CORPUS SIGNORUM IMPERII ROMANI CORPUS OF SCULPTURE OF THE ROMAN WORLD SLOVENIA VOLUME I, FASCICLE I POETOVIO SARCOPHAGI and ASH CHESTS BOJAN DJURIĆ Poetovio FINAL.indd 1 Poetovio FINAL.indd 1 4. 09. 2025 15:29:31 4. 09. 2025 15:29:31 CSIR Slovenia I.1. Poetovio: Sarcophagi and Ash Chests Author: Bojan Djurić Peer-review: Branka Migotti, Sanja Pilipović Translation: Andreja Maver Cover photo by: Bojan Djurić Copy-editing: Andreja Maver Published by: University of Ljubljana Press, Ptuj – Ormož Regional Museum, Slovenian Acade- my of Science and Arts Issued by: University of Ljubljana Press, Faculty of Arts For the publisher: Gregor Majdič, rector of the UL, Aleksander Lorenčič, director of the PMPO, Peter Štih, president of the SASA For the issuer: Mojca Schlamberger Brezar, Dean of the Faculty of Arts, University of Ljubljana Design and layout: Bora and Nives Zupančič Printed by Collegium graphicum Ljubljana, 2025 First Edition Number of copies printed: 200 Price: 60 EUR This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License (except photographs). The book was published with the support of the Slovenian Research and Innovation Agency (ARIS). First e-edition. Publication is available in open access at / Publikacija je v digitalni obliki prosto dostopna na: https://ebooks.uni-lj.si/ZalozbaUL DOI: 10.4312/9789612976378 Kataložna zapisa o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani Tiskana knjiga COBISS.SI-ID=246759939 ISBN 978-961-297-638-5 (Založba Univerze v Ljubljani) E-knjiga COBISS.SI-ID=246670339 ISBN 978-961-297-637-8 (Založba Univerze v Ljubljani, PDF) Poetovio FINAL.indd 2 Poetovio FINAL.indd 2 4. 09. 2025 15:29:31 4. 09. 2025 15:29:31 For Vida Brunčič and Prof. Jože Kastelic Poetovio FINAL.indd 3 Poetovio FINAL.indd 3 4. 09. 2025 15:29:31 4. 09. 2025 15:29:31 Poetovio FINAL.indd 4 Poetovio FINAL.indd 4 4. 09. 2025 15:29:31 4. 09. 2025 15:29:31 TABLE OF CONTENTS Preface .…...................................….….…....….….……….……….…… ….….....….……….. 6 Introduction History of research ............................................................................................................ 7 Contexts ………................................................................................................................ 9 Territory of Poetovio ......................................................................................................... 15 Materials Marble ................................................................................................................................. 17 Limestone ……….….....................................................................................................… 20 Formal structure Marble sarcophagi ……...................................................................................................... 21 Marble ash chests ……........................................................................................................ 25 Norico-Pannonian volute ................................................................................................. 29 Sarcophagi of limestone …..................................................................................................... 32 Ash chests of limestone …...................................................................................................... 33 Iconography Sarcophagi .......................................................................................................................... 34 Ash chests ........................................................................................................................... 34 Portraits or images of the deceased .................................................................................... 36 Seasons – Tempora Anni..................................................................................................... 40 Eros (and Psyche) ............................................................................................................. 43 Pairs of erotes ....................................................................................................................... 44 Mourning erotes .................................................................................................................. 45 Attis or the mourning shepherd ....................................................................................... 46 Mythological motifs ............................................................................................................ 47 Dionysian motifs ................................................................................................................... 48 Conclusion ....................................................................................................................................... 51 References .................................................................................................................................... 53 Catalogue .......................................................................................................................................... 69 List of provenance for the sarcophagi ....................................................................................… 116 List of provenance for the ash chests ........................................................................................… 117 List of museums and other locations of the sarcophagi ......................................................… 118 List of museums and other locations of the ash chests ........................................….…......… 119 List of tables ………………………………………………...….……..……….….…….…… 123 List of figures …………………………………….….…………..….…….….…..….............. 127 List of marble analyses ………………………………….….…….………….…….….......... 130 Tables 1 – 42 .................................................................................................................................... 133 Poetovio FINAL.indd 5 Poetovio FINAL.indd 5 4. 09. 2025 15:29:31 4. 09. 2025 15:29:31 PREFACE The decision to publish the Slovenian section of the Corpus Signorum Imperii Romani series dates back to the late 1970s, when François Braemer, then president of the international CSIR project, visited Prof. Jože Kastelic in Ljubljana. They foresaw the CSIR SLO to be published in five parts: two for the two Roman colonies on the territory of Slovenia (Emona, Poetovio), two for the two mu- nicipia (Celeia, Neviodunum) and one for the Slovenian part of the territories of Aquileia and Tergeste. The Slovenian part of the territory belonging to the municipium of Salla was to be incorporated into the Poetovio part. The first volume, now before you, respects this division. It is the result of many years dedicated to studying the stone monuments of Poetovio in the context of the stone productions in Noricum and Pannonia. Only by considering the monuments in the appropriate context has it been possible to understand the dynamics of their production and distribution, as well as their iconographic and stylistic characteristics. Particular attention has been paid to analysing the stones from which the monu- ments were made. The specialist geological analyses have not been entirely concluded, but the available results nevertheless offer new and detailed insights into the structure and specificities of the stone monuments of Poetovio; without these analyses, our knowledge would be considerably more limited. This publication would not have been possible without the kind support of the staff of the Ptuj – Or- mož Regional Museum (PMPO). Throughout the many years of research, they welcomed my frequent visits to the now dismantled stone collection in the old Ferk Museum and to the museum storage facili- ties. The generous help of the museum’s curators of archaeology, Mojca Vomer Gojkovič in particular, enabled me to exhaustively examine the more than a thousand stone monuments kept in the museum, which have been completely inaccessible to the general and professional public for some years now. The revision of the stone monuments, which Mojca and myself were preparing for several years, was interrupted in 2011 when all archaeological collections were removed from the building of the former Dominican Monastery; it still awaits more favourable times. For the purposes of completing this book, Ivan Žižek, Aleksandra Nestorović, Iva Ciglar and Luka Pukšič have granted me privileged access to some of the monuments, while Valerija Lešnik enabled me to peruse the museum records. I further wish to express my gratitude to the consecutive directors of the museum, namely Marjeta Ciglenečki, Boris Miočinović, Aleš Arih and Aleksander Lorenčič. For the information on the Poetovio monu- ments kept in other collections, my thanks go to Vesna Koprivnik from the Pokrajinski muzej Maribor, Bernhard Hebert and Stephan Karl from Graz and Manuela Laubenberger from the Kunsthistorisches Museum in Vienna. For the information and help with the monuments built into various buildings across Ptuj and elsewhere, I would like to thank Marija Lubšina Tušek, Ivan Tušek and Stanko Gojkov- ič from Ptuj, Mira Strmčnik and Mihela Kajzer from Maribor, Primož Predan from Slovenska Bistrica and Marija Javornik from Koritno near Oplotnica. I would like to thank Anja Ragolič for her immense help with some of the inscriptions and photographs. Special thanks go to Branka Migotti from Zagreb for numerous discussions and a critical review of the manuscript. The late Harald W. Müller, from Spittal an der Drau, and Igor Rižnar from Ljubljana were crucial in identifying the rocks used in producing the stone monuments. My sincere thanks go to both. I would also like to thank the many colleagues and others not mentioned by name who have contribut- ed to the successful completion of this work, especially my students, who have devoted a considerable amount of their time to the study of the Poetovio monuments. It has been a pleasure to work with each and all of them. 6 Poetovio FINAL.indd 6 Poetovio FINAL.indd 6 4. 