PREDGOVOR ________________________________________________ 9BY MIRJANA SANADER

FOREWORD ________________________________________________ 11BY MIRJANA SANADER

FUNERARY MONUMENTS FROM DALMATIA, ISTRIA AND THE CROATIAN PART OF PANONNIA. A COMPARATIVE STUDY _________ 13BY NENAD CAMBI

LES STELES FUNERAIRES A PERSONNAGES ORIGINE DES THMES, MODLES ET DATES TRAVERS LEMPIRE ROMAIN ________________________________ 31DE FRANOIS BRAEMER

FLEXIBLE INTENT: SHIFTING VALUES & DISCREPANT MEANINGS IN ROMANO-BRITISH RELIGIOUS SCULPTURE _____ 53BY MIRANDA ALDHOUSE-GREEN

CIVILIAN SCULPTORS AND THE CREATION OF ROMANO-BRITISH CIVILISATION IN SOUTHERN BRITAIN ____________________________________ 59BY MARTIN HENIG

TYPOLOGIE ET DCOR DES MONUMENTS FUNRAIRES DE LARMORIQUE ROMAINE ______ 65DES JEAN-YVES VEILLARD/YVAN MALIGORNE

LA TOMBE MONUMENTALE DE NASIUM (GAULE BELGIQUE): RFLEXIONS SUR LE SYMBOLISME DES GRANDS MONUMENTS SPULCRAUX DU NORD-EST DE LA GAULE _______ 75DE JEAN-NOL CASTORIO

IUPPITERGIGANTENSULEN IM MUSEUM VON METZ LA COUR DOR ________ 85VON HANNELORE ROSE UND ISABELLE BARDIS

DER SARKOPHAG DER CORNELIA IACAENA. EIN FRHER GIRLANDENSARKOPHAG IN ARLES ____________________________________________________ 91VON STEPHANIE BHM

BERLEGUNGEN ZUR FORTUNA VON BERMEL _____________________________________________ 95VON PATRICIA SCHWARZ

EINE SCHILDAMAZONOMACHIE AUS NASSENFELS ________________________________________ 101VON GERHARD BAUCHHENSS

BAUPLASTIK AUS DEM BEREICH DES PODIUMTEMPELS VON BADENWEILER (D) ______________________________________ 107VON GABRIELE SEITZ

AUGUSTA RAURICA, EINE STATUETTENGRUPPE AUS WEISSEM PFEIFENTON _________________________ 115VON TEODORA TOMASEVIC BUCK

ATTIS, PARTHER UND ANDERE BARBAREN. EIN BEITRAG ZUM VERSTNDNIS VON ORIENTALENDARSTELLUNGEN AUF GRABSTEINEN DER NRDLICHEN PROVINZEN ______________________________________________ 121VON ALICE LANDSKRON

BEMERKUNGEN ZU DEN FREISTEHENDEN GRABMEDAILLONS IN NORICUM _________________ 131VON ELISABETH WALDE

DIE DIONYSISCHEN DREIFIGURENRELIEFS VON HARTBERG UND BAD WALTERSDORF (STEIERMARK) ____________________________________________ 141VON ERWIN POCHMARSKI

UND MARGARETHA POCHMARSKI-NAGELE

SPUNTI DI RIFLESSIONE SU ALCUNI ASPETTI DEL CULTO DI BELENO E DI ANTINOO ___________________________________________ 157ANNALISA GIOVANNINI

MANI ALZATE, MAINS LEVES, ERHOBENE HNDE. A PROPOSITO DI UN SARCOFAGO DELLA COLLEZIONE DI FRANCESCO DI TOPPO ___________________________ 175BY FULVIA CILIBERTO/FULVIA MAINARDIS

CULT AND MYTHOLOGICAL REPRESENTATIONS AS DECORATIVE ELEMENTS OF PUBLIC BUILDINGS IN ROMAN POLA ________________________________________ 185BY KRISTINA DIN

SADRAJ

RELIEFS AND SCULPTURES OF DEITIES AND MYTHOLOGICAL REPRESENTATION AS DETERMINING FACTORS OF THE SPIRITUAL LIFE IN ANTIQUE ISTRIA _____________ 191BY VESNA GIRARDI-JURKI

