-62 No. 83, Taf. 104-105: frühhadrianisch; De Beenhouwer 1991b, 74; De Beenhouwer
2005,1138, m otif 20.
11
Anon. 1983,185-186 Grab N42, Abb.123 right (K. Goethert-Polaschek): dating: first half o f second century; Lange
1994,285-286 Series 236 No. 2; von Gonzenbach 1995,357 Taf. 177,3.
Gose 1972, Abb. 387,44 and Abb. 386,16; De Beenhouwer 2005, nos. 4459 (665) and 4460 (665).
37
- 7 0 -
Fig. 26. Tree of descent 105
bust of a boy.
DB 349 (674)
Tongeren
TO 66
DB 811 (672)
Tongeren
TO 62
DB 352 (671)
Tongeren
TO 61
DB 4458 (665)
Trier
-71 -
plinth in series 665, 671, and 672. On the same
spot, in series 673 and 674, concentric arched
ridges cover the transition between the torso
and the front of the plinth. This motif relates
tree of descent 105 to specimens of tree of
descent 101 that can be attributed to the same
workshop.
reason for the holes does not seem to be a
technical one. Apparently the solution should
be looked for in the source of inspiration for
the first model. This can be deduced from the
form development of the openings in the tree
of descent. The back of bust TO 61 that is closest
to the first model is completely cut open,
except for the support at the height of the
spine. In the younger specimens the gaps
Iconographically the figurines are strongly
related to a central Gaul bust of a boy wearing a
laurel wreath found in Vichy.38 The inclined
become smaller or disappear completely. A
possible explanation is that a central Gaul
position of the head, the face with the round
cheeks, the hair locks and the execution of the
wreath are very similar. In spite of the strong
specimen served as an example for the first
model of the tree of descent. Busts from Central
Gaul were manufactured according to a process
similarity, the general proportions and detail of
the torso are different.39 Therefore, a Central
Gaul origin of the tree of descent cannot be
proved based on mould relationship. Perhaps a
very different from that of their counterparts
in the Rhineland. The mould for the backside
Central Gaul example inspired the Cologne
coroplasts.
completely open. The bust was mounted on a
separately formed plinth, using a hand-shaped
Production technique: The back was cut open in
the specimens of series 671, 673, and 674. In a
number of cases, the cavities are smaller or are
missing. At first sight, the reason for the gaps
is obscure. The creation of a vent is redundant,
because the plinth of the figurines is open at
the bottom, which allows the air to expand
during the firing process. Another explanation
could be that through these openings the joints
on the inside could have been finished. In TO
61, the openings are large enough to work the
inside, but in all younger specimens, they are
too small or even missing completely. The
only included the back of the head and
shoulders. The back of the torso remained
support rib at the height of the spine to prop
the head and shoulders. The Tongeren figurine
may have imitated this technical process, but
according to the Rhineland tradition, the head,
torso, and plinth were completely formed in
one two-piece mould. The tree o f descent
illustrates that he reason for cutting the back
grew dim and the cuts became smaller or
disappeared. Although we cannot prove a
direct mould relationship, it appears to be a
figurine from a central Gaulish workshop that
served as model for the oldest specimens of this
tree of descent.
38
Tudot i860,40,41 Fig. LXII, 55 Fig. LXXVI, LXXVIII, and pi. 48 (this last drawing is mirrored in comparison with
the other three).
39
The head o f the Vichy specimen is 30 per cent larger than that o f 352 (671) and the torso is 20 % larger.
- 7 2 -
Conclusion
In general, the analysis of the various descent
schemes reveals that the terracotta figurines
imported into Tongeren came mainly from
Cologne. The evolution of descent scheme 5
shows that the Thien Schuur figurines were
made over a longer period rather than at a
single time.
Some Rhineland figurines bear a strong
resemblance to Central Gaulish series. They
may have been inspired independently of one
another by a common stone sculpture model,
such as with the Juno and Fortuna in descent
scheme 75. A further possibility is that there
was a direct link and that workshops in the
different regions copied one another, as was
the case with the busts in Rhineland descent
scheme 105, which were inspired by a Central
Gaulish example. There were also exchanges
between Rhineland workshops, as is clearly
evidenced in the evolution of Minerva and
Mercury figurines in descent schemes 45 and
84. The style of the representation is therefore
not a useful criterion for determining
provenance. One exception are the stylistic
attributes o f the retouches added when
figurines were copied. These allow us to
identify individual modellers, as is clearly the
coroplasts to produce a range of themes using
the same basic model. This was the case for the
Juno and Fortuna figurines in descent scheme
75. An existing figurine was sometimes
radically modified by replacing the attributes
and even the head, as can be seen in descent
scheme 5, which links the figures of Fortuna,
Minerva, Venus and Juno, or in the Matronae
and seated women with dog in descent scheme
69.
For successful representations the coroplast
used different moulds of the same figure
alongside one another, as shown by the many
versions of figurines in descent scheme 45. The
coroplast sought to compensate for the
systematic shrinkage of the figurines with each
new generation by lengthening the body or
raising the base. This can be seen in the
younger depictions of Mercurius in descent
scheme 84 and of Fortuna in descent scheme
32. Thus it is not enough to compare only the
heights in order to establish the sequence of
the series and generations.
The descent schemes also provide useful
information about the meaning of the
figurines. An analysis of the find contexts for
the horseman in descent scheme 89 has
case for descent scheme 5.
revealed that the interpretation cannot be
viewed separately from the cultural and social
Working with a model without arms and
attributes was a technique that enabled
context of the owners and their personal
intentions.
-73-
Pa i n t i n g
Today most figurines show the colour of the
clay paste they were moulded with. Painting
Many Trier figurines were made of red firing
clay paste, containing iron oxide, and covered
that often added new details or embellished
the looks o f the figurine has mostly
disappeared. This is mainly caused by
by a thin layer of fine white slip. This was
common practice in the Trier workshops,
where fine white firing clay paste was scarce.
influences of the soil in which the figurine was
buried for several ages. Sometimes the surface
Most of the Tongeren figurines were made in
of the object was already damaged before. This
is for instance the case with burial gifts that
were burned on a funeral pyre. As a result
figurines that show remains of painting are
rather exceptional.
In contrast with this remarks, the collection of
Tongeren largely contributes to the knowledge
of painting techniques. Although we do not
know the circumstances in which the ‘Thien
Schuur’ terracotta find was buried, the
abundant painting residues prove that the soil
conditions favoured their preservation. No
less than 29 of the 52 preserved figurines of
this find show traces of painting or a slip layer.
Slip
A clear white surface is the ideal background
for painting rich in contrast, which most
potters aimed for. One of the ways to achieve
this aim was to apply an engobe or slip layer by
submerging the figurine in a highly diluted
clay paste of a pure white firing quality.
-74-
Cologne workshops that disposed o f large
amounts of fine white firing clay. Although the
Cologne potters seemed to have no need of an
additional slip layer on their white figurines,
closer investigation of the Tongeren collection
shows that in some cases, Cologne fabrics
where also finished with a fine slip layer.
We cannot always clearly prove the presence of
an engobe, certainly not when it has nearly the
same colour as the body of the figurine. Poor
adhesion o f the layer may help us to
distinguish the engobe. For example, a thin
peeling layer is visible at the height of the
breast of Mercurius TO 56, manufactured in
Cologne. Apparently, a thin white engobe was
also applied to some white firing figurines
from Cologne. The engobe is recognizable at
the point where the colour of the core slightly
differs. A good example is Juno TO 28, whose
thin white slip layer hides the slightly yellow
body. Another good example is a group of
figurines made in Cologne whose bodies
Fig. 27. A heavily worn off,
white slip layer covering the
dull orange body o f bust TO
73 from the Tongeren 'Thien
Schuur' find.
discoloured into dull orange and which are
covered with a very thin white layer. It
concerns an iconographically varied group
including the standing Fortuna TO 4, the
seated Fortuna TO 25, the bust of a boy TO 64,
and the woman’s bust TO 73 (Fig. 27). The
finishing slip on the dull orange figurines is
worn heavily; the layer is very thin and has
disappeared in places. Slip was mainly used to
improve the surface, not only to apply
painting: of all examples finished with white
slip, only Mercurius TO 56 and Juno TO 28
show traces of brown painting to accentuate
Fig. 28. Shiny yellowishbrown engobe covering the
white body o f the couple TO
58 from the Tongeren 'Thien
Schuur' find. Dark brown
armrings are painted on the
upper arm.
details.
A white surface was clearly the norm, but not
intended in all cases. For example, the couple
TO 58 is completely covered with a faintly
shiny yellowish-brown engobe, onto which
the details of the mouth, the hands, and two
armrings were painted in a darker brown
paint. The intended effect may have been to
convey the patina of the much more expensive
bronze figurines (Fig. 28).
The figurative perfume bottles TO 90 and TO
92, manufactured in Central Gaul, prove that
slip was not only applied in the Rhineland.
They both belonged to the Huybrigts
collection and were severely damaged by fire
Glaze
Although very rare on terracotta figurines,1
glaze was frequently applied to the surface of
figurative flasks, often in the form o f an
animal.2 One of the zoomorphic flasks from
Tongeren is covered with a yellowish glaze.
The flask, in the shape of a monkey with her
young, was imported from Central Gaul (Fig.
29). A similar yellow to yellow-brown glaze
Fig. 29. Detail o f glaze
applied on the unguent
flask in the shape o f a mon
key TO 91 found in Tongeren
‘Elfde Novemberwal’.
in World War I. The peeling grey surface layer
of the central Gaulish pigeon bottle clearly is a
fired white slip layer. The colour of this layer
and the colour of the core underneath it have
been affected by the secondary burning in
1914. The second bottle, depicting a sitting
person, is covered with a dark reddish brown
slip over the entire body, which now shows
crackles because of the fire.
A Venus from Brive-la-Gaillarde bears traces o f a yellow glaze: De Beenhouwer 2005,453, no. 3058; an example from
the Rhineland is a Venus from Trier w ith the remains o f a green glaze on a preparatory slip. See Schauerte 1985,131
no. 37; De Beenhouwer 1991b, 86.
Déchelette 1904,322-324; Jeanlin-Rouvier 1994; Corrocher 1994.
-
75
-
features on a flask representing a hare, found
in the settlement of Braives, also in the civitas
Tungrorum (Fig. 30).3
Fig. 30. Glaze on a fragment
o f an unguent flask showing
the pad o f a hare found in
Braives.
generally dated to the first century AD, from
the Tiberian period and with a peak in the
mid-first century.® This matches the general
date for glazed ceramics from Central Gaul,
which began in about 20 AD, reached a peak
between 40 and 80 AD and vanished at the
beginning of the second century.9 This early
date means that the flask in Tongeren
remained in use for a long time, for it was
found in a context that arose after the middle
of the second century. Figurative flasks are
found most often in a funerary context.10Like
the hare-shaped flask of Braives, the Tongeren
The application of a glaze layer that reduced
the porosity of the wall made these flasks
suitable for holding liquids. Because of their
small capacity and sumptuous execution, it is
often assumed that they contained cosmetic
products.4Although the Mediterranean region
flask was found in the dwelling area, which
demonstrates that glazed unguentaria were
used not only in the grave cult, but also in
domestic situations.
Background painting
had a long tradition of figurative ceramics,
animal-shaped flasks were not made anywhere
on such a large scale as in Central Gaul.5Traces
In many cases larger parts of the figurine such
as the skin or the hairdo were coloured. This is
same way using two-part moulds. These
glazed figurative flasks from Central Gaul are
yellow pigment residue is found more often in
Rhineland terracotta.”
most apparent for the dark pigment residue in
of glazed pottery production have been the hair of several figurines: TO 2, TO r5, TO 22,
identified in various production centres.6 TO 2r, TO rr, TO 6r, TO 63, TO 65, TO 66, TO 72,
Workshops where figurative flasks were made TO 74, and TO 75. The shiny yellowish layer on
often produced also terracotta figurines.7*The the fur of the goat TO 81 and on the face of a
reason is obvious; they were moulded in the bust TO 74 is another example. Similar shiny
’
4
'
‘
7
1
'
“
Brulet 1990,76 no. 19,77 fig. 34.
Corrocher 1983: ‘récipients à essences parfumées’; Hochuli-Gysel 1998: ‘balsamarium’, ‘Salbgefasse’, ‘Verpackung
von Toilettenessenzen1. Van Boekel 1987,776 ‘unguent flask’, ‘unguentaria’; EckaTdt 1999, 67: ‘contained perfumed
oils and ointments’.
Hochuli-Gysel 1998,72.
Workshops identified on the basis o f the presence o f kiln finds, misfires and half-finished products in HochuliGysel 1998,65. Groups defined on the basis o f macroscopic characteristics o f the paste and glaze in Hochuli-Gysel
1998, 66-67. A Central Gaulish chemical group is described in Walton 2004,164-165: the glaze was made in Central
Gaul o f PbO alone applied to non-calcareous clays, in contrast to the Italic technique that applied Pb0 -Si0 2
mixtures to calcareous clays.
Corrocher 1994,120: Lezoux, Vichy, Saint-Rémy-en-Rollat, Gannat, Yzeure, Thiel-sur-Acolin, Saint-Pourçain-surBesbre and Bourbon-Lancy.
They were replaced b y glass flasks after the first century. See Van Boekel 1987,777. They occurred in Oberwiterthur
between 30 and 60/70 AD. See Hochuli-Gysel 1998,74. A n important ensemble is the well-known grave from
Colchester from the middle o f the first century. One o f the ten animal-shaped flasks from the grave also
represented a monkey suckling her young. The grave also contained other vessels w ith a lead glaze. See Van Boekel
1993,246-250; Eckardt 1999.
Vilvorder 2010,292. See also Corrocher 1983,32; Desbat 1986,33,37.
Van Boekel 1987,777: Netherlands; Van Boekel 1993,244-245: Luxembourg; Hochuli-Gysel 1998,75: Switzerland.
Bachmann and Ott 1980,129-130, Probe 9: yellowish glazy leaded pigment; Behrens 1918 (Legionskastell Mainz),
43- 44: “In den Vertiefungen liegt hier und da ein gelber Überzug, von dem es zweifelhaft ist, ob er der Rest der
ursprünglichen Bemalung ist oder sich im Lauf der Zeit erst angesetzt hat”; see also De Beenhouwer 2005, Fortuna
Series 209 and cock Series 851.
- 7 6 -
Fig. 31. Faint grey paint
borders the eyes. The
indication o f the round iris
and the arched eyebrows is
still visible, especially on
the left eye. Faint dark
pigment remains in the
grooves o f the hair. Bust
TO72 from the Tongeren
'Thien Schuur' find.
Accent painting
The prevalent way of decorating terracotta
figurines, especially in the Rhineland work
shops, undoubtedly is accent painting. Using
colour, the artist emphasized certain details, or
added new elements to the composition. In the
specimens from Tongeren, the colour of the
painting is mostly yellowish brown to brow
nish black. Most painting emphasizes small
detail that was already present in the mould of
the figurine. In that way attributes or anato
mical features such as eyes, mouth, and hands
are stressed (Fig. 31).
Sometimes the painting also adds new
elements such as bracelets, a hair ribbon, or a
decorative pattern on the front of a plinth or
the sides of a chair. Twenty-three figurines
from the Tongeren collection show remains of
such painting, most of which are urban finds.
relief of the figurines were added in painting
to the upper arms of the couple TO 58 and the
right arm of Mercurius TO 56. Other examples
are known, mainly from the Cologne
workshops and, less frequently, from the
Treverian area.“ Since the double bracelets are
represented in the same way on the upper arm
of both men and woman, they were worn in
Only one figurine, a hen TO 84, with accent
the same way without distinction between
genders (Fig. 28). Other jewellery was
preferable to women. A diadem was painted
painting was found in a grave. The remaining
pigment is burnt, and where it has
on Fortuna TO 20 and Juno TO 28 and a hair
ribbon was added on Fortuna TO 8. A similar
disappeared, a gray “smoky” trace is left. We
assume that this poor preservation is
connected with the grave ceremony, by which
hair ribbon was used in a parallel of Fortuna
TO 25 and TO 26.‘3
Some o f the painted decoration is not
the figurine came into contact with the funeral
pyre. In any case, the Tongeren urban contexts
figurative. It shows a remarkable lozenge
shaped pattern of diagonally crossing lines.
appear to have been a more favourable
The pattern is usually painted in a frame that
outlines the sides of the chair or on the plinth.
Five figurines found in Tongeren, show this
environment for the preservation o f the
pigments. The “sheltered” burial of Mercurius
TO 56 underneath a roof tile and the great
depth o f the Thien Schuur deposit must
type of pattern on the plinth (Fig. 32).
Fig. 32. Yellowish brown
lozenge-shaped pattern on
the plinth o f Matrona TO 51
from the Tongeren ‘Thien
Schuur’ find.
certainly have played a part in the conser
vation of the painting. Nineteen examples
showing accent painting are from the Thien
Schuur find.
The artist sometimes added new detail, such
as jewellery, to the design of the moulding.
Double bracelets that were not indicated in the
The colour o f the preserved Cologne painting is mostly
dark brown to black: a standing woman with child from
Kerkhove, a Venus from Vechten (Van Boekel 1987,
517-518 No. 95), a standing woman with a ju g in the right hand and a child on the left arm by the Cologne coroplast
Vindex from Frankfurt-Heddernheim (Rüger 1980, 63 No. 101). Exceptionally, red bracelets are also found on a
standing Apollo b y the Cologne coroplast Servandus with red painting from Arentsburg (Van Boekel 1987,254-255
No. 2). The colour o f a Venus from the Mosel area is red (Schauerte 1985,168 No. 210 Taf. 22,1-3).
Sitting Fortuna (Rüger 1980,42 No. 16). The same m otif with paint was applied on a sitting Fortuna (Behrens 1920,
56 No. 5 Taf.21,9) and a sitting woman w ith dog from Bingen (Behrens 1920,57 No. 10a Taf. 21,8).
“ 7 7 -
One of them, Juno TO 27, was signed by the
Cologne coroplast Servandus. The lozenge
pattern was used chiefly in the Cologne
pottery centre, but some examples prove that
plinth one of the glaze splashes landed on the
brown pigment of the underlying painting. It
is clear that the painting on this figurine was
applied before firing.
it was also adopted in Treverian workshops.
In these workshops a preference for red paint
was evident.14*Sometimes a St Andrews cross
was also applied to the side of the chair, as in
matrona TO 52, which was manufactured in
Cologne. Outlining without the filling lozenge
pattern is also found. Most series with
outlined areas were attributed to Cologne, but
the motif has been occasionally adopted in
Trier.'s In contrast with the yellow brown to
black colour that was mostly used in Cologne,
the outlining in Trier is reddish. To conclude,
we may argue that the painted details mainly
point to the Cologne workshops. The same
motifs were often adopted in the Moselle area,
but the colour is not identical.
Why did pigments of painting on Cologne
products survive the centuries? The reason
must be searched for in the used technique.
Pigments applied before firing (ante cocturam)
are supposed to be much more durable than
the ones applied afterwards (post cocturam).
For some time the question concerning
Unintended traces of glaze and colouring
slip
Not all remains of glaze or colouring slip,
nowadays found on the figurines, were
intended by the potter. A special example of
unintended glaze is displayed by bust TO 74.
During firing in a Cologne workshop the head
of this figurine became stuck to a glazed object
stacked higher up in the oven.18A large stain of
green lead glaze dripped from the glazed
object onto the head of the bust. In order to
remove the figurine from the kiln the potter
had to snap the head off the glazed object. On
top, where the stain is thickest, a round
fractured surface with thick brown resinous
edges is visible. At the bottom of the stain,
where the glaze becomes thinner, it gradually
turns yellow. Little splashes of green glaze also
splattered on the plinth and on the brown
painting that outlines the bottom edge of the
plinth. The underlying accent painting was
whether the figurine was painted before or
after the firing remained unanswered.16 The
solution can be found in Tongeren. Thanks to
applied before firing. This incident shows us
that the figurines in Cologne were not
necessarily fired separately, as they were in
one of the busts from the Thien Schuur find
(TO 74). In the Cologne workshop were it was
Mainz, where a kiln full of misfired figurines
manufactured, the accent painting was partly
covered unintentionally with glaze during the
firing process.17 On the bottom edge of the
14
“
was excavated.19 They could be fired together
with other ceramics, in this case glazed
pottery. The unintended lead glaze and the
fractured surface on the head of the bust did
Examples are a sitting Minerva from Frankfurt-Heddernheim (Rüger 1980,49 No. 54) and a sitting woman with
dog from Dhronecken with red painting (Schauerte 1985,261 No. 609 Taf. 72,5-6).
The figurine o f a gladiator w ith painted delineation o f the base was manufactured in Trier (Trierer Zeitschrift 12,
1937,281IIL18)
“
"
Bachmann 8t Ott 1980,129; Van Boekel 1987,220; Rose 2005,18: the same issue applies to the masks.
See 8.4 uninteded glaze.
“
De Beenhouwer 1991b, 72-73. For the use o f green glaze in Cologne, see also Mathea-Foertsch 1999; Hoepken 2005,
62, Farbtafel 1, Warenprobe 3.
Witteyer 1996.
"
- 7 8 -
Fig-33- Dark brown accent
painting on the upper rim
o f the plinth and an
unintentional plash o f a
reddish brown slip on the
back o f Diana TO 3 from the
Tongeren ‘Thien Schuur’
find.
not prevent the potter from selling the
figurine, Apparently the finished article didn’t
have to fulfil high standards to meet the needs
of the market.
Some figurines show traces of unintended
colouring slip (Fig. 33). Numerous splashes of
a reddish brown slip on the surface of Diana
TO 3, Fortuna TO 13 and Minerva TO 38 are a
case in point. The reddish colour of the
splashes differs from the brown accent
painting on the plinth and the cloak of the
Diana figurine. These drops do not contribute
to the decoration and were therefore not
intended. During the drying process, these
figurines were unintentionally sprinkled when
the potter was performing other activities.
Once again this indicates the production of
figurines was not a separate industry, but
integrated in the fabrication of other ceramic
products.
