This contribution examines social practices in the Central Bathhouse in Jerash in Late Antiquity based on the ceramic assemblage, vessel glass, faunal remains, and small finds retrieved from two sections of the bathhouse's sewer. We argue that although the bathhouse underwent significant architectural alterations from its construction in the 4th c. CE to its abandonment in the late 7th, the activities taking place inside the building remained largely the same. Our study shows that even towards the end of the bathhouse's lifespan, bodily grooming remained integral to the bathing experience, while food and drink were consumed on the premises even though the bathing facilities had been reduced to a bare minimum. The faunal remains indicate the type of food consumed, while the small finds illustrate a lively environment where gaming and gambling took place in a social space frequented by men, women, and children.

The 1st-c. CE Roman siege system of Masada exhibits a high degree of preservation due to its remote location and the arid climate. However, unlike the thoroughly excavated Masada fortress, the siege system has not received due attention. This article is part of a research project aimed at advancing our understanding of the conflict landscape around Masada using contemporary archaeological methods. Following a comprehensive surface survey and photogrammetric 3D modelling, we show that the circumvallation wall stood to a height of 2–2.5 m and served several functions – as an obstacle, a means of psychological warfare, and a platform from which to mount counterattacks. Based on our measurements and workload estimations, we argue that the construction of the siege wall and the camps around Masada occurred fairly quickly.

At Dura-Europos, homes were architecturally adapted across the late 2nd and 3rd c. CE by different religious groups to serve the needs of their communities. Although the Synagogue, Mithraeum, and Christian Building all began as domestic structures and share a similar architectural development, the origins of the latter have received unique attention through its classification as a domus ecclesiae or house church. This (hyper)focus on the structure's past use as a house does not do full justice to the archaeology of the building. Through an analysis of architectural adaptations, including before-and-after 3D reconstructions and daylight simulations, the authors show how the renovations significantly differentiated the Christian Building from its domestic antecedent and from Dura's houses more broadly. This approach is meant to shift attention away from more generalized, translocal, evolutionary models of Christian architectural development to micro-level archaeological analysis that situates structures within the spatial vernacular of their local contexts.

This paper considers the question of how to find “women's space” in the Roman house by looking at a painting of the myth of Pero and Mycon in a small cubiculum off the atrium of Pompeii's House of Marcus Lucretius Fronto. It argues that the combination of the image with an ecphrastic poem functions to draw viewers into the enclosed room, so that they experience the painting from a position of interiority. This echoes the interiority which is thematized in the myth and presented as an important aspect of the virtuous femininity it celebrates. By communicating gendered meaning through both images of place and the viewer's physical experience, the painting offers a way of understanding women's space as simultaneously material and representational.

Tra il 2019 e il 2022 un nuovo programma di ricerche nell'area monumentale di Tusculum è stato dedicato all'indagine del versante sud-orientale della piazza forense, occupato dalla basilica di epoca imperiale e da un edificio la cui interpretazione è da lungo tempo incerta. Le indagini archeologiche hanno consentito di acquisire dati di rilevante interesse ai fini della ricostruzione delle fasi di occupazione di questo settore della città e sulla successione dei monumenti che qui furono edificati nel corso del tempo. Tra le scoperte effettuate spicca un gruppo di frammenti pertinenti a un apparato architettonico in stucco policromo caratterizzato dalla presenza di capitelli corinzieggianti di tipo figurato. Lo stato di conservazione e le caratteristiche tecniche e stilistiche di tali materiali, consentono di sviluppare alcune riflessioni sul contesto monumentale cui essi appartenevano e l'orizzonte storico-culturale entro il quale questo sistema decorativo venne realizzato. In questo contributo, dunque, proponiamo un'analisi tecnica e stilistico-formale di questi reperti, un tentativo di ricomposizione dello schema architettonico che essi componevano e un'ipotesi di attribuzione di quest'ultimo a uno degli edifici più dibattuti del foro tuscolano, il cosiddetto “Edificio porticato”. L'esame del contesto stratigrafico di provenienza dei reperti e la ricomposizione dell'impianto del monumento sulla base dei dati archeologici aprono nuove prospettive per la conoscenza della più antica basilica tuscolana.

The Baetican Dressel 20 is probably the most widely diffused amphora of the Roman period, found in large quantities throughout all the Roman and nearby territories. It is the most powerful evidence of the importance of the olive oil trade for Roman society and of olive oil's extraordinary production in the Baetican countryside. This wide diffusion of the amphora and, in some ways, its ubiquity at many archaeological sites, have hindered the study of the early stages of Baetican olive oil production and diffusion. The protagonists were not these spherical containers, commonly stamped up until the late 3rd c. CE, but previous models that evolved rapidly after their origins in Late Republican times. In this paper, we aim to analyze not only the formal characteristics and evolution of these peculiar and still unstandardized containers, but also other aspects linked to their production, as well as the scope of their diffusion.