09. 2025 15:29:31 4. 09. 2025 15:29:31 The translation of the book was entrusted to Andreja Maver, who undertook the task with meticulous dedication. To her go my sincere thanks. Coincidence would have it that the first volume of the CSIR SLO was completed in the year in which the University of Ljubljana celebrated its centenary of archaeological studies. That is, if one chooses to believe in coincidences. INTRODUCTION History of research The sarcophagi and ash chests of Poetovio are a distinct and characteristic form of sepulchral monuments in this Roman town. They form part of an extensive stone production that mainly exploited the marble deposits in the Pohorje Mountains (Slovenia),1 to a lesser extent marble from Gummern (Austria). Miocene limestone was also used, albeit rarely, the origin of which has as yet not been positively identified.2 The vast majority of the known stone products have survived in the modern-day city of Ptuj and its surroundings, and have been the subject of epigraphic studies and collection interests3 since the early 16th century.4 The more than four centuries of preponderantly epigraphic interest have decisively marked the pre-modern and modern perception of the Roman stone products as carriers of primarily historical information. The international project Corpus Signorum Imperii Romani, launched in 1963,5 adopted the tradition of Espérandieu6 and shifted the focus on the iconography of the stone monuments across the Roman provinces; this was the con- sequence of a general shift of interest in other aspects of the monuments that took place at that time. Today, the Ubi Erat Lupa online database7 incorporates both the epigraphic and the icono- graphic aspects of the Roman stone monuments from across the Roman Empire. It is founded on the guidelines formulated by Alexander Conze8 and, later on, the major AIDR-Wien project9 and Arnold Schober as its main driving force.10 Within this project, Erna Diez (Luz)11 collaborated with Balduin Saria,12 who was then engaged in reorganising the Ptuj Museum.13 In the summer of 1943, 1 Quarry complexes have been identified at Šmartno na Pohorju/Frajhajm above Slovenska Bistrica, Hudinja above Vitanje and Črešnova above Zreče. 2 Most of the limestone presumably comes from the quarries at Kamenščak near Spodnji Duplek, along the River Drava. The large quarry complex at Reberca (the stone referred to as ‘Barbara limestone’) near Spodnja Korena and the complex at Osek near Sv. Trojica are also considered Roman in the archaeological literature. 3 Augustinus Prygl Tyfernus (1470/79–1535/37), Petrus Apianus (1495–1552). 4 For a historical overview of the interest in and study of the stone products, mainly inscriptions, see Pahič 1977a, 23–31. 5 https://www.corpussignorum.org/csir/home 6 Recueil général des bas-reliefs, statues et bustes de la Gaule romaine 1908–1938. 7 Friederike and Ortolf Harl, lupa.at (Bilddatenbank zu antiken Steindenkmälern). 8 During his time at the University of Vienna between 1869 and 1877. For the starting points of the online database, see Harl 2020. 9 Außenstelle Wien des Archäologischen Instituts des Deutschen Reiches; the name of the Österreichisches Archäologisches Institut (ÖAI) between 1939 and 1945. 10 The project entitled Die römischen Steindenkmäler der Ostalpenländer (der Alpen- und Donaugaue) in four volumes. The first volume (Gau Steiermark) was the responsibility of the Archaeologisch-epigraphische Seminar der Universität Graz, under the leadership of Arnold Schober and Balduin Saria (cf. Rindler 2004). 11 For her biography, see Gustmiedl-Schümann 2013 with references. 12 For his biography, see Mlinar 2019. 13 His guide to Ptuj and its surroundings was published several years later (Saria 1943). 7 Poetovio FINAL.indd 7 Poetovio FINAL.indd 7 4. 09. 2025 15:29:31 4. 09. 2025 15:29:31 she created a subject and photographic database of the monuments in and around Ptuj.14 This cor- pus, planned during the war, was never completed due to the changes that occurred after the end of the war.15 The stone monuments in the Ptuj museum were again photographed in 1957,16 some also in 200517 and 2009,18 and again when the archaeological collection was forced to be removed from the premises of the former Dominican Monastery, i.e. the old Ferk Museum, in 2011.19 Stanko Pahič very meticulously recorded and published the stone monuments located outside Ptuj.20 The stone monuments from Poetovio were most recently discussed by Anja Ragolič, who focused on the epigraphic evidence.21 Rajko Ložar was the first to systematically study the sarcophagi from Noricum and Pannonia,22 on the initiative of his professor and mentor Arnold Schober.23 He rightly included ash chests in the catalogue of his dissertation, arguing that the elongated shape of their chests is similar to that of the sarcophagi, and their size similar to that of the child sarcophagi.24 The striking formal similarity with sarcophagi and ash chests, however, led him to erroneously include the inscription plate of a collegium iuventutis25 and a slab of an aedicula tomb26 in his catalogue for Poetovio.27 Ložar’s disser- tation was never published and was therefore, it would appear, never used by later researchers. It is not mentioned in the first publication of the Roman sarcophagi in Yugoslavia by Aleksandrina Cermanović;28 similarly as Ložar, her catalogue includes ash chests, which are consistently referred to as sarcophagi.29 Erna Diez specifically studied the ash chests of Poetovio,30 again without men- tioning Ložar, and listed in her catalogue 25 ash chests31 and four sarcophagi from Ptuj known to her at the time. In their overview of Roman sarcophagi from 1982, Guntram Koch and Hellmut Sichtermann summarised the extant knowledge,32 though giving several erroneous identifications.33 14 Rindler 2004. 15 The surviving part of the work done in Ptuj is now kept in the Institut für Archäologie Graz (Rindler 2004, 346). Some of the photographs are included in the Ubi Erat Lupa database. 16 Photographer Srečo Habič on the request of Iva Mikl, curator at the Ptuj museum. The b/w 6 × 9 cm negatives are held in the Heritage Information and Documentation Centre (InDoc Centre) at the Slovenian Ministry of Culture. 17 Ortolf Harl for the Ubi Erat Lupa online database. Copies of the digital photographs are kept in the PMPO. 18 Photographer Milan Pajk on the request of Bojan Djurić. Coloured slides 6 × 6 cm, taken with a Hasselblad 501c camera, kept in the PMPO. 19 Photographed by Bojan Djurić and Edisa Lozić, digital photographs also kept in the PMPO. 20 Pahič 1977a; photographs kept in the Maribor Regional Museum. 21 Ragolič 2023; the publication of the sepulchral monuments as the first part of Inscriptiones latinae Sloveniae 2/1. Poetovio. 22 Ložar 1927; for a discussion on his dissertation, see Šmid 2015. 23 For his biography, see Wlach 2014. 24 Ložar 1927, 48. 25 Graz, Universalmuseum Joanneum, Inv. No. 61; CIL III 4045; Hoffiler – Saria 1938, No. 341; Ložar 1927, No. 78. 26 PMPO RL 35; CIL III 13410; Hoffiler – Saria 1938, No. 393; Ložar 1927, No. 83. 27 It lists nine monuments, Nos. 75 to 83. 28 Only those from Noricum and Pannonia are published; Cermanović 1965. 29 Her catalogue for Pannonia includes seven monuments from the Ptuj area, erroneously also a slab with the relief of a nymph (Hoffiler – Saria 1938, No. 420; Lupa 6314). 30 Diez 1948; because of her cooperation with Arnold Schober (cf. Harl 2020; Wlach 2014, 462; Rindler 2004), she would very likely have been familiar with Ložar’s dissertation. 31 No. 13 in her catalogue is not an ash chest. 32 Koch – Sichtermann 1982, 328–329. 33 Possessing a detailed knowledge of the monuments in the Ptuj museum, Erna Diez avoided such errors. See Diez 1948, 152–153. 8 Poetovio FINAL.indd 8 Poetovio FINAL.indd 8 4. 09. 2025 15:29:31 4. 09. 2025 15:29:31 In 2001, Bojan Djuri ć published two articles on the sarcophagi34 and ash chests35 of Poetovio, pro- posing a new interpretation of how the characteristic tripartite division of the chests on both sar- cophagi and ash chests was created. In 2015, he also published the only frieze sarcophagus known in Pannonia.36 The last to discuss the sarcophagi and ash chests of Poetovio together with those from Celeia was Erwin Pochmarski.37 His analyses of the chronologically diagnostic iconographic elements on them have enabled a more precise dating of these monuments, though it should be noted that his overviews of the sarcophagi and ash chests from Poetovio include some examples that do not belong there.38 Contexts From their creation onwards, Roman sarcophagi and ash chests were subject to different fates and reuses (Figure 5). Many were already reused in Late Antiquity,39 a practice observable across the Roman Empire,40 while others were reused later. They remained in such secondary functions at least throughout the medieval and modern periods. In Slovenia, they were recorded as such only from the 19th century onwards. Ash chests and their lids served as drinking troughs for livestock or as quench tanks in smithies; examples of these include the lid from Draženci,41 ash chests from Ptuj,42 Velika Nedelja,43 Šmartno na Pohorju44 and Maribor,45 while one ash chest46 was transformed into a wash basin in the Minorite Monastery in Ptuj towards the end of the 16th or beginning of the 17th century. Similarly for sarcophagi, one chest from Orešje47 was also used as a drinking trough, while the bottom of another chest48 was refashioned into a shallow wash basin in the Minorite Monastery in Ptuj. The bottom of a sarcophagus chest,49 built into the west Renaissance roundel (bastion) of the Ptuj city walls, next to the Dominican Monastery, was reused as a firm footing for a heavy weapon. Many of the known fragments of sarcophagi and ash chests have been recycled as building material (41% of all known pieces), most of them intentionally reduced to an appropriate size. They were 34 Djurić 2001b. 35 Djurić 2001a. 36 Djurić 2015. For several new and different identifications, see the descriptions in the catalogue below. 