- 7 9 -
C O R O PLA STS
Several of the figurines that were found in
Tongeren bear a signature o f the manu
facturer. These always involve coroplasts who
were active in workshops in Roman Cologne.
Vius and (At)ticus, 125/200-250 AD
Mercurius TO 56 from Tongeren bears the
inscription VTVS 11 (C)CA(A) at the back, on
the edge of the rock he is seated on. There are
no separators between the words. The name
VIVS is blurry. The first two letters are clearly
legible, but the last two are less clear. The
bottom of the V and the top of the S are
preserved. Only two vertical grooves of the
next word are preserved. After that the letters
Fig. 34. A t the top (left and
right) the inscription on
Mercurius TO 56 from the
‘Sint-Truidersteenweg’. A t
the bottom (left and right)
the inscription on
Mercurius TO 57 from the
‘Elfde NovemberwaT. The
figurines are part o f the
same series. The inscription
is identical Blurred parts o f
one inscription can be
completed by the other.
-80-
CA follow. This obviously is a part of the
abbreviation CCAA that refers to Roman
Cologne, known as Colonia Claudia Ara Agrippinensium. The coroplast didn’t write the full
abbreviation. Fortunately, a second Mercurius
form the same series, TO 57, bears an identical
inscription. The blurred parts of one inscrip
tion can be completed by the other (Fig. 34).
A Mercurius figurine from Hoeselt, DB 333
(947), which is related to the same tree of
descent but that belongs to another series, is
completed with the regularly formed letters
AI.TICVS.FIICIT on the top edge of the chair
shaped rock and below in diagonal letters
Fig. 35. Photographic
compilation showing the
inscription on the
Mercurius figurine from
Hoeselt.
C.C.A.A in relief (Fig. 35).* Remarkably, the
Servandus, 155/160-180/210 AD
separators come in the shape of a small, well
shaped little circle between the words and
The plinth of Juno figurine TO 27 that was
found near the northern temple in Tongeren
letters of the abbreviation. In spite of the word
separation after the two first letters, Atticus
carries the name Servandus. This famous
Cologne coroplast made a major contribution
could be a possible reading. We have no
further knowledge of a Cologne coroplast
to terracotta production in the Rhineland. He
signed a large number of terracotta figurines.12
known by that name.
His name can also be found on a number of
relief lamps, made according to the same
moulding technique as the figurines.3 The
The relationship between the inscriptions
inscriptions not only mention his name, but
also a precise location of his workshop and a
from Tongeren and Hoeselt remains unclear.
Both figurines belong to the same tree of
descent, but not to the same series. The
inscriptions differ fundamentally and are
from two different coroplasts. Their
production can be dated between 125/200 and
250 AD. According to the petrographic data,
the Mercurius figurines from Hoeselt and
Wervik should be attributed to a Cologne
workshop.
1
2
J
very precise date. Due to this, Servandus’s
oeuvre is one of the best described in the entire
north-western European terracotta industry in
the Roman period. In total, forty-six figurines
with his signature are preserved, through
which no less than twenty-five series can be
attributed directly to Servandus. His reper
toire includes Venus, Fortuna, Minerva,
woman seated with dog, woman seated with
The text has been interpreted in various ways in the past (Bamps 1898,71-72: wrong reading “I'IDHVIS”;
Schuermans 1898,401: Mercurius from “substructions” from Hoeselt. Schuermans reads the stamp:
“k SICVS.FIICIT”; Renard 1905,286-289, No. 1 pi. A: Renard reads “...LICVS.FIICIT” and cites two names (p. 287, note
1) that end on ICVS: VRBICVS (referring to Tudot i860,66) and LVBRICVS (referring to Tudot i860, pi. 64); De
Maeyer 1940,107: reading...LICVS FIICIT; Dheedene 1959,82 No. 458: ffilLICVS.FIICIT; Despriet 1975 (Wervik), 29-37
Fig. 1: reading as Renard; Van Boekel 1987,395 sub i: reading AI.TICVS.FIICIT (ATTICVS ?) on the top edge o f the
rock and CCP. (CCAA?) below; Lange 1994,271 Series 196 No. 7: [...]ICVS FIICIT/CCA[A] or CCP[.]; Van Boekel 1996,
23: on the edge o f the rock ACCEPTVS.FIICIT and under the rock [AC]CEP[TVS], [A]CCE[PTVS] or C.C.A.[A];
Hdpken 2005,51: [...]ICVS; CIL XIII, 10,015, No. 119: ...ICVS.FIICIT.
Schauerte 1985, 60-65; Lange 1994,149-151; De Beenhouwer 2005,1074: Victoria No. 4,144 (500) and figure removing
a thorn No. 4,251 (547) do not mention Servandus’ full name, but the initial S.
Binsfeld 1964,30 Taf. 10 Fig. 6-14; Hoepken 2005,48: signatures SE, SER, or SERV.
- 81 -
Fig. 36. Part o f the name o f
Servandus and the
abbreviation CCAA on TO 27
from the Tongeren north
temple.
from Kobern-Gondorf mentions the consulate
of Macrinus and Celsus in 164 AD, more
specifically 13 September of that year. The
figurine belongs to a series that is attributed to
Servandus.7 The inscription on a figurine of a
god accompanied by an animal from
Arentsburg has the youngest consular dating
yet found on a statuette signed by Servandus.
In addition to the name Servandus, the
consulate o f P. Coelius Apollinaris and,
possibly, joint consul Senecio is mentioned.
This refers to the year 169 AD.8*10The dates
mentioned on the figurines presumably
represent important days. According to
Hopken, these figurines were made to mark
certain celebrations, related to the calendar of
the Colonia or the province of Germania Inferior.
Engraving the date on the figurine, the
coroplast turned it into a souvenir.8
The inscriptions enable us to demonstrate a
fruit and Ubian hat, Cybele, Juno, Diana,
Mercurius, Bacchus, and Mars.4 With
chronological relationship between Servandus
and two other Cologne coroplasts, Acceptus
and Lucius. A Mars figurine that was found in
certainty, his workshop was established in
Roman Cologne. Cologne is mentioned 26
Cologne bears two signatures that were
times with the letters CCAA, the abbreviation
of Colonia Claudia Ara Agrippinensium or
Roman Cologne (Fig. 36).
applied at different occasions." At the back, we
find a blurred signature by Servandus, which
was already present in the mould. At the front,
a sharp inscription is applied with Acceptus’
name. A comparison of the freshness of the
The location o f the workshop, ad forum
inscriptions shows that Servandus created the
hordiarium, is also mentioned four times. We
cannot yet locate this toponym in Cologne, but
model, and that Acceptus copied Servandus
work, adding his name without wiping off the
the distribution of the finds clearly shows the
relationship with the Roman potters’ district
near the Rudolfplatz.5 Some of Servandus’
shallow signature of Servandus. This could
imply Servandus’ workshop at that time had
ceased to exist. The workshop of Acceptus is
figurines carry the name of the consuls from also located in Cologne, according to the
that year, making very precise dating possible.6 inscriptions, but in his later professional life,
For example, the inscription on a Minerva he probably migrated to Trier. A bust carrying
*
5
‘
7
’
*
10
De Beenhouwer 2005: Venus series 135,146, and 135, Fortuna series 246,247, and 259, Minerva Series 280, sitting
woman with dog Series 368, sitting woman w ith Ubian hat cat. No. 4,098, Cybele Series 465, Juno Series 478, Diana
series 484 and 486, Mercurius Series 525, Bacchus Series 532 and 534, and Mars Series 552.
De Beenhouwer 2005, series 146,153,246,280, and 486; Hopken 2005,48-49: Fundstelle 30,
Hopken 2004,40; Hopken 2005,49.
Lange 1994, Series 95; De Beenhouwer 2005, Series 280.
Van Boekel 1987, 609 No. 149; Lange 1994,278 Series 214 No. 1.
HiSpken 2004.
Lange 1994,267-268 Series 186, No. 1, Abb.11; Van Boekel 1996,22 Fig. 43; De Beenhouwer 2005,4,253 (552).
-82-
his name, and found in Trier Altbachtal, bears
witness of this event.“ It is made of red-baking
clay paste, a common practice in Trier.
Lucius is another coroplast that imitated the
work of Servandus. This is illustrated by a
series that depicts Venus holding a mirror. In
addition to a specimen signed by Servandus,
the series also includes two specimens signed
by Lucius." The image comparison o f the
figurines, demonstrates that the work of
between 160 and 180 AD. The final phase is less
well defined. The continuation of Acceptus’
workshop in Trier, presumably after the
decline of the Cologne ceramic centre, and the
dating of the Oudenburg figurine in the first
half of the third century, support a proceeding
of Servandus’ activities, at least until the
nineties of the second century.
A plinth with the inscription of Servandus
Lucius is younger than the one of Servandus.*13 that was found in Cologne in 2002
The Venus series may have been traded as late demonstrates that not all of Servandus’s
as the beginning of the third century14, which creations were original designs.192
0It belongs to
was the final phase of the workshops near the a series of busts of a woman with earrings, of
Rudolfplatz
in
Cologne.15 The
only which a specimen was found before in
archaeologically dated specimen is found in Cologne, and which is also represented by two
Oudenburg in a context of the first half of the specimens in the Thien Schuur find in
third century AD.16 Because the Oudenburg
Tongeren (TO 50 and TO 51).” The original
figurine isn’t signed, we cannot be certain
whether it was made by Servandus himself or
design probably dated from shortly before the
middle of the second century.21 Until now, the
by Lucius who worked later. We can consider
Acceptus and Lucius successors of Servandus,
entire production has been anonymous. Just
the plinth being preserved, it is not possible to
chronologically situate the moulding of
or at least younger contemporaries. We know
that Lucius was active in Cologne in a different
location, “ad gantunas novas”. Thus, the same
series was manufactured in two different
Servandus within the development of the tree
of descent of this bust.
Cologne workshops.
Victor from Cologne, 180-200/210 AD
Relying on the archaeological dating of the
series signed by Servandus, the beginning of
the workshop has to be situated not long
before 160 AD.17 An earlier dating shortly
before the middle of the second century is no
longer valid.18 His main activity takes place
u
“
13
H
15
16
17
18
19
20
11
The bust o f a bald boy (TO 69) found in
Tongeren has the letter ‘V’ in relief on a disc
shaped medallion between plinth and torso.
This letter is the initial of Victor, a coroplast
whose full name appears twice on a separately
formed medallion: once on the bust of a
De Beenhouwer 2005,1067.
Lange 1994, Series 20.
De Beenhouwer 2005, Series 135.
Lange 1994,210-211 Series 20; De Beenhouwer 2005, Series 135.
Höpken 2005,43: “...Aufgabe der Töpfereien im frühen 3. Jahrhundert. Für das 3. Jahrhundert is in Köln bisher eine
Werkstatt überliefert, die jedoch nicht über die Jahrhundertmitte hinaus arbeitete.”
De Beenhouwer 2005, No. 832 (135).
De Beenhouwer 2005: the Fortuna Series 259 was dated between 150 and 260 CE, Juno Series 465 between 170 and
230 CE, Venus Series 135 between 200 and 250 CE, and the development o f the Tree o f Descent 87 was dated
between i 6o/i 8o-192/20o (?).
Van Boekel 1987,210 nt. 91,894 nt. 682: early dating based on the Hofstade dating by S. J. De Laet; De Beenhouwer
1993,235 nt. 13: idem; De Beenhouwer 1996: Hofstade s reinterpretation o f the site; see also De Beenhouwer 2005,
861-862,961: Tree o f Descent 15.
Höpken 2004,39.
De Beenhouwer 1991a, 409 111. 5,3; Lange 1994,280-282 series 221/222 No. 1, 111. 82.
De Beenhouwer 2005,916-917,1032-1033: Tree o f Descent 104.
- 8 3 -
Fig. 37. Impress o f the
coroplast Victor on a disc
shaped medallion on TO 69
from the Tongeren ‘Thien
Schuur’ find.
petrographic research, the figurine from
Tongeren was attributed unequivocally to a
Cologne workshop. According to the
development of the tree o f descent, the
specimen dates from the end of the second or
the beginning of the third century AD, which
immediately guides our dating
o f the
workshop.25
A coroplast named Victor was also active in
woman from Bonn“ and once on a Fortuna
Xanten, possibly around the middle of the
second century. Two clay half-moulds, found
figurine from Andernach (Fig. 37).2
23
in the ‘Kriemhildstrasse’, testify to this fact.262
7
At the back, we read the inscription VICTOR F.
The produced themes are Venus and hen.22It is
The production technique of the bust of the
woman from Bonn clearly took its inspiration
most unlikely that Victor from Cologne who
put his name on the medallion of the figurines
from central Gaul.24It has a separately formed
plinth and medallion, and the half mould of
the back only includes the head and shoulders.
We therefore cannot ignore the possibility that
is the same as the Victor who engraved his
name on the clay half-moulds from Xanten, in
view of the later dating of the coroplast from
Cologne.282
9
the artisan, coming from a central Gaul
workshop, migrated to the Rhineland.
However, the bust from Tongeren is elaborated
Vindex, 140/150-180 AD
in
is
Though no inscriptions of Vindex are found in
integrated in the mould of the bust, the back
side being completely incorporated in the
half-mould of the back, and the medallion
Tongeren, tree of descent 69 shows a clear
relationship between Matrona TO 52 and the
work of this coroplast. Vindex offered a
being incorporated in the half-mould of the
front. Apparently, Victor adapted his
production technique to the Rhineland
considerable choice. Next to moulded lamps,
he signed no less than eight different figurine
series.23 His repertoire includes Venus with
process. Based on chemical analysis and
Priapus, Fortuna, woman standing with child,
Rhineland
tradition.
The
plinth
22
23
24
15
26
Van Boekel 1987,215 Fig. 9; De Beenhouwer 2005, 695, No. 4360 (638).
Schauerte 1985,203 No. 335.
Van Boekel 1987,212-216, 638.
De Beenhouwer, 918-919,1035: Tree o f Descent 106.
Hinz 1963,395-403, Abb.2 floor plan, Abb.5 moulds and Taf. 48: In i960 and 1961, research was conducted on the
‘Deckers’ lot, in w hich settlement traces were found from the first to the third century in a stratigraphical package
two meters thick. This included an artisanal quarter with bread ovens, a potter’s kiln, and wells. In addition to the
moulds that were signed b y Victor, a mould o f ‘firmalamp’ Loeschcke Type IX was found, the m ould o f a little
Luna head, for the production o f relief appliques and a half-mould o f a standing Jupiter w ith lightning. If one
assumes that the moulds belong together and are related to the potter’s kiln, they belong in the second century.
Haupt dates the finds in the middle o f the second century (Haupt 1979,203).
27 De Beenhouwer 2005, series 30 and 868. We are still not sure whether the fragment o f the signed half-mould from
Xanten actually belongs to this Venus series. The contours and internal proportions are similar, but the loss in
height between the mould and the largest preserved specimen o f the series is 17 per cent. Moreover, the other
specimens o f the series were produced using plaster moulds.
28 According to Schauerte, the indications are too few to relate the production to the potter’s kiln that was found
here. In spite o f the mould finds, the entire coroplastic in Xanten would be uncertain. If terracotta were
manufactured here, they would be o f secondary concern, according to Schauerte, and m ay be regarded as a
workshop that depended on Cologne (Schauerte 1985,55~56).Van Boekel concludes that the statuettes and moulds
probably came from one modeller (Van Boekel 1987,212-216 fig. 7 and 8, 638; Lange 1994,119).
29 Schauerte 1985,57-60: list with wrong notation under K and wrong identification o f Mercurius under E, G, and H;
Lange 1994,148-149; De Beenhouwer 2005, series 177,306,317,411,531, and 983.
- 8 4 -
woman seated with dog, Bacchus and
Sucellus. In addition to his name, various
figurines also bear the abbreviation CCAA,
have worked in that period. Other trees of
descent confirm this later dating.38
which provides certainty about the location of
his workshop in Cologne.30Like his colleagues
Alfius and Lucius, Vindex also mentions the
address of his workshop “ad gantunas novas”.31
Fig. 38. Fortuna found in
Melick DB 3636 signed at the
back o f the plinth by
Vindex. The figurine is part
o f the same series as the
unmarked Fortuna TO 6.
Traditionally, the ‘Firmalampen’ o f the
Loeschcke-X type with a broad open channel
that were signed by Vindex were used to date
the workshop.32Lehner dated the lamps to the
end of the first and beginning of the second
century AD. According to S. Loeschcke, the
type with the broad channel only occurs after
the first century.33Initially, a dating in the first
third of the second century was therefore
accepted for Vindex.34According to H. Lange,
Vindex worked in the second quarter of the
second century. As evidence, he mainly offers
the typical hairdo o f some figurines by
Vindex.35 Descent scheme 6g offers strong
arguments for a date in the beginning of the
second half of the second century. A seated
woman with a dog on her lap, signed by
Vindex, stands at the roots of the Ubian
matrona.36 Possibly, he also designed the
mould-related matrona TO 52. After all, it was
customary for coroplasts to create several
themes from a new design, adapting the
Fig- 39- Detail o f the back o f
the plinth o f Fortuna DB
3636 from Melick. The faint
inscription shows part o f
the name VINDEX and the
lines o f a St Andrews cross
on the burned surface.
attributes and haircuts corresponding to the
needs of the market.37The introduction of the
Ubian clothing of the matrons in the religious
iconography is related to a cult figure that was
consecrated in Bonn in r6r AD. Vindex must
30
31
3J
33
34
35
36
37
38
De Beenhouwer 2005, series 177,306,411, and 983; Höpken 2005,50-51: Fundstelle 28.
De Beenhouwer 2005, series 177 and 983.
Lehner 1903,191-193 Fig. 2 No. 2 and 3: drawing o f the Trier lamp and signature with CCAA addition; Binsfeld 1964,
29-30, 111. 6 No. 1: drawing o f signed lamp preserved in the Cologne RGM museum.
Loeschcke 1919,495.
Schauerte 1985, 60; Van Boekel 1987,208, 876, and 895.
Lange 1994,148-149: the haircuts o f series 145 and 160 are said to not have originated from the Flavian-Trajan
hairpiece, but to be inspired by the late-Hadrian to early-Antonius haircut o f Sabina, Hadrian’s wife; see also
Wegner 1956, 84.
See also De Beenhouwer 1991 (statuettes), 74-76: comparative study o f the series o f Vindex and the matrons with
Ubian hat.
De Beenhouwer 2005,844-1050: trees o f descent 35,38,46, 67, and 87.
De Beenhouwer 2005,1138: trees o f descent 15 and 50. The hairdo, m otif 21 that is applied twice in the signed series
o f Vindex is dated in the tree o f descent between 140/150 and 170/180.
-85-
Pr o v e n a n c e
To determine the provenance of the figurines,
there is a broad range of research methods
available, ranging from a simple observation
of the figurine to extensive scientific analyses.
Each method yields further clues. The inter
Juno, caught the attention of Schoppa.3A com
parison of its style with other examples, most
notably from Bingen and Heddernheim but
also from Tongeren, led him to conclude that
there was a stylistically uniform group of ter
racotta figurines, manufactured in the same
connection between the mould-made fig
urines, revealed through the study of the
workshop. Based on the find distribution, this
series and the tree of descent, increases the
range of application.
hypothetical workshop had to be sought in the
Middle Rhine area. In Schoppa’s view, two fig
urines from Tongeren belonged to this group.
One is the Tongeren Juno TO 31, which is part
Stylistic analysis: the Thien Schuur
example
In the first study of the figurines from the
Thien Schuur find in 1932, Van de Weerd
expressed his belief that the figurines came
from a single workshop in the Lower Rhine
area.1He established a link with products from
Cologne, but was unable to substantiate his
assertion because it was based on literature
alone. He was aware that the matter could only
of the same series as the Juno of Hofheim DB
4107. He also placed the seated woman with
fruit TO 53 in this group.
The 1980s saw the compilation of major stud
ies of terracotta figurines. Various authors
adopted Schoppa’s ideas.4As a result, a total of
25 figurines from Tongeren were attributed to
the hypothetical production centre. Twentytwo of them, spread across 13 series, were part
be resolved by comparing the paste of the
Cologne figurines with that of the hoard.2
Twenty years later, a number of terracotta fig
urines were found during an archaeological
of the Thien Schuur terracotta find (Table 3).
Although there was consensus on most attri
butions, some series were placed in the Middle
Rhine group by one author, but were viewed by
exploration of the canabae of the castellum of
Hofheim. One of them, a representation of
others as originating from a Cologne work
shop. Attributions on the basis of stylistic fea-
1
2
3
4
Van de Weerd 1932,295-299.
Van de Weerd 1932,297.
Schoppa i960.
Schauerte 1985; Van Boekel 1987; see also critical note on the find distribution in Rüger 1980,28.