El objetivo principal de este trabajo es presentar importantes novedades sobre el marco histórico y productivo de la explotación minera de la sierra de Corduba en época romana, así como de la gestión de sus recursos. Desde hace años y a partir de la documentación epigráfica disponible, se ha venido apuntando una posible presencia en este territorio de la societas Sisaponensis y de la explotación de plomo y plata por su parte, a pesar de la afamada vinculación con el beneficio del cinabrio que recoge un conocido pasaje de Plinio. Nuestras investigaciones en el norte de Córdoba y los análisis arqueométricos realizados sobre tres lingotes de plomo recuperados en el paraje de Los Escoriales de Doña Rama, situado en la Sierra de Gata (Belmez-Córdoba), suponen una superación de la frontera del conocimiento sobre los aspectos reseñados, ya que permiten contrastar estas dos hipótesis tradicionales y proponer nuevas cuestiones sobre la explotación de estos parajes y la actividad de esta societas. Estos lingotes fueron encontrados en una instalación minero-metalúrgica romana, algo que es excepcional, y conservan una inscripción, S S, que los vincula sin duda con la societas Sisaponensis.

This article traces a statue, which Zenon of Aphrodisias carved, from Syracuse to its discovery at the Palace of Cogolludo in 2007. The study of this statue of the Muse Euterpe broadly demonstrates the appreciation for a figure from the classical world to Early Modern Europe and focuses attention on two understudied moments in the history of sculpture. It shows that Zenon carved the figure in the 4th c. CE, and its story reveals new connections between sculptors of Aphrodisias and specific patrons of the period. The statue's subsequent history attests to the high regard for ancient art and epigraphy in the Iberian Peninsula in 1500–1700. Since the statue probably belonged to Luis de la Cerda, ninth Duke of Medinaceli, it draws attention to a remarkable patron and a neglected aspect of Spanish cultural history.

Though infrequently used and largely superfluous, amphitheaters were often the most physically imposing and ideologically charged structures in a Roman city. The preponderance of extramural amphitheaters in Italy and their appearance in visual culture confirm they were potent markers of urban life and civic status. This paper contextualizes Tibur's imperial amphitheater within the Roman suburbium's persistent urban sprawl and villas, especially Hadrian's Villa, using a novel GIS visibility analysis. Its apparent size from various points in the surrounding landscape is quantified within empirical and qualitative scales developed for modern visual impact assessments. The results demonstrate the amphitheater's suburban location did more than integrate Tibur's extramural growth into the older urban center. It emphasized the city's urban appearance, even from long distances, and monumentalized alternate routes to the city used by the villa-owning elite, countering the ambiguous status of a liminal city that was both Rome's annex and an autonomous municipium.

This article presents a new interpretation of the results of the 1980s excavations led by Andrea Carandini on the north Palatine slope. In contrast to Carandini's original reconstruction of the complex as four atrium houses, I propose one palatial complex on the Sacra Via that finds some parallels in recently excavated complexes elsewhere, like the Auditorium site in Rome and the Borgo at San Giovenale.

This paper explores the processes of specialized viticulture in the province of Gallia Narbonensis over the first three centuries CE and brings this evidence to bear on broader economic questions, particularly as they relate to the effects of connectivity and globalization on Roman economic development. Evidence from small farms to sprawling villas suggests that specialized production stretched across multiple strata of society in Narbonensis, from so-called peasants to the wealthiest elites. The existence of specialized agricultural production at the scale documented in Narbonensis required significant demand, well-connected and integrated markets, sustained trade, and an awareness of these economic factors by the residents of the province. The evidence presented here demonstrates that the residents of Narbonensis recognized that they were part of an economic environment in which high levels of connectivity and integrated markets allowed them to pursue more profitable production strategies and that they pursued these opportunities.

Discussions of mithraea tend to emphasize their uniformity. While it is true that many earlier mithraea do adhere to an established plan, there are a notable number of mithraea dating from the late 3rd c. onward that do not. This article discusses these various atypical mithraea, how such alterations to the standard mithraeum plan might have impacted on Mithraic rituals, and how this might have affected the experiences of the participants. It also explores why such changes occurred, observing that while in some instances this may have been to accommodate alterations to ritual practices, in others it was likely due to more mundane issues, such as limitations on space and environmental factors. The article concludes by reflecting on the implications this has for the identification of mithraea in the archaeological record.

In 2017, archaeologists at Pompeii discovered by far the longest tomb inscription ever found at the city on a monumental tomb. This elogium provided insight into many aspects of the city's social, economic, and political world. One clause attests to the distribution of baked bread in the city. This note argues that the passage provides new evidence from Pompeii that answers two longstanding questions. The first is that of the subject of an often-reproduced Pompeian fresco. The identity of the main figure in the painting is debated: either a baker or a politician. The second is the status, political rank, and network of the owner of the property on which the fresco was discovered. Supported by the evidence of an electoral programma, the painting and inscription illuminate the mechanics of beneficence at Pompeii and serve to identify the residence of someone who operated in the political networks of the 1st-c. CE city at a sub-elite level.