37 Pochmarski 2014b; 2015. 38 The relief block from Črešnjevec (Pochmarski 2014b, 355, Fig. 3; Kremer 2001, 207, No. 113; Lupa 4695) is part of an aedicula tomb, not an ash chest. The slab with the scene of Iphigenia escaping from Tauris, built into the church of St John the Baptist in Dravinjski vrh (Šubic 1975; Lupa 4275), is also part of an aedicula tomb rather than an ash chest as thought previously (correctly in Lupa 4275). The fragmented relief with a naked male figure with a cloak (Ptuj, Mestni stolp, RL 781, Lupa 4844) is part of a funerary stela. The slab with the depiction of a nymph held in PMMb (not in PMPO as stated in Lupa 6314) is not part of a sarcophagus (Pochmarski 2016; Pochmarski – Handy 2020, 53), as was revealed when the relief was removed from the wall of the museum in 2004. 39 An example is the ash chest lid (Cat. No. 99), which served as the base of an inhumation grave in the northern cemetery of Poetovio; Šubic 1967, 94. 40 See e.g. Murer 2018; 2022; Beutler 2019. 41 Cat. No. 125. 42 Cat. No. 44; Cat. No. 89. 43 Cat. No. 49. 44 Cat. No. 44. 45 Cat. No. 44. 46 Cat. No. 48; now in the Minorite church in Ptuj. 47 Cat. No. 4. 48 Cat. No. 7. 49 The bottom (Cat. No. 21) was partially uncovered and documented in 2022, then left in situ. 9 Poetovio FINAL.indd 9 Poetovio FINAL.indd 9 4. 09. 2025 15:29:31 4. 09. 2025 15:29:31 Figure 1. Marble spolia used in the construction of Ptuj Castle, here shown in the east façade of the west tower Figure 2. Foundations with marble spolia: Črešnjevec, church of St Michael, southwest corner of the first church (left), and Veliko Tinje, church of Sts Peter and Paul, northwest corner (right) 10 Poetovio FINAL.indd 10 Poetovio FINAL.indd 10 4. 09. 2025 15:29:31 4. 09. 2025 15:29:31 Figure 3. Marble spolia reused as building blocks in the south wall of the Romanesque church of St Michael in Črešnjevec Figure 4. Quoins of marble spolia in the Romanesque bell tower of St Michael’s church in Šmartno na Pohorju (left) and in the church of St Margaret of Antioch in Kebelj (right) 11 Poetovio FINAL.indd 11 Poetovio FINAL.indd 11 4. 09. 2025 15:29:32 4. 09. 2025 15:29:32 Figure 5. Various uses of the known sarcophagi and ash chests of Poetovio, expressed in percentage (key: 1 – primary use; 2 – secondary use in Antiquity; 3 – damaged in Antiquity; 4 – secondary use in post-Antiquity; 5 – building material; 6 – intentional display; 7 – unknown employed to strengthen the foundations and corners of churches and their bell towers (Figures 1–4),50 in many places also as ordinary construction material for buildings, both sacred and secular.51 Intentional display of sarcophagi and ash chests was rare (8 or 6%) and mainly known from church facades, though the date when this occurred is unknown. Examples include the front of the frieze sarcophagus,52 which was built into the south wall of the presbytery of the old church of St Martin in Hajdina, and the acroterium of a sarcophagus lid53 built into the east wall of St Stephen’s church in Spodnja Polskava. Particularly interesting among the ash chests is a fragment54 in the presbytery of the church of the Dominican Monastery in Ptuj, built in the interior above the door leading from the presbytery to the monastery. Here, a pagan mourning erot was transformed into a Chris- tian winged angel by removing his genitals.55 An ash chest56 was likely intentionally built into the north-east corner of the parish church in Studenice, with the inscription facing the visitor, similarly 50 Characteristic use in the Romanesque and Early Gothic churches in southern Pohorje (Šmartno na Pohorju, Veliko Tinje, Kebelj), where the local rock is mainly schistose gneiss that is unsuitable for the solid quoin masonry. Many of the marble pieces of sepulchral monuments used in these churches can be seen as evidence of the medieval trade in ancient spolia in the wider area of Ptuj. 51 In Ptuj for the construction of the church of St George, the west tower of Ptuj Castle and numerous medieval houses, in Črešnjevec for the church of St Michael and its precinct wall, similarly in Videm near Ptuj and nearby Dra- vinjski vrh. All the early churches in the wider area of Ptuj have built-in ancient spolia. 52 Cat. No. 1. 53 Cat. No. 32. 54 Cat. No. 59. 55 The identification as Psyche, as proposed by Hoffiler and Saria (1938) and accepted by Lupa 3776 (now changed), is erroneous. 56 Cat. No. 74. 12 Poetovio FINAL.indd 12 Poetovio FINAL.indd 12 4. 09. 2025 15:29:32 4. 09. 2025 15:29:32 as the lids with the images of the deceased in the west wall of St Margaret’s church in Pernica57 and in the north wall of the Marian church in Slivnica pri Mariboru.58 Another possibly intentionally displayed piece is the lid fragment59 with the images of three deceased built into the interior south wall of St Michael’s church in Črešnjevec. It is not possible to reliably establish how many sarcophagi and ash chests were broken up and thrown into limekilns from Late Antiquity onwards.60 We can, however, propose an estimate using the calculations of Guntram Koch who attempted to calculate this share for the Attic sarcophagi,61 and found that between one and two per cent survived. The 130 known Poetovio sarcophagi and ash chests, or parts thereof, include at least 17 (13%) that were discovered in their original context in cemeteries, though we have almost no information on their stratigraphic position and exact location.62 We are lacking stratigraphic data even when archaeologists were present at the discoveries.63 Stratigraphic evidence is only available for a single sarcophagus,64 which was found to be positioned 1.85 m below the surface65 and not visible to the visitors to the cementery66 (Figure 6). Examples with anathyrosis or a sunken centre67 of the stand- Figure 6. Stratigraphic position of a sarcophagus upon discovery (Cat. No. 3; Šubic 1972) 57 Cat. No. 98. 58 Cat. No. 99. 59 Cat. No. 103. 60 For the use of the sepulchral monuments of Poetovio in the production of lime already in Antiquity, see Tušek 1984. 61 Koch 2015, 154–157. 62 The cemeteries of Poetovio, similarly as the building remains of the colony, are believed to have suffered greatly from an extremely negative attitude of the post-war city administrations and the vast majority of the inhabitants of Ptuj towards the archaeological remains of Poetovio. 63 Sarcophagi: Cat. Nos. 2, 3, 80, 82. 64 Sarcophagus Cat. No. 3, excavated by Zorka Šubic. 65 The drawing of the stratigraphy shows that the top of the lidded sarcophagus was level with the ground and then covered with a layer of soil (colluvium/alluvium?), which casts some doubt on the excavator’s published information on the depth of the cut made to receive the sarcophagus. 66 For the invisible sarcophagi, see Meinecke 2012. 67 A sarcophagus with a sunken underside is also less heavy. 13 Poetovio FINAL.indd 13 Poetovio FINAL.indd 13 4. 09. 2025 15:29:32 4. 09. 2025 15:29:32 40 35 30 25 20 15 10 5 0 inscription inscription decoration no inscription and decoration only only and no decoration SARCOPHAGI ASH CHESTS Figure 7. Incidence of inscriptions and decorations on the known sarcophagi and ash chests of Poetovio, expressed in percentage ing surface indicate that some sarcophagi and ash chests were placed on a flat footing rather than directly on or below ground. Apart from the difference in the type of buried human remains (cremated or inhumed), the basic functional difference between sarcophagi and ash chests is that the latter are in fact primarily family tombs, similar to aedicula tombs, whereas sarcophagi are primarily (though not always) intended for a single deceased, sometimes two. Ash chests must therefore have been accessible for subse- quent burial over a certain, lengthy period of time, not so sarcophagi. We could presume that sar- cophagi were more commonly inaccessible/invisible compared with ash chests, with inscriptions and decoration playing no major role.68 Indirectly, examples of marble chests without inscription69 and decoration,70 which are twice as numerous among the known sarcophagi than among the ash chests, may speak in favour of the monument/grave being invisible to the viewer or passer-by (Figure 7).71 There is, however, another piece of indirect evidence, which seems more compelling. Most of the completely preserved sarcophagi and ash chests in Pannonia must have been in some manner inaccessible for medieval and later reuse of materials, especially marble, which was ideal for lime production. The sarcophagi and ash chests placed in crypts72 or buried under ground were hidden from looters, though they could also have been buried under the topsoil following a natural 68 In connection with the lavishly decorated ‘invisible’ Metropolitan sarcophagi, Katharina Meinecke notes that their decoration could be admired at the home of the deceased during the exsequiae, when the body was laid on display (Meinecke 2012, 102). 