R om a n in the Provinces Art on the Periphery of Empire his publication is issued in conjunction with the exhibition Roman in the Provinces: Art on the Periphery of Empire held at the Yale University art Gallery from august 22, 2014 to January 4, 2015 and at the mcmullen museum of art, Boston College from February 14 to may 31, 2015. Curated by Lisa R. Brody of Yale University art Gallery and Gail L. Hofman of Boston College, the exhibition was made possible by Sharon and Richard a. Hurowitz, Yale University Ba 1995, a grant from the national Endowment for the arts, and the art Gallery Exhibition and Publication Fund, with additional support from Boston College, the Patrons of the mcmullen museum, and Leslie and Peter Ciampi. Library of Congress Control number: 2013952353 ISBn: 978-1-892850-22-5 Distributed by the University of Chicago Press Printed in the United States of america © 2014 mcmullen museum of art, Boston College, Chestnut Hill, ma 02467 Designer: John mcCoy Copyeditor: Kate Shugert Cover: Detail of mosaic loor with geometric design, Gerasa, Church of Bishop Paul (Procopius Church), c. 526 CE, Yale University art Gallery, Yale-British School Excavations at Gerasa, 1929.418 (see plate 4) Figure credits: I: Christopher Sleboda and mike Krol/John mcCoy; 1.1–2: Visual Resources Department, Yale University art Gallery; 1.3–5: Dura-Europos Collection, Yale University art Gallery; 1.6–8: Gerasa Collection, Yale University art Gallery; 2.1: John mcCoy; 2.5: Dura-Europos Collection, Yale University art Gallery; 3.1, 3.3: David J. mattingly/John mcCoy; 4.2, 4.4–5: he Trustees of the British museum; 4.6: Granger Collection, new York; 5.1: Johannes Laurentius/art Resource, nY; 5.2: he Trustees of the British museum; 5.3: Vanni archive/art Resource, nY; 5.4: S. Vannini, Dea Picture Library/art Resource, nY; 5.5–7, Kimberly Cassibry; 5.8: alinari/art Resource, nY; 5.9–10: Gilles mermet/art Resource, nY; 5.12: Gianni Dagli orti/art Resource, nY; 5.13: SEF/art Resource, nY; 5.14: Kimberly Cassibry; 6.1: Simon James; 6.2: Dura-Europos Collection, Yale University art Gallery; 6.3–5: Simon James; 6.6: G. Petruccioli; 7.1–9: Elizabeth m. Greene; 8.1: matthew m. mcCarty; 8.2: matthew m. mcCarty/John mcCoy; 8.4: Dura-Europos Collection, Yale University art Gallery; 8.6, 8.8: matthew m. mcCarty; 8.9: alexandru Diaconescu; 9.2–3: John mcCoy; 10.5: Wikimedia Commons; 11.1: Jeremy Cole miller/John mcCoy; 11.2– 3: Radu oltean, Wikimedia Commons; 11.4–5: Radu oltean, muzeul de Cercetari Ecomuzeale Tulcea; 11.6: Creative Commons; 11.7–10: andre Gonciar, Brukenthal museum, Sibiu; 12.1–2: John mcCoy; 13.1–10: nancy netzer; 15.1, 15.3–5, 15.7: Gerasa Collection, Yale University art Gallery; 15.6: Creative Commons; 15.7: Gerasa Collection, Yale University art Gallery. Contents Preface 1 Nancy Netzer and Jock Reynolds Excavations and Identities: art from the Roman Provinces at the Yale University art Gallery 5 Lisa R. Brody Being Roman in the Provinces: Experiences of Empire and Investigations of Identities 15 Gail L. Hofman Identities in the Roman World: Discrepancy, Heterogeneity, Hybridity, and Plurality 37 David J. Mattingly Household objects and Social memories in Roman Spain and Gaul 63 Andrew C. Johnston Honoring the Empress Julia Domna on arch monuments in Rome and north africa 77 Kimberly Cassibry The “Romanness of the Soldiers”: Barbarized Periphery or Imperial Core? 93 Simon James Impressions of Identity: Choosing a Signet Ring in the Roman army 111 Elizabeth M. Greene Local Idioms and Global meanings: mithraism and Roman Provincial art 127 Lucinda Dirven and Matthew M. McCarty Provincial Cults of mars in the Roman Empire 145 Tyler V. Franconi The Fate of Serapis: a Paradigm for Transformations in the Culture and art of Late Roman Egypt 155 Ann M. Nicgorski Dacian Riders: Transcultural Expressions of Religious Identity in Roman Dacia in the midst of War 171 Álvaro Ibarra Struggling to be Roman in a Former Roman Province 185 Robin Fleming Displaying Roman Britain in the British museum 199 Nancy Netzer Roman Provincial Coinage 219 William E. Metcalf The Gerasa mosaics of Yale: Intentionality and Design 225 Christine Kondoleon Plates 239 Contributors 355 Provincial Cults of Mars in the Roman Empire Tyler V. Franconi Introduction Disentangling the complex identity of the Roman god Mars during the imperial period requires an examination of the mythological, propagandistic, and religious traditions that surrounded the deity and an understanding of each within their own context. Traditionally viewed as the Roman god of war, Mars had a deep history with the Roman people, stretching from the early republic through the late empire, making any single interpretation of the god potentially precarious and imprecise. Instead, an appreciation must be gained for the dynamic identities of Mars and where they it into daily Roman life. Such an appreciation is best achieved through a careful consideration of epigraphic and archaeological data. A detailed examination of Mars in the empire is noticeably absent, though several studies of earlier periods do exist.1 his paper ofers an overview of the main archaeological data known relating to Mars throughout the Roman Empire, with a particular emphasis on epigraphic material. By highlighting the breadth of this data, it can be seen that during the imperial period, the cult of Mars spread far outside of its traditional home in Italy and, in doing so, developed new identities within the provinces of Rome. he multiplicity of cults that developed simultaneously throughout the empire suggests a deity far more complex than a simple war god, and thus an understanding of this material radically changes popular conceptions of the role of Mars within the Roman pantheon. Background—Republican Traditions As the mythological progenitor of Romulus and Remus, Mars was involved in Roman life from the very start. Mars was one of the original three main deities of Rome, the so-called Archaic Triad of Jupiter, Mars, and Quirinus,2 remembered in the lamines maiores of the lamen dialis (priest of Jupiter), lamen martialis (priest of Mars), and the lamen quirinalis (priest of Quirinus). Over the course of the republican era, Mars developed two spheres of inluence: agriculture and warfare. Despite their apparent opposition, both were closely tied together and linked to the calendar. Planting was inished by early March, when soldiers would depart for war. hey would return to the city in October, when the harvesting season began. Both transitions—the departure and arrival—were commemorated in a series of festivals in March and October that were dedicated to Mars. he quinquatrus of March 19 145 Tyler V. Franconi and the tubilustrum of March 23 prepared the weapons and trumpets and, by extension, the soldiers themselves for their departure for war from the city of Rome. heir re-admittance to the city and subsequent puriication of the soldiers was accomplished by the armilustrum of October 19. Mars’s zone of inluence was irmly outside the pomerium of the city, with his main temples located on the Campus Martius and outside the Porta Capena. he Salian priests annually circled the city while singing their hymns to Mars, a ritual which has been linked to purifying the military for departure and arrival.3 Mars’s role in liminal zones is also relected in several prayers speciically intended to protect the harvest. Cato (De Agricultura 21) outlines a sacriice to Mars that would protect the ields from ruin and bring a good harvest. Similarly, the carmen arvale begs Mars to defend against disease and destruction, speciically by guarding the threshold.4 he ield, like the city, was protected by Mars, though his realm was outside its borders. he liminal nature of Mars led Udo Scholz to refer to him as a “god of the outside,”5 and Vincent Rosivach to consider him a lustral god.6 To cross these borders, one had to cross Mars—this could be accomplished by those ritually puriied but hopefully not by those seeking to bring ruin or disease into the farm or city. The Imperial Transformation of Mars By the time of Augustus, the boundaries of Rome had come to include a great deal more territory than the pomerium of the republican city. he imperial legions, in existence from the late second century BCE onward, no longer departed from Rome in March to return in October. Rather, they were permanently stationed in camps around the limits of the empire. he ields of Italy were no longer annually plagued by raiding parties seeking to destroy the harvest. In the face of these changes, the original purposes behind the rituals and worship of Mars were no longer necessary. It is in this context that we must understand the developments of the cult under Augustus. First, Mars’s identity was re-imagined in Augustan-era literature to emphasize his role as progenitor of the Roman people, alongside Venus as the progenitor of the gens Iulii. Virgil (Aeneid 4.872) termed the city of Rome as “Mavortis,” that is “of [the ancient] Mars,” in order to link the divine heritage of Romulus. he Greek myth of Ares and Aphrodite was appropriated to Mars and Venus, not to conlate the identities of Greek and Roman deities, but rather to give popular allegory to the imperial lineage.7 he cult statue in the Temple of Mars Ultor in the Augustan Forum was lanked by Venus and Divus Iulius, permanently