STATUE OF A ROMAN GODDESS FROM THE FORUM OF PULA ________________________ 197BY ALKA STARAC

THE ICONOGRAPHY OF INDIGENOUS CULTS IN NORTHERN LIBURNIA _________________ 201BY ROBERT MATIJAI

AFTERLIFE IDEAS ON MILITARY MONUMENTS IN NARONA HINTERLAND _____ 205BY RADOSLAV DODIG

RELIGION AND MYTH ON MONUMENTS FROM ZADAR AND SURROUNDINGS IN THE ARCHAEOLOGICAL MUSEUM IN ZADAR _________________________________________________ 213BY KORNELIJA A. GIUNIO

KULTSKULPTUREN AUS DER ANTIKEN STADT SENIA __________________ 223VON MIROSLAV GLAVII

RELIEFS OF THE LABOURS OF HERACLES ON A ROMAN SARCOPHAGUS IN THE CHURCH OF ST CAIUS IN SOLIN _______ 229BY JASNA JELII-RADONI

RELIGIOUS TESTIMONIES FOUND ON ROMAN GEMS FROM DALMATIA KEPT IN THE ARCHAEOLOGICAL MUSEUM IN VENICE ___________________________237BY BRUNA NARDELLI

HVCVSOVE THIS IS WHERE SACRIFICES WERE OFFERED ARCHAEOLOGICAL FINDS IN THE SUBSTRUCTIONS OF DIOCLETIANS PALACE IN SPLIT ______________ 243BY TAJMA RISMONDO

SOME EXAMPLES OF LOCAL PRODUCTION OF MITHRAIC RELIEFS FROM ROMAN DALMATIA _________________________________________________ 249BY GORANKA LIPOVAC VRKLJAN

DIANA AND THE FAWN ______________________________ 259BY MARINA MILIEVI BRADA

TYPOLOGY OF MITHRAIC CULT RELIEFS FROM SOUTH-EASTERN EUROPE __________________ 269BY ELJKO MILETI

THE ANCIENT CULTUAL UNITY BETWEEN THE CENTRAL ADRIATIC LITTORAL AND THE DELMATIAN HINTERLAND ____________ 275BY MARIN ZANINOVI

EINE UNVERFFENTLICHTE GRABSTELE AUS TILURIUM _________________________________281VON DOMAGOJ TONINI

FORTUNA-NEMESIS STATUES IN AQUINCUM __ 287BY KRISZTINA SZIRMAI

EIN JUPITERTORSO AUS DEM AUXILIARKASTELL IN IA (SLOWAKEI) ____________ 293VON KLRA KUZMOV

RMISCHE GTTER UND MYTHISCHE GESTALTEN AUS POETOVIO AUF STEINDENKMLERN IM LANDESMUSEUM PTUJ ____________________________ 299VON MOJCA VOMER GOJKOVI

JNGLINGSGESTALTEN MIT WAFFE AUF PANNONISCHEN GEMMEN ___________________ 305VON TAMS GESZTELYI

MACHTSPLITTER ARCHITEKTURTEILE AUS DER KAISERRESIDENZ SIRMIUM (SREMSKA MITROVICA) _______________________________ 311VON CHRISTINE ERTEL

EINE NEUE BILDHAUERWERKSTATT IM OBERLAND DES BALATON (PLATTENSEE)? ___________________________________________ 319VON SYLVIA PALGYI

DIE GIGANTEN VOM PFAFFENBERG BEI CARNUNTUM _______________________________________ 329VON GABRIELLE KREMER

DURCHBROCHEN GEARBEITETE WEIHRELIEFS AUS DAKIEN __________________________ 337VON ALFRED SCHFER

CULT SYMBOLS AND IMAGES ON FUNERARY MONUMENTS OF THE ROMAN PERIOD IN THE CENTRAL SECTION OF DARDANIA ___________________________________________ 343BY EXHLALE DOBRUNA-SALIHU

DIE PLASTISCHE AUSSTATTUNG VON HEILIGTMERN DES THRAKISCHEN REITERS IM TERRITORIUM VON PHILIPPOPOLIS (PLOVDIV) __________________ 351VON MANFRED OPPERMANN

NOVAE STELES WITH REPRESENTATIONS OF BIRDS ______________ 363BY PIOTR DYCZEK

PAST AND PRESENT: NOTES ON THE IDENTITY OF ROMAN IMPERIAL SMYRNA ____________________ 373BY CARLO FRANCO

OMNIPOTENS ET OMNIPARENS DEA SYRIA. ASPECTS OF HER ICONOGRAPHY __________________ 381BY ILONA SKUPINSKA-LOVSET

ANTAIOS, AN EGYPTIAN GOD IN ROMAN EGYPT: EXTRACTING AN ICONOGRAPHY _________________ 389BY DONALD BAILEY

THE PAMPHILI OBELISK: TWO NOTES ON PHARAONIC ELEMENTS IN DOMITIAN IDEOLOGY ____________________________ 399BY EMANUELE M. CIAMPINI