-86-
Tongeren
them e
series
Scho pp a
Schau erte 1985
Van Boekel 1987
1960
chem ical
petrographical
an alysis
an alysis
paste g ro u p
3
D iana
4
Fortuna
M iddle Rhine
7
Fortuna
M iddle Rhine
8
Fortuna
M iddle Rhine
uncertain
paste 26
9
Fortuna
M iddle Rhine
uncertain
paste 26
10
Fortuna
C ologn e
11
Fortuna
C o lo gn e
C ologn e
paste 24
12
Fortuna
M iddle Rhine
13
Fortuna
C ologn e
paste 23
14
Fortuna
M iddle Rhine
17
Fortuna
C o lo gn e
M iddle Rhine
M idd le Rhine
C o lo gn e
C o lo gn e
paste 20
C o lo gn e
paste 24 (TO 4)
C ologn e
paste 20 (TO 9, TO 12)
paste 21 (TO 13)
C ologn e
M iddle Rhine
C ologn e
paste 22 (TO 25),
paste 24 (TO 26)
19
Ju n o
C ologn e
M idd le Rhine
20
Ju n o
M iddle Rhine
M iddle Rhine
M iddle Rhine
M iddle Rhine
21
''
Ju n o
M iddle Rhine
C o lo gn e
paste 25
C ologn e
paste 23
(TO 3 2 )
23
M inerva
25
M inerva
26
M inerva
27
M inerva
C o lo g n e
C ologn e
paste 20 (TO 3 8 ,4 2 ),
paste 21 (TO 43)
28
Venus
M idd le Rhine
M iddle Rhine
C o lo gn e
paste 20 (TO 45)
uncertain
paste 26 (TO 48)
or C o lo gn e
29
Venus
M idd le Rhine
M iddle Rhine
32
M atrona
C o lo gn e
C o lo gn e
33
M atrona
C o lo g n e
C o lo gn e
34
w o m an w ith fru it
M idd le Rhine
M iddle Rhine
38
co u ple
39
bust o f a boy
40
bust o f a boy
42
bust o f a boy
M idd le Rhine
C ologn e
C o lo gn e
C ologn e
paste 20
C o lo gn e
paste 21
C o lo gn e
paste 22
C o lo gn e
paste 20
C o lo gn e
(TO 64)
43
bust o f a boy
44
bust o f a boy
45
bust o f a b o y
C o lo gn e
Trier
46
bust o f a boy
47
bust o f a w o m an
48
bust o f a w o m an
paste 20 (TO 63),
paste 24 (TO 64)
C ologn e
paste 24
C o lo gn e
paste 21 (TO 67)
C ologn e
paste 20
Treveri
paste 34
49
bust o f a w om an
C o lo gn e
paste 21
50
bust o f a w om an
C o lo gn e
paste 23
51
bust o f a w o m an
61
rooster
C o lo gn e
paste 20
Fran kfu rt
Table 3. Stylistic analysis: the ‘Thien Schuur’ example.
- 8 7 -
tures are obviously open to interpretation;
they are not a sound basis for resolving issues
of provenance. This has already been pointed
out by the present author in a 1991 study com
paring the figurines of the ‘Thien Schuur’ with
finds from Cologne, Trier and Heddernheim,
this time not on the basis of stylistic features,
but of observations of the paste,5 technical
aspects of manufacture and decorative tech
nique.6 The classification of the paste, based
mainly on the presence of crystalline inclu
evolution o f descent scheme 5, which also
includes the Juno figurines that - together with
the Fortunas - were the point of departure for
Schoppa’s stylistic group.9 Thus the similari
ties that Schoppa had observed were the result
of the typical reproduction technique for terra
cottas, whereby similar characteristics were
transferred through the mechanical process of
moulding, which transcends the individual
workshop. This brief survey of provenance
issues for the Thien Schuur figurines makes it
sions, yielded a homogeneous picture for the
series under study, with the exception of TO
70. A comparison with products from the
mould-made terracottas.
Cologne and Trier workshops led to the con
clusion that TO 70 was produced in Trier and
the other figurines in Cologne. The study
It should be stressed that from these series,
only the specimens from the Thien Schuur
clear that mere stylistic analysis is not a useful
criterion for establishing the provenance of
therefore also raised legitimate doubts about
the Middle Rhine group, as defined by
Schoppa and his followers on the basis of sty
listic features alone. Lange confirmed this
find were considered. It can not be exlcuded
that more than one workshop is involved in
doubts with his catalogue of Cologne terracot
tas.7He attributed a total of 32 series from the
Neerharen (DB 142) that belongs to the same
series as TO 46-48 and that corresponds to the
Thien Schuur find to a Cologne workshop. He
believed that seven of these series could also
have been manufactured in other workshops
besides Cologne.
chemical composition of a workshop situated
around Frankfurt.
the production of a series, as suggests the
result of the chemical analysis of a Venus from
A thorough observation
More recent the paste of the figurines of the
‘Thien Schuur’ was analysed petrographically
as part of a comprehensive study of Northwest
European terracottas.8 In addition, seven fig
urines were selected for chemical analysis. The
results confirmed the earlier hypothesis from
Assembly characteristics - afirst step
The first key research method is observation of
the production technique. During the Roman
period there were two major production
regions for terracotta figurines in Northwest
Europe, each of which developed its own tradi
1991. According to the chemical composition of
the clay, To 70 was produced in a Trier work
shop, while the other six figurines were made
in Cologne (Table 3). One of them, Fortuna TO
tion in terms of both production technique
and themes for representation.10 One was
Central Gaul, where production centred on the
Allier river and further north around Autun.
4, belonged to the hypothetical Middle Rhine
group as described by Schoppa and others.
The other was the Rhineland, including the
Mosel region, where Cologne and Trier played
a key role (Fig. 1).
This Fortuna series is an important link in the
*
7
*
’
”
W ith a closed find like the Thien Schuur hoard in Tongeren, we can assume that the soil acted upon the figurines
in the same way and that differences in colour and hardness are relevant.
De Beenhouwer 1991 a; De Beenhouwer 1991b
Lange 1994.
De Beenhouwer 2005.
See descent scheme 5 and footnote 6.
See the chapter on the reproduction process.
- 8 8 -
One of the main differences is that clay moulds
were used in Central Gaul, while the Rhineland
mainly used plaster moulds. Air bubbles in
plaster moulds often left traces on the external
surface of the figurines in the form of small
blisters (Fig.3).
Another important characteristic is how the
two halves of the figurines were put together.
With the Central Gaulish figurines, the lightly
dried halves were stuck together with a
watered-down clay paste or barbotine. This
required a deft moulding as the halves had to
fit together perfectly. The seams then required
little or no touching up. In the Rhineland tra
On the basis of mould characteristics and
assembly technique, it turns out that only four
of all the terracotta figurines from Roman
Tongeren were manufactured in Central Gaul;
the others are of Rhineland origin. This is not
surprising. If we include the wider region, we
find that the civitas Tungrorum was mainly
supplied by Rhineland terracotta workshops,
whereas the neighbouring civitas Nerviorum
was chiefly supplied by workshops in Central
Gaul.“ The few Central Gaulish imports in
Tongeren are all animal figurines, which were
primarily used as grave goods.112
dition the halves were joined while the paste
The manufacturer’s hallmark
Some figurines bear the name of the maker or
was still fully plastic. The halves were pressed
together while still in the mould, and super
the place of origin. It is this hallmark that pro
vides the most certain identification when it
fluous paste was forced out along the seams.
This meant that a broad strip along the seam
comes to provenance. Examples are known in
Tongeren from different Cologne coroplasts:
Servandus, Victor and Vius (Fig. 34 - 37). Other
on the outside had to be smoothed and
touched up (Fig. 5). On the inside only a small
band at the base had to be touched up. The rest
of the interior was inaccessible and was left as
Tongeren figurines can be associated indirect
ly with the work of two other Cologne work
shops, namely that of Vindex and (At)ticus.
it was. To this day the expelled paste at the
seam on the inside of the figurines betrays the
These workshops are discussed in the chapter
on coroplasts.
assembly method used by the coroplasts of
antiquity (Fig. 6).
A third major difference is the number of parts
from which figurines were composed.
Whereas the bases of busts and standing fig
ures in Central Gaul were usually made sepa
rately, they tended to be integrated into the
mould for the body in the Rhineland figurines.
The same applies to mammals. The Rhineland
coroplasts sought to simplify the production
method as much as possible by integrating the
separate components such as legs, tail and
base into the body mould, even though the fig
urine lost some of its elegance in the process.
11
“
Series distribution
Another method for finding out more about
provenance is to examine the distribution of
findspots for figurines belonging to the same
series. If we look for example at the distribu
tion of the Fortunas in series 4, we can see at a
glance just how many figurines have been
found in Cologne and, more specifically, in the
workshops ‘am Rudolfplatz’. Two examples
come from Nijmegen, where terracottas were
produced on a small scale and only for the
local market. It therefore is likely that all
examples in this series were made in Cologne.
A greater difficulty is presented by the
De Beenhouwer 2005, 805-808.
Grave goods: dog TO 79 (AD 98/117-138/200), dog TO 80 (Flavian) and pigeon TO 87 (AD 138-161/200). Settlement
find: quadruped TO 82 (AD 70-150).
- 8 9 -
Fortunas in series 7, where the parallels for the
ones in Tongeren come from FrankfurtHeddemheim, Cologne and Xanten. The three
findspots are known as production centres for
terracotta figurines and it is impossible on the
basis of the find distribution alone to find out
which of the three centres produced the figu
rines that were imported into Tongeren. It
can’t be taken for granted that all examples in
a series were by definition made in a single
workshop. This is demonstrated by Minerva
series 27, where alongside the white-firing
examples one Minerva was made in red-firing
paste. A different material could point to a dif
ferent workshop.
Decorative technique
Observations of the paste, but also decorative
techniques, can link figurines to a particular
workshop or production centre. The glazes,
slips and painted motifs have been discussed
at length in the chapter on painting. Some
slips are typical of a particular workshop.
Different Tongeren figurines are covered with
a thin, subtle layer of slip. Of these, the group
with an orange core and a thin white slip layer
can clearly be attributed to Cologne, as
demonstrated by the chemical analysis of TO 4
and TO 64. Several white-firing figurines were
Cologne, but to a lesser extent also in Trier.14
Although a brown hue was generally used in
Cologne and redder hues were preferred in
Trier, determining the provenance on the basis
of these individual motifs sometimes remains
uncertain. There is greater certainty where dif
ferent motifs were combined into original
decors, as with the Mercurius series 37 that
bears a Cologne hallmark. Here, besides an
outline of the base, both anatomical details
and attributes are marked in a brown hue, and
new details that were not present in the
mould, such as arm bands, are also painted on.
The combination o f a St Andrews cross,
lozenge-shaped painting, outlining o f the
grounds of the seat and accenting of anatomi
cal details and attributes is also found in the
Ubian matronae TO 52, all in the brown hue
typical of Cologne.
Chemical analysis
Analysing the chemical composition is a tried
and tested method for determining the prove
nance of pottery. A 100 mg sample is required
in order to obtain a representative picture of
the relationship between the major elements
by means of X-ray fluorescence spectrometry
(XRF). Because of its destructive nature, this
method is applied selectively. It has already
also finished off with a thin layer of slip.
Because the slip is the same colour as the core,
it is often difficult to detect. We know that this
proved useful in the past for analysing the
provenance of terracotta figurines. As part of a
technique was also used in Cologne because
one of the figurines, Mercurius TO 56, was
research project on Roman ceramics from the
provinces north of the Alps, Schneider1516exam
signed by a Cologne coroplast. Decorative
technique helps to identify a workshop. For
example, the St Andrews cross that is used as a
ground m otif has so far only been found on
ined 13 terracotta figurines from NidaHeddemheim.*6He identified a uniform group
Cologne products.13 Other motifs such as the
lozenge pattern and the outline around the
sides of the plinth or seat occur mainly in
a
14
15
16
of white-firing figurines with a high Ti02 con
tent, which differed from the production in
Cologne and Trier and was closely linked to the
ceramics from Franlcfurt-Nied. In addition, an
important terracotta find from Xanten could
De Beenhouwer 2005,1160 m otif 6.
De Beenhouwer 2005,1163-1164, m otifs 5 and 14.
Arbeitsgruppe Archäometrie o f the Freie Universität Berlin.
Schneider 1988; Schneider 1990.
-go-
be ascribed to Cologne and Trier
workshops on the basis of a chem
ical analysis of the paste.17
Table 4. Chemical compostion. The major elements
are expressed in percentages
and the trace elements in
ppm.
Eleven figurines from Tongeren
were selected for an analysis of
their chemical composition.18The
analysis was carried out by Dr J.
Naud.19*2
1 The samples taken from
Rhineland figurines were com
pared with the analysis results of
the Arbeitsgruppe Archäometrie
of the Freie Universität Berlin.“
The samples from Central Gaulish
figurines were compared with
published analysis results from
both the Laboratoire de Recherche
des Musees de France” and the
Arbeitsgruppe Archäometrie." In
this way it was possible to test our
data against existing chemical
groups. A Mercurius figurine, DB
4198, from the group with the high
Ti02 content was reanalysed in
order to optimise the comparison
of the results (Table 4).*1
17
18
19
10
21
“
13
Liesen 2003.
De Beenhouwer 2005,1081-1095. *9
samples o f terracottas from Belgian
find contexts were examined. The
project was partially funded b y the
Departement Archéologie o f the KU
Leuven (M. Lodewijckx) and the
Centre de Recherches d’Archéologie
Nationale o f the Université Catholique
de Louvain (R. Brulet).
Laboratoire de Géologie et
Minéralogie o f the Université
Catholique de Louvain (Département
de Géologie et de Géographie).
Schneider 1988,322-323 Tab.2. and
info. G. Schneider; Liesen 2003.
Camuset-Le Porzou 1985; Rey-Delqué
1.985; Jeanlin and Lahanier in Rabeisen
and Vertet 1986,208.
Raselli-Nydegger 1998, 84 Tab. 10.
Rüger 1980,114 Nr. 308; Schneider
1988,322-323 Tab. 2 Analysis Nr. 4766.
The dual analysis from Naud’s labora
tory has a slightly lower Ti0 2 and K20
content than the analysis from
Schneider’s laboratory. It is important
to bear this m argin in mind when
interpreting the other analysis results.
91
Fig. 40. Scatter diagram
Ti0 2/K20 o f the Rhineland
examples listed in table 4.
Also included is a Venus
figurine made by Servandus
found in Xanten (Liesen
2003,320 Nr. 63 Abb. 3,3:
sample J562), joining the red
group from Cologne.
Titanium/potassium
3.00
2,50
----------------- —
♦
♦
2.00
T iO z
1,50
♦ Frankfurt
■ Cologne.
A Trier
1,00
0,50
0,00 H------------- 1------------- 1------------- 1--------------1------------- 1--------------1--------------1
0,00
0,50
1,00
1,50
2,00
2,50
3,00
3,50
k 2o
The Ti02/K20 diagram clearly shows the
grouping of the Rhineland samples (Fig. 40).
The advantage of titanium and potassium is
that they are characteristic of the material;
they are not affected by being mixed with sand
or marl when the paste is prepared.24 The
group with the high Ti02 content is clearly
distinct from the other figurines. It includes
the dual analysis of Mercurius DB 4198 and a
Venus figurine DB 142 from Neerharen. Ti02
values of between 2 and 2.5 percent rule out a
provenance from Cologne. The analysis of
white-firing ceramics and terracotta masks
from Cologne revealed a maximum Ti02 con
tent of i.j%.25 Because the paste of these fig
urines resembles that of products from the
Roman military potters’ centre of Frankfurt-
Nied and because the group is well-represent
ed in neighbouring Frankfurt-Heddernheim, a
provenance in the vicinity o f Frankfurt
appears likely.
Clearly distinct from the group with the high
Ti02 content is a cluster of ten figurines from
Tongeren around a Venus figurine from
Xanten that belongs to a series made by
Servandus from Cologne.26 For two o f the
Tongeren figurines in the cluster, TO 4 and TO
36, parallels have also been found in the
Cologne potters’ centre ‘am Rudolfplatz’. The
group can therefore definitely be attributed to
Cologne producers. Amidst these Cologne fig
urines is also the bust by the coroplast Victor,
TO 69.
24
15
Schneider 1990,141.
Schneider 1988,309.
26
Liesen 2003,32° Nr. 63 Abb. 3,3. For the attribution to Cologne: Schauerte 1985,171-172; Lange 1994,213 Series 23.
- 9 2 -
Fig. 41. Paste groups seen
through the petrographical
microscope, polars crossed.
The height o f each photo is 1
mm.
TO 4 2
TO 52
TO 7 0
DB 7 7 9 (6 4 5 )
- 9 3 -
paste
20
Exam ples
M a in ch aracteristics
Inclusions
w o rk s h o p
references
TO 3, TO 9, TO 12,
The m a trix is s lig h tly a n iso tro p ic
M o stly m o n o crysta llin e , su b ro u n d e d
"C o lo g n e am R u d o lfp la tz
De B e e n h o u w e r 2005,
TO 38, TO 42, TO 45,
and appears g ra in y in fra c tio n 1.
q u a rtz w ith u n ifo rm e x tin c tio n , and
(w o rk sh o p fin d s; coroplasts
1104, pasta 20
TO 51, TO 61, TO 63,
TO 69, TO 77, TO 83,
Freqency o f c rystallin e inclusions
feldspar. Sporadically, a Carlsbad tw in
A lfiu s , Servandus and
can be fo u n d and p o ly cry sta llin e q u a rtz
Lucius; chem ical a n a lysis)."
TO 86, DB 5047, DB 765
fra c tio n 2. G ood so rtin g . M ic
lo w e r th a n 10 p e r cent, m ostly a
w ith red d iscolora tion s. M u sco vite is
fo u n d sparsely t o m ode rately.
21
The m a trix is s lig h tly a n iso tro p ic
and appears g ra in y in fra c tio n 1.
M o stly q u a rtz w ith u n ifo rm and o n dulose
"C o lo g n e am R u d o lfp la tz
De B e e n h o u w e r 2005,
TO 32, TO 33, TO 43,
e x tin c tio n , m ono crystalline , su b ro u n d e d
(w o rk sh o p fin d s; co ro p la st
1104-1105, pasta 21
TO 49, TO 52, TO 55,
Freqency o f crystallin e inclusions
t o subangular, a n d u n w e a th e re d
V inde x; chem ical analysis)."
TO 62, TO 67, TO 73,
o f 10 to 15 p e r cent. G ood so rtin g .
DB 3662, DB 209,
Mica.
TO 6, T 0 13, TO 23,
TO 25, TO 27, TO 35,
TO 58
sp ora dically fo u n d (TO 67). M uscovite is
fo u n d re gularly.
DB 1120, DB 334
22
feldspar. Red d isco lo u re d q u a rtz is
M o stly q u a rtz and feldspar. A g g re g a te s
“ C ologn e am R u d o lfp la tz
De B e e n h o u w e r 2005,
appears g ra in y in fra c tio n 1.
o f Q u a rtz an d feldspar, b u ilt fro m grains
(w o rk sh o p fin d s; co ro p la st
1104-1106, pasta 22
Freqency o f crystallin e inclusions
in fra c tio n s 2 t o 4 a re fo u n d . Isolated
S ervandus)."
The m a trix is fa in tly a n is o tro p ic and
o f 10 to 20 p e r cent. P oo r s o rtin g .
a u g ite in fra c tio n 2.
Mica is f o u n d in a fe w scattered
instances.
23
TO 21, TO 36, TO 74
The m a trix is s lig h tly a n is o tro p ic
M o stly m o n o cry sta llin e qu a rtz,
"C o lo g n e am R u d o lfp la tz
De B e e n h o u w e r 2005,
an d appears g ra in y in fra c tio n 1.
su b ro u n d e d t o subang ular, and feldspar.
(w o rk sh o p fin d s; co ro p la st
1106, pasta 23
Freqency o f crystallin e inclusions
A g g re g a te s o f fe ld s p a r occur. Isolated
Servandus; chem ical
b e tw e e n 5 and 10 p e r c e nt, m a in ly
a u g ite in fra c tio n 2 is fo u n d .
analysis)."
in fra c tio n 2. Poor so rtin g . Mica
sp ora dically occurs.
24
TO 4, T 0 19, TO 26,
TO 64, TO 66, DB 385
The m a trix is h ig h ly a n isotrop ic.
Feldspar a n d p o ly cry sta llin e q u a rtz. W e
"C o lo g n e am R u d o lfp la tz
De B e e n h o u w e r 2005,
W e ll-o rie n te d clay m inerals.
can cle a rly d istin g u ish ne edle-shaped
(w o rk sh o p fin d s; chem ical
1106, pasta 24
Freqency o f crystallin e inclusions
and e q u a lly o rie n te d clay m inerals.
analysis)."
o f 7 to 8 p e r ce n t in fra c tio n s 1 t o 3, M uscovite.
m a in ly in fra c tio n 2. M ica is fo u n d
regularly.
25
TO 28
The m a trix is s lig h tly a n is o tro p ic
M a in ly q u a rtz a n d feldsp ar, su b ro u n d e d
"C o lo g n e am R u d o lfp la tz
De B e e n h o u w e r 2005,
a n d appears g ra in y in fra c tio n 1.
t o subang ular. Q u a rtz som e tim es w ith a
(w o rk sh o p fin d s; co ro p la st
1107, pasta 25
Freqency o f crystallin e inclusions
b ro w n -re d d isc o lo ra tio n . Feldspar
Servandus)."
b e tw e e n 20 a n d 25 p e r cent.
som e tim es w ith clo u d y ap pearance due
t o a lte ra tio n . S porad ically ag gre gates.
26
TO 15, T 0 17, TO 48,
Freqency o f crystallin e inclusions
DB 4397
b e tw e e n 5 and 8 p e r ce nt
Q u a rtz and feldspar.
U ncertain. No re fe ren ce
De B e e n h o u w e r 2005,
sam ples fro m w orksh ops.
1107, pasta 26
F ra n k fu rt o r Trier
De B e e n h o u w e r 2005,
in fra c tio n s 1 t o 5. P oor s o rtin g .
M ica is fo u n d in a fe w scattered
instances.
28
34
TO 7, DB 142
TO 70
The m a trix is fa in tly a n is o tro p ic and
M a in ly q u a rtz, su b ro u n d e d to subangular.
appears g ra in y in fra c tio n 1.
M any re cta n g u la r and e lo n g a te d cross-
Freqency o f crystallin e inclusions
sections. S tring-sh aped g ra in
(m o stly q u a rtz) is 6 t o 10 p e r ce nt
in fra c tio n s 1 to 3 a n d sp ora dically
co n ce n tra tio n s occur. S po rad ically
in fra c tio n 4. No mica.
feldspar.
The m a trix is h ig h ly a n is o tro p ic and
fa in tly g ra in e d in fra c tio n 1.
M a in ly q u a rtz, and to a lesser e x te n t,
feldsp ar. Q u a rtz is m ostly
Freqency o f crystallin e inclusions
m o n o crysta llin e w ith a u n ifo rm e x tin c tio n ,
35
DB 779
a g gre gates and s lig h tly resorbed
o f 10 t o 25 pe r ce n t tra n sp a re n t
som e tim es s u bhed ra l. P olycrystalline
m inerals, m a in ly fra c tio n s 2 t o 5.
q u a rtz and a g gre gates o f q u a rtz and
fe ld sp a r are fo u n d .