linking the three, a scene replicated on the Algiers Relief.8 By building this temple in the heart of Rome, Augustus broke the tradition of Mars as a liminal protector and, in doing so, created a new mythology for the god—that of father and protector of the imperial household and the Roman Empire. Mars was no longer a “god of the outside”; instead, he took a new position at the head of the Roman pantheon. Augustus built two temples of Mars: the Temple of Mars on the Capitoline Hill, completed in 20 BCE to house the returned Parthian standards, and the great temple in Augustus’s forum, completed in 2 BCE, in memory of his victory at Philippi forty years earlier. Augustus attributed the defeat of Caesar’s murderers at Philippi and the return of the lost Parthian standards to the divine retribution of Mars Ultor. he new temple in the forum became the venue for preparation of war and point of departure for generals on campaign. Captured arms and armor from enemies were also stored in the temple. Future emperors maintained the tradition of dedicating weaponry to Mars upon victory, as can be seen in Tiberius’s dedication of German weapons to Mars, Jupiter, and Augustus (Tacitus, Annals 2.22). Caligula is said to have dedicated three swords intended for his assassination to Mars (Suetonius, Caligula 24.3), and Vitellius sent the dagger with which Otho committed suicide to the Temple of Mars in Cologne (Suetonius, Vitellius 10.3). Trajan dedicated the 146 Provincial Cults of Mars in the Roman Empire column in his forum, its base decorated with captured Dacian arms, on May 12, 113 CE, the date of the original dedication of the Temple of Mars on the Capitoline, and it is likely that the Tropaeum Traiani in Adamclisi, Romania, with its own inscribed dedication to Mars Ultor, was dedicated on the same day.9 his emphasis of the martial aspects of Mars oten overshadowed other sides of the deity, and it is probably for this reason that he is remembered as a war god above all else. here is much archaeological evidence from elsewhere in the Roman world, however, for a wider range of attributes of Mars with a much broader applicability than warfare. Mars in the Feriale Duranum hese instances of imperial interaction with Mars should be compared, for example, to the public festivals and holidays preserved in the Feriale Duranum (ig. 9.1), a papyrus dating to 225–227 CE, found during the excavation of the records room of the cohors XX Palmyrenorum in Dura-Europos.10 As a list of festivals observed by the Roman army, the Feriale is a unique document that records numerous Roman holidays otherwise unattested in many areas of the empire. hough the entirety of the 9.1. Feriale Duranum, 225–227 CE, Dura-Europos. Beinecke Rare year is not preserved in the document, ive Book and Manuscript Library, Papyrus Collection, Yale University, P. separate sacriices to Mars are recorded: JanuCtYBR inv. DP 2:2. ary 3 and January 7 to Mars Pater, March 1 to Mars Pater Victor for his birthday, March 13 to Mars possibly to commemorate the old equirria, and May 12 to Mars Pater Ultor on the occasion of his games, commemorating the dedication of his temple in Rome in 20 BCE. Were October not lost, we would expect other feriae on October 15 and possibly October 19, commemorating the ancient rituals of welcoming the army back into Rome. With ive feriae, Mars is named more than any other deity in the document. he feriae mentioned are an interesting mix of republican and imperial traditions that demonstrate a long history of public worship. Soldiers observed these festivals as part of their oicial military religion—that is, festivals that soldiers were obliged to observe as a group. Group observance of oicial Roman holidays helped integrate soldiers not only into their unit but also into the wider sphere of Roman public life.11 hat such rituals were being performed in Dura-Europos on the easternmost edge of the empire in the third century CE speaks to the reach of Roman religion within the military. Mars is otherwise rarely attested in the Roman East, despite the large number of troops stationed along the frontier. In the West, Roman soldiers were actively engaged in the worship of Mars in both oicial and private religious contexts, resulting in a mass of evidence unparalleled in the East. hat private worship seems not to have taken place in the East is indicative of the power of local religious traditions and how they interacted with soldiers’ lives. What follows, therefore, largely comes from the West. The Roman Army and the Cult of Mars Mars was thus a central part of military religion, a claim which is supported by ample evidence for soldiers’ involvement in the cult of Mars across the empire. While the Feriale Duranum is a unique document, the existence of particularly military cult places, epigraphic 147 Tyler V. Franconi dedications, and the votive deposition of weaponry and other militaria in sanctuaries add depth and complexity unknown in written documents. he reasons behind military patronage of Mars may seem clear from the martial ideals emphasized by Roman emperors, but the reality of soldiers’ involvement was much more personalized. Several instances of sanctuaries of Mars on or near Roman military sites are known. At Housesteads on Hadrian’s Wall in Britain, a rectangular building south of the fort was identiied as a temple to Mars hincsus (presumably a German deity) and the Alaisiagae based on a large inscription in the doorjamb.12 At Walldurn, an Antonine-period fort on the limes Germanicus, an inscription records the existence of a temple to Mars and Victoria, though it has not yet been found in excavation.13 At Windisch, a irst-century CE legionary fortress in northern Switzerland, a temple of Mars was built in the middle of the fortress and maintained beyond the departure of the legion under Trajan.14 In Libya, a rectangular temple was found outside the fort at Bu Njem dedicated to Mars Canapphar (presumably a Libyan deity) Augustus under the Severans.15 Soldiers are also known to have restored temples in Bonn, Augsburg, and Regensburg.16 Soldiers did not leave the majority of dedicatory inscriptions to Mars, but they were still a prevalent group, accounting for 30 percent of the corpus. Perhaps one of the most interesting groups of inscriptions let by soldiers comes from Zoui, a Roman statio near the African frontier.17 Eight inscriptions were found on the site, one altar, six cippi, and an inscribed column capital. Four were dedicated to Mars Augustus, three to Mars Victor, and one simply to Mars. Two inscriptions contain phrases that are worth mentioning, as they perhaps shed more light on the reasons for following Mars than any other god in the empire. One cippus reads:18 To the god Mars and the sacred Genius of the scholae of the Beniciarii, Paconius Castus, beneiciarius consularis of the legio III Augusta, released his vow with his term of service completed. Another cippus reads:19 To Jupiter Optimus Maximus, Mars Victor, the helpful gods and the Genius of the statio Vazanitanae, Saturninus, beneiciarius of the Legio III Augusta, willingly released his vow as deserved on completing his term and being promoted to Centurion of the Legio II Italica. As they completed their term of service at the site, they saw it to give special thanks to Mars (and other gods); we may infer that the other inscriptions found on the site were similarly let, though none preserve such speciic phrasing. his act of thanksgiving at the end of a term can be paralleled by several other instances around the empire. A small sanctuary was built in the legionary camp of Vindonissa, modern-day Windisch, during the irst century CE.20 his temple remained in use ater the camp was abandoned under Trajan, and votive deposition continued. One of the most interesting inds from the temple was a military diploma, dated to 122 CE, belonging to a soldier of the tenth cohort of Praetorian guards who originally hailed from Turin, Italy.21 Because the diploma was issued twenty years ater the departure of the legion from Windisch, we must ask how this diploma ended up on the site. It is possible that it was let as a votive ofering in the temple sometime ater the soldier’s discharge, probably toward the end of his life. If so, the dedication of the diploma invokes a similar message as the inscriptions from Zoui— thanking Mars for surviving his service. Along with these instances, we must also consider the weapons and armor inds from numerous temples across the region. While the practice of emperors dedicating enemy weaponry to Mars was outlined above, many soldiers also chose to dedicate their own arms 148 Provincial Cults of Mars in the Roman Empire Mars Inscriptions 1 2–5 German Cluster 6–10 11–25 26–60 Gallic Cluster Italian Cluster 9.2. Distribution of inscriptions naming Mars in Roman Empire. and armor to Mars in sanctuaries across the empire. Weapons and armor deposited by soldiers at sanctuary sites were intended as thanks oferings for divine protection during military service.22 he deposition of the very tools that kept soldiers safe and alive through their service was an important and meaningful acknowledgement to the end of a military career. When combined with the epigraphic evidence from Zoui and the diploma from Windisch, the practice of post-service thanksgiving appears to have been widespread (at