69 The inscription could also have been painted, though there is as yet no evidence of this. 70 The number only includes the ash chests and sarcophagi with a tripartite front. 71 The ash chest with the burial of a child unearthed in the eastern cemetery of Poetovio (Cat. No. 83; Tušek 1992a) could possibly be seen in the function of a sarcophagus. 72 A good example is the sarcophagus found in 1997 at Šid-Beljnjača (Pop Lazić 2008). 14 Poetovio FINAL.indd 14 Poetovio FINAL.indd 14 4. 09. 2025 15:29:32 4. 09. 2025 15:29:32 disaster. A good example of buried and completely preserved73 sarcophagi are the Late Roman sarcophagi of Miocene limestone.74 The completely surviving chests of marble should therefore also indicate their original position below ground, either buried or placed in crypts. Surprisingly, the share of known complete chests of the marble sarcophagi and ash chests of Poetovio is 31% for both,75 suggesting that roughly a third were placed below ground and that we cannot ascertain a considerable difference in that regard between sarcophagi and ash chests. Territory of Poetovio From the early 2nd century, colonia Ulpia Traiana Poetovio was a town on the River Drava in the prov- ince of Pannonia Superior, close to the border with the province of Noricum. At least from the early 1st century CE, a military fortress with canabae stood at the river crossing, the latter conferred the status of a colonia with the departure of the army under the reign of Trajan. The colony’s ad- ministrative territory is difficult to define precisely, as there is little solid evidence on its boundaries. Figure 8. Territory of Poetovio according to Horvat et al. 2003 73 Preserved to this degree because the stone was unsuitable for lime production. 74 There are 13 known examples at Ptuj. 75 Nine of the 29 chests of sarcophagi and 16 of the 52 of ash chests. 15 Poetovio FINAL.indd 15 Poetovio FINAL.indd 15 4. 09. 2025 15:29:32 4. 09. 2025 15:29:32 A summary of the discussions and definitions of its boundaries since the beginning of the 20th cen- tury, together with a proposed map based on these definitions, was published in 2003 by a group of archaeologists led by Jana Horvat76 (Figure 8). They proposed that the western boundary ran east of the foothills of the Pohorje Mt, crossed the Drava between Maribor and Starše, and continued Figure 9. Territory of Poetovio according to Ragolič 2014 76 Horvat et al. 2003. 16 Poetovio FINAL.indd 16 Poetovio FINAL.indd 16 4. 09. 2025 15:29:32 4. 09. 2025 15:29:32 in a north-easterly direction to the River Mura that represented the boundary approximately up to Sveti Martin na Muri. From there on, the boundary continued in the area between Ludbreg and Varaždinske Toplice and southwards to the Kalnik Hills, then westwards below the mountains of Ivanščica (Ivančica), Donačka gora and Boč. In a study specially dedicated to these boundaries from 2014,77 Anja Ragolič proposed new bound- aries for the Poetovio ager using the site catchment analysis and Thiessen polygons. According to this study, the territory includes the area of the eastern Pohorje Mt and the area of Maribor in the west, as well as the area south of Ivanščica (Ivančica) in the south (Figure 9). In the various corpora of stone monuments, territory is the category that provides the formal frame- work. In cases where the territory is intersected by modern state boundaries, the corpus is usually divided along modern boundaries.78 In the case of Poetovio, its territory extends into Austria to the north and Croatia to the east and south, but neither sarcophagi nor ash chests have come to light in these parts. The corpus of monuments from the Slovenian part published in this catalogue is thus also the complete corpus of sarcophagi and ash chests from the territory of Poetovio as delimited above. With regard to its boundaries, we should emphasise that the administrative boundaries of Roman autonomous towns are of little relevance to the study of the stone products, which easily crossed boundaries by trade in one direction or the other. Crucial in this respect are the centres of production and the transport routes by which the products reached their customers and buyers. These centres are linked to the sources of the stone used, which may be the property of a town or not. The numbers of products of different categories according to urban territories79 is therefore irrelevant, as it tells us nothing of their production or their customers. The administrative territory is a completely arbitrary category in the study of the Roman stone monuments. MATERIALS Marble Harald W. Müller analysed the marble used for the sarcophagi and ash chests from Poetovio in 2003 and 2004.80 He performed the analyses of the sarcophagi found elsewhere in Pannonia (Siscia, Aquae Balissae, Mursa, Sirmium) between 2005 and 2008.81 Methodology Using a diamond drill with a water-cooled bit, core samples measuring up to 4 cm in length and 12 mm in diameter were extracted from select monuments and prepared for laboratory analysis. The outer layer of rock, approximately 1 cm thick, was removed and the cores cleaned in diluted nitric acid (HNO ) to eliminate impurities. After several rinses with distilled water, the sample was 3 dried and ground to the analytical level in an agate mill. 77 Ragolič 2014. 78 E.g. Scarbantia: for the Hungarian part, see Farkas – Gabler 1994, for the Austrian part, see Krüger 1974. 79 E.g. Pochmarski 2014, 354. 80 The results were published in Djurić – Hebert et al. 2004. 81 The results for Siscia and Aquae Balissae were published in Migotti – Šašel Kos – Radman-Livaja 2018, those for Mursa in Djurić – Filipović – Müller 2009 and those for Sirmium in Djurić et al. 2006. 17 Poetovio FINAL.indd 17 Poetovio FINAL.indd 17 4. 09. 2025 15:29:32 4. 09. 2025 15:29:32 Stable isotope analyses (18O and 13C) The 18O and 13C stable isotopes were identified relative to the PDB standard introduced by Craig (1957). The pulverised marble (50 mg per sample) was treated with 100% phosphoric acid (H PO ) 3 4 o at 25 C in the interval of 24 hours. The obtained CO was collected in glass tubes, frozen to -70 2 o C with liquid nitrogen and then analysed. The δ 18 O values are given in permille and the δ 13 C values in relation to PDB; the results are given in Table 1. The analyses were conducted by Dr Michael Unterwurzacher, using the ThermoFisher Delta Plus XL and V PLUS MS (with the South Tyrolean Laas marble as the reference standard), and Dr Ana-Voica Bojar from Graz. Chemical analyses These were conducted using the ICP-MS technique, with 100 g of ground stone powder complete- ly dissolved in a PTFE tube containing an acid mixture (5 ml HNO-HClO 1:1, 10 ml HF). After 3 4 evaporation, the Na, Mg, Al, K, Sc, V, Cr, Fe, Mn, Co, Cu, Zn, Rb, Sr, Y, Cd, Ba, La, Ce, Eu, Hf, Th and U content was measured. Dr Heinz Fröschl performed the analyses at the Österreichisches Forschungszentrum Siebersdorf. The identification of the marble origins is the prerequisite for identifying the production centres and rests on the assumption that there was a two-phase production process (first phase involving structurally defined part-finished products completed in the second phase) and that the part-fin- ished products of different production centres were at least partially distinguishable from each other in terms of form. These production centres were generally located next to quarries, which then sent their products to various locations to be finished and delivered to the customers. This explanatory model allows the identification of the different types of products of individual stone- masonry workshops, their formal features and the spatial scope of their products. In principle, it also enables us to identify the workshops that finally decorated the stone products. The 41 marble sarcophagi from Poetovio or their fragments include 25 that were analysed, which represents 61% (Figure 10). Their marble was found to originate from Pohorje (21 or 84%) and Gummern (3 or 12%), while the results for one sample (4%) were inconclusive. The 86 marble ash chests from Poetovio or their fragments include 15 that were analysed, rep- resenting 17.4% (Figure 11). Their marble was found to originate from Pohorje (14 or 93%) and Gummern (1 or 7%). The results of the marble analyses show that the main source of raw material for the sarcophagi and ash chests of Poetovio and its territory was the Pohorje quarries located between Šmartno na Pohorju and Hudinja above Vitanje. These quarries have been incompletely investigated, although some attempts have been made.82 The attempts include the analyses of Harald W. Müller (Figure 12 and Table 1 on p. ?), which were the first archaeometric analyses of Pohorje marbles with the first ever integral publication of the analytical data.83 Alongside Pohorje marbles, the second source was found to be the quarry at Gummern near Villach/Beljak, in Austrian Carinthia, which was un- doubtedly the largest and most prominent quarry of Eastern Alpine marble in Antiquity.84 82 In addition to Harald W. Müller, archaeometric analyses of Pohorje marble have in recent years also been conducted by Simona Jarc (Jarc 2006) and Snježana Miletić (Miletić 2023). 83 Müller 2004, 368–383. 84 Müller 2007. 18 Poetovio FINAL.indd 18 Poetovio FINAL.indd 18 4. 09. 2025 15:29:32 4. 09. 2025 15:29:32 Figure 10. The δ18O and δ13C isotope diagram for Pohorje (blue) and Gummern marbles (green) used for the sarcophagi Figure 11. The δ18O and δ13C isotope diagram for Pohorje (blue) and Gummern marbles (green) used for the ash chests 19 Poetovio FINAL.indd 19 Poetovio FINAL.indd 19 4. 