S tring-shaped co n ce n tra tio n s o fte n
occur. No mica.
The m a trix is h ig h ly a n iso tro p ic
1107-1108, pasta 28
Q u a rtz and feldspar.
and fa in tly g ra in e d in fra c tio n 1.
T rie r (chem ical analysis).
1110, pasta 34
Treveri (d is trib u tio n o f
fin ds).
Freqency o f crystallin e inclusions
o f 4 t o 5 p e r ce nt in fra c tio n s 2 t o 4.
No mica.
Table 5. Description in summary o f the paste groups related to the Tongeren finds.
-94-
De B e e n h o u w e r 2005,
De B e e n h o u w e r 2005,
.1110, pasta 35
At the bottom of the diagram is a group of
white-firing figurines from the Trier region
with a low Ti02 content. Characteristic are a
workshop find from Trier-Sud (DB 4932), a
figurine carrying the name o f coroplasts
Melausus and Fidelis (DB 4931) who were active
in about the late second century and the first
half of the third century AD, and a figurine of
a woman with fruit from the same period that
can be attributed to a Trier workshop (DB
4024).27A striking member of the group is bust
TO 70 from the Thien Schuur deposit in
Tongeren, whose petrographic characteristics
differ markedly from the rest of the figurines
from the same context. This confirms the ear
ing to the production region and also permit a
distinction to be made between two groups Central Gaul and the Rhineland - in the analy
sis of the paste. Looking for paste relation
ships is only meaningful within this grouping.
It is the Rhineland group that is especially
important for the Tongeren figurines.
Analysing the paste opens up special possibil
ities because of the intrinsic characteristics of
a serial product. The use of moulds allows us
to trace identical and related products and to
classify them according to their mechanical
production links. This reduces the number of
lier hypothesis that the provenance of this
figurines for which we need to compare the
paste to just a few examples. If they come from
example differs from that o f the other fi
gurines from the find.28This white-firing paste
the same workshop and belong to mechanical
ly related production series, they form a
was already used in Trier in the last quarter of
the second century and the first half of the
third century.
homogenous group because they have similar
petrographic characteristics. However, if the
production line was taken over by another
workshop, this is usually visible petrographi-
One of the examined figurines does not come
from the Rhineland at all. Its values are typical
cally because it produces divergent samples.
The advantage here is that the analysis can be
of the Central Gaulish Allier region.293
0Sitting
carried out on a small scale, each time with a
specific question in mind and yielding an
dog TO 79 ties in with the group attributed to
Saint-Pourgain-sur-Besbre.3°
Petrographic analysis of the paste
Justification
Based on the preliminary investigation, in par
ticular of the assembly technique of the terra
cottas, the figurines can be subdivided into
two main groups reflecting the key production
areas. Important differences at the level of
moulds and moulding techniques draw a clear
dividing line within Northwest-European ter
racotta production. Essentially, it concerns
whether plaster or terracotta moulds were
used, how seams were touched up, the integra
tion of the base into the mould and the pres
ence of a vent. These attributes differ accord
17
28
19
30
immediate answer. A preliminary analysis of
the mechanical relationships is required.
The pattern of well-defined differences and
relationships of mechanical descent deter
mine the strategy for the petrographic analy
sis. This occurs in the preliminary investiga
tion into the series and the descent relation
ships. In this way the assessment of the petro
graphic sample always occurs in a welldefined context, which becomes increasingly
specific as more information becomes avail
able about the series. For example, the work
shop finds and name stamps of the coroplasts
establish links to individual workshops. Even
the geographical distribution of the examples
within a series can be useful. In order to obtain
a meaningful interpretation of the petro
De Beenhouwer 2005,897-898,1005 descent scheme 68.
See petrographic analysis.
The high A l20 ^ content rules out a Rhineland provenance. See also Raselli-Nydegger, 84, Tab.10.
De Beenhouwer 2005,1096-1103: the figurines ascribed in the literature to Toulon-sur-Allier and Saint-Pourgainsur-Besbre differ in the Si0 2/Ti0 2 and the Ti0 2/K20 diagram, but overlap for the TiOjAL^O^ the Zr/CaO, the
Si0 2/Ca0 and the Ti0 2/Fe20 ^ diagram.
“
95 "
graphic analyses, all the information was
organised into a data system with a view to
producing an accurate description of the
reference to the fraction size of these elongat
ed grains relates to the measure of length.
series and of the provenance question.
Results
Figurines with similar paste characteristics
Method
The analysis involves removing a small flake of
just a few millimetres from one of the breaks
on the figurine. Once the colour is identified
on a colour chart, the flake is polished and cast
in a block of synthetic resin together with
were classified into groups.33 The attribution
to one or more workshops is based on the
other samples. Because of the softness of the
paste, the samples were impregnated under
vacuum with a synthetic resin that penetrates
right into the pores and strengthens the sam
ple as a whole. After the surface was polished,
the block was adhered to a slide, after which it
series research. Usually the workshop finds or
signed figurines establish provenance. When
ever distinctive groups were identified, with
out workshop finds being known for them, the
attribution is based on the find distribution of
the examples. The sampling of the workshop
finds provides a sound basis for comparing the
results.34 Likewise, figurines whose chemical
composition was analysed and that were
ascribed to a production area or workshop on
could be cut. The next step was to polish the
resulting thin section, thereby reducing the
that basis support the attribution of the paste
groups to a provenance area.
thickness of the samples to 30 p.3‘
The analysis itself was carried out with the aid
of a polarisation microscope. As with the
description of macroscopic characteristics
For the Rhineland terracotta figurines of
Tongeren, ten pastes were identified, of which
such as colour and hardness, a search was
made for objective descriptive criteria for the
size, shape and distribution of the inclusions.
Given the size of the database, comparison
charts for grain percentages were used.3
132A sur
face with a diameter of 1.5 mm was compared
each time. The fraction or granular size of the
inclusions was measured using a gridded ocu
lar lens. For the description we distinguished
between five fractions: fraction 1 - up to 10
micron; fraction 2 -10 to 50 micron; fraction 3
- 50 to 100 micron; fraction 4 - loo to 200
micron; and fraction 5 - larger than 200
micron. Lastly, the inclusions per fraction were
described and identified where possible. Mica
was described separately and was not included
in the count of the transparent inclusions. The
31
32
33
34
six can be ascribed to Cologne (Table). Two
paste groups can be ascribed to Trier and the
Treveran area, and one to Frankfurt. The
provenance area for the remaining group
could not be established.
Conclusion
It is apparent that some series were made in
more than one workshop. This applies to
Venus series 28, where there is a difference in
production technique between the clay mould
found in Xanten and all other finds that were
manufactured using plaster moulds and of
which various examples were found in the
Cologne workshop ‘am Rudolfplatz’. Petro
graphic analysis reveals that the Tongeren
examples in the series were made in Cologne.
I would like to thank the Centre for Archaeological Sciences o f the KU Leuven for providing accommodation and
for polishing the thin sections.
Orton et al. 1993,140-144,238-239.
De Beenhouwer 2005,1096-1130:13 paste groups for the Central Gaulish production region and 23 for the Rhineland
production region (including the Mosel area).
Two paste groups are the result o f sampling terracottas from the recently excavated production centres o f Rennes
and Brive-la-Gaillarde. They were included in the study o f the Northwest European terracottas to check the homo
geneity o f the paste at a well-defined workshop. For Cologne there is a solid material basis available through the
sampling o f signed examples: see De Beenhouwer 2005,1096 ff.
-96-
Another example is Minerva series 27, which
combines both white-firing and red-firing fig
urines. Once again, the petrographic analysis
reveals that the white-firing examples in
Tongeren come from Cologne, where a red-fir
ing paste for terracottas has not been defined
to this day. The Tongeren examples from
Fortuna series 7 were also manufactured in
Cologne. Another Minerva figurine found in
Frankfurt-Heddernheim was manufactured in
The new data from the chemical analysis con
firm the earlier hypothesis that the bulk of the
figurines in the ‘Thien Schuur’ find were pro
duced in Cologne, with the exception of bust
TO 70. This conclusion is supported by petro
graphic analysis. This bust, which differs both
macroscopically and petrographically from
the other finds in the deposit, is ascribed
through chemical analysis to Trier, where the
a paste from the vicinity of Frankfurt. This was
revealed in the chemical analysis which
showed a high Ti02 content, but in this case
clay paste was used in the second half of the
second century and the first half of the third
century. The analyses did not yield evidence
for all the series. The figurines of the woman
the differences are also visible to the naked eye.
The paste of the Frankfurt figurine has a light
with earrings (series 51) were produced from at
least two different pastes as shown in the pet
orange discolouration, which some authors
suggest is the result of tempering with tile grog
rographic analysis. The bust from Messancy
probably was manufactured in the Treveran
area (paste 34), while there is still a lack of cla
and an indication that it was produced in the
tile works of Frankfurt-Nied.35However, the fig
urines from the chemical group with the high
Ti02 content cannot always be distinguished
so well with the naked eye from those in other
groups. Venus figurine DB142 from Neerharen
belongs chemically to the same group from
Frankfurt, but cannot be distinguished macroscopically from the Cologne products. Its
assembly technique, colour and hardness are
the same as for most of the Cologne figurines.
rity for the one from Heddemheim regarding a
provenance in the vicinity of Frankfurt or
Cologne (paste 26). There is a similar uncer
tainty regarding Venus series 29: although one
paste points to Frankfurt (paste 28), Cologne
cannot be entirely ruled out for the other
(paste 26). Uncertainty also still exists about
Fortuna series 8 and 9.
All these examples demonstrate that it is not
The number of Central Gaulish figurines that
reached Tongeren is small. Only four fig
urines, all of them animals, were produced in
enough to attribute mould-made pottery to a
provenance area based on a single argument. It
Central Gaul. Three moulded perfume bottles
were also imported from the same area. All
is not until all the data on assembly, coroplasts,
workshop finds, chemical composition, paste
other figurines were produced in the
Rhineland, with Cologne undoubtedly the
characteristics and the decorative system are
put together that the nuances become evident.
main supplier. Whereas there is still some
doubt about the provenance of a number of
series, a different provenance can clearly be
Nor is the stylistic argument suitable for
resolving the question of provenance. The
attribution of Fortuna TO 4 to Cologne on the
basis of the chemical composition of the paste
demonstrated that Schoppa’s stylistic features
did not constitute evidence for the existence of
a production group in the Middle Rhineland.
35
demonstrated for two figurines: bust TO 70
from the ‘Thien Schuur’ was produced in Trier
and Fortuna TO 7, also a find from the urban
residential area, is ascribed to Frankfurt on the
basis of petrographic analysis.
Riiger 1980,18-19.
“
97-
T h e f u n c t io n o f
TER R A C O TTA F IG U R IN E S
AN D T H E IR M E A N IN G FO R
TH E U SE R
Some themes in the descriptive catalogue of ter
racottas are expressed in general terms, such as
‘bust of a boy wearing a laurel wreath’ or
“woman seated, wearing a mural crown and
holding a piece of fruit in each hand’. These
entity, we compared them with finds from
other sites in the civitas Tungrorum, the con
temporary political and civilian boundery (Fig.
42).3 In all, 179 terracottas were identified for
the area of the civitas Tungrorum. Almost half,
neutral descriptions are used to prevent bias
towards the meaning of the figurines based
solely on the iconography. There is not a single
89 figurines, come from the capital.
known terracotta figurine in Central Gaul or the
Rhineland featuring an inscription on the
plinth that mentions the name of the figure
Function of terracottas and user behaviour
based on findspot analysis
depicted. It is not until we examine where and
how the figurines were found during excava
tions and explore their place in the broader con
text of Gallo-Roman society that we can build
up a picture of what they meant for the original
Examining the nature of findspots and how
terracottas were left there during the Roman
period gives us an idea of who the consumers
were and to some degree how they used the
figurines. It raises questions as: in which dis
consumers.1 This way, terracotta figurines
become a usefull source of information on
Roman provincial religion and every day live.1
tricts do we find the terracotta figurines and
who lived there? What is the significance of
terracotta figurines in graves? Are there con
In order to examine the finds from Atuatuca,
the capital, as part of a historically relevant
texts that attest to ritual practices? Are these
practices the same everywhere or do some con
texts display different customs?
Longman 2001,289: consumption: the act o f buying and using products. Consumer: someone w ho buys and uses
products and services
2
3
Synthesis works on Roman provincial religion tend to steer clear o f terracottas as sources: Raepsaet-Charlier 2007,
442
The boundaries o f the civitas are based on the synthesis in Raepsaet-Charlier 1994.
-98 -
Fig. 42. Map showing the
find locations o f terracotta
figurines in the Civitas
Tungrorum.
-99-
I
>
e
<3
e
eg
g
1B
ft
B
g g
0 0
0 0
*
?
*
g
*
Amay 'Rorive'
Ambresin
Ampsin
Ben-Ahin 'Grotte du Trou
Bovigny ‘Haie de Jardin’
Braives ‘Sarrasins’
Bras ‘Bras-Haut’
Clavier 'Vervooz'
Dourbes ‘La Roche àLonune’
0
o o
« —
n
ft i
3
cr
pigeo n
fa
3
V
4»
s
3
■o
4)
a
hen
h orse
d og
ft
goat
3
B
>
ro o ster
ft
3
b u ll
0
>
s
‘fa
co u p le
X
>. B
0
ft
■° g
ft «
A p o llo
X
B
g
•acchus
OH 2
0
■ o !s
u n d e fin e d
i
0
th b ird
u
ft
'fa
V en u s
e
§
[fa
a
e
th fru it
fa
>
V
P a rc a
f0a
Jun o
D ian a
E pona
C yb e le
a
e
s
X
s
X
1
1
1
1
1
l
1
1
1
1;
l
2;
1
1
Durbuy
Erneuville 'Wyompont'
Freux 'Camp de Berwick'
Gors-Opleeuw
Grobbendonk 'Steenberg'
Haccourt
Hamois ‘Champion’
Han-sur-Lesse 'Grottes de
Hatrivai
Hoeselt
Hoogeloon 'Kerkakkers'
Hoogeloon 'Kaboutersberg'
1
1
1
1
a
1
1
1
1
1
3I
1
1
Jnpille-sur-Meise 'Gît-le-Coq'
1
Kasbek'SiKuUzr-KipefltRU'
i
Liberchies 'Les Bons-Villcrs'
4
■
1
8
1
2
4
1
1
1
1
1
3
1
Liège 'Place Saint-Lambert'
Maastricht
Margraten 'Backerbosch'
3
1
1
1
1
1
Mecfle 'Ferme du Prieuré' j
Mont 'Fin-de-Ville'
Mortsel 'Steenakker'
Neerharen/Rekem
Ortho
Rognée
Rumst 'Molenveld'
Schalkhoven
Stembert
Strée 'Terre dell* Prelle'
Taviers 'Terre aux Pierres'
Theux 'Juslenville'
Tienen
1
1
1
2
4
3
2
1
42
3
2
1
1
1
1
1
j
>
1
l
1
2
1
2
1
Tourinnes-Saint-Lambert
Veldhoven
Vodelée
Tongeren cult place
Tongeren dwelling area
Tongeren funerary finds
Tongeren unknown
1
1
1
1
1
3
1
1
s
1
1
19
2
1
!1 ï
Tongeren and civitas
4
civitas without Tongeren
3
Tongeren
1
■ !
9
1
1
1
1 33 8 18
[~3 ~ 1 10 1 1 6
l' 2 0 r2 3 *! 7 12
,r
I
61|1
1 1 1 1
H 1
1
2
■
1
1
2
1 1
2
1
2 1
1
1
-2
0 r2
_5
6 8 1 8 18 1 1 1 2 4 1 1 1
l ! 5 !|T~!; 3~! 2 L3 J 2 \T\]
20 3 *6 8 1 H T 6 0 0 2 1 1 0 0 r r 0 ! 5 rfi 0 1 2 r° 6 9
0 8 1 0 0 0 L7 12 1 1 0 '21 0 1 1 ; 2 ~i i 0 1 ! 3 ] 1 ! 1 ; 2 ; 2
1 m ■ 1
1 3 1
28
4
dwelling area
cult place
funerary area
Table 6. Terracotta figurines from Tongeren and from the civitas Tungrorum: finds o f the dwelling areas o f the civitas, finds related to
cult places and funerary finds.
- 100 -
undefined
The following analysis makes a distinction
between finds from the dwelling areas of the
civitas, finds related to a cult place and funer
ary finds (Fig. 43).
6%
Settlementfinds of the civitas Tungrorum
Finds from dwelling areas in the civitas
Tungrorum make up a significant portion of
38% with turban and rural settlements account
ing for 31% and villae 7%. If we exclude the civ
itas capital, dwelling areas - both villages and
villae - together make up 62% of the finds.
Terracotta figurines were regularly found in
the ancient conurbation o f Tongeren. Not
including the Thien Schuur find, 16 figurines
were discovered within the city area defined by
the second-century city wall. The finds are con
centrated in a limited number of zones in the
‘Kielenstraat’ and at the ‘Broekberg’ and ‘Aan
Paspoel’ sites. Figurines were also found during
excavations on the ‘Elfde Novemberwal’, the
‘Sint-Truidersteenweg’ and the neighbouring
‘Schaetzengaarde’.
The ‘de Schaetzengaarde’ area attests to a rural
way of life during the Flavian period and the
first half of the second century, with evidence
of livestock in the vicinity. The base for a mam
mal, probably a hoofed animal (TO 82), was
found in a pit containing consumption refuse
from the inhabitants, whose lives were agri
culturally organised. The theme seems to have
been a conscious choice relating to the life
world of the inhabitants, in which livestock
appears to have featured directly. The produc
tion technique, with a base made separately
and with four separate legs, leaves no doubt
that the figurine was imported from Central
Gaul and not from the Rhineland like all other
terracotta figurines from the dwelling area of
ancient Tongeren. The choice of horses and
cattle from the Central Gaulish terracotta
range was much broader than that of the
Rhineland. This too shows the conscious
choice of theme. A link between theme and
consumer can also be established for another
site in Tongeren, at the ‘Elfde Novemberwal’. A
figurine of Mercurius (TO 57), protector of
merchants and their activities, was found in
an area behind buildings identified as having
shop spaces fronting onto the street.
Between 1936 and 1941, at the Aan Paspoel’ site
in the southwest of the city, inside the secondcentury city wall, de Schaetzen examined an
area that was part of his own property. He
found fragments of terracotta figurines repre
senting Venus (TO 49), Apollo (TO 54), a
cloaked horseman (TO 55) and a bull (TO 78).
We know for certain that the first three fig
urines were manufactured in Cologne in the
second half of the second century. Few details
are known of the archaeological context. The
semi-finished products of a bone worker attest
that artisanal activities took place in this zone.
Finds in the same sector of complete vessels,
terracotta figurines and many bronze objects,
including a Mercurius figurine, point to spe
cial depositions. Although we are unable to
demonstrate a chronological relationship, it is
not unusal that terracotta figurines occur in
- IOI “
Fig. 43. Pie chart for the
figurine finds in the civitas
Tungrorum.
the surroundings of craftmen’s.45In Tongeren
this is clearly illustrated by the Kielenstraat
finds discussed below.
The Broekberg sites were investigated by De
Schaetzen between 1934 and 1949. Sewerage
works in 1935 had unearthed an isolated find of
a fragment of a Minerva figurine portraying a
gorgoneion. This fragment has not been pre
served. Two other fragments were found dur
ing De Schaetzen’s excavations. The first is
part of the back of a Fortuna (TO 7) dating from
the period 85/90-110/150 AD, possibly imported
from the Frankfurt area. The second is a frag
ment of a female bust (TO 77) imported from
Cologne during the second century. The find-
ceased in about the middle of the second cen
tury, when the temple terrace and the city wall
were constructed. In this respect, it is interest
ing to note that the back fragment of the
Fortuna figurine TO 7 found on the Broekberg
in 1937 matches the front found during sewer
age works in the ‘Kielenstraat’ in 1935. If this
information is correct, it means that the
archaeological finds from the ‘Broekberg’
could represent refuse from the city. However,
the fact that both fragments were found with
in two years of each other makes it highly like
ly that this was an inventory error. A similar
rootlike pattern on the inside of the fragments
spot is situated against the northeast flank of
the Broekberg and on the periphery of the
seems to confirm that they were subject-to the
same soil action and could come from the
same context. Clearly, only new research on
northern temple complex.
the northeastern flank o f the Broekberg can
solve the issue of how to correctly interpret the
De Schaetzen described the structures he
findspot.
found as sand quarries filled in during the
Roman period. He reported a rich hoard with a
So far, excavations by the Flemish Archaeo
large quantity of fine tableware and some sixty
coins from the middle of the first century. A
logical Service between 1986 and 1993 yielded
the most detailed information. Apart from the
digging area adjacent to the sacred zone of the
north temple could also have been used as a
site for votive offerings. Sacrificial areas that
front of the Fortuna figurine TO 7, reputedly
found there during sewerage works in 1935, six
also yielded terracotta finds were located for
instance near the western temple of Velzeke,
and in a zone of a sacred nature in Elewijt, both
‘Kielenstraat’. With the exception of one hand
made figurine, TO 89, all these finds belong to
the wooden building phases from 69/70 to
situated in the neighbouring civitas Nerviorum.sThe highly unusual find of the Broekberg
170/175 AD. In addition to its residential fun
ction, it has been established that this quarter
wooden writing tablets could also match this
picture. This hypothesis presupposes the exis
tence of a predecessor for the north temple,
functioned as an artisan area during this pe
riod. Some dozen kilns along the street, pits
which was covered by the temple terrace
shortly after the middle of the second century,
but excavations so far failed to provide evi
butchered animals attest this. The site did not
enjoy a high standard of living at this time, as
dence for this.