least in the Roman West). It is tempting to see an echo of the earlier republican rituals of puriication and re-entry into society in these actions. herefore, it was not a violent god of war that soldiers followed; rather, it was a protective deity who looked ater the safety of Roman troops during their service. The Spread of the Cult of Mars throughout the Empire he Roman military was undoubtedly a major component of the distribution and dissemination of the cult of Mars throughout the empire. Because soldiers were oten the irst group sent into a new territory, it is unsurprising that they would act as cultural intermediaries to friendly foreigners, particularly in explaining their main deities. Epigraphy is the most useful and straightforward way to examine the distribution of the cult, with over 900 inscriptions to Mars known from over 475 locations in the empire (ig. 9.2). Most of these are from the Roman West, and over half come from the provinces of Italy, Germania Superior, and Gallia Narbonensis.23 Soldiers accounted for only 30 percent of these inscriptions, demonstrating a large civilian following and involvement in cult activities. he transmission of Mars as a protective deity by the military surely inluenced the uptake in worship throughout the empire, augmented in turn by oicial “state” religion that emphasized the connection between Mars and the emperor. his is particularly evident in the abundance of inscriptions dedicated to Mars 149 Tyler V. Franconi Mars Augustus 1 2 3–4 5–6 7–9 9.3. Distribution of inscriptions naming Mars Augustus in Roman Empire. Augustus, the most common epithet used with Mars, with 120 examples known across the empire (ig. 9.3). he range of epithets used in inscriptions helps diferentiate regional and interpersonal variations in worship as they speciied the god or aspect of the god that was being contacted. Mars had no less than 106 distinct epithets, only 25 of which were Latin. While Augustus was the most popular, Victor, Conservator, Pater, and Militarus were also common. Many of these epithets were also used in legends on imperial coinage, which surely helped their dissemination.24 he other 81 epithets were from non-Latin languages, mainly Celtic, though with some German and one Libyan example, mentioned above, as well. Inscriptions using non-Latin epithets account for about half of the inscriptions in the Gallic, German, and British provinces. he exact meaning of many of these non-Latin epithets is unknown, though it is clear that their intentions and uses varied. Some joined Mars with non-Roman deities: Lenus Mars is perhaps the best example, where the main tribal deity of the Treveri was joined with Mars. he large cult center in Trier acted as a healing sanctuary, an otherwise uncharacteristic element of the Mars mythos. Others linked Mars with tribes or tribal areas—Mars Caturix was the main deity of the Caturiges in the western Alps. Still others were probably simple adjectives added to emphasize a speciic aspect of Mars—Mars Loucetius has been suggested as Mars “the shining.”25 hese epithets have garnered great attention, particularly those that suggest the inclusion of Mars within a non-Roman pantheon or the joining of Mars with a non-Roman deity. hese cases, oten explained as Romanization, interpretatio Romana, or creolization,26 were complex cultural interactions that are not necessarily so easy to categorize or explain. he exact motives for the joining of Mars with non-Roman deities, particularly in the Celtic regions of the empire, are largely lost to us. It seems probable, however, that those aspects of Mars which were emphasized as protective or fatherly were attractive to a wide range of 150 Provincial Cults of Mars in the Roman Empire cultures attempting to reconcile their own indigenous traditions with those of the Roman newcomers. It is instructive to consider the two earliest dated inscriptions to Mars from the German frontier, both of which were let by soldiers in the Julio-Claudian period.27 Both inscriptions were dedicated to Mars with non-Latin epithets, Mars Loucetius and Mars Halamardus, indicating that the process of religious syncretism was already well underway and soldiers were involved from the very beginning. he integration of Mars into local religious traditions made him a sort of genius loci, and therefore soldiers were happy to take part in both aspects of his cult—the oicial state aspects as well as new, local guises. Conclusions: Provincial Cults of Mars in the Roman Empire he ample evidence for worship of Mars in the Roman Empire demonstrates that Mars was a popular god with wide applicability across many provincial cultures. Augustan propaganda emphasized Mars as a deity with close links to the protection of the imperial family, the Roman military, and the Roman people. his Roman state religion was transmitted through the monuments and traditions of the city of Rome, coinage, and the Roman military. he particular adherence of the Roman military to oicial state religion helped ensure some commonality in worship of Mars across the empire, but interactions between the military and local societies helped nuance and diferentiate regional traditions. He was particularly popular in the Celtic West, where his assimilation resulted in a multiplicity of local cult-followings of Mars, each with their own particular traditions and rituals. In this region, his assimilation resulted in a multiplicity of local cult-followings of Mars, each with their own particular traditions and rituals. It is also clear from epigraphic evidence across the empire that worship of Mars was closely related to the imperial cult and the desire to bring wellbeing to the imperial household. he Feriale Duranum supplies our best evidence for oicial ceremonies and festivals of Mars during the High Empire. Beyond this point in history, Mars igured prominently in the propaganda of Maximian and was still incorporated into Tetrarchic iconography on the Arch of Galerius,28 and we hear from Ammianus Marcellinus (24.6.17) that Julian sacriiced to Mars in 363 CE before the Battle of Ctesiphon. he closing of temples in Rome under heodosius signaled the end of a long history of worship of Mars in Italy, but worship continued at some provincial sites beyond this point—both the temples at Lydney Hill in Britain and Martberg bei Pommern in Germany show evidence of continued usage to the late Roman period.29 In all, Mars had a long history of prominence in Roman religion and owed a large part of his popularity to the diversity of interpretation available in his role of protector. his role had its roots in the mythical creation of Rome by Romulus, was re-emphasized by Augustus, and was spread by the Roman army, but the widespread adoption of and patronage to Mars can be best explained by the many diverse ways in which his role could be interpreted and itted into individual beliefs. 151 Tyler V. Franconi 152 1 Udo Scholz, Studien zum altitalischen und altrömischen Marskult und Marsmythos (Heidelberg: Bibliothek der klassischen Altertumswissenschaten, 1967); Georges Dumézil, La religion romaine archaïque (Chicago: University of Chicago Press, 1974); Johan H. Croon, “Die Ideologie des Marskultes unter dem Prinzipat und ihre Vorgeschichte,” Aufstieg und Niedergang des römischen Welt II 17, no. 1 (1981): 246–75. 2 Dumézil, La religion romaine archaïque, 153. 3 Ibid., 205–45; Scholz, Marskult und Marsmythos, 63–77; Vincent J. Rosivach, “Mars, the Lustral God,” Latomus 42 (1983): 509–14. 4 CIL 6, 2104a. 5 Scholz, Marskult und Marsmythos, 18. 6 Rosivach, “Mars, the Lustral God.” 7 Paul Zanker, he Power of Images in the Age of Augustus (Ann Arbor: University of Michigan Press, 1989), 195. 8 Ibid., ig. 151. 9 CIL 3 suppl., 12467; Croon, “Die Ideologie des Marskultes,” 73; Robert O. Fink, Allen S. Hoey, and Walter F. Snyder, “he Feriale Duranum,” Yale Classical Studies 7 (1940): 120. 10 Fink, Hoey, and Snyder, “Feriale Duranum.” M. Barbara Reeves, “he Feriale Duranum, Roman Military Religion, and Dura-Europos: A Reassessment” (PhD diss., SUNY Bufalo, 2004). 11 Oliver Stoll, “he Religions of the Armies,” in A Companion to the Roman Army, ed. Paul Erdkamp (Oxford: Blackwell, 2007), 451–76; Ian P. Haynes, “he Romanisation of Religion in the Auxilia of the Roman Imperial Army from Augustus to Septimius Severus,” Britannia 24 (1993): 141–57. 12 Alan Rushworth, Housesteads Roman Fort: he Grandest Station (Swindon: English Heritage, 2009), 233. 13 R. Finke, “Neue Inschriten,” Berichte der römische-germanische Kommission 17 (1927): no. 200. 14 Victorine von Gonzenbach, “Ein Heiligtum im Legionslager Vindonissa,” Veröfentlichungen der Gesellschat Pro Vindonissa 10 (1976): 302–19; Andrew Lawrence, “Neue Forschungen zum sog: Marsheiligtum im Zentrum des Legionslagers Vindonissa; Der Beitrag der Grabungen von 1972,” Jahresbericht Gesellschat Pro Vindonissa (2009): 1–25. 15 Véronique Brouquier-Reddé, Temples et Cultes de Tripolitaine (Paris: CNRS, 1992): 289; René Rebufat “Divinités de l’oued Kebir (Tripolitaine),” L’Africa Romana 7 (1990): 140. 16 CIL 13, 8019; CIL 03, 11889; CIL 03, 14370. 17 Emile Masqueray, “Ruines Anciennes de Khenchela (Mascula) a Besseriani (Ad Majores),” Revue Africaine 22 (1878): 453. 18 Deo marti / genioque san/cto scolae b(ene)f(iciariorum) / paconius cas /tus b(ene)f(iciarius) cons(ularis) / leg(ionis) iii aug(ustae) cum / suis exacta sta(tione) / v(otum) s(olvit). CIL 8, 10717. 