09. 2025 15:29:33 4. 09. 2025 15:29:33 Figure 12. The δ18O in δ13C isotope diagram of the samples taken from the known Pohorje quarries plotted against the data fields of Pohorje (blue) and Gummern marbles (green) according to Müller Limestone All the limestone sarcophagi and ash chests were made of Neogene limestone. This is white to yellowish limestone largely composed of the detritus of lithotamnian algae, bryozoans, mollusc shells, echinoderms and foraminifera. In geologic literature, it is generally known as lithotamnian limestone or Lethakalk. All the sarcophagi and ash chests were sampled and thin sections made from the samples that were then used for palaeontological analyses. The limestones were found to be of Lower Badenian age differing in principle only in the proportion of extraclasts and the presence of pelagic foraminifera. The extraclasts, which mainly belong to polycrystalline and mo- nomineralic quartz, are poorly rounded to sharp-edged with some larger grains, up to 5 mm in size, that are very well rounded, as well as carbonate grains. The extraclasts are predominantly also chloritised, i.e. weathered, and derived from metamorphic rocks. Badenian limestone in the Ptuj area lies on top of Lower Miocene clastites containing the above-described grains redeposited into Badenian limestone. This shows that the source of the rock is the lowest part of Badenian lime- stone cropping out along the River Drava between Kamenščak and Zgornji Duplek in the west, and Hrastovec in the east.85 85 See Žnidarčič, Mioč 1989. 20 Poetovio FINAL.indd 20 Poetovio FINAL.indd 20 4. 09. 2025 15:29:33 4. 09. 2025 15:29:33 FORMAL STRUCTURE Marble sarcophagi The chest of a Poetovio marble sarcophagus is a more or less irregular rectangular block of East- ern Alpine marble, the size of which is not standardised, but fairly random within the basic param- eters expressed in whole numbers: the length measures between 6 and 7 Roman feet (pedes), the height roughly between 2 and 2.5 pedes and the width between 3 and 4 pedes. None of the known sarcophagi have the length, height and width in whole numbers; this randomness is also observable in the size and proportions of their component parts. A block of marble was carved into a chest with 13 to 21 cm thick sides and a bottom that is usually slightly thicker, measuring 15 to 36 cm (exceptionally 13–14 cm).86 Most surviving sarcophagus chests are roughly 2 m long, the longest measuring between 2.2 and 2.3 m (Figure 13). The two-metre- long chests weigh up to 1500 kg, while the sarcophagi in the longest group weigh 2500 to 3000 kg. Figure 13. Diagrams showing the width, length and height of the chests of Pannonian marble sarcophagi 86 Only three of the sarcophagi from Ptuj survive as complete chests (Cat. Nos. 2, 3, 4). Considerably more numerous are the complete marble sarcophagi from other Pannonian towns, which offer a better insight into their production and structure (Szombathely 1, Sisak 1, Daruvar 1, Osijek 1, Szekszárd 1, Šid 2, Sremska Mitrovica 2, Kostolac 1). 21 Poetovio FINAL.indd 21 Poetovio FINAL.indd 21 4. 09. 2025 15:29:33 4. 09. 2025 15:29:33 Figure 14. Diagram showing the length and weight of the chests of Pannonian marble sarcophagi The weight of the lids is unknown, only the two lids in the shape of slabs87 can be estimated to weigh approximately 700 kg (Figure 14). The exterior surfaces of the front and both short sides of the chests are precisely worked, whereas the rear is roughly dressed; this corresponds to the practice usual in the western part of the empire and related to their position within a cemetery. Some chests and lids88 survive in the quarry state (Figures 15 and 16), which enables us to identify a two-phase production. They clearly show that the first phase involved defining the general structure of the sarcophagus with the inscription and decoration panels. A more or less roughly dressed stone mass is left in the decoration panels, to be carved later. The front panels are commonly given a moulded frame, while those on the short sides may be framed with a simple carved line. This simple approach is also observable on the only lid surviving in the quarry state.89 The upper frame of the front decoration panels may be carved as a moulded Norico-Pannonian volute already in this phase,90 while such volutes only exceptionally occur on the short sides.91 Figure 15. Examples of sarcophagi in the quarry production state (Cat. Nos. 4 and 3) 87 The lids of the sarcophagi with Cat. Nos. 2 and 3. 88 Cat. Nos. 2, 3, 4, 12, 29. 89 Cat. No. 29. 90 The upper frame is flat in Cat. Nos. 2 and 3. 91 Cat. No. 11. 22 Poetovio FINAL.indd 22 Poetovio FINAL.indd 22 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 Figure 16. Sarcophagus lid in the quarry production state (Cat. No. 29) The chest interior exhibits the characteristic horizontal tool marks on the sides, probably of a dou- ble-pointed quarry pick, that become increasingly curved towards the bottom, while the tool marks on the bottom are those of a point. There are no chests with a raised headrest on the bottom. The upper or bedding surface of the sarcophagi consistently has a raised semicircular edge along the interior, serving to keep the lid in place (Figure 17). The exterior of the short sides also frequently (but not always) bears a clamp hole below the upper edge, which held an iron clamp fixed with lead. The mostly gabled (rarely hipped) lids have a coarsely dressed hollow interior and a flat and finely finished standing surface that rests on the chests. The flat lids, consisting of a simple slab, have a fairly wide and straight groove carved on the lower surface that corresponds with the raised edge on the sarcophagus’ bedding surface. Figure 17. Surface finish of the interior side and bottom, as well as bedding (Cat. Nos. 1 and 6) The exterior structure of the chests shows, almost without exception,92 a tripartite division of the front and undivided short sides. The three parts of the front, consisting of a large central panel, bearing the inscription, and two lateral decoration panels, predominantly follow the division into 92 The only true exception is the only known frieze sarcophagus from Pannonia (Cat. No. 1). 23 Poetovio FINAL.indd 23 Poetovio FINAL.indd 23 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 five equal parts – modules93 (Figure 18). Within this division, the three central modules94 are re- served for the inscription panel and the two lateral modules for the decoration panels. The size of the module is not measured, but rather determined by simple applied geometry using a length of rope (the equivalent of our compass) and a straightedge. The process of dividing an ABCD rect- angle (Figure 20) into five equal rectangles involves several steps. First, the centre of the ABCD rectangle is determined by the diagonals AB and CD, through which the vertical (αβ) and horizon- tal (βδ) centre lines are drawn. The intersections of the diagonals Aδ and Dβ, and the diagonals Bγ and Cα, together with the intersections of the diagonals Cδ and Bα, and Aβ and Bγ, then determine all the modules. The central part that was intended for the inscription, which is the most important in the structure of the whole, extends to the boundary with the two lateral modules. Its frame may be constructed within the three central modules or reaches with the full width of the moulded frame into the lateral modules. The width of the lateral front panel within a lateral module is de- fined by the intersections of the diagonals Aβ – αγ and Cα – βγ on one side and the intersections of Dβ – αδ and Bα – βδ on the other side. The division of a rectangle into six modules is carried out in a similar way (Figure 19). The use of intersections to construct geometric schemes follows the principles formulated by Tons Brunes in the form of the eight-pointed star (Brunes star).95 Figure 18. Dividing a rectangle into five equal parts (dashed line ) using applied geometry (Brunes star) Almost all96 of the sarcophagus lids are gabled with four corner acroteria that are lower than the lid ridge. The ridge has a wide, flat and slightly raised top surface. Of the two slopes on either side, the front is usually carved to imitate tegulae and imbrices, whereas the rear slope is flat. The vertical front side of the lid may bear carved lines that outline the shape of the tegulae and imbrexes in sec- 93 The two exceptions with six modules are the low sarcophagi Cat. Nos. 2 and 3. 94 Four central modules in the sarcophagi Cat. Nos. 2 and 3. 95 Kappraff 2000; 2002. 96 There are two surviving flat sarcophagus lids (Cat. Nos. 2 and 3), one very large and heavily damaged hipped lid found at Ljudski vrt in Ptuj (Cat. No. 39; Djurić 2019b) and another hipped lid with corner acroteria on a sarcophagus from Szekszárd (Alisca; Lupa 824). 24 Poetovio FINAL.indd 24 Poetovio FINAL.indd 24 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 Figure 19. Dividing a rectangle into six equal parts (dashed line) using applied geometry (Brunes star) Figure 20. Dividing a rectangle into five equal parts (dashed line) and determining the width of the lateral front panels (dotted line) using applied geometry (Brunes star) tion, but may also carry an inscription within a frame97 or without it.98 The acroteria bear decoration panels that are either one- (only on the front) or two-sided (on the front and sides). Marble ash chests The chest structure of most known ash chests is identical to that of the sarcophagi. It is a rectan- gular block of Eastern Alpine marble, the size of which is fairly random within the basic parame- ters expressed in whole numbers: the length measures between 2.5 and 4.5 Roman feet (pedes), the height roughly between 1.5 to nearly 2.5 pedes and the width between almost 2 to almost 3 pedes. 