The peristyle house kitchen in the legionary camp at Vindonissa is one of the few examples of a Mediterranean-style kitchen with a raised hearth in the northwestern provinces. The exceptional preservation of the kitchen made possible an interdisciplinary investigation combining archaeological, archaeobiological, and micromorphological analyses in order to reconstruct dietary and food-processing practices, kitchen maintenance, and waste disposal management in a 1st-c. CE legionary camp household in Germania Superior. The kitchen infrastructure, the large ceramic inventory, and the amphorae finds together indicate a sophisticated cuisine and also food preparation for a large number of people, most likely by servants. The archaeobiological finds provide evidence that the diet was strongly Roman influenced and luxurious. These results confirm that the diet and in general the whole lifestyle of military members was strongly determined by military rank. The house was most likely inhabited by a high-ranking officer of the 11th legion.

L'articolo indaga le immagini di famiglia sui monumenti funerari della Venetia, concentrate per lo più nel corso dell'età giulio-claudia, anche incrociando le informazioni epigrafiche e integrando l'analisi con elaborazioni quantitative. Si registra una certa codificazione del significato parentale, che emerge dallo schema iconografico e viene ribadito dai gesti, mentre abiti e oggetti aiutavano a caratterizzare il singolo ritratto. Non si riconosce una consistente alterazione del significato dell'immagine in base al contesto sociale o alla premorienza di alcuni membri della famiglia. L'analisi permette di comprendere quali fossero le tendenze trasversali su cui la committenza agiva per ritrarre il proprio nucleo domestico, dialogando con il contesto geografico e culturale di appartenenza e sintetizzando la realtà familiare del mondo dei vivi per creare un modello iconico per la comunità dei morti.

This paper examines the distinctive distribution patterns of Amphore Crétoise (AC) 4 amphoras within Roman trade networks through critical assessment of the morphological attributes of this amphora type compared to AC1–3 jars and through consideration of the mechanisms that underlie these patterns. This builds on a growing number of studies that have focused on the design attributes of amphoras as important factors tied to their economic role. It also demonstrates the importance of engaging in more nuanced and detailed investigations that question assumptions about amphora distribution within the Roman world. The AC4 is the primary, and often only, Cretan type found at sites in Rome's northwestern provinces and along the Danube frontier. A narrower profile and smaller capacity appear to have made this amphora type more attractive than other Cretan forms for transport along river and overland routes.

Reccopolis was a new city built in Visigothic Spain in the late 6th c. CE. Even rarer than this example of an ex novo urban foundation in the post-Roman West is the fact that the city was equipped with a brand-new aqueduct. The aqueduct has, until now, only been partially studied, but in this paper we update and re-assess the original, preliminary results. We consider the city's whole water cycle, including usage and drainage, employing new engineering calculations and GIS analyses. The results show that the aqueduct was an integral part of the city. Finally, we set our conclusions within their wider context, looking not only at the roles of aqueducts in the ideal of a city at this time, but also at urban water culture in the Late Antique West.

La riqueza epigráfica de las ánforas olearias de la provincia Bética es bien conocida gracias a los numerosos sellos de alfarero, rótulos pintados (tituli picti) y grafitos grabados en la arcilla fresca (ante cocturam). Éstos últimos suelen contener signos y simples letras, pero a veces, también nombres de personas y fechas calendariales y consulares. En este trabajo presentamos un grafito de carácter excepcional por su contenido estrictamente literario. En él, proponemos identificar un fragmento de poema de Virgilio. Analizamos y discutimos el contexto en que se realizó, la autoría del mismo y su significación para el conocimiento del grado de alfabetización de la sociedad rural romana en el Valle del Guadalquivir. Constituye el primer caso constatado sobre ánfora romana y es de excepcional interés para arqueólogos, epigrafistas y filólogos del latín vulgar.

New research at the site of Philoxenite in northern Egypt has identified six large building complexes, each based on a modular design. Each building is composed of replicated segments and dates to the 6th c. CE. This approach to design, used at Philoxenite, is not seen elsewhere on such a scale at this date. Nevertheless, modular design was deeply rooted in the construction traditions of the Roman and Early Byzantine periods, when it was used primarily for shops, warehouses, and cisterns. In Philoxenite, it was used to erect a town district that catered to the needs of pilgrims heading from Alexandria to Abū Mīnā, the largest Christian sanctuary at the time.

In the Roman world, lamps with replicated images of sex were in circulation from the late 1st c. BCE until the end of the 4th c. CE. This paper maps out key regional and chronological trends in the representation and consumption of these objects using data from 11 provincial sites. It demonstrates sustained sensitivity of replicated sexual disc-reliefs to distinctive regional styles of consumption and representation. It also shows that symplegmata disc-reliefs were interacting and changing over time, resulting in innovative imagery that produced new meanings in localized contexts. This is the first comparative systematic study of the styles of consumption and representation of replicated lamp iconography using statistical methods. As such, the paper contributes a novel methodological approach to Roman sexuality research and also advances our understanding of how Roman replicated sexual imagery came about, how it constructed meaning, and how it was consumed by different communities over time.