19 [I(ovi)] o(ptimo) m(aximo) / [m]arti vic/[tori] diis i[u]/vantibus [ge]nioque sta/tionis vaza/nitanae / [3] saturni/nus [b(ene)f(iciarius)] leg(ionis) iii / au[g(ustae) ex]pleta / [s]tatione pr[o]/motus ad [|(centurionatum?)] / leg(ionis) ii italicae / v(otum) s(olvit) l(ibens) a(nimo). CIL 8, 10718. 20 Von Gonzenbach, “Heiligtum”; 207–10, Lawrence, “Neue Forschungen,” 8–13. Provincial Cults of Mars in the Roman Empire 21 CIL 16, 81. 22 Ton Derks and Nico Roymans, eds., De Tempel van Empel: Een Hercules-heiligdom in het woongebied van de Bataven (he Hague: Stichting Brabantse Regionale Geschiedbeoefening, 1994); Johan Nicolay, he Armed Batavians: Use and Signiicance of Weaponry and Horse Gear from Non-military Contexts in the Rhine Delta (50 BC to AD 450) (Amsterdam: Amsterdam University Press, 2007). 23 Tyler Franconi, “Mars across the Channel: Contextualizing Cult in the Roman Northwest,” in Religion in the Roman Empire: he Dynamics of Individualisation, ed. Ralph Haeussler, Anthony King, Günther Schörner, and Francisco Simón (Oxford: Oxbow Books, forthcoming). 24 Croon, “Die Ideologie des Marskultes,” 269–73. 25 Ralph Häussler, “he Civitas Vangionum: A New Sacred Landscape at the Fringes of the Roman Empire?,” in Continuity and Innovation in Religion in the Roman West, ed. Ralph Häussler and Anthony C. King, 2 vols. (Portsmouth, RI: Journal of Roman Archaeology, 2008), 2:185–216. 26 Greg Woolf, Becoming Roman: he Origins of Provincial Civilization in Gaul (Cambridge: Cambridge University Press, 1998). 27 Horn, Germania Inferior: CIL 13, 8707; Strasbourg, Germania Superior: CIL 13, 11605. 28 Margaret S. Pond Rothman, “he hematic Organization of the Panel Reliefs on the Arch of Galerius,” American Journal of Archaeology 81, no. 4 (1977): 427–54; Olivier Hekster, “he City of Rome in Late Imperial Ideology: he Tetrarchs, Maxentius, and Constantine,” Mediterraneo Antico 2 (1999): 717–48. 29 Martin homa, “Der gallo-römische Kultbezirk auf dem Martberg bei Pommern an der Mosel, Kr. Cochem-Zell,” in Kelten, Germanen, Römer im Mittelgebirgsraum zwischen Luxemburg und hüringen, ed. Alfred Hafner and Siegmar von Schnurbein (Bonn: R. Habelt 2000): 472; P. John Casey and Birgitta Hofmann, “Excavations at the Roman Temple in Lydney Park, Gloucestershire in 1980 and 1981,” Antiquaries Journal 79, no. 1 (1999): 115. 153 Plates 295 Plates 1. Keystone with bust of Tyche Syria, early 2nd century CE Basalt, 34.6 x 40 x 31 cm Princeton University Art Museum, Princeton University Archaeological Expedition to Syria, 1904–5 and 1909, Y1930-456 296 Plates 2. Textile roundel with nimbed bust (possibly Tyche) Egypt, 5th–7th century CE Wool on undyed linen, 18 x 19 cm Donald and Barbara Tellalian, 1979-01000 297 Plates 3. Mosaic loor with views of Alexandria and Memphis Gerasa, Church of Saints Peter and Paul, nave, c. 540 CE Limestone tesserae, 396.3 x 609.6 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1932.1735 298 Plates 4. Mosaic loor with geometric design Gerasa, Church of Bishop Paul (Procopius Church), south aisle, c. 526 CE Limestone tesserae, 406.4 x 792.5 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1929.418 299 Plates 5. Mosaic loor with inscription Gerasa, Church of Bishop Paul (Procopius Church), nave, c. 526 CE Limestone tesserae, 58 x 311 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1929.419 300 Plates 6. Dedicatory inscription from a public building Gerasa, Forum, 66–67 CE Limestone, 55 x 96 x 8 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1935.274.1 301 Plates 7. Jar Gerasa, Church of Saint heodore (Room 10), 6th–7th century CE Terracotta, 8.8 x 9.1 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1929.688 8. Jug Gerasa, area west of Church of Saint heodore, 2nd–3rd century CE Terracotta, 10.1 x 11.4 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1935.293 302 Plates 9. Bowls Gerasa, area west of Church of Saint heodore, 1st–3rd century CE Terracotta, a: 4.8 x 10.1 cm, b: 4.5 x 10.5 cm, c: 3.2 x 10.8 cm, d: 3.5 x 13 cm, e: 5.8 x 13.4 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1935.312a–e 303 Plates 10. Candlestick unguentarium Gerasa, Southwest Cemetery (Tomb 9), 4th–5th century CE Glass, 11.8 x 4.3 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1935.323 11. Beaker Gerasa, Southwest Cemetery (Tomb 5), 4th–5th century CE Glass, 10 x 2.8 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1935.326 304 Plates 12. Long-necked vase Gerasa, area west of Church of Saint heodore, 4th–5th century CE Glass, h: 5.8 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1935.320 13. Wide-mouthed jar Gerasa, area west of Church of Saint heodore, 5th century CE Glass, 6.5 x 6 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1935.321 305 Plates 14. Round lamp with eight holes Gerasa, 5th–6th century CE Terracotta, diam: 10.2 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1929.651 306 Plates 15. Figurine of nude female Gerasa, Cave on the Irbid Road Terracotta, 29.2 x 6.9 x 5.1 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1939.457 16. Figurine of horse and rider Gerasa, Cave on the Irbid Road Terracotta, 21.3 x 18 x 4.5 cm Yale University Art Gallery, Yale-British School Excavations at Gerasa, 1939.453 307 Plates 17. Clavus fragment with horses and riders Egypt, 6th–7th century CE Wool on undyed linen, 27.5 x 11.5 cm Glenn and Rebecca Cahaly, 1986-00300A 308 Plates 18. Coin of Septimius Severus Head of Septimius Severus (obverse) and tetrastyle temple (reverse) Dura-Europos, near Southwest Tower, Hoard 8/9 Mint: Neo Caesarea, Pontus, 205–206 CE Bronze, 10.88 gm, 12:00, 30.5 mm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1938.6000.1345 19. Cistophorus of the proconsul C. Claudius Ap. f. Pulcher Cista mystica (obverse) and serpents lanking a stylized bow-case (reverse) Mint: Pergamum, Mysia, 56–54 BCE Silver, 11.86 gm, 12:00, 28 mm Yale University Art Gallery, Transfer from Sterling Memorial Library, Yale University, 2001.87.218 20. Cistophorus of Hadrian Head of Hadrian (obverse) and cult image of Zeus Askraios (reverse) Mint: Halicarnassus, Caria, overstruck on a cistophorus of M. Antonius, 128–130 CE Silver, 10.66 gm, 6:00, 28 mm Yale University Art Gallery, Git of Ben Lee Damsky, 2011.155.1 309 Plates 21. Coin of Septimius Severus Bust of Septimius Severus (obverse) and cult image of Zeus Askraios (reverse) Mint: Halicarnassus, Caria, 193–211 CE Bronze, 21.67 gm, 12:00, 32 mm Yale University Art Gallery, Git of Ben Lee Damsky, 2011.155.2 22. Tetradrachm of Commodus Head of Commodus (obverse) and emperor making an ofering in front of bust of Serapis (reverse) Mint: Alexandria, Egypt, 183–184 CE Billon, 11.36 gm, 12:00, 24.5 mm Yale University Art Gallery, Transfer from Sterling Memorial Library, Yale University, Git of Dr. Sidney Peerless, 2001.87.3684 23. Coin of Nicomedia Bust of Caracalla (obverse) and Tyche seated with a small octastyle temple in each hand (reverse) Mint: Nicomedia, 211–215 CE Bronze, 14.99 gm, 12:00, 28 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2003.12.4 310 Plates 24. Coin of Ephesus Head of Claudius facing bust of Agrippina II (obverse) and Artemis of Ephesus (reverse) Mint: Ephesus, Ionia, 49–50 CE Bronze, 7.76 gm, 12:00, 26 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.168 25. Coin of Ephesus Head of Philippus Junior (obverse) and children playing with astragaloi (knucklebones) before cult image of Artemis of Ephesus (reverse) Mint: Ephesus, Ionia, 244–247 CE Bronze, 4.69 gm, 6:00, 21.5 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.190 26. Coin of Ephesus Head of Valerian (obverse) and Artemis the Huntress (reverse) Mint: Ephesus, Ionia, 253–260 CE Bronze, 7.2 gm, 6:00, 28 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.193 311 Plates 27. Coin of Ephesus Bust of Domitian (obverse) and Artemis of Ephesus standing between the two Nemeses of Smyrna and Ephesus (reverse) Mint: Ephesus, Ionia, 92–94 CE Bronze, 21.14 gm, 6:00, 32 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.195 28. Coin of Sardis Head of Domitian (obverse) and dēmos of Sardis clasping hands with dēmos of Smyrna (reverse) Mint: Sardis, Lydia, 81–96 CE Bronze, 10.46 gm, 12:00, 25.5 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.393 29. Coin of Septimius Severus Bust of Septimius Severus (obverse) and tetrastyle temple (reverse) Mint: Neo Caesarea, Pontus, 193–211 CE Copper, 14.5 gm, 12:00, 28 mm Yale University Art Gallery, Git of James H. Schwartz, 2005.6.325 312 Plates 30. Drachm of Caesarea Cappadociae Head of Commodus (obverse) and Mount Argaeus (reverse) Mint: Caesarea, Cappadocia, 182 CE Silver, 4.16 gm, 12:00, 20 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2006.61.4 31. Coin of Julia Domna Bust of Julia Domna (obverse) and igure of Kore (reverse) Mint: Sardis, Lydia, 193–217 CE Orichalcum, 12.63 gm, 6:00, 28.6 mm Yale University Art Gallery, Ruth Elizabeth White Fund with the assistance of Ben Lee Damsky, 2007.183.83 32. Coin of Gallienus Bust of Gallienus (obverse) and ceremonial scene (reverse) Mint: Temenothyrae, Phrygia, 253–268 CE Bronze, 20.85 gm, 12:00, 40.6 mm Yale University Art Gallery, Ruth Elizabeth White Fund with the assistance of Ben Lee Damsky, 2008.83.133 313 Plates 33. Coin of Hadrian Head of Hadrian (obverse) and tetrastyle temple of