In 1980 Vanvinckenroye found waste layers on
an adjacent lot, which he interpreted as a
Roman dump.6The supply of ‘refuse material’
4
5
6
7
terracotta figurines were found in the
containing bronze slag and the waste of
evidenced by the paucity of glass and terra sigillata.7 Whereas buildings were constructed
in stone elsewhere in the town, this district
held on to wood and earth constructions. The
find circumstances point out that the fig
urines were set up in houses. Fortuna TO 23,
De Beenhouwer 2005,836-840; Talvas 2007,286-288.
De Beenhouwer 2005,107-112,297-314.
On the subject o f refuse disposal and hygiene in Roman times: Martens 2012,12-21.
Vanderhoeven et al 1991,121
-102 -
Fig. 44. Stone altar from the
‘Kielenstraat-Museumsite’
in Tongeren. (white
limestone, Northern France)
Height 16 cm.
for example, was found in an occupation layer
of a wooden building above floor level. A kiln
occupied the same space. The wheel-turned
bird TO 88 was also discovered in an occupa
tion layer. The Bacchus bust TO 62 and goat TO
81 were found in the fill layers of two pits. The
association of the terracottas with an artisan
quarter in the ‘Kielenstraat’ is no coincidence.
Recent excavations in Tienen also attest to the
presence o f special depositions o f bronze
objects and intact tableware in artisan sectors
of the vicus* A fragment of a terracotta Juno
figurine was found in one o f these ‘ritual’ con
texts, alongside various complete dog skele
tons, intact tableware, a number of coins that
had been out of circulation for quite some
time, and consumption remains.8
9 It is also
notable that all terracotta finds from the
Tienen settlement come from artisan areas,
Nantes.13*It is no coincidence that it was set up
in an artisan quarter, more specifically near a
such as the potters’ quarter on the ‘Tramstraat’, the foundries of the ‘Zijdelingsestraat’
metalworker’s workshop. An illustrative
example of votive practices in artisanal envi
and the artisan quarter on the ‘Grijpenveld’.101* ronment is the small stone altar found in 2006
Some of these areas underwent a change of in a large pit together with waste of metal
function in the course of the Roman era, but workers from a second century artisanal quar
each of the figurines here is associated with ter in the Kielenstraat, on the location of the
the period in which they had a clear artisanal
function. Some older finds in the civitas
current Gallo-Roman museum.19
Tungrorum also featured terracottas in arti
A remarkable find came to light in the south
west sector of the Roman city, inside the sec
sanal contexts, such as in Theux-Juslenville.“
Whether the figurines of the ‘Kielenstraat’
were part of a domestic shrine can only be con
jectured. Lararia with terracottas are only very
rarely preserved in Northwest Europe.“ One
example concerns the remains of a private
shrine with terracottas, found in Reze near
8
9
10
11
“
13
H
ond-century Roman wall. It concerns a wellpreserved Mercurius figurine found during
excavations at the Sint-Truidersteenweg in
2000/2001. It had been buried during the sec
ond century in the fill of a slurry pit that was
filled in during the second half of the first cen-
Martens 2004,27-28; De Beenhouwer 2005,263-267, 838-839.
It belongs to the same series as Juno TO 27. De Beenhouwer 2005,265-266,398 no. 1194; Martens et al. 2002; Martens
2012,194-195.
De Beenhouwer 2005,263-267.
De Beenhouwer 2005,259-260.
On terracottas in lararia in Augst, see Von Gonzenbach 1995,38-39; in Oberwinterthur, see Raselli-Nydegger 1998,
94-94,108-109; Henrich 2010,105-107.
Costa i960. The remains o f a Gallo-Roman artisan quarter were discovered during restoration work on the church
o f Reze in 1863. A masonry shrine w ith painted stuccowork was found near a metalworker’s workshop. Set up
inside the shrine were four terracotta figurines and one o f limestone. The shrine was located at a depth o f about
two metres. Five metres from the shrine was a two-metre high column, constructed o f flat tiles, resting against a
wall near the comer. In Costa’s view, this was the base o f the shrine that had been positioned against the wall o f
the metalworker’s workshop. The niche was filled in with fine, light sand that had been carefully added to keep the
figurines upright. The fact that the shrine was located five metres from its original position and was carefully
filled w ith sand to ensure that the figurines remained upright implies that it had been buried with care. See also
Von Gonzenbach 1986,72.
Driesen & Borgers 2008,21,38 fig. 70,39 fig. 72.
-103 -
tury. The figurine, with its painting still in
good condition, was protected beneath a frag
ment of roof tile. Why the figurine was buried
there cannot be ascertained, but it was indeed
a deliberate deposition. It hadn’t been casually
discarded, but was buried with care, with a
ered. In the civitas Tungrorum, the latter is the
case for archaeologically well-documented
sanctuaries in Liberchies, Clavier-Vervooz,
Theux-Juslenville and Liege-Jupille-surMeuse.'8Although it is possible that there were
no terracottas at all at some sanctuaries, there
may be other reasons for their absence. In
Liberchies thefanum was constructed on a nat
ural elevation in the northern periphery of the
piece of roof tile acting as a protective shield
for the small pit. There are signs of glass pro
duction in the immediate vicinity, but con
temporaneity with the deposition cannot be
demonstrated at present. There is evidence of
an association between terracottas and glass-
vicus. Because the original surface had disap
peared as a result of erosion, it is possible that
debris from the temple zone became mixed
workers at two other sites in the civitas, name
ly Tienen and Liberchies. Fragments of a seat
with debris from the vicus below. This could
explain some of the finds in the debris layers
ed woman with fruit were found together with covering the remains of the ancient dwelling
charcoal and bone remains close to a glass kiln area. The problem also needs to be viewed in a
in the Grijpenveld artisan quarter of Tienen.'5 broader context. In general, there are few
Two intact figurines of a seated woman with a archaeological remains relating to the cult of a
dog were found in the stone cellar of a dwelling
in Liberchies. The cellar was part of a building
occupied by a glassworker at the end of the
second century and during the third century. It
contained the only clear remains of artisanal
activity in this part of the vicus. The figurines
deity. With the exception of the temple of
Jupille, there is no certainty as to the identity
of the gods to whom the temples in the civitas
Tungrorum were dedicated.'9 A further factor
whose impact is impossible to assess is that
many cult objects, having fallen into disuse,
were located a short distance apart, close to the
floor level of the cellar and near a niche in the
south wall. These special find circumstances
were buried in order to protect them from des
ecration. These hoards15
20 were not necessarily
9
*8
16
could point to the presence of a lararium in the
cellar.'5 Another figurine of a seated woman
with a dog was found in a cellar of a Roman
the sanctuary and were often buried at some
distance.21 Their isolated location means that,
house in Braives.'7It dates from the same peri
od. The find situation suggests a similar use.
located within the architectural boundaries of
when found, they cannot always be associated
with architectural remains.
Terracotta figurines have been found in sever
Finds relating to cult places
al sanctuaries. A fragment of a Minerva fig
urine was discovered in a pit in the eastern
Ex a m p l e s f r o m t h e c i v i t a s , o u t s id e
part of the temple cella in Kontich ‘Steenakker’
(Fig. 45). A head, possibly of the same Minerva
T H E C A P IT A L
In general, the number of terracottas found in
sanctuaries varies, with some findspots yield
ing an abundance of terracottas, while on
other sites no terracotta figurines are discov
figurine, was unearthed between the temple
and the southeastern demarcation of the
sacred area. Also found in the same sanctuary
were fragments of at least two Venus figurines.
15
16
v
18
19
Information supplied by P. Cosyns.
Werner 1982,120; Bmlet and Demanet 1993,118,301 fig. 123 and p. 303,313; De Beenhouwer 2005, 836.
Brulet 1985,11-14,47 no. 13,49 fig. 16,166; De Beenhouwer 2005,98,545, no. 771.
An overview o f cult places in Cabuy 1991; Raepsaet-Charlier 2007,451-455.
Raepsaet-Charlier 2007,454.
“
Longman 2001, 679: hoard: a collection o f things that someone keeps hidden because they like them or consider
them to be valuable.
De Beenhouwer 1996; Kaufmann-Heinimann 2007,203.
-104 -
Fig-45 - Head o f a Minerva
figurine from the sanctuary
o f Kontich. Height 6,5 cm.
A fragment of a terracotta figurine represent
small cult space at the nearby villa.25Through
ing Silvanus was discovered in the sanctuary
of Grobbendonk Steenberg. The monumental
their presence at the sanctuary, terracotta fig
urines help to give an idea of which deities
extension to a well in Taviers can also be
viewed as part of a cult building. Here a terra
were worshipped here. In keeping with a poly
theistic religion, several gods were invoked at
cotta figurine of a horse and a Minerva fig
urine were found in a pit, together with a
votive altar to deus Apollo announcing the
each of these sanctuaries, but the god to whom
the cult building was dedicated usually
remains unknown to us.
restoration of the well and probably also its
monumental extension (Fig. 7).“ The associa
Not all sanctuaries in the civitas Tungrorum
were equipped with cult buildings. Some were
open-air cult places, consisting of a rectangu
tion of the cult of Apollo with water is not
unusual in provincial Roman religion. Thus a
stone basin was dedicated to Apollo Smerturix
in the sanctuary of Jupille.2
23Although all sanc
tuaries required water for the performance of
rituals, purifying water was possibly linked to
the healing powers of Apollo.24Lastly, it is also
possible that the figurine of a woman with
child from Bras-Haut was associated with a
22
23
24
25
26
lar boundary, mostly delimited by a ditch or a
palisade. Slofstra and Van der Sande identified
several enclosures from the Roman period in
the Meuse-Demer-Scheldt region as rural cult
places, developed from a native tradition of
enclosures related to burials that reach back at
least to the Middle Iron Age.26 Because of its
funerary origin, the cult would be focused on
De Beenhouwer 2005,256-259.
Raepsaet-Charlier 2007,441,446.
Van Adringa 2002,137-139; see also the recent finds in a well o f wooden limbs, terracottas and a private dedication
to Apollo in the sanctuary o f Mesnil-Saint-Nicaise (Somme): http://www.inrap.fr/archaeologiepreventive/Ressources-multimedias/Audiovisuels/Reportages-videos/Reportages-20i2/p-i50oo-Les-ex-voto-deMesnil-Saint-Nicaise.htm.
De Beenhouwer 2005,100-101, no. 1167.
Slofstra en Van der sande 1987,159-163; Gerritsen 2003,152.
-10 5 -
the ancestors. Gerritson observed that not all
Iron Age enclosures were related to burials,
but sometimes to settlements and argues that
the cult places were more differentiated.27 A
fragment of a terracotta figurine was found in
the ditch of an open-air cult place in
Hoogeloon, situated 50 m south of a contem
porary Roman settlement.28Unfortunately the
fragment is unidentified, but its presence on
the site is evidence of the use of terracotta fig
urines on sanctuaries of native tradition.
food remains, plates or beakers.31The lararium
hypothesis is also untenable as the find con
tained at least 64 terracottas, too high a num
ber to be accommodated within a simple
domestic shrine.32In any case, it wouldn’t have
made sense to display large numbers of a sin
gle deity in a lararium. Nineteen figurines rep
resent Fortuna, nine represent Minerva.
Another explanation must therefore be
sought.
It has often been maintained that the hoard
was a merchant’s stock,33 and different argu
ments can be put forward to support this
T h e c a p it a l
In Tongeren, one temple is known thus far in
the northern part of the city. The plinth of a
Juno figurine TO 27 is the only fragment dis
covered as a stray find during the 1965 excava
tion campaign at the sanctuary’s northern
ancillary buildings. The Cologne potter
Servandus, who worked in the second half of
the second century, signed it. There is an obvi
ous chronological link with the podium tem
ple. At the temple itself, not a single figurine
was found during the 1964-1967 excavation
campaigns. The temple area is not yet fully
excavated.
Over the years many explanations have been
ing.30 Both explanations are unsatisfying as
there is no evidence at all of a transaction
pointing to a purely votive offering. There are
no dedicants and no divinity to whom an offer
ing was made. Nor are there any remains of a
ritual meal, for which we would expect to find
32
33
34
tion would have been a strategic one for a deal
er in devotionalia. Added to that, more than
one exemplar has been found for most series,
with one Minerva series even boasting six fig
urines. The considerable uniformity in both
paste and production technique suggests that
the bulk of the stock comes from a single pro
duction centre. Comparative research into the
series shows that the provenance of most fig
point to a merchant buying supplies in
Cologne for his shop strategically located near
proffered for this remarkable find. For some
authors it was the contents of a domestic
shrine or lararium,29 for others a votive offer
30
31
ately north of a possible second temple whose
foundation was uncovered in 1966, The loca
urines should be sought in the workshops at
the Rudolfplatz in Cologne. All this could
T h e ‘T h i e n S c h u u r ’ f i n d
27
28
29
hypothesis. The findspot is just a short dis
tance south of the north temple and immedi
the temple, or temples, of Tongeren. In the
past, various large pottery finds containing
terracotta figurines were identified as com
mercial stock. For example, some hundred fig
urines were found in the cellar of an insula to
the southeast of the forum in Alesia.34A fire at
about the end of the second century or later
caused the stock to drop into the cellar from
the floor above. Because of the fire, the fig
urines were more severely damaged than the
Gerritsen 2003,161-167.
Slofstra en Van der sande 1987,129; Van Boekel 1987,866, supplement 13
Bulletin de la Société Scientifique et Littéraire du Limbourg 27,1909,51; Bulletin de la Société Scientifique et
Littéraire du Limbourg 31,1913,94.
Mariën 1965, nrs 19a and b.
An example o f such a find with a large amount o f vessels and a terracotta figurine from Tienen: Martens et al.
2002; Martens 2012,194-195.
Henrich 2010,105-107: enumeration o f lararia and aediculae.
Renard 1905,286 nt. 1; Van de Weerd 1932,296.
Rabeisen and Vertet 1986,54-56.
-106 -
Tongeren terracottas, but once again there
were several examples from different series.
For the most part these were products from a
contemporary potter from Autun, named
Pistillus. In this respect there is an essential
difference from the Tongeren figurines: the
terracottas from Alesia were contemporary
products manufactured within a limited peri
od of time. The same applies to a house in
Oberwinterthur that was destroyed by fire in
about 75 AD and where some 20 brand-new,
contemporary Venus figurines were found
among Southern Gaulish ceramics.35The liter
ature also assumes that two other finds - from
pottery is too large for them to be interpreted
as commercial stocks. This hypothesis is also
problematical for Tongeren. By analogy with
many large coin finds, we can assume that a
key reason for stashing away commercial
stocks would be during a time of unrest. This
would explain Van de Weerd’s belief that the
hoard was ‘the hastily secreted supply of a
merchant’. However, it doesn’t explain why the
merchant would dig a hole more than two
metres deep for this purpose. Furthermore,
the entire hypothesis falls apart when we
analyse the hoard chronologically: the terra
cottas span at least the entire first half and part
Gauting36 and Bingen37 ^involved merchants’
of the second half of the second century. (Fig.
stocks, but the evidence here is less convinc
ing, especially as these are old finds whose
find circumstances are poorly known. Both
46) Business would have been rather poor for
any merchant holding stocks bridging such a
cases involve terracottas found together with
time span. The facts therefore oblige us to seek
another explanation.
large quantities of terra sigillata, but certainly
in the case of Gauting the time span for the
The figurines were collected over a lengthy
°
Fortuna T 0 15-16
Fortuna TO 8-14
Minerva TO 34
Venus TO 46-48
Diana TO 3
Minerva TO 37
Minerva TO 38-43
Fortuna TO 22
bust o f a woman TO 71
bust o f a boy TO 67-68
bust o f a boy TO 61
bust o f a boy TO 63-65
bust of a boy TO 66
Fortuna TO 4-5
Fortuna TO 25-26
Venus TO 44-45
Fortuna T 0 17
Juno TO 29-30
Juno TO 31-32
bust o f a woman TO 75-76
Juno TO 28
bust o f a woman TO 72
bust of a woman TO 73
Fortuna TO 20
bust of a woman TO 74
Matrona TO 51
Fortuna T 0 18
Fortuna T 0 19
Matrona TO 52
couple TO 58
Minerva TO 36
bust o f a boy TO 59-60
bust of a boy TO 69
0
35
36
37
Von Gonzenbach 1995,50, 60-61; Raselli-Nydegger 1998,95-97.
Krämer 1952,283-284; Von Gonzenbach 1986, 66.
Behrens 1915,99; Lange 1994,170-171.
-10 7-
°
J
^ig. 46. Dating o f the
figunnes o f the Th ien
Schuur’ find.
period, at least two generations. Their good
state of preservation suggests they were kept
indoors during that time. The obvious attrib
utes show that the majority of the figurines
can be identified as divinities.38Their number
rules out a purely decorative function. The
religious nature of the group as a whole is
therefore undeniable.39 The religious signifi
cance of the terracottas and the fact that their
numbers are too high to be accommodated in a
lararium points to a connection with a cult
building. Various bronze hoards consisting
largely of votive offerings demonstrate that
portions o f a temple inventory sometimes
ceased to be used and were then carefully
stored away.4“ These were essentially sacred
objects that were buried with care to prevent
desecration. Such burials may have been
prompted by a major renovation of the temple
in which they were housed, or by the temple
being abandoned.41The figurines in the ‘Thien
Schuur’ deposit were clearly deliberately cho
sen and form a unified whole. The fact that the
hoard contains items of one type of material
can help with the interpretation. When temple
properly was carefully secreted away, different
types of material were rarely mixed. Thus
ceramics and metal were separated and even
different types of metal are seldom found
together.42 The great depth at which the
depicting female divinities, were carefully
stored in a rectangular wooden chest and
buried in the cemetery between two funerary
monuments, in a zone intended for the graves
of the villa owners. In Henrich’s view, they
originally belonged to a private temple in the
villa domain or were placed in a monument
erected at the cemetery. The place where the
hoard was later buried had been carefully cho
sen to minimise the risk of disturbance. It
shows the importance that the villa owners
attached to the figurines, despite the loss of
their original function. In Tongeren too,
importance was still attached to the figurines,
as evident from the trouble taken to keep them
separate and to bury them very deep. It should
be emphasised, however, that so far not a sin
gle terracotta find has been discovered that
fully matches the ‘Thien Schuur’ find.44
It is difficult to verify which cult building orig
inally housed the terracottas of the ‘Thien
Schuur’. We know of the temple in the north
ern part of the city at about 100 metres dis
tance from the findspot. The great distance
from the hoard to the north temple is not
unusual. A topographic and chronological
study of the temple of Hofstade in the neigh
bouring civitas Nerviorum has shown that dif
ferent hoards containing parts of the temple
Tongeren figurines were buried suggests that
this was to prevent desecration and that they
property were associated with a new building
phase for the temple in the late second centu
ry.45 A significant pottery hoard, including
were buried outside the originally sacred area.
some terracotta figurines, was located about
Another hoard comparable in size to that of
Tongeren and which also contained only terra
cottas was recently excavated near a villa in
Duppach.43At least 53 figurines, most of them
38
39
40
41
42
100 metres away from the sacred space and
axially aligned with the sanctuary. In chrono
logical terms, the link with the north temple is
less obvious. This is because the oldest terra
cottas date from the early second century,
See the section ‘The meaning o f the figurines’ below.
Rey-Vodoz 2006,223: lorsque du moblier non spécifique est associé directement à des objets dont la vocation cul
tuelle est sûre on peut postuler une vocation similaire à l’ensemble’.
Kaufmann-Heinimann 1998,200-202; Kaufmann-Heinimann 2007; Dondin-Payre & Kaufmann-Heinimann 2009.
De Beenhouwer 2005,829-835; Dondin-Payre & Kaufmann-Heinimann 2009,104,116. Other reasons for removing
the objects may have been a threat o f looting or that they ceased being used because they were sim ply replaced, or
removed because o f lack o f space.
43
Dondin-Payre & Kauftnann-Heinimann 2009,111: ‘L’unité du matériau est consubstantielle aux dépôts, parce
qu’elle constitue le premier critère de tri lors de leur constitution: le métal est alors séparé de la céramique, du bois
etc., il est même exceptionnel que les métaux soient diversifiés dans un même dépôt.’
Henrich 2010,95-111,162-165.
44
45
Schauerte 1985,90; Van Boekel 1987,870-871; De Beenhouwer 2005,829-836; Henrich 2010,107.
De Beenhouwer 1996.
-10 8 -
whereas the terrace in front of the excavated
temple was built shortly after the middle of
the second century. If the ‘Thien
deposit relates to a temple - which
dence seems to confirm - it could be
cessor to the excavated podium
Schuur’
the evi
a prede
temple.
However, it should be noted that although
Mertens and Cahen-Delhaye assume an older
sanctuary, this has not yet been archaeologically attested.46A second temple in the imme
diate vicinity of the hoard is another possibili
ty. The massive flintstone foundation of a
major building with apsis, immediately to the
south of the find spot, could be considered in
this light.47
Terracottafigurines from burial grounds
Depositing terracotta figurines in graves is a
tants of the nearby villa.50Other isolated graves
from Ampsin and Verviers-Stembert cannot
be associated with building remains in the
vicinity51 In general the mentioned figurines
were deposited inside the graves, the only
exception being a tumulus in Tienen, where a
Bacchus figurine was placed as a kind of buil
ding sacrifice in the foundations of the burial
chamber.52 Where the grave contexts are
known, these often involve richer graves.53For
instance, glassware was found in the graves at
Stembert, Stree and Juslenville. In addition,
the graves of Rognee belonged to wealthy villa
inhabitants and the tumulus of Tienen was the
grave of a member of the local aristocracy.