97 Cat. No. 31. 98 Cat. No. 35; Cat. No. 28. 25 Poetovio FINAL.indd 25 Poetovio FINAL.indd 25 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 Some chests come close in size to those of sarcophagi,99 but differ mainly in the kind of human remains they held and in some cases also the thickness of the bottom. None of the known ash chests have the length, height and width expressed in whole numbers; this randomness is also ob- servable in the size and proportions of their component parts. Ash chests can be divided into three size groups: those measuring up to 3 pedes in length, those that are roughly 3.5 pedes long and a few that are roughly 4.5 pedes long (Figure 21). A block of marble was hollowed out into a chest with 8 to 15 cm thick sides and most frequently a substantial, more than 30 cm thick bottom.100 This thickness also increases the overall weight, which falls within three groups: 300–500 kg, 500–750 kg and around 1000 kg (Figure 22). The weight of the lids is not known. The chests are precisely worked on the front, many also on the short sides, whereas the rear sides that were hidden from view are more coarsely finished. A significant number of the chests and their fragments survive in the quarry state (Figure 23), thus revealing the same production process as the sarcophagi. The same process applies to the lids, of which we even have a complete block Figure 21. Diagrams showing the width, length and height of the marble ash chests 99 Cat. No. 49. 100 Exceptionally 18 cm in the ash chest with Cat. No. 43. 26 Poetovio FINAL.indd 26 Poetovio FINAL.indd 26 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 Figure 22. Diagram showing the length and weight of the marble ash chests with the stonemason’s guidelines carved onto the intended lid (Figure 24), showing a phase in the production process even before the part-finished product was ready for decoration. The chest in- terior is dressed similarly as on the sarcophagi. The lid has a flat standing surface and its interior is hollowed out using a point chisel. There are two basic chest forms of ash chests. A smaller number of ash chests have a low oblong chest with only an inscription panel on the front, while a much more substantial number has a higher chest with a tripartite front, akin to the sarcophagi. In the former, the moulded inscription panel may cover the whole front or not, in the latter case a coarsely dressed surface is left on either side. It is not possible to determine in which phase the inscription panel with a moulded frame was made, though A B Figure 23. Examples of ash chests in the quarry production state: A – Ptuj (Cat. No. 81), B – Črešnjevec (Cat. No. 89) A B Figure 24. A – basic design of an ash chest lid on a block of marble, Črešnjevec (Cat. No. 109); B – sunken underside of an ash chest lid, Veliko Tinje (Cat. No. 117) 27 Poetovio FINAL.indd 27 Poetovio FINAL.indd 27 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 we presume this already occurred during the quarry phase. This is clearly visible in the chests of the second form, many of which survive in the quarry state. In these, the inscription panels consistently have frames that are moulded on all four sides. The lateral decoration panels of the front rarely have moulded frames, mostly these frames are simple and flat. The upper sides of the frames in the lateral panels almost always take the shape of a Norico-Pannonian volute, also unmoulded. The panels on the short sides have a simple flat frame with a single exception,101 which has moulded frames on the front and both short sides, with a double Norico-Pannonian volute as the upper part of the frame. This example shows the close structural relation between the sarcophagi and the ash chests. The external structure of the chest predominantly involves a tripartite front and undivided short sides. The division of the front into a larger central inscription panel and two lateral decoration panels consistently follows the division into four equal parts – modules (Figure 25). Within this division, the two central modules are reserved for the inscription panel and the two lateral mod- ules for the decoration panels. The size of the module is not measured, but determined by simple applied geometry, as already described for the sarcophagi. The central part that was intended for the inscription, which is the most important in the structure of the whole, extends to the bound- ary with the two lateral modules. Its frame may be constructed within the two central modules or reaches with the full width of the moulded frame into the lateral modules. Figure 25. Dividing a rectangle into four equal parts (dashed line) using applied geometry (Cat. No. 80) As opposed to the sarcophagi, the lids of the ash chests are predominantly oriented perpendicu- larly to their length, thereby imitating the roof of a characteristic Norican aedicula tomb (naiskos)102 103 and rendering the ash chest a reduction of the family aedicula tomb. The width of the gabled lid is thus greater than its depth, and the ridge is short, flat and simple. The four corner acroteria are large, but lower than the ridge. The gabled lid is plain, in the fragment from Črešnjevec104 with carved tegulae and imbrices. Some lids bear sculpture in the round; the lid from Pernica105 has two reclining lions and the lid from Slovenska Bistrica106 a reclining male figure. The front of the lid has a central decoration field in the tympanum, which is flanked by decoration fields within the corner acroteria. Acroteria can also hold decoration fields above the short sides. There are also simple gabled lids without acroteria, for example the lid from Ptuj (Cat. No. 81) and 101 Cat. No. 49. 102 Kremer 2001. 103 Djurić 2001a. 104 Cat. No. 105. 105 Cat. No. 98. 106 Cat. No. 122. 28 Poetovio FINAL.indd 28 Poetovio FINAL.indd 28 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 probably also the three lid fragments from Ptuj (Dominican Monastery, Cat. No. 124), Laporje (Cat. No. 122) and Videm pri Ptuju (Cat. No. 123). There is even a small group of differently sized gabled lids with a longitudinal flat ridge and four corner acroteria, such as those associated with sarcophagi, though it is not possible to determine whether they belonged to ash chests or children’s sarcophagi. The decoration panels in these examples are mainly in all the acroteria, in some cases also on the vertical longitudinal edges (Figure 26). A B Figure 26. Perpendicular (A) and longitudinal forms (B) of ash chest lids Norico-Pannonian volute This is one of the forms of the upper frame of the decoration panels107 characteristic of the funer- ary monuments (aedicula tombs, stelae, sarcophagi, ash chests, altars) and partly also votive altars made in the workshops that used Eastern Alpine marble in their production. The other forms, apart from a straight upper frame, are an arcuated and a pedimental frame. Arnold Schober108 saw the ‘Baroque’ form of the Norico-Pannonian volute as a characteristically Norican motif. Unlike Antal Hekler who associated the volute with the Celtic formal tradition,109 Schober sought its ori- gins in the shape of the fronts of the Metropolitan altars with pulvini.110 He linked the emergence of the volute to the stylistic change at the turn of the 1st to the 2nd century. Balduin Saria111 and Rajko Ložar112 sought the origin of the motif in the same, non-Roman direction as Hekler, though Ložar connected the origins of the volute with the architectural element of a round arch. Schober dated the appearance of the volute on Norican monuments in the Trajanic period,113 while later researchers114 provided an array of arguments that pushed it to the Late Antonine-Early Severan period. After the publication115 of an altar with a Norico-Pannonian volute from Aquincum116 dat- 107 It is very rarely associated with the inscription panels of marble sarcophagi (one is the sarcophagus from Šid-Bjel- njača) but it is very common on the travertine sarcophagi from Aquincum and Brigetio. 108 Schober 1923, 230–232. 109 Hekler 1912, 183. 110 At that time, the Roman Metropolitan altars with such forms were published in Altman 1905. 111 Saria (1933–34) sought it with the Thracians. 112 Ložar (1934) sought it deep in prehistory. 113 Schober 1923, 230–231. 114 Cermanović 1965, 93; Kranz 1986, 111–112; Pochmarski-Nagele 1992, 188. 115 Gesztelyi 1989–90. 116 CIL III 3432; HD067977. 