Artemis of Ephesus (reverse) Mint: Ephesus, Ionia, 117–138 CE Bronze, 7.09 gm, 12:00, 21.5 mm Yale University Art Gallery, Promised Git of Ben Lee Damsky, ILE2013.17.148 34. Coin of Caracalla Bust of Caracalla (obverse) and emperor worshipping Telesphorus (reverse) Mint: Pergamum, Mysia, 214–215 CE Bronze, 44.97 gm, 6:00, 43.8 mm Yale University Art Gallery, Promised Git of Ben Lee Damsky, ILE2013.17.331 314 Plates 35. Votive stele to Saturn Tunisia, 2nd century CE Limestone, 75 x 42 x 10.2 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1984.79.1 315 Plates 36. Dupondius of Philip I Bust of the senate of Temenothyrae (obverse) and drunken Hercules (reverse) Mint: Temenothyrae, Phrygia, 244–249 CE Orichalcum, 34.03 gm, 5:00, 44.1 mm Yale University Art Gallery, Promised Git of Ben Lee Damsky, ILE2013.17.98 37. Statue of Hercules Tunisia, 1st–3rd century CE Marble, h: 29 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1987.37.1 316 Plates 38. Relief of Hercules Dura-Europos, House G5-C10, 2nd–mid-3rd century CE Plaster, 23.5 x 13.5 x 7.5 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1935.50 39. Relief of Hercules Dura-Europos, Block L8, 2nd–mid-3rd century CE Limestone, 31.5 x 16 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1935.51 317 Plates 40. Textile fragment with Hercules Egypt, 4th–5th century CE Wool on undyed linen, 13.5 x 12.8 cm Donald and Barbara Tellalian, 1988-05000 318 Plates 41. Textile fragment with dancing man holding shield Egypt, 5th century CE Wool on undyed linen, 13 x 7.5 cm Donald and Barbara Tellalian, 1984-00150B 42. Clavus fragment with nude warrior, foliate background Egypt, 5th century CE Wool on undyed linen, 16 x 12 cm Donald and Barbara Tellalian, 1984-00040 319 Plates 43. Ring with intaglio Dura-Europos, House B2-D10, 100–256 CE Silver and carnelian, 2.5 x 2.8 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1933.615 44. Ring Dura-Europos, 1st–3rd century CE Silver, 2.5 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1934.641 320 Plates 45. Intaglio with igure of Diana Dura-Europos, Block N8, 2nd century CE Nicolo, 1.4 x 0.3 x 1.5 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1932.1679 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 46. Intaglio with igure of Tyche (Fortuna) Dura-Europos, Temple of Atargatis, 2nd century CE Sardonyx, 1.2 x 1.8 x 0.4 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1938.4332 Image on right is an impression of the carved surface. 321 Plates 47. Intaglio with igure of Triton Tunisia, 1st century BCE–2nd century CE Carnelian, 0.7 x 1 x 0.3 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1984.79.6 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 48. Intaglio with igure of Minerva Tunisia, 1st century BCE–2nd century CE Carnelian, 1 x 0.9 x 0.2 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1984.79.7 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 322 Plates 49. Intaglio with seated igure Tunisia, 1st century BCE–2nd century CE Gray stone, 0.9 x 0.6 x 0.1 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1984.79.8 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 50. Intaglio with bust of Mars Anatolia, 1st century BCE–2nd century CE Carnelian, 1.2 x 0.9 x 0.2 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1984.79.9 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 323 Plates 51. Intaglio with eagle between two standards Syria, 1st–2nd century CE Carnelian, 1.6 x 1.3 x 0.5 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1986.17.4 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 52. Intaglio with igure of Mercury Syria , 1st–2nd century CE Carnelian, 1.2 x 0.9 x 0.3 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1986.17.12 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 324 Plates 53. Intaglio with igure of Tyche (Fortuna) Syria, 1st–2nd century CE Agate, 1.3 x 0.9 x 0.3 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1986.17.14 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 54. Intaglio with portrait head Syria, 1st–2nd century CE Carnelian, 1.1 x 1 x 0.3 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1986.17.19 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 325 Plates 55. Intaglio with igure of Ceres Syria, 1st–3rd century CE Carnelian, 1.2 x 1.1 x 0.1 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1986.17.22 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 56. Intaglio with igure of Mars Syria, 1st–3rd century CE Carnelian, 1.3 x 1 x 0.5 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1986.17.23 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 326 Plates 57. Intaglio with two animals lanking a tree Syria, 1st–3rd century CE Jasper, 1.3 x 0.9 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1986.100.3 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 58. Intaglio with standing female igure holding ofering dish Syria, 1st–3rd century CE Carnelian, 0.8 x 1.2 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1986.100.35 Image on right produced using Relectance Transformation Imaging and digital enhancement to create a positive version of the carved surface. 327 Plates 59. Painted Latin inscription Dura-Europos, Principia (“Praetorium”), 222–223 CE Paint on plaster, 82.6 x 63.5 x 6.2 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1932.1207a 328 Plates 60. Pierced rosette from a horse trapping Dura-Europos, House G1, 165–256 CE Bronze, 6.3 x 0.4 x 8.9 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1932.1434 61. Horse trapping 2nd–3rd century CE Bronze, 11.2 x 8.6 x 0.3 cm Yale University Art Gallery, Git of Dr. and Mrs. Jerry Nagler, 2001.118.1 329 Plates 62. Openwork baldric fastener Dura-Europos, Block J7, 165–256 CE Bronze, 1 x 5.4 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1935.41 63. Openwork baldric fastener Dura-Europos, Block J8, 165–256 CE Bronze, 2 x 5.2 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1938.2179 330 Plates 64. Military belt plate Dura-Europos, 165–256 CE Bronze, 2.7 x 5.3 x 0.4 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1938.2163 65. Buckle with glass inlay Dura-Europos, Block E7, 165–256 CE Bronze and glass, 4.5 x 8.6 x 2.5 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1932.1412 331 Plates 66. Tetradrachm of Philip I Bust of Philip I (obverse) and eagle (reverse) Dura-Europos, House L8-A4, Hoard 10 Mint: Rome (struck for Syria), 244 CE Silver, 13.34 gm, 12:00, 25.5 mm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1938.6000.701 67. Tetradrachm of Philip I Bust of Philip I (obverse) and eagle (reverse) Dura-Europos, House L8-A4, Hoard 10 Mint: Antioch, Syria, 248 CE Silver, 10.73 gm, 12:00, 26.5 mm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1938.6000.716 68. Coin of Macrianus Bust of Macrianus (obverse) and city walls of Nicaea (reverse) Mint: Nicaea, 261–262 CE Copper, 7.32 gm, 1:00, 24 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.2298 332 Plates 69. Tetradrachm of Perseus Head of Perseus (obverse) and eagle (reverse) Mint: Macedonia, 178–168 BCE Silver, 15.37 gm, 12:00, 31 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.1620 70. Tetradrachm Head of Artemis Tauropolos (obverse) and club surrounded by oak leaf crown (reverse) Mint: Amphipolis, Macedonia, 158–149 BCE Silver, 16.88 gm, 2:00, 31.5 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.1432 71. Coin of Commodus Head of Commodus (obverse) and table with two prize crowns from games of imperial cult (reverse) Mint: Nicaea, 180–192 CE Copper, 15.71 gm, 7:00, 29.5 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.2280 333 Plates 72. Coin of Commodus Head of Commodus (obverse) and octastyle temple (reverse) Mint: Ancyra, Galatia, 180–192 CE Copper, 11.9 gm, 6:00, 28 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.3513 73. Tetradrachm of Antoninus Pius Bust of Antoninus Pius (obverse) and she-wolf with Romulus and Remus (reverse) Mint: Alexandria, Egypt, 150–151 CE Billon, 13.01 gm, 12:00, 23 mm Yale University Art Gallery, Transfer from Sterling Memorial Library, Yale University, 2001.87.3671 74. Coin of Septimius Severus Bust of Septimius Severus (obverse) and she-wolf with Romulus and Remus (reverse) Mint: Ephesus, Ionia, 202–211 CE Copper, 5.89 gm, 6:00, 22 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.2656 334 Plates 75. Handle base from a situla 1st–3rd century CE Bronze, 7.8 x 5.6 x 0.4 cm Yale University Art Gallery, Git of Ruth Elizabeth White, 1988.80.4 76. Faucet or spigot in the form of a bearded male head 2nd century CE Bronze, 5.5 x 5.5 x 3.8 cm Yale University Art Gallery, Git of Ruth Elizabeth White, 1988.80.25 335 Plates 77. Wall painting with female face Dura-Europos, Roman Bath (E3), 165–256 CE Paint on plaster, 20 x 23.5 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1929.353 78. Wall painting with human face Dura-Europos, Roman Bath (E3), 165–256 CE Paint on plaster, 15.5 x 19.5 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1929.354 336 Plates 79. Portrait of a priest of the imperial cult 125–150 CE Marble, 48.5 x 40.5 x 36 cm Princeton University Art Museum, Museum Purchase, Git of John B. Elliott, ’51, Y1990-3 337 Plates 80. Portrait of an oicial Aphrodisias, Baths of Hadrian, late 5th–early 6th century CE Marble (from Göktepe, near Aphrodisias), h: 21 cm Museum of Fine Arts, Boston, Git of Gerome M. Eisenberg