The highly fragmented figurines of La-Roche-
practice that gained acceptance in our region
during the first century AD but it certainly
en-Ardenne-Ortho probably come from a
cemeteiy excavated in the nineteenth centu
ry.54 In all, 54 fragments were collected, 13 of
was not the main use for terracottas. In the civitas Tungrorum, 18% o f the identified fig
which could be identified. The nineteenthcentury finds from Ortho are similar to anoth
urines had been deposited in graves. Outside
er find from Saint-Pierre-Sberchamps, situat
ed in the border area of the civitas Treverorum
the civitas capital terracottas were found at
cemeteries in the vicus of Theux-Juslenville
and the Roman settlement of Tienen.48*They
were also discovered at cemeteries close to
and the civitas Tungrorum.55There, the heavily
crushed remains of at least 21 figurines were
found in a pit located in a small cemetery. The
large villa complexes, such as the cemetery of
Stree ‘Terre dell’Prelle’ and Neerharen-Rekem
cremation graves themselves did not contain
any terracotta figurines. The use of terracottas
‘A u moulin’ or at a small rural graveyard as in within the burial ritual here was obviously
Gouvy-Bovigny or Gors-Opleeuw ‘Boschveld’.45 subject to local customs.
In Walcourt-Rognee figurines were found in a
small group of isolated graves whose richness Despite the acceptance of depositing terracot
suggests a direct connection with the inhabi ta figurines in graves it was not common prac-
*'
47
18
“
31
51
B
54
»
Mertens 1967,105-106: ‘Het is ten andere logisch een oudere cultusplaats alhier te veronderstellen daar zoniet moei
lijk te begrijpen is waarom zulke omvangrijke terrasseringswerken werden uitgevoerd.’ Cahen-Delhaye 1979,5: ‘Le
matériel archéologique d’époque flavienne recueilli dans le remblai de la terrasse laisse supposer que le site avait
accueilli u n sanctuaire antérieur.’
Mertens 1984,46: the author hypothesises that it was a temple, possibly on the forum. Vanderhoeven 8r Vynckier
1998,82: “ as for the nature o f this building, we hesitate between a town house and a more official construction. It
is noteworthy that the apsis seems to lie in the central axis o f the temple in the north-western, periphery o f the
town..... So we m ight have two pieces o f a typical centralised official Roman building complex, a temple in the
north and another (large) building (with apsis) to the south”.
De Beenhouwer 2005,259-262 (Theux-Juslenville), 264 (Tienen).
De Beenhouwer 2005,255-256 (Strée ‘Terre dell’Prelle’), 225-226 (Neerharen-Rekem ‘A u moulin’), 96-97 (GouvyBovigny), 125 (Gors-Opleeuw Boschveld).
De Beenhouwer 2005,238-240; Brulet 2008,582-583.
De Beenhouwer 2005,31 (Ampsin), 254-255 (Verviers-Stembert).
Martens 2012,2fg-230.
De Beenhouwer 1993,234; Henrich 2010, no-111.
De Beenhouwer 2005,228-234.
De Beenhouwer 1990; De Beenhouwer 1991 (Sberchamps).
-10 9 -
Fig. 47. Three figurines from
a grave in Karden. From left
to right: Venus, Venus
originally placed in an
aedicula and Minerva.
isolated group of graves slightly north of the
Roman conurbation in the ‘A rmand
Meesenlaan’. No finds are known as yet from
the northern and eastern cemeteries of
Tongeren. In general there are few terracottas
in graves compared with the ones from the
urban area of Tongeren.56 Their use in these
contexts seems often secondary. They may pre
viously have played a role in the life of the
deceased, for example by featuring in a lararium or private shrine.57 A fine example is the
famous grave of Karden with three terracotta
figurines of deities (Fig. 47). One represents
Venus in an aedicula. It was placed upright in
front of a small wooden chest containing-the
cremation remains. The niche of the aedicula
contained two bronze bells. On the right-hand
side was a second Venus figurine and on the
left a figurine of Minerva. Both Venus figures
had been imported from Central Gaul, but the
Minerva was made in a Rhineland workshop.
They were probably acquired at different
moments in the life of the deceased.
It is difficult to demonstrate archaeologically
whether terracotta figurines were displayed
tice. Of the approximately 550 graves in the
southwest cemetery of Tongeren that have
been investigated since 1957, only three con
tained terracottas. Earlier excavations in the
nineteenth and early twentieth century recov
ered five figurines. If we map these terracotta
finds, we see that all but one find in this grave
yard were unearthed within a very limited area
of two adjacent plots. So far only a single terra
cotta figurine has been discovered at other
graveyards in Tongeren. This was in a small,
*
57
“
aboveground on top of the grave. It is general
ly assumed that this was the case for a grave at
the ‘Champ de 1’image’ cemetery in SaintMarcel (F. Indre).58 Here, six terracotta fig
urines were arranged in a circle around the top
of the urn. Although the excavators believe
that the figurines were visibly displayed on the
surface,59 the originally preserved vertical
position of the figurines and their good state
of preservation argue against an aboveground
arrangement. This example does show, howev
er, that figurines could be placed higher in the
same applies outside the civitas Tungrorum. One such example is Doomik, where from all the cemeteries only
one stray find o f a bust is known; this was at the Nécropole de la Rue Perdue in a zone dating from the late third
and fourth century. In the antique conurbation o f Doomik, on the other hand, various terracottas were found (De
Beenhouwer 2005,293-297).
Schaafhausen 1890; Von Gonzenbach 1986,67 Karden, Taf 35 and Taf. 62,2. Von Gonzenbach has dated the grave to
. the Tiberian period on the basis o f coins, but the terracotta series suggests a burial date in the third quarter o f the
first century at the earliest. See De Beenhouwer 2005,400,1328.
Allain et al. 1992: grave 74, The graves in this zone were covered b y a black b u m layer o f about one metre thick (see
Allain et al. 1992,27 section G, 33 Fig.15). The publication does not provide a section o f the grave, however; Von
Gonzenbach 1986,61; Hemrich 2010,108.
Allain et al. 1992,52: ‘émergeant du sol’.
-110 -
burial pit, separately from the bone remains
and grave goods. The careful arrangement in a
circle above the urn has a sheltering quality.
The figurines had probably belonged to the
Fig. 48. Grave find from the
Tongeren southwest
cemetery with a hen TO 84.
lararium of the deceased and acquired a new
protective function when that person died.
The Saint-Marcel find is exceptional since fig
urines are usually placed at the bottom of the
grave.
In all the Tongeren grave contexts for which
the figurines’ position in the grave is known
(sitting dog TO 80, hen TO 84 and pigeon TO
92), they were placed on the bottom of the
grave (Fig. 48). They often occupied a central
position in the grave on top of the cremation
remains of a ‘Brandschiittungsgrab’ (hen TO 84
and sitting dog TO 80). In most instances the
figurines were part of the burial rites, and
ended up on the funeral pyre. Burned but
sometimes still intact, they were buried along
with the remains of the deceased (hen TO 84).
When broken, the fragments were incomplete
ly recovered (Cybele TO 1).
graves. Besides sitting terracotta dogs, two
graves from Kempten contained bone remains
that have been attributed to an adult on the
basis of anthropological research.61 The dogs’
alert pose, with ears pricked up, together with
the symbolism of the erect phallus, lend the
figurines a generally protective character. The
property of warding off evil might explain
their presence in the graves.6“ The graves of
Rognée and Tongeren ‘Armand Meesenlaan’
Grave deposits outside the civitas capital were
treated in the same way: a Fortuna figurine in
also display a special connection at another
level. Both are small isolated grave ensembles
Stembert was placed right against the urn and
a Venus figurine in Strée was incompletely
from the second half of the first century. The
Rognée graves definitely belonged to a rural -
recovered from the funeral pyre and buried
fragmented in the grave.
probably agrarian - implantation. The graves
from Tongeren were situated close to the city,
but were not attached to one of the large urban
A sitting dog was found in a child’s grave from
necropoles. It is possible that this small grave
ensemble also belonged to a rural implanta
tion outside the city. The finds of Tongeren
Tongeren-Armand Meesenlaan. The crema
tion remains in two graves with similar dogs
from Rognée have also been attributed to chil
dren (Fig. 49).60 Although it is tempting to
identify a pattern, representations of sitting
dogs were not exclusively placed in children’s
6°
“
“
and Rognée display strong formal similarities
as well. Each consists of a small ensemble of
cremation graves and one pit containing only
pyre remains. The grave goods reveal that the
De Beenhouwer 2005 238-240.
Mackensen 1978,280-281 Grab 287,300 Grab 361. Old excavation reports have on occasions attributed grave con
texts to children because the terracottas were viewed as toys (De Beenhouwer 2005, Stembert context 173, Strée
context 174 and Tongeren context 204). These ascriptions are unfounded and the hypothesis is unsupported by any
the Belgian find contexts studied. The grave contexts where bone remains o f the deceased have been identified
show that terracottas were placed not only in children’s graves, but also in the graves o f adults, both men and
women.
On phallic symbols: Marcolungo 1992. For a general commentary on the symbolism o f death and healing in con
nection w ith dogs: Toynbee 1973,122-124.
-111 -
family of the deceased was well acquainted
same period figurines o f Fortuna (TO 6),
with Roman culture. The graves in Rognee
yielded extensive tableware and drinking vessels in terra sigillata and an offering service
with a patera and a wine jar in bronzed earthenware. These terracotta finds, which are early
for our region, should perhaps be attributed to
Minerva (TO 35) and Cybele (TO 1) were also
encountered in graves in Tongeren. This
relates to a general shift in the terracotta range
at the end of the first century, with a greater
emphasis on religious themes.66Given that the
highly romanised individuals. We can there
fore agree with Von Gonzenbach, who says
that the use of Gallo-Roman terracottas in the
initial phase of production was closely associ
ated with the propagation of Roman culture.63
Included in this early repertoire were animal
figures, such as the sitting dogs of Rognee and
Tongeren. Animal figures continued to occur
in the second century as well, such as the
pigeon from a grave in Stree.64 A sitting dog
(TO 79) and a pigeon (TO 87) were found in two
market satisfied consumer demand, a change
in mentality can be discerned here as terracot
tas were increasingly used as religious objects.
Purely profane themes such as gladiators,
philosophers and recumbent men that were
part of the early repertoire now disappeared
from the range. The trend in the civitas
Tungrorum was therefore not an isolated fact,
but fits within a general shift in ideas with
respect to terracottas in the Gaulish and
Germanic provinces at about the end of the
first century.
graves from the second century, excavated by
Huybrigts in the southwest graveyard. We
need to be cautious, however, with regard to
The oldest examples of terracotta figurines in
the grave inventories from the Huybrigts col
lection sketched by Renard, because the dog
the civitas Tungrorum are animal figures,
which come from graves from the second h a l f
Some Conclusions
of the first century. The grave goods reveal that
ig. 49. Three dogs from
small grave group in
ngnée.
the first consumers were very familiar with
Roman cultural commodities. The appearance
of figurines of deities from the end of the first
century can be explained by a change in men
tality regarding terracottas in the Gaulish and
Germanic provinces, with the emphasis in the
second century shifting to a religious use.
It is sometimes possible to detect a link
between the terracotta consumers’ way of life
and the theme they selected. For instance,
there is a clear connection between the hoofed
belongs to a first-century series.65
animal TO 82 and the agrarian life world of the
It wasn’t until the second century that fig
urines of deities began to appear in graves in
inhabitants before the middle of the second
century. Nor is the appearance of Mercurius
the civitas Tungrorum. Figurines of Venus were
found in graves in Ampsin, Stree and
Juslenville (Fig. 49), a Victoria in Gors-
TO 57 in a commercial quarter coincidental.
This god, also worshipped at the public sanctuary in the north of the city, had strong ties
with the merchant class.
Opleeuw and a Fortuna in Stembert. In the
pre“ ™ « H S M t z e S 7 l8: ^
dem0nstrates 016 Unkbetween the earlyrepertoire and the Roman army’s
54 De Beenhouwer 2005,255-256.
® See catalogue series 54, dating.
“
Von Gonzenbach 1995,20-30,286,346-347.
-112 -
A relationship could be attested between terra
cottas and artisanal activities in the
‘Kielenstraat’ and probably also at ‘Aan
Paspoel’, as well as in other dwelling areas of
the civitas Tungrorum. This spirit of religiosity
can be understood from a desire for artisanal
processes to be successful. After all, crafts
men’s livelihoods depended on the success of
Ortho and Sberchamps attest to the likelihood
of a regional use of terracottas at cemeteries in
the southern part of the civitas and the con
tiguous border area of the civitas Treverorum.
The significance o f clay figurines
We cannot answer the question about the
melting processes, whether for glass or
bronze.
function of the extensive terracotta repertoire
without first enquiring about its significance.
Is the meaning we assign to the figurines,
through our modem eyes, the same as the one
Also in the Tongeren ‘Kielenstraat’ figurines
TO 23 and TO 88 were encountered in a
given by the makers or consumers of
Antiquity?
dwelling’s occupation layers, indicating they
have been displayed in the building. We can
The study of the find circumstances reveals
that figurines were used in different ways in
the context of rites in dwelling areas, graves
suspect, but not prove, that they were part of a
lararium or domestic shrine, in keeping with
Roman tradition. Other finds in the civitas,
notably in Liberchies and possibly also in
Braives, support this idea.
and sanctuaries. Well-documented finds allow
us to form an impression of what might have
happened during the ritual, although we can
not know the precise intentions accompany
ing the rites. One thing that is certain, howev
Terracottas were used in rituals. This was the
case for the special deposition of the virtually
er, is the religious nature of the majority of the
objects. This doesn’t mean that all terracottas
intact Mercurius figurine in the ‘Sint-
therefore represent deities. Still less can we
simply assume that the name given to a divin
ity today on the basis o f attributes corre
Truidersteenweg’. For the ‘Broekberg’ finds, it
is not yet clear whether they were part of the
citys refuse or were linked to a predecessor of
the nearby temple. The rich ‘Thien Schuur’
deposit, made up solely of terracottas, was in
all probability part of the property of a neigh
bouring cult place. It is not currently possible
to establish where this temple was located.
With regard to grave finds, figurines often
belonged to a cemetetys richer graves, some
times those of the local aristocracy, as was the
case in Tienen. This seems to be at variance
with finds from Tongeren. In the civitas capital
figurines were found in all sectors of the city.
This shows that all strata of the population
used terracotta figurines.
The way in which they were deployed in buri
als doesn’t differ in essential respects between
the civitas and its capital. Only the finds of
67
68
sponds to the one that its owner intended in
Antiquity. The multifaceted nature of religion
in the civitas Tungrorum and other parts of the
Roman Empire makes it hard for us to identify
gods if there is no inscription confirming their
identity beyond doubt. Roman religion was
not a homogenous phenomenon in GalloRoman society but evolved differently from
one region to another.676
8
If the terracotta figurines were the objects of
religious transactions, this raises questions
about the nature of that religion and of the
society in which it arose. Modem researchers
emphasise the relationship between the
administrative and political organisation of
the new territorial divisions set up after the
Roman conquest and the development of reli
gious traditions.“ Following the conquest it
Derks 1998,9; Kemkes & W illburger 2004,5; Raepsaet-Charlier 2002.
Van Adringa 2002,9-12.
-113-
was not until the reign of Augustus that a
political and administrative framework was
introduced into the Gaulish and Germanic
provinces in the form of a new territorial divi
sion into civitates. This was accompanied by
the establishment of administrative capitals,
sometimes involving places already inhabited
before the conquest, but in many cases new
foundations. Atuatuca Tungrorum, the capital
of the civitas Tungrorum, was such a new foun
dation. Archaeological sources show that the
city was founded in about 10 BC.69The territo
rial reorganisation had a dramatic impact on
the area’s inhabitants as the new civitas
grouped different populations within its bor
ders. The remnants of the local population of
ly. Thus by worshipping the gods of the civitas,
the faithful were also acknowledging imperial
power.71 This connection between the deified
imperial power and the gods of the civitas
undoubtedly played a vital role in creating the
local pantheon; it was also a conscious strategy
that began under the reign o f Emperor
Augustus. The veneration of the official civitas
gods, irrespective of their origins, meant a
confirmation of imperial power without a
need on the part of Rome to exert obvious
pressure on the choice of gods. Religion thus
contributed to the stability of the empire, even
though the gods differed from one civitas to
the next. Celtic, Germanic and Roman influ
ences evolved into a provincial religion in the
Eburones, Atuatuci and Condrusi who had been
ravaged by the conquest were merged under
climate of antique polytheism and Roman tol
erance towards foreign religions.737
4
the name Tungri. This name, which wasn’t pre
viously mentioned in historical sources, prob
ably also, included new population groups
We don’t know what the religious festival cal
who came from across the Rhine to settle in
the new civitas.70No doubt the early territorial,
political and administrative organisation, in
endar in the civitas Tungrorum looked like.79
Even discovering which gods were venerated
in the civitas is hampered by limited sources as
they are only mentioned by name in scarce epi-
which the local elite occupied a major role,
had an impact on the way religion was organ
graphic sources.75* The function of the local
deities remains unclear; nor do we know
ised.717
2Alongside the administrative magis
trates, priests and gods also deserved a place in
whether they were part of the public pantheon
the urban development of the new capital. For
a lengthy period Atuatuca was a capital that
of the civitas or were worshipped privately. As
for the male gods, the names mentioned in
inscriptions are Apollo, Hercules, the genius of
the Municipium Tungrorum, Jupiter Optimus
was not organised in accordance with Latin
law, thereby allowing it considerable freedom
to shape its own pantheon. Although no clear
Maximus, Mercurius, Vulcanus, the local god
Apollo Smerturix and the Eastern gods
evidence of the Imperial cult has been found so
far in the civitas Tungrorum, we know from
Dolichenus and Mithras. The female divinities
are Alcmene, Diana, Fortuna, Juno, Minerva,
inscriptions in other civitates in the Gaulish
and Germanic provinces that both gods with
Roman and native names could be assigned an
the Nymphs and the Fates (Parcae), and the
local goddesses Sandraudiga, Vihansa,
additional function, namely watching over the
welfare of the emperor and the imperial fami
Virathethis and the Iarae. Based on their attri
butes, we also find a number of these divini
ties in terracotta: the male gods are Apollo and
69
70
71
72
73
See footnote in chapter on Tongeren.
Raepsaet-Charlier 2003,37; Raepsaet 2013. On the subject o f cultural integration see also Roymans 1995.
Van Adringa 2002,21-26.
Van Adringa 2002,159-186.
Kemkes M. 8r N. W illburger 2004,30.
74
Inscriptions on some terracotta figurines w ith consular dates from the second h alf o f the second century AD show
that they were sometimes manufactured and sold to mark special religious festivals relating to the official festival
calendar. Ruger 1980,34-35; Hopken 2004 (consular date).
Raepsaet-Charlier 2007. About the possibilty o f Hercules being the main god o f the Tungri, see Raepsaet 2013,137140.
75
- 114-
Mercurius, and we can identify the goddesses
Fortuna, Minerva, Juno and Diana, as well as
the Fates.
Another example is the enthroned Apollo TO
54, who is readily identifiable by the lyre in his
left hand and the plectrum in his right. Apollo
desses that we believe we can recognise are
Roman ones. The religious imagery used by
was often invoked under a double name,
whose second part was the name by which the
god was known to the local population. The
wide variation in names demonstrates that
Gallo-Roman society to represent its gods is
drawn largely from Graeco-Roman tradition.
Appearances are deceptive, however. Let’s take
Gaulish religion was not a uniform phenome
non before the Roman conquest but differed
from place to place. No votive inscriptions to
the example of Fortuna, identifiable by the
cornucopia, or horn of plenty. A standing
‘Fortuna’ placed next to a Mercurius makes it
clear that this is the native goddess Rosmerta,
Apollo have been preserved from the capital,
but two are known from outside the civitas
capital, one from Liberchies and one from
Taviers. In addition Apollo Smerturix was
the consort o f Mercurius.76 Sometimes
Rosmerta is depicted single, without Mercu
invoked at the sanctuary of Jupille. This epi
thet points to an association with a local god.
rius. In these instances she cannot be distin
guished iconographically from Fortuna and
As a result, it is once again impossible to
establish precisely whether Apollo or a local
god associated with Apollo was intended with
It is no coincidence that all the gods and god
only an inscription can show that it is indeed
Rosmerta.77 In addition to the horn of plenty,
twenty Fortunae from Tongeren also depict a
ships’ rudder, sometimes resting atop a globe.
In three other instances (TO 20, 21 and 22),
besides the horn of plenty, she is holding a pat
era or a piece of fruit in her hand. These fig
urines we call ‘Fortuna’ are the main represen
tations in terracotta for the civitas Tungrorum,
with a total of 33 examples, 23 of them found in
the capital. By contrast, only one inscription
from the civitas mentions her name, a votive
inscription from the capital dedicated to
Fortuna by a Roman citizen, Aprionius
Iustus.78 This discrepancy raises the question
of the extent to which local consumers intend
ed these figurines as representations of
Fortuna.
the terracotta figurine from the capital,
despite the general and classical GraecoRoman attributes that allude to the musical
talent of Apollo.
The god Mercurius is well represented in terra
cotta, in both the capital and the rest of the civ
itas, with two examples in each case. Each one
is a seated representation of the deity with all
his classical attributes.79 Seated on a rock, he
holds a purse in his right hand and the herald’s
staff, or caduceus, in his left. On his head is the
winged helmet, or petasus, and his feet are also
winged. A goat stands on the right against a
rock, and a rooster on the left; Mercurius’s left
foot rests on a turtle. Mercurius is often
claimed to be one of the most popular gods in
,e
Compare the representation o f this terracotta pair from Bregentz (Von Gonzenbach 1995,88 nt.i Taf. 135,4) w ith the
individual figurine from Saint-Pourjain-sur-Besbre (Rouvier-Jeanlin 1972,187-188 no. 426; Von Gonzenbach 1995 88
Taf. 134,2).
77
The individual bronze figurine o f Rosmerta in the temple hoard o f Schampoulet (F) can only be identified on the
basis o f the inscription. She doesn’t differ iconographically from a Fortuna. See Kaufmann-Heinimann 2007,205.
The same applies to the representation o f the young naked Mars. A bronze hoard from the civitas o f the Aedui con
tained three bronze statuettes dedicated to the local god Cobannus, like Mars shown w ith helmet, lance and shield.