29 Poetovio FINAL.indd 29 Poetovio FINAL.indd 29 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 ed to CE 164, the age of the motif needed to be adapted,117 while the discovery and publication118 of a funerary stela from Odra near Zagreb, from the Hadrianic period, brought the emergence of the Norico-Pannonian volute chronologically very close to Schober’s dating. The stylistic change that Schober referred to and with which he associated the creation of the Norico-Pannonian vo- lute is most likely connected with the beginnings of a Greek (Thassian) workshop that operated in the Gummern quarry during the Hadrianic period (prior to CE 122).119 The different uses of the volute and its formal development in the 2nd and 3rd centuries have not yet been the subject of a systematic study.120 The volute on the marble sarcophagi of Pannonia occurs almost without exception as the upper frame of the lateral front panels, only the sarcophagus from Osijek121 has an arcuated upper frame in this position. The construction of the volute frame is most often derived from the combination of three aligned circles. Three circles of equal radii with centres A-B-C (Figure 27A) are aligned across the width of the panel. The two side circles define the side curves of the volute. The upper line of its central arch is defined by a circle of a double radius with its centre D located at the lowest point of the central circle, while the lower line is defined by a smaller circle with its centre D, the circumference of which is tangent to the circumferences of the two side circles. Connecting the individual segments of these circumferences creates a classic Norico-Pannonian volute (Figure 27B). This construction can be observed on the sarcophagi from Poetovio (Cat. Nos. 11, 12, 20) (Figure 28), Siscia,122, Sirmium,123 124 Šid-Beljnjača and Alisca 125 Other variants of the Norico-Pannonian volute on the Pannonian marble sarcophagi with proportionally wider panels use the combination of four equal circles aligned on the upper frame (Figure 29); such construction is visible on the sarcophagi from Sirmium126 and Sopianae127 (Figure 30). The sarcophagi of the late 3rd and early 4th century128 have a variant of the Norico-Pan- Figure 27. Designing a Norico-Pannonian volute using a combination of three aligned circles 117 Kremer 2001, 19–20; Handy – Pochmarski 2014, 84. 118 Heger 2007; Rendić-Miočević 2013; Migotti – Šašel Kos – Radman-Livaja 2018, 85–86. 119 Djurić 2019. 120 The only existing discussion is still that by Ložar (1934). 121 Pochmarski 2019, 257, No. 10. 122 Zagreb, AMZg Inv. No. 349; Lupa 3803 123 Sremska Mitrovica, MS Inv. No. A388, Lupa 4342. 124 Šid, Gallery of Sava Šumanović, Lupa 36164. 125 Budapest, MNMInv. No. 23.1849.1, Lupa 824. 126 Vienna, KHM Inv. No. I 162, Lupa 4353; Muzej Srema Inv. No. A977, Lupa 4341. 127 Budapest, MNM Inv. No. 62.84.1-2, Lupa 827; Pécs Tomb II. 128 Daruvar, AMZg Inv. No. KS959, Lupa 3811; Šid-Beljnjača, Gallery of Sava Šumanović Šid, Lupa 36164. 30 Poetovio FINAL.indd 30 Poetovio FINAL.indd 30 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 Figure 28. The analysis of the Norico-Pannonian volute on a sarcophagus (Cat. No. 12) Figure 29. Designing a Norico-Pannonian volute using a combination of four aligned circles Figure 30. The analysis of the Norico-Pannonian volute on a sarcophagus from Pécs (Lupa 827) nonian volute characteristic of the Aquincum travertine sarcophagi.129 All the ash chests from Poetovio with a tripartite front, except the small ash chest with a pedimental up- per frame,130 have a Norico-Pannonian volute constructed of three aligned circles in the lateral decoration panels. Their execution is frequently less precise and often unmoulded (Figure 31). 129 Variant 3, Pochmarski 2014. 130 Cat. No. 82, Šubic 153 ,1974. 31 Poetovio FINAL.indd 31 Poetovio FINAL.indd 31 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 Figure 31. The analysis of the Norico-Pannonian volute on an ash chest (Cat. No. 83) Sarcophagi of limestone These are fairly regular blocks of Miocene limestone, measuring approximately 6.5 to 7 Roman feet ( pedes) in length, 2 to 2.5 pedes in height and just under 3 pedes in width. Smaller blocks range from roughly 3.5 to 5.5 pedes in length. The thickness of the sides ranges between 13 and 16 cm. The size of the finished chests indicate that the basic measurement parameters were followed only approximately during production. The simple, undecorated chests most probably conformed to the actual size of the deceased. Their interior ranges between 5.5 and 6 (160 to 170 cm) in length and around 2 pedes (approximately 55 cm) in width (Figure 33). The lids could be either low gabled with a sharp ridge,131 with corner acroteria, in one case even barrel-roofed with corner acroteria, or simple slabs.132 The two-metre chests weigh up to 1800 kg, while the smaller (child) sarcophagi weigh around 1000 kg. The weight of the lids is unknown. The chests (Figure 32) are entirely undecorated and, as revealed by some of those found in situ,133 sunken into the ground to the level of the lid. Figure 32. Sarcophagus with a barrel-shaped lid (PMPO RL 734) 131 PMPO RL 734/1. 132 Tušek 1986, Fig. 1. 133 Mikl Curk 1960–61a, 169; Tušek 1986, 343–345. 32 Poetovio FINAL.indd 32 Poetovio FINAL.indd 32 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 Figure 33. Diagrams showing the width, length and height of the limestone ash chests Ash chests of limestone There are four positively identified ash chests made of limestone. Their chests are undecorated. The lids either extend beyond the edges or are flush with them, they are gabled with a sharp longi- tudinal ridge, a smooth surface and some with four plain corner acroteria. Part of such an ash chest is also the unusual undecorated lid from Hajdina (Cat. No. 129), which perpendicularly combines two gabled roofs with a flat ridge, resulting in a cross-gabled lid with four shared acroteria (Figure 34). Figure 34. Lid of an ash chest from Hajdina (Cat. No. 129) 33 Poetovio FINAL.indd 33 Poetovio FINAL.indd 33 4. 09. 2025 15:29:34 4. 09. 2025 15:29:34 ICONOGRAPHY Sarcophagi The surprisingly substantial number of surviving sarcophagi – complete and even more fragments – from Poetovio and its territory, amounting to 41 in total, bear a relatively sparse yet quite diverse decoration. Exceptional among them is the only known frieze sarcophagus in Pannonia, depicting a banquet under grape vine.134 Also remarkable is a fragment of the short side of a locally produced garland sarcophagus.135 Of the 27 sarcophagi with a tripartite front, most are in the quarry phase of production (at least 8 or 30%), with the unfinished decoration of the lateral panels. In the lateral front panels, two sarcophagi depict the deceased136 and two show mourning erotes,137 motifs that are in Pannonia most commonly found on the travertine sarcophagi of the Aquincum and Brige- tio productions.138 They are also known on several Pannonian marble sarcophagi.139 Other motifs appear only in single instances, namely Season personification,140 nude hero141 and female servant.142 These are similar to the array on the Norican aedicula tombs.143 The more richly decorated sar- cophagi also have decorated short sides. One sarcophagus has a Dionysian motif of a kantharos with two grape vines and two panthers,144 one has the motif of Eros(?) and Psyche,145 one a single eros146 and one a pair of erotes holding an unidentified object.147 On the 13 surviving lids, the most common motif is the acroterial depiction of the Seasons, busts of youthful personifications with attributes (4 or 31%),148 with one example also holding the portrait of the deceased.149 A single example has a gorgoneion in the triangular pediment of the lid.150 Ash chests The ash chests with a tripartite front, which were the only ones to be decorated, include 15 (43%) in the quarry phase of production, i.e. with unfinished decoration. Of the decorated ash chests, the predominant reliefs on the lateral panels of the front show the portraits of the deceased (11 or 31%), followed by mourning erotes (6 or 17%), Season personification are rare151 (2 or 6%), while 134 Cat. No. 1; for an attempt at a ‘Christian’ interpretation of the depiction, see Šmid 2020. 135 Cat. No. 22. 136 Cat. Nos. 10, 20. 137 Cat. Nos. 3, 6. 138 See Djurić 2024. 139 Deceased: Daruvar, Sisak, Šid, Pécs; erotes: Sremska Mitrovica, Pécs, Kostolac (unpublished). 140 Spring: Cat. No. 11. 141 Cat. No. 9. 142 Veliko Tinje (Cat. No. 19); the servant motif is also known on a sarcophagus from Sisak (Lupa 3803). 143 For the motifs on the tombs, see Walde 2005. 144 Cat. No. 17; for the motif, see Djurić 2020. 145 Cat. No. 11. 146 Cat. No. 18. 147 Cat. No. 10. 148 Cat. Nos. 34, 30, 33, 40; such busts with attributes are on a sarcophagus from Szekszárd (MNM), which has only the attributes – baskets – depicted in the rear acroteria. The acroterium built into the church in Spodnja Polskava (Cat. No. 32) shows a Hora. 149 Cat. No. 28. 150 Cat. No. 30. 151 Cat. Nos. 66, 59. 34 Poetovio FINAL.indd 34 Poetovio FINAL.indd 34 4. 09. 2025 15:29:35 4. 09. 2025 15:29:35 there are single examples with an ‘Attis’ or sad Easterner152 and a Dionysian kantharos with vine.153 On the short sides, the chests very frequently have the Dionysian motif of a kantharos with a pair of grape vines (5 examples), combined with a panther154 or an eros and peacock155 on the opposite short side, there is one example with a garland156, another example with an exceptional mytholog- ical scene depicting Theseus abandoning Ariadne on Naxos,157 which is likely combined with the triumph of Dionysus on the opposite side and, finally, one example that has the portraits of the deceased on one and servants around a table on the other short side.158 The lids were primarily reserved for the portraits of the deceased. The 36 surviving lids include 14 (39%) that feature half-length depictions of the deceased in the pediment, rendering these ash chests essentially family tombs (for cremation burials).159 A special group of lids has the Dionysian motif of a kantharos from which two grape vines grow160 (3 or 8%) in the pediment, though their fragmentary state hinders the identification of potential acroteria. Other motifs found in the ped- iments include a Triton with a pair of dolphins,161 as well as a garland.162 In the acroteria, the most common motif is the personifications of the Seasons (7 or 19%) in the form of either busts163 or their attributes,164 one case also an eros holding a basket,165 followed by different mourning erotes (3 or 8%)166 or an eros with a bow.167 Occurring as single examples are servants,168 dolphins, the head of an Easterner,169 palmette170 and rosette.171 In rare cases, there are figures carved in the round on top of the lids – once a pair of lions172 and once a sleeping male figure.173 A special motif on both lids and chests is the stylised depiction of an ascia,174 in one case combined with a libella175 on the opposite short side. 152 Dravinjski vrh, Cat. No. 57; for the motif, see Cambi 2021. 