and Richard Titelman, 1971.18 338 Plates 81. Portrait of an intellectual Athens, 275–325 CE Marble, h: 46.3 cm Museum of Fine Arts, Boston, Purchased from J. J. Klejman, 62.465 339 82. Portrait of a woman Antioch, 117–138 CE Marble, 24.3 x 17.8 x 22.7 cm Princeton University Art Museum, Git of the Committee for the Excavation of Antioch to Princeton University, 2000-51 83. Colossal portrait of a woman Antioch, late 2nd century CE Marble, 36.8 x 27.5 x 27.4 cm Princeton Art Museum, Git of the Committee for the Excavation of Antioch to Princeton University, 2000-50 Plates 84. Portrait of a man in a toga Britain, late 4th century CE Chalk, 40.1 x 31.2 x 15.7 cm Princeton University Art Museum, Museum Purchase, Y1943-90 342 Plates 85. Inscription to Julia Domna Dura-Europos, Temple of Artemis, 193–217 CE Marble, 48.3 x 63.5 x 15.9 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1930.626 343 Plates 86. Sestertius of Julia Domna Bust of Julia Domna (obverse) and empress in the guise of Pax (reverse) Mint: Rome, 209–211 CE Orichalcum, 24.06 gm, 12:00, 32.7 mm Yale University Art Gallery, Ruth Elizabeth White Fund with the assistance of Ben Lee Damsky, 2007.183.82 87. Miniature portrait of Julia Domna 3rd century CE Ivory, 3.8 x 2.8 x 2.8 cm Yale University Art Gallery, Git of homas T. Solley, BA 1950, 2002.15.1 344 Plates 88. Portrait of Julia Domna 203–217 CE Marble, 35 x 26.7 x 24.1 cm Yale University Art Gallery, Ruth Elizabeth White Fund, 2010.143.1 345 Plates 89. Coin of Geta Caesar Heads of Septimius Severus and Julia Domna (obverse) and standing igure of Tyche Mint: Marcianopolis, hracia, 202–205 CE Orichalcum, 11.81 gm, 12:00, 27.5 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.452 90. Coin of Septimius Severus and Caracalla Heads of Septimius Severus and Caracalla (obverse) and inscription within a wreath (reverse) Mint: Nicopolis ad Istrum, Moesia, 198–211 CE Orichalcum, 9.83 gm, 7:00, 26 mm Yale University Art Gallery, Ruth Elizabeth White Fund, 2004.6.416 91. Sestertius of Geta as Caesar Head of Geta (obverse) and Caracalla and Geta with Victory and bound captive (reverse) Mint: Rome, 200–202 CE Orichalcum, 22.92 gm, 12:00, 32 mm Yale University Art Gallery, Ruth Elizabeth White Fund with the assistance of Ben Lee Damsky, 2008.83.143 346 Plates 92. Denarius of Caracalla Head of Caracalla (obverse) and standing igure of Moneta (reverse) Mint: Laodicea ad Mare, Syria, 198 CE Silver, 3.12 gm, 12:00, 19.7 mm Yale University Art Gallery, Ruth Elizabeth White Fund with the assistance of Ben Lee Damsky, 2009.110.107 93. Denarius of Julia Domna Head of Julia Domna (obverse) and standing igure of Venus (reverse) Mint: Alexandria, Egypt, 193–217 CE Silver, 2.96 gm, 6:00, 17 mm Yale University Art Gallery, Ruth Elizabeth White Fund with the assistance of Ben Lee Damsky, 2007.183.80 94. Aureus of Septimius Severus Head of Septimius Severus (obverse) and standing igure of Victus (reverse) Mint: Rome, 193–194 CE Gold, 7.22 gm, 6:00, 21 mm Yale University Art Gallery, Transfer from Yale University Library, Numismatic Collection, 2001.87.2736 347 Plates 95. Cistophorus of Septimius Severus Head of Septimius Severus (obverse) and eagle between two signa (reverse) Mint: Caesarea, Cappadocia, 198 CE Silver, 7.88 gm, 6:00, 24.3 mm Yale University Art Gallery, Git of Ben Lee Damsky, ILE2013.17.280 96. Aureus of Caracalla Head of Caracalla (obverse) and Caracalla making a presentation in front of the Temple of Vesta (reverse) Mint: Rome, 214–215 CE Gold, 7.27 gm, 1:00, 20.3 mm Yale University Art Gallery, Git of Ben Lee Damsky, ILE2013.17.300 348 Plates 97. Sestertius of Caracalla Head of Caracalla (obverse) and standing igure of Mars (reverse) Mint: Rome, 213 CE Orichalcum, 21.12 gm, 1:00, 31.8 mm Yale University Art Gallery, Git of Ben Lee Damsky, ILE2013.17.314 98. Coin of Caracalla Head of Caracalla (obverse) and standing igure of Tyche (reverse) Mint: Marcianopolis, hracia, 211–217 CE Orichalcum, 14.09 gm, 6:00, 27.5 mm Yale University Art Gallery, Transfer from Yale University Library, Numismatic Collection, 2001.87.9761 349 Plates 99. Bead necklace Egypt, 1st century CE Glass, length: 50.8 cm Yale University Art Gallery, Git of David Dows, PhD 1908, through Ludlow Bull, 1945.161 100. Bead necklace Egypt, 1st century CE Glass, length: 43.2 cm Yale University Art Gallery, Git of David Dows, PhD 1908, through Ludlow Bull, 1945.162 350 Plates 101. Bottle Dura-Europos, 2nd–mid-3rd century CE Glass, 23.1 x 19 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1929.422 102. Vase France, 2nd–3rd century CE Glass, 6.7 x 2.5 cm Yale University Art Gallery, Git of E. Francis Riggs 1909, and T. Laurason Riggs 1910, 1929.628 351 Plates 103. Bottle Kurcoğlu, 1st–2nd century CE Glass, 13 x 6 cm Yale University Art Gallery, Exchange with the Oriental Institute, University of Chicago, Kurcoğlu Excavation, 1940.635 104. Unguentarium Kurcoğlu, 2nd century CE Glass, 6.8 x 3.3 cm Yale University Art Gallery, Exchange with the Oriental Institute, University of Chicago, Kurcoğlu Excavation, 1940.640 352 Plates 105. Candlestick unguentarium France, 2nd–3rd century CE Glass, 10.1 x 3.2 cm Yale University Art Gallery, Git of E. Francis Riggs 1909, and T. Laurason Riggs 1910, 1929.629 106. Tumbler Syria, 5th century CE Glass, 11.8 x 7.6 cm Yale University Art Gallery, Anna Rosalie Mansield Collection, 1930.397 353 Plates 107. Double head lask Syria, 3rd–4th century CE Glass, 8.8 x 4.2 x 4.3 cm Yale University Art Gallery, Anna Rosalie Mansield Collection, 1930.413 354 Plates 108. Carinated milleiori bowl Syria, 1st century CE Glass, 4.5 x 10 cm Yale University Art Gallery, Anna Rosalie Mansield Collection, 1930.422 109. Textile medallion of geometric/cross motif Egypt, 8th–9th century CE Wool on undyed linen, 3 x 3.5 cm Donald and Barbara Tellalian, 1979-00000 355 Plates 110. Cup Cologne, 2nd century CE Glass (free-blown), 6 x 9.1 cm Yale University Art Gallery, Leonard C. Hanna Jr., Class of 1913, Fund, 1992.15.1 111. Patella cup 1st century BCE–1st century CE Glass, 4.2 x 8.1 cm Yale University Art Gallery, Hobart and Edward Small Moore Memorial Collection, Bequest of Mrs. William H. Moore, 1955.6.24 356 Plates 112. Ribbed bowl 1st century CE Glass, 5.5 x 7.3 cm Yale University Art Gallery, Hobart and Edward Small Moore Memorial Collection, Bequest of Mrs. William H. Moore, 1955.6.41 113. Agate glass bottle Syria, 1st century CE Glass, h: 9.1 cm Yale University Art Gallery, Anna Rosalie Mansield Collection, 1930.460 357 Plates 114. Seasons beaker Eastern Mediterranean, 1st century CE Glass (mold-blown), 19 x 9.4 cm Yale University Art Gallery, Hobart and Edward Small Moore Memorial Collection, Bequest of Mrs. William H. Moore, 1955.6.49 358 Plates 115. Gaza amphora (Late Roman Amphora 4) Southern Palestine/Israel, 4th century CE Terracotta, 54.5 x 21.9 cm Yale University Art Gallery, Whiting Palestinian Collection, 1912.911 359 Plates 116. Amphora Syria, 4th century CE Terracotta, 90.8 x 18.7 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1938.5999.5333 360 Plates 117. Amphora (Middle Roman Amphora 7) Dura-Europos, 200–256 CE Terracotta, 78.1 x 27 x 22.9 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1938.5999.4288 361 Plates 118. Bowl (Gallic Relief Ware) Melun, 75–175 CE Potter: Censorinus of Lezoux Terracotta, 13.3 x 24.1 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.535 362 Plates 119. Mold for Gallic Relief Ware bowl 100–150 CE Potter: Eppillius of Lezoux Terracotta, 11.4 x 21 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.538 120. Mold for Gallic Relief Ware bowl Early 2nd century CE Terracotta, 21 x 11.4 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.539a 363 Plates 121. Mold for lamp (Type IIA) Tunisia, 420–500 CE Plaster, 15 x 5 x 21 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1988.75.6 122. Lamp (Type IIA) Tunisia, 420–500 CE Terracotta, 3.5 x 8.3 x 14 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1989.69.12 364 Plates 123. Bowl (Arretine, Italian Sigillata) 20 BCE–10 CE Potter: Sextus Annius Terracotta, 5 x 9.8 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.514 124. Cup (Eastern Sigillata A) Syria, late 1st century BCE–early 1st century CE Terracotta, 5.9 x 10.8 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.516 365 Plates 125. Pelike (African Red Slip) Late 2nd–3rd century CE Terracotta, 14.8 x 11.1 x 8.1 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.546 366 Plates 126. Bowl (Corinthian Relief Ware) Corinth, 3rd century CE Terracotta, 4.8 x 7.1 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.209 127. Jar (Knidian Relief Ware) Smyrna, 3rd century CE Terracotta, 10.3 x 6.4 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.211 367 Plates 128. Sestertius of Trajan Bust of Trajan (obverse) and igure of Via Traiana (reverse) Mint: Rome, 112–114 CE Orichalcum, 24.48 gm, 6:00, 33.5 mm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1938.6000.984 129. Sestertius of Trajan Bust of Trajan (obverse) and igure of Via Traiana (reverse) Mint: Rome, 112–114 CE Orichalcum, 28.06 gm, 5:00, 33.5 mm Yale University Art Gallery, Transfer from Sterling Memorial Library, Yale University, Git of Professor Tracy Peck, LLD 1861, MA 1864, 2001.87.7474 130. Stater of Rhescuporis III Head of Rhescuporis III (obverse) and bust of Elagabalus (?) (reverse) Mint: Bosporus, 219 CE Gold, 7.66 gm, 