The largest statuette depicts Cobannus dressed in chiton, trousers and chlamys, but without the cursory inscrip
tions that m ention his name, the two smaller figurines cannot be distinguished from Mars, depicted naked w ith a
helmet, lance and shield. This no doubt reflects the difference between a local statue made to order and standard
ised representations that were purchased and given a local interpretation. For the ensemble o f Cobannus, see
Dondin-Payre 8r Kaufmann-Heinimann 2009) 97-109; for Rosmerta, see also Von Gonzenbach 1995,90 and Hupe
1997,97ILB 2,7; Raepsaet-Charlier 2007,457.
For the pose and drapery: see Hupe 1997,66-68; Van Boekel 1987,383-387.
”
79
-115-
Gaul. A much-cited passage in Caesar’s report
of the Gallic Wars calls him the principal of the
Gaulish gods. Obviously, this was not the
Roman god Mercurius, but one or several local
gods who in Roman eyes corresponded closely
to the Roman counterpart.
The Roman and Gaulish religions were both
polytheistic and shared Indo-European roots.
There had already been contact with the
Mediterranean world before the conquest,
which no doubt facilitated the apparently
rapid assimilation of Roman gods into the
local pantheon. It is important to bear in
mind, however, that the ‘new1 divinities that
emerged in this way were a fusion of both
Juno, found during the excavation of the ‘Elfde
NovemberwaP in a pit close to the findspot of
the Mercurius TO 57. The worship in a private
shrine is only a matter of conjecture because
the find location merely reflects the time at
which the user, for some reason unknown to
us, relinquished the objects. The ‘SintTruidersteenweg’ figurine TO 56 demonstrates
clearly that this was not an object that had
been thrown away, but rather one that was
carefully put away in the context of a ritual
and covered by a roof tile fragment to prevent
desecration. The nineteenth-century find in
Hoesselt, at a rural site near Tongeren, of a
similar almost fully intact figurine bears wit
ness to the cult’s impact on private religion in
Roman and local characteristics, which were
highlighted to a greater or lesser degree
the rural area around the city.
depending on the cultural background of the
group or individual invoking the god.
Mercurius was essentially a god of transitions
from one place to another, particularly of peo
The goddess Minerva is well represented in
terracotta within the civitas, with eleven exam
ples in the capital and six in the main centres
ple and goods. In this capacity he protected
merchants, travellers and thieves, and accom
and in the major settlements of Braives and
Taviers, Clavier-Vervoz and Kontich. Each of
the terracotta Minervas portray her with a hel
panied people in their passage to the hereafter.
In the provincial Gallo-Germanic context, this
idea is often narrowed down to the god of trade
and wealth creation.80Mercurius was frequent
ly given a prominent position in the new civitates, but despite his popularity in Gaul, he is
only referred to once in the inscriptions of the
civitas Tungrorum, together with Apollo on a
graffito from Liberchies. A stone pedestal of a
Mercurius statue was found on the court of the
Tongeren north temple and the offering of a
ram might also point to the cult of Mercurius.8'
Venerated at the city’s public sanctuary,
Mercurius was also worshipped privately at
several places in the city. Two terracottas
depicting the god were found in pits in the
urban residential area of Atuatuca, one of
which was located in a trading quarter (TO 57).
The figurines were possibly part of a domestic
shrine, as was the stone statue of Jupiter and
“
*'
outside the capital: in the vicus of Liberchies
met and shield. Six figurines from Tongeren
(TO 38-43) also feature emblazoned at her
breast an image of Medusa, one of the Gorgons
with serpent hair who turned anyone who
looked at her to stone. This attribute is bor
rowed from Athena, Minerva’s Greek counter
part. On one occasion she is depicted with a
lance in her raised left arm, and with the shield
resting on a globe (TO 35). These classical rep
resentations leave no doubt as to the identity
of Minerva. The iconography reveals the mar
tial character of the goddess, but in the civitas
Tungrorum, so far from the military zones, this
will not have been the main reason for her ven
eration. Minerva was first and foremost the
goddess of arts and crafts. The fact that crafts
men made up a significant portion of terracot
ta consumers would help explain her popular
ity in the Rhineland terracotta range.
For the provincial interpretation: Derks 1998,115-117. See also Hupe 1997.
Cahen-Delhaye and Smeesters 1981; Mertens 1967,106; Raepsaet-Charlier 2007,446: on the basis o f bronze finds,
Mercurius possibly was also venerated in the temples o f Matagne-la-petite and Grobbendonk, both part o f the civi
tas Tungrorum.
-116 -
A special find from the temple complex of
Trier ‘A ltbachtal’ establishes a link between
the worship of Minerva and a craftsman, and
indirectly also between Minerva and the terra
cottas representing her. A bronze tabula ansata
designed to be affixed to a votive offering was
found in Trier in a temple.82 A handworker
from the civitas Suessionum, whose profession
might well be reconstructed as aerarius, a cop
per- or bronzesmith, dedicated it to Dea
Minerva, the goddess of crafts. The temple was
built in the first century and, judging by the
coins and pottery, destroyed in about 275 AD.
Three terracotta statuettes were found in the
same temple, two of which could be identified
as Minerva.83 This establishes a direct link
between Minerva and the statuettes.84 Other
terracottas of the goddess holding a piece of
fruit are local interpretations of the goddess
(TO 37-43).85The fruit could simply symbolise
and wringing out her hair with both hands.87
The literature on Gallo-Roman terracottas
describes her as a naked woman holding a lock
of hair with one hand, and with the other
clutching a garment that reaches down to the
ground. This representation probably derives
from a popular theme in stone sculpture of
Venus after her bath.88What we do know for
certain is that she had her origins in the
Graeco-Roman iconography of Aphrodite and
Venus. This specific representation of Venus
was one o f the most popular for terracotta fig
urines in the Gaulish provinces. Ten examples
are known in the civitas Tungrorum. Most were
imported from Central Gaul and ended up at
the western frontier zone of the civitas, includ
ing five in Liberchies and two in Kontich. The
western border of the civitas Tungrorum acted
as the boundary between the sphere of influ
ence of the Rhineland and Central Gaulish ter
care for the harvest, or refer to a mythological
idea that is unknown to us.86
racotta production centres.89 This was no
doubt largely governed by economic and cul
tural aspects: the choice of themes and repre
Also well represented are depictions of the
goddess Venus. For the civitas this comes to 29
figurines in all, seven of which were found in
sentations. Only two of the Venus figurines
from the capital are of this type (TO 44 and 45).
Both were made in the Rhineland, where the
Atuatuca and eight in the vicus Liberchies.
type caught on somewhat later under the
Venus also occurs in the rural context of
Mortsel and in the villa o f Neerharen.
influence of the Central Gaulish examples.90*
Fragments of at least two statuettes were
found in the temple of Kontich. Venus fig
urines were also placed in graves in Stree and
Theux-Juslenville. The best known type is the
Venus Anadyomene. The epithet ‘anadyomene’
alludes to the mythological scene of the birth
of Venus, with the goddess rising up from sea
“
88
84
Ss
“
87
88
•»
s°
51
The large number of terracotta Venus fig
urines stands in stark contrast to Venus’
absence in inscriptions. It is generally true to
say that terracotta figurines of Venus were
popular in the Gaulish and Germanic provin
ces, but that her name was rarely mentioned in
the epigraphic record.9' For the civitas
Gose 1972,91-92. H alf o f the tablet survives and is 3.3 cm high (Trier, Rheinisches Landesmuseum Inv. ST 11938).
The inscription reads: [DEAE MI]NERV(A)E/...TVS GA/...[F(ILIVS)] SVESSIO/ ...ARIVS/ [V(OTVM)] S(OLVIT)
L(IBENS) M(ERITO). It is linked w ith a temple w ith ambulatory ‘Bau 30’.
Trier RLM inv. ST 11937 and ST 11956.
For the dating and the use o f the term dea: Raepsaet-Charlier 1993,12-19.
Binsfeld 1970,75: ‘...einer typisch einheimischen Version der Minerva*. An example from Niederwampach shows
the goddess w ith fruit on her lap: Engling 1859,188 pl.EI; Van Boekel 1987,409.
Another local theme depicts Minerva holding an ear o f com at which a bird is pecking: Van Boekel 1987,408,415;
Lange 1994,233,238-239 series 84 and 101.
Schauerte 1985,17; Van Boekel 1987,165: the epithet goes back to a painting by Apelles from the mid-fourth century
BC.
Raselli-Nydegger 1998,87.
De Beenhouwer 2005,805-808 w ith distribution map.
De Beenhouwer 2005,914.
Bogaers 1991,79-80; Kellner and Zahlhaas 1993,45.
-117-
Tungrorum too, there are no known inscrip
tions for Venus. The fact that these terracottas,
which essentially showed a naked woman in a
standard pose, were understood to be fig
urines of deities is evident from the many rep
resentations of the Anadyomene and other
Venus types in small shrines, or aediculae (Fig.
47 en Fig. 50). Sometimes these were simple
niches with a shell-shaped canopy, supported
by columns or pilasters. Usually a fagade with
a pediment was placed in front of the niche to
give the impression of a separate edifice. These
figurines in aedicula were made in both the
Gaulish and Germanic provinces and occurred
for Minerva terracottas as well. These small
architectural displays reveal that the Roman
use of domestic shrines or lararia within the
private cult o f the Gaulish and Germanic
provinces was more widespread than has been
archaeologically attested and that terracottas
played an important role in this practice. It
says something about the divine nature of the
figurine, but it doesn’t tell us whether the god
dess being worshipped can simply be equated
with Venus, the Roman goddess of love. In an
inscription from Lith in the Netherlands, a
woman addresses ‘her own Venus’, which sug
gests that any woman could have her own
from at least the end of the first century AD to Venus.92This concept is of itself not unusual in
the first quarter of the third century. The same Roman religion, where every woman had her
architectural framework was sometimes used9
* own Juno, and every man a genius, but it is odd
3
for the Roman representation of Venus. Thus
the contrast between the popularity of the
Venus terracottas and the paucity of epigraph-
Fig. 50. Venus in aedicula
from the cemetery ‘sur les
minières’ in Juslenville.
Height 20,3 cm.
ic sources could be explained by a difference
in meaning between the Roman and provin
cial concepts of Venus and by the fact that she
was more likely to be venerated in the domes
tic sphere.
Other representations that we can regard as
deities are the enthroned goddess with a dog
on her lap or with fruit. No Roman counter
part is known for these figurines. Attributes
such as fruit, ears of wheat, a loaf of bread and
a dog are general attributes like the patera and
horn of plenty. On the basis of these attributes
alone, it is impossible for us today to deter
mine precisely which divinity is represented.
The modellers chose attributes that they saw
as reflecting the character of the divinity,
attributes that could differ according to pro
duction region and market. A good example is
Epona, a goddess of Celtic origin for whom no
Roman counterpart is known. She was the
protector of mules, horses and stables, and of
people who dealt with horses. One terracotta
figurine was found in Durbuy in the south of
the civitas Tungrorum.S!No epigraphic record is
91
93
Bogaerts, 1991,79-80; Van Boekel 1993,104-105; Van Boekel 2006,336.
The figurine’s current location is unknown. Only a rough sketch has survived in Geubel 1849,73-76, pi. II fig. 1.
-118 -
known in the civitas. Nevertheless, Epona was
widely venerated in the Gaulish and Germanic
provinces during the imperial period. In order
to portray the goddess, the artists chose a
number of attributes that made her readily
identifiable to believers. The goddess’s key
attribute is the horse and terracotta figurines
always depict her sitting side-saddle on this
animal. Stone reliefs also show her standing
next to the horse, but this way of representing
rooted in the local religuous context. It wouldn’t
have been profitable to produce individually
identifiable figures of these divinities in a cen
tralised market of serial products, which is
essentially what terracotta figurines were.
Given this religious and economic reality, it is
perfectly understandable that coroplasts seek
ing to maximise their share of the market in
devotionalia added only general attributes for
is too complex to produce on a large scale
using moulds. The terracotta representations
are static and the posture is the same as that of
these divinities. Combined with a minimal
standardisation of posture, these attributes
showed clearly that these were goddesses of a
general protective nature who could guarantee
the enthroned goddesses. Epona has other
attributes as well, which may vary. In the pro
fertility and the wellbeing that this entailed. It
was up to the buyer at the local market to
duction centres of Central Gaul she is fre
imbue the figurines with the diety’s individu
ality.
quently shown with a cornucopia in her left
arm and a patera in her right hand, attributes
that we associate with Fortuna. In the
Rhineland she is often given fruit on her lap
Fig. 51. Epona from SaintMard ‘Majeroux*.
and sometimes ears of wheat as well or, as in
most cases, fruit, ears of wheat and a small dog
on her lap (Fig. 51). In the absence of a horse,
the figure cannot be distinguished from the
many enthroned goddesses with ears of wheat
in their hands, fruit on their laps, and often a
small dog, that were produced on a mass scale
in the Mosel region in particular. The frontal
pose, her gaze straight ahead and the symme
try of the arms along the body have a hieratic
effect, and the general attributes, which are
interchangeable with those of a goddess like
Epona, show that this is a deity. Why then can
we recognise Epona and not the other dieties?
And was it the same for the consumers of the
time, or is our knowledge of the Gallo-Roman
pantheon insufficient? A first important
observation is that Epona’s cult was spread
over a very large area indeed. In economic
terms, this meant a sizeable market for cult
figurines. It therefore made economic sense
for the manufacturers of terracotta figurines
to distinguish Epona from other native god
desses and to add a characteristic attribute
such as a horse. Many other native goddesses
tended to have a limited distribution and were
From the middle of the second century a spe
cial group o f goddesses emerged from
anonymity. We can identify them because
from that time on they frequently occur in
stone statuary. On votive altars they are
referred to as Matronae. Their attributes, such
as ears o f wheat and fruit, and the rigid frontal
and hieratic pose are no different from the
other ‘anonymous’ goddesses. What sets them
- 1 1 9 -
apart, however, is their traditional Ubian
attire, customary in the area around Cologne.
A characteristic feature of the clothing is the
typical Ubian bonnet fastened with a small tag
at the right ear.94The mother goddess wears a
long garment that is girt around the waist,
combined with a cloak pinned with afibula to
the breast, but open at the lap so that the fruit
can clearly be seen. Another characteristic is
that they were portrayed in groups of three.
The central figure in each triad is bareheaded
and slightly smaller than the outer two, who
are shown wearing a voluminous Ubian bon
net. The Cologne potter Ianetus made such ter
ed into curiae, societies with whom they were
linked in name.979
8According to RaepsaetCharlier there is epigraphic evidence for the
cult of Matronae in the civitas Tungrorum - on
the one hand, in a votive inscription from
Liberchies to the Iarae, who can be regarded as
Matronae, and on the other hand, in the exis
tence of a curia in Amberloup, the curia
Arduennae.9S Outside Atuatuca terracotta frag
ments of Matronae were found in the civitas in
a room in a villa in Ambresin," in a refuse pit
near the villa of Margraten ‘Backersbosch’100*
and in Hogeloon.1“ Their presence in villae pro
vides evidence of their success in rural envi
ronments.
racotta triads. Most other coroplasts confined
themselves to depicting one of the outer god
desses with the large round headdress. The
‘Thien Schuur’ find of Tongeren contained two
As with the presence of god figurines, the
absence of a particular god is also significant.
such figurines (TO 51 and 52).
Whereas not a single Jupiter was found in ter
The names of these goddesses vary from place
to place. The Matronae Aufaniae from the
Bonn region enjoyed a greater fame in the sec
racotta, the epigraphic record contains no
fewer than seven dedications to Jupiter Optimus
Maximus in the civitas Tungrorum, two of them
in the capital. Jupiter was part of the official
ond half of the second century because their
sanctuary was monumentally extended, dis
state cult that helped forge unity within the
empire. Organising the cult of the Capitoline
playing high-quality sculpture.95 The combi
nation of the name Matronae with an epithet
referring to a place or group essentially means
Triad (Jupiter, Juno and Minerva), was obliga
tory for cities like Cologne, Trier and Xanten
‘the mothers of’. According to Derks, the cult
therefore relates to the veneration of the
with colonia status. The state cult was also
mandatory within the army in order to bring
unity to the ranks of soldiers stationed across
ancestral mothers of this group of people,96 the empire. Recruited from diverse regions,
Their names, always expressed in plural, have they brought their own cultural and religious
deep local roots. They go back to pre-Roman backgrounds with them. The epigraphic evi
times and reflect ancient social organisations
or territorial divisions that existed before the
creation o f the civitates. We know from
inscriptions that they were often venerated by
social groups who in the imperial period band
94
95
96
97
98
99
"°
“
dence corresponds entirely to what would be
expected in the organisation of the state cult.
Jupiter features prominently in the civitas,
especially in inscriptions on stone monu
ments. Although his absence in terracotta is
W ild 1968,210-214.
Derks 1998,130.
Derks 1998,119.
Scheid 1999,402-419.
Raepsaet-Charlier 2007,447,450-451; See also Scheid 1999,404-405,414.
De Looz 1876,264 and pl. III fig. 3; Maeyer 1940,124; Dheedene 1959,205 no. 1058; De Beenhouwer 2005,32,599 no.
1177.
Schauerte 1985,345 no. 974; Van Boekel 1987,460-461 no. 68; De Beenhouwer 2005,600,1231 nó. 4043.
Van Boekel 1987,860 supplement 5.
-120 -
surprising, this is not a local phenomenon
confined to the civitas Tungrorum. Figurines of
Jupiter were not commonly produced in terra
cotta, either in Central Gaul or in the
Rhineland.1“
purchased terracotta figurines of deities and
sought to use them in rituals. Although they
practised the same religion, they evidently
made different choices from the pantheon:
what mattered was not the Roman state, but
the deity’s significance to the individual.
Also absent in terracotta is the Imperial cult,
the second pillar of the official state religion.
Unlike large stone statues or votive altars, the
purpose of terracottas was not to demonstrate
to the community how educated the dedicants
were, that they possessed Roman citizenship,
had adopted the Roman way of life or had a
Likewise epigraphic attestations are not abun
dant in the civitas Tungrorum, although they do
exist. The formula ‘DD’, referring to the
‘domus divina’, occurs four times in inscrip
tions.“3There is no evidence at all in terracotta
of a use relating to the Imperial cult.'04The fact
that different female busts feature a contem
sense of Roman-ness.“6 Even when sacrificed
at a public sanctuary, terracottas remained
modest votive gifts, whose dedicants
porary hairstyle also found in imperial hair
fashion shows that terracotta producers were
remained unknown to the community and
which simply bore witness to a personal rela
tionship with the gods.
alert to the fashion trends that were also
depicted in statuary and which would certain
We cannot take for granted that all anthropo
ly have been in evidence in a colonia like
Cologne. If some busts were supposed to rep
resent members of the imperial family, we
would also expect representations o f the
emperor, but there aren’t any. There are few
figurines in the entire Central Gaulish and
Rhineland terracotta repertoire that could
withstand a comparison with a portrait of a
Roman emperor.“5This near absence of Jupiter
and the Imperial cult in terracotta consump
tion can only point to market demand.
Terracotta consumers, although clearly inter
ested in representations of gods, obviously
had little or no interest in the state religion. If
they had been interested, the manufacturers
would certainly have responded accordingly.
morphic figurines represent divinities. A spe
cial group of terracottas that were particularly
popular in Central Gaul are the nutrices. These
are women, sitting on a cane seat, who are
nursing one or two babies. In all of the civitas
Tungrorum fragments of four examples were
found only in Liberchies. Once again, the fact
that the Central Gaulish figurines got no fur
ther than the western border zone of the civitas
in the second century was a consequence of
the economic situation. Not everyone agrees
on the interpretation of these figurines. In the
French literature they are traditionally known
as ‘déesses-mères’, but various authors have
expressed doubts as to their divine nature,
arguing that they in fact portray mortal
women.“7Their presence in sanctuaries is then
We see a clear difference between those who
dedicated stone monuments and those who*10
7 explained as representations of mortal mothers
5
4
3
■“
103
104
105
107
No Jupiter figurines were found in the Netherlands. A mould o f the head o f Jupiter for making a bust or lamp was
found in the m ilitary ceramics centre o f Berg en Dal, Van Boekel 1987,670; no terracotta Jupiter figurines were
found in Switzerland, Von Gonzenbach 1986. Rare series o f an enthroned Jupiter were manufactured in the
Cologne colonia, Lange 1995,264-265, series 179 and 180. See also standing figurines in Trier-Altbachtal, Gose 1972,
Abb. 388,19-20 and from the Central Gaulish production centres Bourbon-Lancy and Saint-Pouryain sur- Besbre,
Rouvier 1972, nrs 510-512.
Raepsaet-Charlier 2007,448,456-458. See also Van Adringa 2002,170-171.
On the presence o f imperial portraits in Gallo-Roman sanctuaries: Van Adringa 2000 and Van Adringa 2002,176181.
Van Boekel 1987, 652: Bust from Trier Altbachtal w ith features o f Flavian emperor Titus and clipeus w ith the same
bust from Dillingen-Pachten; See also Von Gonzenbach 1986, Taf. 46,1: ‘spatflavisch’.
On social rivalry among dedicants and the cosmological order o f the gods: Derks 1995,112,121,125.