ROMANIZING BAAL: THE ART OF SATURN WORSHIP IN NORTH AFRICA _____________________________________ 403BY ANDREW WILSON

THE SYNCRETISM OF BELIFES AS EXPRESSED IN ROMAN PROVINCIAL SCULPTURE ____________________________ 409BY CLAIRE K. LINDGREN

BERALL (GTTER)GLEICH? THEOMORPHE BILDNISSE DER FRAUEN DES RMISCHEN KAISERHAUSES __________________ 415VON ANNETTA ALEXANDRIDIS

DIE TREFFLICHE GRUPPE DER FLUCHT DES NEAS. EIN TROIANISCHES THEMA IN DER PROVINZ: DIE AENEAS-GRUPPE IN STUTTGART UND VERWANDTE DARSTELLUNGEN. ZU IKONOGRAPHIE UND BEDEUTUNG. _____________________________________ 423VON JUTTA RONKE

DIE BEFRACHTUNG GNGIGER GRIECHISCH-RMISCHER SYMBOLE MIT NEUEN RELIGISEN INHALTEN AUF DEN RELIEFS DER MITHRASMYSTERIEN ___________________________ 433VON MARIA WEISS

RMISCHE STEINDENKMLER IN DER WEB-PLATTFORM WWW.UBI-ERAT-LUPA.ORG ___________________________ 441VON FRIEDERIKE HARL UND KURT SCHALLER

STEIN RELIEF- INSCHRIFT'. KONTUREN EINES FORSCHUNGSPROJEKTES ___________________ 449VON CH. HEMMERS, ST. TRAXLER, CH. UHLIR

UND W. WOHLMAYR

EIN NEUFUND AUS DER STEIERMARK ___________ 455VON BERNHARD HEBERT

PROGRAM KOLOKVIJA (PROGRAMM, PROGRAM, PROGRAMME) ________ 457

SUDIONICI (TEILNEHMER, PARTICIPANTS, PARTICIPANTS) _____________________ 459

The earliest name for the Roman colony of Pula is mentioned by Pliny the Elder in his work Natu-ralis Historiae (3, 129): colonia Pola, quae nunc Pietas Iulia. The forming of the Pola Colony dates to the time of Caesar. As the colony of Caesariana, it was founded between 46 and 45 B.C. with the goal of being one of many strongholds of Roman conquest on the Adri-atic, from Trieste to Greece. The task of foundation wasentrusted to Caesars kin and friends: his father-in-law and titled duumvir L. Calpurnius Piso Caesonius and leg-ate L. Cassius Longinus, brother to Caesars later assassin.1

A plaque with the names of the two duumvirs and founders of the colony Pietas Iulia stands built into the Hercules Gate decorated by the head of Hercules, the oldest city gateway of the colony of Pola, raised on the site of the ancient, pre-historic hill fort entrance.2

After the civil war of 42 B.C., among the Triumvi-rate of Octavian, Antony and Lepidus on the one hand and Caesars assassins Brutus and Cassius on the other, Pula, as a faithful follower of Caesars assassins, was rav-aged and demolished following Octavians victory at

Actium in 31 B.C. The crucial geo-strategic and politi-cal stronghold of Pola was soon rebuilt for Octavian-Augustus, however, and as a symbol of the victory at Actium, one of the most beautiful of the Augustus age triumphal arches was raised at some point between 29 and 27 B.C. in Pula; the Triumphal Arch of the Sergii family, a masterpiece of Roman architecture.3

By designing the city in accordance with Roman ur-ban custom as the pars inferior, and expanding the city limits to include the city hill pars superior, Augustus transformed Pula into an imperial city with all the essen-tial elements of its majestic demeanour, conducting the underlying policy ruled by the slogan pax Iulia. At this stage, the most monumental and striking examples of the Roman architectural tradition were built in Pula: the great amphitheatre, a spacious Roman outdoor theatre, a small theatre in the city itself and Augustus Temple.4

The Arch of the Sergii family in Pula certainly belongsto the first group of