12:00, 19.5 mm Yale University Art Gallery, Transfer from Sterling Memorial Library, Yale University, 2001.87.11021 368 Plates 131. Textile fragment Egypt, 5th century CE Wool on undyed linen, 22 x 23.5 cm Yale University Art Gallery, Git of the Olsen Foundation, 1956.8.3 132. Textile fragment Egypt, 4th century CE Wool on undyed linen, 20.2 x 21.5 cm Yale University Art Gallery, Git of the Olsen Foundation, 1956.8.10 369 Plates 133. Textile panel from a large tunic Egypt, 4th century CE Wool on undyed linen, 142 x 99.7 cm Yale University Art Gallery, Git of the Olsen Foundation, 1956.8.5 370 Plates 134. Child’s tunic Egypt, 5th–6th century CE Wool on undyed linen, 129 x 101 cm Yale University Art Gallery, Git of the Olsen Foundation, 1956.8.23 371 Plates 135. Child’s tunic Egypt, 4th century CE Wool on undyed linen, 108 x 79.5 cm Yale University Art Gallery, Git of Mr. and Mrs. Fred Olsen, 1956.33.90 372 Plates 136. Child’s tunic Egypt, 6th–8th century CE Linen, 66 x 84 cm Donald and Barbara Tellalian, 1982-00413 373 Plates 137. Funerary relief of woman holding spindle Palmyra, 125–150 CE Limestone, 54.5 x 44 x 18 cm Yale University Art Gallery, Git of Mr. and Mrs. Edgar Munroe, 1954.30.1 374 Plates 138. Relief with animals Egypt, 6th century CE Limestone, 35.5 x 74.3 x 8.5 cm Yale University Art Gallery, Git of the Olsen Foundation, 1955.60.5 139. Relief with confronting beasts Egypt, 6th century CE Limestone, 29.4 x 56.4 x 5.5 cm Yale University Art Gallery, Git of the Olsen Foundation, 1955.60.12 375 Plates 140. Textile band with roundels illed with lions, birds, foliage, dancers Egypt, 5th–6th century CE Wool on undyed linen, 50.3 x 17.8 cm Donald and Barbara Tellalian, 1988-00600 376 Plates 141. Fragmentary tunic roundels Egypt, 5th–6th century CE Wool on undyed linen, l: 12.5 x 14 cm, r: 13.5 x 14 cm Donald and Barbara Tellalian, 1978-00450/00450 142. Textile fragment with roundels, tree of life, lowers, Eros igures Egypt, 6th century CE Wool on undyed linen, 28.5 x 28.5 cm Donald and Barbara Tellalian, 1984-00500A 377 143. Textile fragment with tree of life, human igures, bird Egypt, 5th–6th century CE Wool on undyed linen, 26 x 24 cm Donald and Barbara Tellalian, 1984-00500B 144. Textile fragment with fruit basket Egypt, 6th century CE Wool on undyed linen, 24 x 21 cm Donald and Barbara Tellalian, 2013-00600B 145. Relief with acanthus leaves Egypt, 6th century CE Limestone, 21 x 17.3 x 68 cm Yale University Art Gallery, Git of the Olsen Foundation, 1956.8.38 146. Textile fragment with rooster Egypt, 5th–6th century CE Wool on linen, 18 x 21 cm Donald and Barbara Tellalian, 1982-02500 147. Textile fragment with heraldic birds Egypt, 7th–8th century CE Wool on undyed linen, 26 x 11 cm Donald and Barbara Tellalian, 1978-00350 148. Textile band with stylized birds and foliage Egypt, 7th century CE Wool on linen, 24 x 26.5 cm Donald and Barbara Tellalian, 1980-00250 149. Relief with dove and grapevine Egypt, 5th–6th century CE Limestone, 19.5 x 15.5 x 46 cm Yale University Art Gallery, Git of the Olsen Foundation, 1956.8.41 150. Clavus fragment with apotropaic knot Egypt, 5th century CE Wool on undyed linen, 28.5 x 14.5 cm Donald and Barbara Tellalian, 1982-00100 151. Textile roundel with interlace Egypt, 4th century CE Wool on linen, 21 x 26 cm Donald and Barbara Tellalian, 1983-00600 152. Textile band with hares, birds, fruits, leaves Egypt, late 5th century CE Wool on undyed linen, a: 6 x 19 cm, b: 6 x 43 cm Donald and Barbara Tellalian, 1979-00250/250 153. Textile fragment with hare and grapevine Egypt, 5th–6th century CE Wool on undyed linen, 11 x 11.5 cm Donald and Barbara Tellalian, 1979-00350 154. Textile fragment with running hare Egypt, 5th–6th century CE Wool on undyed linen, 12.5 x 12.5 cm Haig and Leslie Tellalian, 1984-00050A Plates 155. Pelike (Eastern Sigillata A) Syria, 1st century CE Terracotta, 25.5 x 14 cm Yale University Art Gallery, Whiting Palestinian Collection, 1912.290 156. Jug (Eastern Sigillata A) Syria, mid-1st century BCE–1st century CE Terracotta, 19.5 x 16.6 cm Yale University Art Gallery, Whiting Palestinian Collection, 1912.292 385 Plates 157. Pitcher (Eastern Sigillata A) Syria, 1st century CE Terracotta, 17 x 9.2 cm Yale University Art Gallery, Whiting Palestinian Collection, 1912.295 158. Bowl (Eastern Sigillata A) Syria, late 1st century BCE–early 1st century CE Terracotta, 9 x 15 cm Yale University Art Gallery, Whiting Palestinian Collection, 1912.297 386 Plates 159. Dish (Arretine, Italian Sigillata) Syria, late 1st century BCE–early 1st century CE Potter: Rasinus Terracotta, 3.3 x 17 cm Yale University Art Gallery, Whiting Palestinian Collection, 1912.301 160. Bowl Late 1st century BCE–1st century CE Terracotta, 4.8 x 9.2 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.583 387 Plates 161. Jar Cologne, mid-3rd–early 4th century CE Terracotta, 14 x 9.8 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.545 162. Bowl Late 2nd–3rd century CE Terracotta, 9.2 x 16.8 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.540 388 Plates 163. Cookware bowl with lid (African Red Slip) Tunisia, late 2nd–mid-3rd century CE Terracotta, 7 x 17.8 cm Yale University Art Gallery, Git of John Crockett, 2008.216.40a, b 164. Bowl (African Red Slip) Tunisia, mid-2nd century CE Terracotta, 4.5 x 25.7 cm Yale University Art Gallery, Git of John Crockett, 2008.216.2 389 Plates 165. Piriform jug (African Red Slip) Tunisia, 3rd century CE Terracotta, 16.2 x 9 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1984.79.2 390 Plates 166. Piriform jug (African Red Slip) 3rd century CE Terracotta, h: 15.9 cm Yale University Art Gallery, Git of Rebecca Darlington Stoddard, 1913.547 391 Plates 167. Molded head-lask (African Red Slip) Tunisia, 3rd–4th century CE Terracotta, 19 x 10.1 cm Yale University Art Gallery, Git of Ambassador and Mrs. William L. Eagleton Jr., BA 1948, 1980.33.3 392 Plates 168. Dancers and birds in heraldic pairs Egypt, 8th–9th century CE Wool on undyed linen, 32.5 x 19 cm Donald and Barbara Tellalian, 1980-00650 393 Plates 169. Textile roundel with eight-pointed star, tree of life, dancing igures Egypt, 6th century CE Wool on undyed linen, 22 x 22 cm Donald and Barbara Tellalian, 1984-00250 394 Plates 170. Textile fragment with dancing igures and leaping hare Egypt, 5th–6th century CE Wool on undyed linen, 35 x 7.5 cm Donald and Barbara Tellalian, 1986-00300C 395 Plates 171. Pitcher with Bacchic scenes Entrains-sur-Nohain, 2nd–3rd century CE Silver with traces of gilding, 15.9 x 11 x 9.4 cm Walters Art Museum, Acquired by Henry Walters, 57.708 396 Plates 172. Figurine of a seated dancer Eastern Greece (?), late 4th century CE Silver with gold inlay, h: 12 cm Museum of Fine Arts, Boston, Frederick Brown Fund, 69.72 397 Plates 173. Lar 1st century CE Bronze, 10 x 5.3 x 2.7 cm Yale University Art Gallery, Bequest of Chester D. Tripp, BS 1903, 1976.40.1 174. Plaque with female igure Alexandria, 4th century CE Bone, 18.6 x 6.2 x 2.1 cm Walters Art Museum, Acquired by Henry Walters, 1931.71.34 398 Plates 175. Man with cloak and pointed hood (genius cucullatus) 2nd century CE Bronze with copper inlay, 12 x 3.5 x 1.5 cm Yale University Art Gallery, Git of homas T. Solley, BA 1950, 2002.15.13 399 Plates 176. Figurine of woman and two children Dura-Europos, Block L8, 70–200 CE Terracotta with traces of white slip, 15.7 x 7.3 x 2.9 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1935.57 177. Figurine of Mercury Dura-Europos, Necropolis (Tomb 24), 2nd century CE Terracotta, 30.1 x 12.4 x 6.2 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1938.4965 400 Plates 178. Wall painting with banquet scene Dura-Europos, House M7-W6, south wall, 194 CE Paint on plaster, 148.6 x 183.5 x 12.7 cm Yale University Art Gallery, Yale-French Excavations at Dura-Europos, 1938.5999.1147 401 Plates 179. Funerary stele of Helene Antioch, 2nd century CE Marble, 12.6 x 10.1 x 2.9 cm Princeton University Art Museum, Git of the Committee for the Excavation of Antioch to Princeton University, 2000-94 180. Funerary stele of Eubolas Antioch, 1st–early 2nd century CE Marble, 20.2 x 29.4 x 1.8 cm Princeton University Art Museum, Git of the Committee for the Excavation of Antioch to Princeton University, 2000-92 402 Plates 181. Funerary relief with banquet scene Palmyra, 200–250 CE Limestone, 52.7 x 56.2 x 8.9 cm Yale University Art Gallery, Purchased for the University by Prof. Rostovtzef, 1931.138 403 Plates 182. Mosaic with personiications of Pleasure and Wealth Eastern Mediterranean, 6th century CE Stone and glass tesserae, 134.6 x 83.8 cm Museum of Fine Arts, Boston, Git of George D. and Margo Behrakis, 2006.848 404 Plates 183. Two fragments of decorated tunic Egypt, 7th–8th century CE Wool on undyed linen, a: 44.5 x 43 cm; b: 46 x 43 cm Donald and Barbara Tellalian, 1981-01200 405 Plates 184. Coin of Gordian III Head of Gordian III (obverse) and tetrastyle temple with igure (Serapis or Hades?) (reverse) Mint: Nicopolis ad Istrum, Moesia, 238–244 CE Copper, 12.01 gm, 12:00, 27.00 mm Yale University Art Gallery, Git of James H. Schwartz, 2005.6.150 185. Dupondius of Augustus Bust of Augustus (obverse) and altar of Lugdunum (reverse) Mint: Lugdunum, Gallia Narbonensis, 9–14 CE Orichalcum, 12.67 gm, 12:00, 27.5 mm Yale University Art Gallery, Transfer from Sterling Memorial Library, Yale University, 2001.87.2804 406 Plates 