Weisgerber 1975, 65; Von Gonzenbach 1995,201-202
-121 -
dedicating their own image. A systematic sur
vey of this Central Gaulish theme and its
iconographic development could shed more
prevalent in figurines from the Rhineland."5
The smile is not always shown in the
Busts are another category of figures whose
Rhineland exemplars,"5 which might suggest
that consumers of the Rhineland workshops
didn’t always use the figurines in the same way
as the users of the products from Central Gaul.
identity is difficult to establish. They account
for 14% of all terracottas in the civitas
Tungrorum. They depict mainly boys, followed
There is no real certainty about the signifi
cance of these statuettes. Van Boekel believes
that they may not have depicted real people,
by adult women.108A major group among the
boys are the ‘bald’ children, a theme known in
but rather a prefiguration of a stage in life or of
the passage from one stage to another.1,6
According to Von Gonzenbach, they expressed
light on this matter.
the literature as ‘Hsus’. This name was chosen
by Tudot, who used it to describe a series of
busts whose physiognomy expressed cheerful
ness. He saw the figurines as allegories of
laughter."5 ‘Risus’ is therefore a modern term
which, although widely used, doesn’t describe
a distinct iconographic theme. It is used today
for a series of busts of bald-headed boys with
chubby cheeks who are usually grinning. The
bald head isn’t necessarily an indication that
these were very young children; in some cases
the mouth is slightly open and teeth can be
seen.“0Rather, the lack of hair is the result of
the head being shaved. On rare occasions it is
only partially shaved and the boys sport a lock
of hair at the back or side of their head."1 The
figurine may have had an apotropaic function,
to ward off evil.“2 There are various known
examples in which a pebble or ball of clay is
sealed inside the head.“3 Such is the case, for
instance, in a figurine from the ‘Thien Schuur’
in Tongeren (TO 70), which makes a clearly
audible sound. Such a stone is especially
”*
g like the nutrix figurines - a desire for help in
childbirth or simply a wish to be blessed with
children."7
Although these figurines are usually encoun
tered in the residential zones of the civitas
Tungrorum, they are also found in graves, such
as at the ‘A u Moulin’ cemetery in NeerharenRekem. There is in any event no relationship
between the depictions of children and the age
of the deceased as they occur in the graves of
both adults and children."8The Tienen speci
mens were found in an artisan quarter. Of
itself, this is not unusual for the overall picture
that we have of terracotta consumption in the
residential and working areas of settlements.
The function of warding off evil may have
played a role in the bronze-casting process or
in other artisanal activities."3
A group of busts that are particularly well rep
resented in the Thien Schuur find is that of
boys wearing a wreath on their heads. In Van
There is a similar picture for the Netherlands, where the terracotta busts account for some 10% o f all figurines. Van
Boekel 1987, 636.
Tudot i860,26-7,31
”
Tudot i860, Pl.50 right; Rouvier-Jeanlin 1972,265 no. 692: ‘un rictus peu juvenil’; Vertet & Zeyer 1983,84-87.
“
Van Boekel 1987,639: the lock o f hair on the right-hand side o f a bust o f Pistillus at Autun can perhaps be identified
as the lock o f Horns, son o f Isis.
"
On the apotropaic aspect in graves: Van Boekel 1987, 629.
Stones enclosed in the head: Van Boekel 1987, 660-661 no. 183, 662 no. 185; Lange 1994,287-288 Series 242 no. 2 and
Series 243 no. 1.
“
It is a feature that distinguishes the Rhineland busts from those o f Central Gaul, according to Van Boekel 1987, 634.
“5 See also the Cologne series: Lange 1994, Series 242,243.
Van Boekel 1987,639. Also Vertet & Zeyer 1983,86; Derks also sees the rite o f passage from childhood to adulthood
as an explanation for the many representations o f children, especially boys, at the sanctuary o f Lenus Mars in Trier
(Derks 2006).
Von Gonzenbach 1995,161-162.
Sherds o f a risus and a nutrix figurine occurred together in a burn-remains grave o f an adult male from the end o f
the second or third century at Destelbergen. See De Laet et al. 1969,41-43 fig. 27, appendix II: anthropological
analysis, PL XI and XII. See also Van Boekel 1987, 629-632.
Baked-in phallus in potter1s kiln in Tienen. See Martens 2012,26, Fig. 1.6.
-122 -
Boekel’s view, this is possibly an ivy wreath,
which means it could be Bacchus or a child
under his protection.™ The sorrowful nature
of the portrayal, with the head turned slightly
to one side, makes Van Boekel suspect that
these are depictions of boys who have died. We
know that Bacchus was worshipped in the tivitas Tungromm because of finds in Tienen and
in Braives of two terracotta figurines portray
ing him full length. The Tienen Bacchus is
the civitas Tungromm is that they were strong
ly influenced by changing hair fashions. The
hairstyles have often been compared with por
traits of imperial families passed down to us
through coins or stone statues or with con
temporary, anonymous private portraits from
statuary."3 The busts with earrings TO 75-77
were inspired by the fashion of the FlavianTrajanic period and busts TO 71-74 by that of
found at a cemetery and thus has a funerary
connotation.“1 However, the wreath of the
the Hadrian period. We also know that the
designers were careful to adapt the hairstyles
to changing fashion."4 Despite the apparent
busts is very sketchily represented, so we can
not be sure that it’s an ivy wreath and the iden
individuality that this gives the figurines, it is
impossible to say who they represented or
tification with Bacchus remains uncertain.“2
The series of the wreathed boys were distrib
uted from the potters’ centre in Cologne in the
even if they represented a specific person.
There are no accompanying inscriptions to tell
us. This same limitation even applies to the
majority of stone portraits with which the
first half of the second century, but a counter
part from a workshop in Central Gaul was
figurines are compared. In her study of Roman
portraits of women, Ziegler correctly observes
found in Vichy. There is no mechanical rela
tionship between the moulds used in the two
that even a fully preserved statue is essentially
no more than a fragment as we don’t have
areas. The drapery is arranged differently and
whereas the Cologne figurines incline their
access to the same information as the viewers
of Antiquity."5 Van de Weerd, who misinter
preted the hair roll of TO 71 and the hair piece
heads slightly to the right, the one from Vichy
is turned to the left. They must have been
inspired independently of each other by a si
milar bust executed in bronze or stone that
probably circulated in both the Gaulish and
Germanic provinces. Thus the representation
was not the creation of the coroplast from
Cologne, but was based on a fairly standar
dised representation well known across much
of the empire. The likelihood that these figu
rines relate to a specific divinity or person is
therefore greater than for the risus figurines,
which seem to be of an emblematic nature.
of TO 73 as a diadem, decided that these were
representations of deities, possibly Junones of
mortal women or even deified empresses."6
This nicely illustrates the fragmentary view of
the modem observer looking for arguments to
pinpoint identities.
Simply analysing the iconographie features is
not enough to establish whether these are rep
resentations of mortal or divine figures."7 We
do know for certain, however, that many fig
ures were found in a religious or ritual context,
as attested by their presence in sanctuaries or
A significant number of the busts portray
adult women. These are of a different kind. A
graves. This is a general observation that is
true for most of the terracottas."8Finds from
common feature of the female busts found in13
* Goeblange-Nospelt (Lux.) in the neighbouring
5
Van Boekel 1987, 643; Van de Weerd 1932,291: sees the figures as Bacchus figurines for funerary purposes.
Building sacrifice from the tumulus grave in Tienen. See Martens 2012,219-220.
Lange 1990,95: ‘Blätter-, möglicherweise Lorbeerkranz’.
Van Boekel 1987,645; De Beenhouwer 1991 (statuettes), 74-76.
”* De Beenhouwer 1991 (statuettes), 74 fig. u . '
’* Ziegler 1999,11-13.
135 Van de Weerd in 1932,291.
A survey o f all hypotheses concerning the woman w ith bust TO 75-77 in Van Boekel 1987, 650, 651.
”* Counts by Schauerte.
“
“
-123-
after the burial mound was erected. The bust
was manufactured long after the woman had
died and couldn’t have numbered among her
possessions. The hairstyle of the bust, which
has its origins in Flavio-Trajanic hair fashion,
Fig. 52. Pie chart for the
anthropomorphic figurines
in the civitas Tungrorum.
can no longer be described as contemporary
for the time. These special circumstances sug
gest that this image was not intended to depict
an ordinary person, but was used in commem
oration rites for an ancestor.131 In this case the
special purpose of the rite was to seal the col
lapsed grave, and possibly also to discontinue
the regular commemoration, which had lasted
for more than 150 years.
civitas Treverorum demonstrate that the signif
icance of figurines in a funerary context can
transcend that of mere grave goods or a sym
bolic portrait of the deceased. There, above the
collapsed burial chamber of an aristocratic
woman who died in the second decade BC, two
terracotta figurines were offered more than
In general the preponderance of female over
male terracotta figurines is striking, both for
the busts and the full-length figurines. In the
civitas Tungrorum 83% of all anthropomorphic
representations are women (Fig. 52). If the
enquiry is limited to the dieties only, the pro
portion is even more extreme. If we exclude all
150 years later. They were a seated woman with
a dog, and a bust of a woman with earrings terracottas whose divine nature cannot be
that is mechanically“9 related to TO 75-77.130 demonstrated with certainty (women with a
Small pits containing over 50 burnt coins, sep child, women with a bird, the entire category
arately buried in the mound along with burnt of busts and the horseman), the result is 93%
animal bones, point to regular commemora
tion rites over a period of more than 150 years.
After the middle of the second century the
depression created by the collapsed chamber
was once again sealed with sandstone slabs
and the two figurines were placed in the centre
female divinities as against 7% male (Fig. 53).
Compared with epigraphic attestations in the
civitas, the figures show the reverse propor
tions, with 66% of the deities mentioned in
of this structure.
inscriptions being male. Although this is the
first time that this bias has been demonstrated
for terracottas in an entire civitas, it has been
The whole was then closed up with sterile soil.
commented on earlier. The explanation given
is that the buying public for terracottas was
The interment of the terracottas is the last
recorded ritual act at the site. At that time, the
physical features of the deceased had long
largely made up of women.131However, excava
tions of funerary contexts fail to show a link
between the sex of the figurines and that of the
faded from the memories of the relatives who deceased.133 Gender alone cannot explain this
performed these rites almost five generations10 phenomenon.
1,9 De Beenhouwer 2005,916-917,1032-1033, descent scheme 104.
110 Metzler & Gaeng 2005; Metzler & Gaeng 2009,158,159 Fig. 142,160 Fig. 143,447 Fig. 400,448 Fig. 402. The front o f
the bust from Goeblange has almost the same dimensions and proportions as TO 75, but w ith regard to the back,
the height o f the back o f the head is m uch higher in TO 72 and the topmost hair roll is m uch thicker. This is clearly
visible in profile. The figurine is identical to1one from Trier Altbachtal: Gose 1972, Abb.387,16.
Heroisation o f the deceased lies at the heart o f this lengthy veneration at the grave, according to Metzler & Gaeng
2009,508.
w Rouvier-JeanHn 1972,63: according to Rouvier, the abundance o f mother goddesses and Venus figures, w hich did
not have a high market value, can be explained by the fact that the buyers o f these figurines were women, who
were mainly interested in the goddess o f love and in the maternal character; Von Gonzenbach 1995,30.
™ De Beenhouwer 2005,824-825.
-124-
How then can we explain this discrepancy
Fig. 53. Pie chart for the pro
portion between male and
female dieties in the civitas
Tungrorum.
between data collected from the civitas
Tungroram, being one political and religious
entity. A first observation is the very limited
documentation for epigraphic remains in the
region compared with other parts of Germania
Inferior or Gallia Belgica,
such as the neighbour
ing civitates of the Ubii and the Treveri. The
use of stone votive altars had simply been
taken up to a far lesser degree in the civitas of
the Tungri. Including the whole o f the
province of Germania Inferior, about 6g% of
votive inscriptions is dedicated to female
divinities.134 The popularity of the matronae,
especially in the civitas Ubiorum, is largely
responsible for this.
Another explanation is that terracottas were
used primarily in the private sphere. This is in
line with earlier observations from the epi
vately by an individual or a local association
also gave evidence of Romanitas. They were on
public display before the community to which
the dedicants belonged. Through the inscrip
tion on the monument, dedicants communi
graphic record, whereby - in contrast to pub
cated the fact that they were wealthy and edu
cated, that they spoke Latin and that they fol
lic votive inscriptions - private monuments
were more likely to be dedicated to female
deities.13? Assuming their primary use in the
lowed the prescribed Roman rituals of the
votum in their vows to the gods. In short, they
presented themselves to their community as
private cult, the preponderance of female
people who were making their way up the
social ladder and who carried with them the
divinities in terracotta is therefore not unusu
al. With inscriptions in stone, where the dedi
cants often made themselves known, it is easy
to distinguish private dedications from public
prestige of Roman culture.137 In that sense
these monuments differed fundamentally
from the terracottas purchased privately and
ones: the latter were always commissioned by
the government and funded by community
used anonymously. Even when offering a fig
urine at a sanctuary, dedicants always
resources. The public cult was thus directed
towards the ‘official gods’ of the community in
remained invisible to the community. The pri
vate and anonymous nature of the offering
the civitas, which was politically and adminis
tratively embedded within the larger entity of
allowed scope for personal preference on the
part of the consumer and it explains the choice
of different gods from one and the same pan
the Roman Empire.136Loyalty to Roman institiutions undoubtedly played an important
part in choosing the gods, which would be less
important in the private cult.
Terracottas are also anonymous, which sets
them apart from most monumental dedica
tions, public or private. By virtue o f their pub
theon. We know that female deities were cho
sen more often than their male counterparts.
What we are unable to express in figures is the
extent to which this involved divinities of a
predominantly local nature.
While the native ascendency is obvious in the
lic setting, monuments that were offered pri* nature of Epona, the seated women with a dog
*
’’’
Based on figures from Derks 1998,92.
Derks 1998,119: ‘In private cults, the proportions o f votive inscriptions to male and female deities appear to be the
reverse. Here, goddesses strongly outnumber the male gods.’
Description o f public cults in Scheid 1999,385.
Derks 1995,127.
-125-
and the Matronae, it cannot be ascertained
from the iconography of figurines with ‘classi
cal’ attributes. The ample quantity of Venus
and Fortuna figurines suggests, however, that
other interpretations must underpin this
‘oversupply’. A local or native interpretation
seems plausible. A predominantly local inter
pretation of the figurines can also be deduced
indirectly from epigraphic sources. There are
more than five times as many native names
than Roman names among the votive inscrip
which their adherents organised themselves
attest to familial bonds and territorial struc
tures that had their origins in pre-Roman
times.140The Matronae, who in the Rhineland
were viewed as mythical mothers within the
context of an ancestor cult, had their counter
part in the cult of the Matres in the Gaulish
provinces.141* Although their cult places had
been in existence since the first century, the
representation of the Rhineland mother god
desses as a trinity in traditional Ubian garb did
not emerge until after the middle of the second
century.143 Derks has demonstrated convin
tions to goddesses in Germania Inferior.13* If we
extrapolate this to the terracotta range, it is
logical that in these same areas the many
anonymous female figures would have reflected
cingly that anthropomorphic cult statues of
the Matronae must also have existed before
similar proportions, with the emphasis on
those same goddesses with native names
known to us from the epigraphic record.
that time. Given the local nature of the cult, it
is conceivable that there were local variations
within the iconography and that some of the
Perhaps this more personal choice of female
divinities was also influenced by the fact that
they were able to retain their local character.
terracottas of enthroned women with general
attributes like fruit, a cornucopia or a small
They were not equated with a Roman goddess.
Double names, with one referring to the
Roman deity and one to the local god, were the
exclusive preserve of their male counterparts.
The names o f local goddesses such as
Veradechtis and Sandraudiga have survived
through inscriptions, but there were no doubt
others who were anchored in the mythical
geography of the landscape but who remain
unknown to us.'39
It is also not inconceivable that some of the
female terracottas were used in the context of
the cult of the Matronae. The associations in
“*
m
m
“*
v
dog on their laps were selected in the context
of the cult of the Matronae, in the period
before the cult image had become standar
dised or in areas where standardisation had
found little or no acceptance.143
Conclusion
Terracottas occur in the northwestern
provinces of the Roman empire that were sub
ject to Roman cultural influence. They initial
ly tended to depict for the greater part profane
Roman themes, but representations of deities
gradually assumed greater importance. By the
end of the first century they had evolved to
Derks 1998,91-94: The count in Table 3.2 gives 645 native names compared w ith 120 Roman ones, w hich is 84% o f
the total. Even excluding the Matronae, this still comes to 5894. About the low incidence o f double named male
dieties, see Zoll 1995.
Term used in Derks 1998,134-144: the m ythical geography o f the landscape includes ‘cult places around natural fea
tures o f the landscape and those connected w ith the daily activities o f the inhabitants.’ See also Gerritsen 2003,113115; Kemkes & Willburger 2004,29.
Derks 1998,127; Scheid 1999,415-416; Raepsaet-Charlier 2007,451.
Derks 1998,
Rtiger 1987,12; Derks 1998,127.
Just as the use o f votive altars found little or no acceptance. See Derks 1998,130.
-126 -
become primarily religious objects in the con
text of provincial Roman religion.
More than two thirds of all terracottas in the
civitas Tungrorum represent deities. They are
expressions of the Gallo-Roman provincial
religion in a civitas that made autonomous
decisions about the composition of its pan
theon and about how religion should be organ
ised. It would generally be true to say that the
terracotta range of deities in the civitas
Tungrorum attests to a society with different
levels of integration in relation to both gods
and people. This was reflected in the way in
which religion was practised. Different inten
tions are often concealed within the different
lararium, after which they may have had a sec
ond function in the burial ritual. Small deposi
tions close to homes or workplaces attest to
the role of religion and ritual in the intimate,
private sphere of everyday life. The choice of a
figurine or the particular interpretation given
to it was governed by this personal, intimate
relationship with the deity.
The dearth of Jupiter figurines in the range
and the lack o f clear indications for the
Imperial cult suggest that terracotta figurines
were not intended to give expression to the
state religion. It is difficult to judge the extent
to which people worshipped the gods belong
forms of religious expression. The choice of
material and how it was handled have proven
ing to the public pantheon of the civitas, as
they remain largely unknown to us. Moreover,
this pantheon was not a static phenomenon.
decisive here. Other motives can play a role
Instead, it was continually redefined in accor
alongside strictly religious ones. Monumental
dedications in stone, whereby dedicants dis
played their names to members of their com
dance with social changes, such as Atuatuca’s
promotion to municipium, and as an expres
sion of the increasing integration of the civitas
munity, bear witness to a socially integrated
into the Roman empire. We can assume that
the gods who were most venerated in the pri
vate sphere also had a place in the public pan
society. They often served as an instrument of
social advancement for dedicants, who boost
ed their status by this means.
theon, albeit with a different emphasis. It is
precisely this variation in emphasis that the
These arguments were not a factor for con
sumers of terracottas, which were often poor
study of terracottas has revealed: the choice of
gods in the intimate, private sphere was often
ly finished mass products that would have
done nothing to raise status. Purchased at the
determined by the extent to which they were
locally anchored. This local connection may
local market or brought along as souvenirs to
have been an additional reason for choosing
female deities, as the Roman pantheon less
influenced them than their male counterparts.
mark a religious festival,144 terracottas were
dedicated anonymously at a sanctuary or were
given a place within the private sphere of a
m
Hôpken 2004
-127-
Ca t a l o g u e
Moulded terracotta figurines found in Tongeren make up most of the subject catalogue below.
They are discussed by theme in relation to the series to which they belong. The t h e m e s are
alphabetically arranged, in categories of female representations, male representations, couples,
busts, mammals, and birds, respectively. For a better understanding of the catalogue it is
recommended to first read the chapter on methodology and the glossary.
Besides the moulded figurines, figurative perfume bottles or unguentaria are included in the
catalogue. These objects are also moulded and they often occur in contexts accompanied by
figurines. Less common than their moulded counterparts, hand-made and wheel-turned
figurines are also listed. Because they were not moulded, they are not part of the research into
serial relationships. On the other hand, these objects were taken into account in the evaluation
of the meaning of the figurines. Finally some specimens of which the current depository is
unknown and no picture is available complete the catalogue.
For every moulded figurine from Tongeren a record is made containing the following
information:
- Catalogue number preceded by TO, referring to the illustrations. The photos show a
perpendicular projection of the various sides of the figurines and are depicted half
sized, except when mentioned otherwise.
- Findspot, depository, condition, features of mould and assembly.
- Colour. To describe the colour of the figurine as objective as possible, reference is
made to the Munsell Soil Color System. Using The Munsell Soil Color Charts the color
is specified based on three color dimensions: hue, value (how dark a color is,
lightness) and chroma (color purity, how strong or weak a color is. The weaker the
color, the more gray it has). Each dimension has a value form o to 10. For instance 10YR
8/1 would be a yellow-red at the top end of the yellow-red band, with a more then
medium value of lightness (o being black, 10 being white) and a low chroma. In case
the color of the surface of the objects differs from the color of the body, it is separately
discribed.
- Macroscopical inclusions of the paste.
- Hardness. The Mohs scale of mineral hardness is used to describe the hardness of the
-1 2 8 -
body of the figurines. This purely ordinal scale characterises the scrath resistance of a
sample through the ability to scratch another material. Using ordinary materials of
known hardness is a simple way to indicate the approximate postion of a material on
the Mohs scale: a fingernail has a hardness of 2.5; malachite 3,5 to 4; a pocketknife 5.
This way the different categories used to describe the hardness, soft, fairly hard, hard
and very hard, can be connected with the Mohs scale. Although the harrW«;« 0f the
ceramic can be influenced by the soilconditions that interacted with the objects
during their burial, variety in hardness between specimens can be meaningfull to
describe the fabric, if the soilconditions were the same.
- Chemical and petrographic analysis. The data concerning chemical or petrographic
analysis performed on statuettes from Tongeren are assembled in table 4 and table 5.
- Surface.
- References.
A selection of similar specimen of the same series found elsewhere is also listed. To clearly
distinguish them from the Tongeren figurines, they have a number preceded by DB, refering to
the database of the figurines built by the author, published in his doctoral thesis (De
Beenhouwer 2005), except for entries made after 2005. The number of the series follows the
catalogue number between brackets. For example, ‘DB 734 (839)’ signifies ‘Cat. No. 734 belonging
to series 839’. Of these similar specimens, only concise data on the find-spot, the depository and
a selection of the references are registered.
In addition, the results with respect to the comparative image research are summarized. This
research reveals the mechanical relationships between the specimens of the series. It produces
more accurate conclusions on its development, dating, production technique, and origin. Trees
o f descent in which series from Tongeren play a key role are incorporated in this book. More
trees of descent relationships can be found in De Beenhouwer 2005. Issues concerning dating are
explained in the chapter research method.
Cybele
Seated Cybele with a veiled head (capite velato), holding a shallow bowl (patera) in
the right hand
Series 1. Garment with tongue-shaped folds left and right of the torso that m