This re-evaluation of the Thetford hoard proposes a new date for its burial in the 5th c. CE (ca. 420s–40s), significantly later than the established date of the 380s–90s. The redating is based on comparative material from context-dated grave and hoard finds from across the western Roman Empire. At least 17 hoard artifacts are argued to have been made within the 5th c. The Thetford treasure is a key point of reference in dating artifacts, and therefore a new date, if accepted, will prompt further re-evaluation of material and significantly change our understanding of this key transition period.

The interpretation of the hoard is also revisited. The wide cultural connections that can be demonstrated in the jewelry reflect its assembly in a period of migration and displacement, and there is evidence that its economic value may have become paramount in the latest phase of the assemblage's use. Moreover, the revised date sets a new context for the hoard burial, after economic collapse and political breakdown in Britain. The article advocates for the potential role of wealthy religious sites like Thetford in filling the vacuum left by the collapse of Roman state authority in Britain.

A 1st-c. CE lamp from Cyprus, now in the Metropolitan Museum of Art, features a discus design of a satyr on a base before an enclosure. Formerly identified as a nude silenus, the design on this lamp and others with the same decoration in fact illustrates a motif after the Forum Marsyas statue from the Forum Romanum. The statue is typically understood as a symbol of civic libertas, and copies were erected in provincial fora and depicted on civic coinage in the 2nd and 3rd c. CE. This note argues that the lamps enhance our understanding of the Forum Marsyas in two respects. First, the lamps demonstrate that the motif was in provincial circulation ahead of the sculptural and numismatic trend. Second, it is now clear that the Forum Marsyas was used in private contexts, and potentially with a non-civic meaning, more extensively than previously understood. The lamps are therefore significant for understanding the provincial spread and legibility of this important but still enigmatic motif.

In recent years, scholars have drawn particular attention to the existence in the ancient world of permanent, specialized market buildings, macella or μάκɛλλοι, which offered dedicated facilities for the processing and sale of luxury commodities such as fish and meat. However, important questions remain about the typologies, architecture, and “end-users” of these structures. Here, I outline a basic model for how the total and average wealth and traffic of settlements increases with estimated populations, before exploring the relationships between the total footprints and wider architectural characteristics of macella and estimated populations of sites. This reveals that there is a series of relationships between these measures that are not only consistent with wider theoretical and empirical expectations, but also have the potential to alter dramatically our understanding of macella by revealing the connections between the sizes and capacities of these structures and the wealth, connectivity, and integration of settlements.

L'organisation spatiale des maisons pompéiennes et les effets produits par les décors qui en ornaient les murs restent des champs d'investigation très dynamiques après des décennies de synthèses produites à leur sujet. Et le regain d'activité archéologique à Pompéi ces dernières années – assorti désormais d'une communication très abondante et efficace sur l'actualité des fouilles1 – ne fera sans doute qu'amplifier le phénomène dans les années à venir.

Time, place, and the rhythm of the seasons, essential constituents of ancient ritual, collaboratively shaped and channeled the experience of religious performance. Focusing on agricultural and civic time reckoning, this article investigates the orientations of the monuments at the extra-mural Sanctuary of the Thirteen Altars at Lavinium and their coordination with viticultural activities amid the shifting social and religious circumstances of the 6th and 5th c. BCE. The article will argue that the 6th- and 5th-c. altars were aligned in such a way as to face sunrise at a particular location on the horizon on two very particular days in the seasonal year. The altars at Lavinium, playing an important role in the emerging urban community's economic life, will be shown to be themselves a form of agentic seasonal timekeeping that closely determined the integration of local agricultural, religious, and economic practices.

Previous research has suggested that horse breeding, with the army as the intended buyer, was an important part of the local agrarian economy in the Roman Dutch eastern river area. Since it is very difficult to trace the origins of horses by traditional archaeozoological methods, strontium isotope analysis was used to investigate the origins of horses in both military and rural sites. These new data are integrated with data on horse frequencies and size to assess the economic importance of horses in rural communities in the eastern river area and further investigate possible supply networks. Both horse frequencies and horse size increase from the Early Roman period onwards, reflecting the significant economic importance of horses in this region. The laser ablation 87Sr/86Sr ratios show evidence for mobility in military horses but not in rural horses.

Research in Roman interior design and wall painting has undergone two major shifts in the past century. The first, in the 1980s, steered away from the tradition of purely art historical studies that had elucidated the basic principles of artistic developments, iconographies, and pictorial programs. Instead, researchers focused on the Roman house as a social space, with private and public zones inhabited by individuals of different social standing. The second shift, occurring in the new millennium, saw researchers returning to the decoration of the house; however, they were now more intrigued by the cognition and reception of the paintings and how they were conceived to create atmospheres, mnemonic paths, and impressions on their viewers. Simultaneously, important insights into the often-multifunctional use of space were provided by finds analysis.

This article seeks to contribute to the growing scholarship on object-focused Roman histories by expanding the conversation to previously overlooked archaeological finds from Roman Palestine. This case study focuses on “Northern Collar-Neck Lamps,” which have been found throughout Roman Galilee and date to the first two centuries CE. I argue that their distinctive high collar, perhaps designed to reduce spillage, also served as an affordance that invited additional modes of interaction, namely placing a supplemental reservoir for oil – such as a pierced eggshell – over the filling hole. Once set up, this would allow for a slow drip of oil to prolong illumination time without human intervention. This usage is suggested from chronologically and geographically proximate sources, namely early rabbinic literature: Hebrew and Aramaic writings from the first centuries that reference physical details and uses of hundreds of objects and could prove helpful for future material histories of the Roman era.

In 2003, rescue excavations at Piazzeta dell'Anfiteatro, Trento, identified an extramural funerary area dated to the 5th c. CE. The necropolis yielded 45 coins (3rd–5th c.), most of which were involuntary losses. Owing to the sound stratigraphy of the site, these coins present a reliable sample of coinage circulating in Tridentum during the 5th c. This study presents a brief synthesis of the transformations undergone by the Late Antique city, so as to understand the dynamics attested in Piazzeta dell'Anfiteatro, a description of the stratigraphic units that contained coins, and a detailed analysis of the coins from several perspectives. The aim is to improve our understanding of the Late Antique monetary history of the city and Trentino's territory.

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.