186. Nummus of Constantine II Bust of Constantine II (obverse) and altar surmounted by a star (reverse) Mint: Londinium, Britannia, 320–324 CE Argentiferous bronze, 3.02 gm, 6:00, 17.9 mm Yale University Art Gallery, Transfer from Sterling Memorial Library, Yale University, 2001.87.8345 187. Nummus of Constantine I Head of Constantine I (obverse) and Sol with radiate crown, standing and holding globe (reverse) Mint: Londinium, Britannia, 316–317 CE Argentiferous bronze, 3.62 gm, 7:00, 25.6 mm Yale University Art Gallery, Transfer from Sterling Memorial Library, Yale University, 2001.87.15970 407 Plates 188. Fragment of cushion cover with dancing igure, bowls of fruit Egypt, 5th–6th century CE Wool on undyed linen, 73 x 62 cm Donald and Barbara Tellalian, 1994-07500 408 Plates 189. Clavus with seated saint and hare Egypt, c. 6th–7th century CE Wool on undyed linen, 42 x 9 cm Donald and Barbara Tellalian, 1986-00300B 409 Plates 190. Corinthian column capital 2nd–3rd century CE Marble, 26.8 x 25 x 19 cm Yale University Art Gallery, Git of Ruth Elizabeth White, 1988.80.22 191. Corinthian column capital 2nd–3rd century CE Marble, 25.5 x 26 x 18.5 cm Yale University Art Gallery, Git of Ruth Elizabeth White, 1988.80.23 410 Contributors Lisa R. Brody is Associate Curator of Ancient Art at Yale University Art Gallery and has excavated in the United States, Portugal, Greece, and Turkey. She has a particular interest in iconography and cult in the Greek East and Asia Minor, and her publications include Aphrodisias III: he Aphrodite of Aphrodisias (2007). Together with Gail L. Hofman she curated the exhibition Dura-Europos: Crossroads of Antiquity (2011) at the McMullen Museum of Art and at NYU’s Institute for the Study of the Ancient World (there called Edge of Empires: Pagans, Jews, and Christians at Roman Dura-Europos) and edited its accompanying publication. Kimberly Cassibry is Assistant Professor of Ancient Art at Wellesley College. Her work focuses on commemoration in the Roman provinces, from arch monuments to souvenirs, and on 19th-century imperial excavations of provincial sites. She earned her PhD from the University of California, Berkeley, in 2009, with a dissertation entitled “he Allure of Monuments in the Roman Empire: Provincial Perspectives on the Triumphal Arch.” A member of the Getty Foundation’s “he Arts of Rome’s Provinces” traveling seminar (2010–13) and a fellow at the Metropolitan Museum of Art (2013–14), she is currently writing on the entanglement of Celtic and Roman traditions in ancient France, Germany, and Britain Lucinda Dirven is Associate Professor of Ancient History at the University of Amsterdam. Educated as an art historian and historian of religion, she studies their interchange, particularly in the Roman and Parthian Near East where Roman traditions and practices interacted with local cultures. She most recently edited Hatra: Politics, Culture and Religion between Parthia and Rome (2013) on the sculptures from Hatra. Robin Fleming is Professor of Early Medieval History at Boston College. She writes on the history of Viking, Anglo-Saxon, and Anglo-Norman England, and her most recent book is Britain ater Rome: he Fall and Rise, 400–1070 (2010). She is currently investigating Britain in the century before and after Rome’s fall, attempting to determine how ways of life changed once the Roman economy collapsed and connections to the wider Roman world began to unravel. In 2013 she was made a MacArthur Fellow. Tyler Franconi is currently inishing his doctorate in archaeology at the University of Oxford, entitled “he Economic Development of the Rhine River Basin in the Roman Period (30 BC to AD 406).” He is involved in archaeological ieldwork in Italy and Tunisia and maintains academic interests in the ancient economy, Roman religion, and the Roman military. Elizabeth M. Greene is Assistant Professor of Roman Archaeology in the Department of Classical Studies at the University of Western Ontario. Her research concentrates on the archaeology of the Roman West and the material remains of the Roman army on the frontiers. A member of the archaeological team at Vindolanda near Hadrian’s Wall in England since 2002, she is currently co-director of the Vindolanda Field School. Gail L. Hoffman is Assistant Professor of Classical Studies at Boston College. She studies the cultural and artistic interactions between Greece and the Near East during the Early Iron Age. Analyzing the material evidence for these interactions in Imports and Immigrants: Near Eastern Contacts with Iron Age Crete (1997), she explored similar issues from a methodological and theoretical perspective in the museum exhibition and catalogue Dura-Europos: Crossroads of Antiquity (2011) with Lisa R. Brody. Álvaro Ibarra is Assistant Professor of Art History at the College of Charleston and is the author of “Roman Soliloquies: Monumental Interventions in the Vacant Landscape in the Late Republic and 355 Early Empire” in Approaching Monumentality in Archaeology (2014). His research interests revolve around reassessing cultures and identities in the Roman provinces through material culture. Simon James is Professor of Archaeology at the University of Leicester. Formerly an educational curator at the British Museum, he specializes in the archaeology of the Roman military and its antagonists, in 2011 publishing an overview of the subject, Rome and the Sword. He has studied the military archaeology of Dura-Europos for 30 years, both at the site itself and through the Yale expedition archive, publishing Final Report 7 on the arms and armor (2004). His current research on Dura’s Roman military base is part of a wider study of civil/military interactions in the city. Andrew C. Johnston is Assistant Professor of Classics at Yale University and is currently completing his irst book, he Sons of Remus: Identity in Roman Spain and Gaul, which is under contract with Harvard University Press. Apart from the western provinces, his research interests include social memory and the imagination of selves and others at Rome, especially as relates to ethnography and geography, and the archaeology of central Italy. Christine Kondoleon is George and Margo Behrakis Senior Curator of Greek and Roman Art at the Museum of Fine Arts, Boston and her particular ield of expertise is later Roman and early Byzantine art and mosaics. She was an associate professor of art at Williams College (1982–95) where she also served as chair of the department and acting director of the Clark Art Institute Graduate Program. She has taught at Harvard University and Tuts University and was formerly the curator of Greek and Roman art at the Worcester Art Museum where she organized the exhibition Antioch: he Lost Ancient City (2000). David J. Mattingly is Professor of Roman Archaeology at the University of Leicester and has carried out ield projects in Britain, Italy, Libya, Tunisia, and Jordan. He is the author or editor of numerous books, including two with a strong focus on issues of identity: An Imperial Possession: Britain in the Roman Empire (2007) and Imperialism, Power, and Identity: Experiencing the Roman Empire (2011). His research also encompasses theoretical debate about imperialism and colonialism, Roman provincial art, and a series of interrelated strands in Trans-Saharan archaeology (urbanization and state formation, burial and migration, trade and technological transfers). Matthew M. McCarty is Perkins-Cotsen Fellow in Humanities and Lecturer in Classics at Princeton University. His research focuses on the intersections of images, ritual, and religion in the Roman world, the subject of Empire and Worship in Roman Africa (forthcoming) and his work as co-director of the Princeton/Babeş-Bolyai/Muzeul National al Unirii excavations at Apulum. He was a fellow in the Getty Foundation Seminar “he Arts of Rome’s Provinces” (2010–13). William E. Metcalf is Adjunct Professor of Classics at Yale University and Ben Lee Damsky Curator of Coins and Medals at Yale University Art Gallery. Previously, he was curator of Roman and Byzantine coins (1973–2000) and chief curator (1979–2000) at the American Numismatic Society. He has taught widely, including at Columbia, Princeton, and Rutgers Universities, Bryn Mawr College, and the Università degli Studi, Padua, and is the author or editor of numerous books, articles, and reviews. His most important recent publication is he Oxford Handbook of Greek and Roman Coinage (2012), which he edited. Nancy Netzer is Professor of Art History at Boston College and Director of the University’s McMullen Museum of Art. Her research focuses on art of the irst millennium in Britain and Ireland and on the history of collections. Ann M. Nicgorski is Professor of Ancient and Medieval Art History and Archaeology at Willamette University where she serves additionally as a faculty curator at the Hallie Ford Museum of Art. She also has extensive archaeological ield experience in Greece, primarily at the site of Mochlos on Crete. Her current research interests include iconography and the dynamics of iconoclash in the ancient Mediterranean as well as within the various traditions of Christian art. Her publications include contributions to the Mochlos excavation series, the Oregon Encyclopedia, and several articles on Greek sculpture including the Parthenon frieze and the Chatsworth Apollo. 356