153 Varaždin, Cat. No. 46. 154 Cat. No. 48. 155 Cat. No. 47. 156 Cat. No. 61. 157 Kebelj, Cat. No. 67. 158 Cat. No. 49. 159 For the concept, see Djurić 2001a. 160 Ptuj – Dominican Monastery (Cat. No. 125), Videm pri Ptuju (Cat. No. 124), Laporje (Cat. No. 123). 161 Črešnjevec, Cat. No. 106. 162 Slovenska Bistrica, Cat. No. 122. 163 Cat. Nos. 96; 126; 119; 100. 164 Cat. Nos. 95, 102. 165 Slovenska Bistrica, Cat. No. 121. 166 Črešnjevec, Cat. No. 106. 167 Pernica (Cat. No. 98); the motif paired with Psyche is depicted in the gabled lid of a garland sarcophagus held in the Metropolitan Museum of Art in New York (see e.g. https://untappedcities.com/2022/12/14/met-museum-ro- man-sarcophagus/). 168 Pernica, Cat. No. 98. 169 Slovenska Bistrica, Cat. No. 122. 170 Pernica, Cat. No. 98. 171 Šmartno na Pohorju, Cat. No. 127. 172 Pernica, Cat. No. 98. 173 Slovenska Bistrica, Cat. No. 122. 174 Cat. Nos. 44; 93. For the motif, see Gabričević 1959; Arrigoni Bertini 2006; Ibba 2016. 175 Cat. No. 43. For the motif, see e.g. Buonopane 2013; Starac 2021. 35 Poetovio FINAL.indd 35 Poetovio FINAL.indd 35 4. 09. 2025 15:29:35 4. 09. 2025 15:29:35 Portraits or images of the deceased The sarcophagi of Poetovio only exceptionally hold portraits or images176 of the deceased, whereas they are almost obligatory on the ash chests, occurring both on the chests proper and even more frequently on the lids. These depictions cannot be understood as portraits as defined by Bernhard Schweitzer,177 but merely according to the definition by Wulf Raeck,178 later elaborated by Eugenio La Rocca.179 Such portraits correspond with the social role of the individuals portrayed, on the one hand, while on the other display varying degrees of assimilation180 to the imperial models or the specific typological elements derived from them, such as the basic shape of the face, hairstyle and beard. As a result, many of the portraits are formally quite homogeneous and almost identical in their dress that serves as an expression of their social status. Figure 35. Examples of full- and half-length portraits of men: a- sarcophagus Cat. No. 10; ash chests b- Cat. No. 43, c- Cat. No. 47, d- Cat. No. 49, e- Cat. No. 46, f- Cat. No. 58, g- Cat. No. 98, h- Cat. No. 100, i- Cat. No. 94, j- Cat. No. 102 176 For the use of the terms Porträt / Bildnis, see Ziegler 2000, 11–13. 177 Schweitzer 1963, 169. 178 Raeck 2003, 29. 179 La Rocca 2011, 28: - the portrait is not necessarily a faithful reproduction of reality, - we should not confuse individuality with resemblance, - all portraits, even those of an individual nature, must primarily represent the subject’s positive social role within the community; in this sense, it is not sufficient to simply reproduce the individual’s features; their body must also be por- trayed with the clothes and attributes that correspond with their status. 180 For the concept of assimilation in Roman portraiture, see Fittschen 2011. 36 Poetovio FINAL.indd 36 Poetovio FINAL.indd 36 4. 09. 2025 15:29:35 4. 09. 2025 15:29:35 On the sarcophagi and ash chests of Poetovio, the deceased are depicted either in full-length form on the chests or in bust form on the lids. They all show considerable surface damage, hindering the identification of details, while some are even completely destroyed. The eight181 surviving full- length portraits of men (Figure 35) show them wearing the same garments: a knee-length tunic with long sleeves (tunica manicata)182 and a military cloak (sagum)183 fastened on the right shoulder with a disc brooch. The cloak drapes in an arc across the chest and left shoulder, falling in folds over the bent left arm.184 The tunics are belted at varying heights at the waist, with only one portrait (Cat. No. 49) clearly displaying a ring buckle, without a pin,185 that undoubtedly belongs to a military belt (cingulum militare),186 worn by a soldier of legio XIIII Gemina.187 In other full-length male figures, the belts are indistinct and cannot be positively identified as military. The figures on the ash chest from Savci even have the belts hidden beneath their tunics, which, according to Hansjörg Ubl,188 could indicate a civilian rather than a military status. The depicted dress is generally characteristic of military personnel and sometimes referred to as ‘camp dress’,189 but this is not the case with the above-mentioned active soldier of legio XIII Gemina, Fannius Florentinus, portrayed on an ash chest from Velika Nedelja.190 The male half-length portraits on the lids of ash chests are shown wearing the same garments, but in a slightly different manner. The sagum, again fastened with a brooch on the right shoulder, is pleated and thrown over the left shoulder, similarly as on numerous Imperial portrait busts.191 All the men depicted on ash chests, including those on the lids, hold a scroll in their left hand, pointing to it with the fingers of their right hand.192 The only man portrayed on a sarcophagus that is dressed in the same manner as the men on the ash chests holds not a scroll, but a staff ( vitis) in his right hand, which identifies him as a centurion.193 Whereas the men on the ash chests are primarily retired soldiers who display their civilian social status with a scroll/document, the man on the sarcophagus signals his high social rank with an attribute characteristic of active mid-ranking officers, as well as certain administrative positions within the Roman society.194 The severely damaged heads of the portrayed men hinder an accurate identification in the sense of their assimilation to specific emperors. We can only establish that they are related to the forms 181 One on the sarcophagus with Cat. No. 10 and seven on ash chests: Cat. Nos. 43, 46, 47 (two portraits), 48, 49, 54 and 58. 182 For the tunic, see Pausch 2003 and Rothe 2012, 145–150. 183 For the history of research and the main literature, see Pochmarski 2004, Rothe 2012. 184 The exception is the portrait on an ash chest held in Varaždin (Cat. No. 46), in which the individual is shown with the left arm extended along the body and consequently a freely falling cloak. 185 The literature on ring buckles is vast and given in von Schnurbein 1995, while Coulston (2007) published an ex- haustive list of literature regarding the depictions of such buckles. 186 For the military belts, see Hoss 2014. 187 Fannius Florentinus, miles legionis XIIII Geminae; Ragolič 2023, 328. 188 Ubl 1969, 529. 189 Speidel 1976. 190 Erna Diez (1948, 158), who was the first to describe the soldier in greater detail, saw a sword in his left hand, with the right hand resting on the hilt. In addition to the sword, Ortolf and Friederike Harl (Lupa 3781) also see a shield and a helmet on his head, all of which Anja Ragolič (2023, 327) also accepted. The relief, however, is severely damaged and only the sword can be identified. 191 E.g. on Hadrian’s bust from his villa at Tivoli, which is kept in the British Museum (Inv. No. 1805, 0703.95). 192 The man portrayed on an ash chest from Varaždin (Cat. No. 46) may hold the scroll in his right hand, while his left hand is lowered beside the body. For the scroll and the pointing gesture, see Grüll et al. 2023; Grabher 1991; Hainzmann 1991; Walde 2005, 66–71. 193 Ubl 1969, 416–420; Ward 2017. 194 Ward 2012, 30. 37 Poetovio FINAL.indd 37 Poetovio FINAL.indd 37 4. 09. 2025 15:29:35 4. 09. 2025 15:29:35 of Imperial portraits of the 3rd century beginning with the Emperor Caracalla. Roughly resem- bling this emperor is the portrait on the lid of the ash chest from Ptuj-Bolnišnica195 (Figure 35j), with his slightly curled hair and a short beard. Other portraits feature short hairstyles and mostly clean-shaven faces, echoing the portraits of the barracks emperors of the 3rd century. The male child figures wear the same garments as their fathers, though the cloaks are longer and reach to the mid-calf.196 Some hold attributes in their right hand that are damaged beyond identi- fication. The rare servants-slaves (delicati)197 are dressed in either belted or unbelted tunics with long sleeves. The female portraits (Figure 36) include some full-length depictions, though most are half-length portraits on the lids of ash chests and one in the acroterium of a sarcophagus lid.198 All the women wear tunics, while the poor condition of the portraits prevents us from identifying the undergar- Figure 36. Examples of full- and half-length portraits of women: ash chests a- Cat. No. 43; b- Cat. No. 49, c- Cat. No. 95, d- Cat. No. 100, e- Cat. No. 103, f- sarcophagi Cat. No. 28, g- Cat. No. 103, h- Cat. No. 95, i- Cat. No. 103 195 Cat. No. 102. 196 See the depiction on the right short side of the ash chest from Velika Nedelja (Cat. No. 49). 197 On the left short side of the ash chest from Velika Nedelja (Cat. No. 49) and the right acroterium of the ash chest lid from Pernica (Cat. No. 98). 198 Cat. No. 28. 38 Poetovio FINAL.indd 38 Poetovio FINAL.indd 38 4. 09. 2025 15:29:35 4. 09. 2025 15:29:35 ments. The tunic reaches to the ankles and its long sleeves (tunica manicata) are sometimes covered by a cloak and other times exposed. Of the cloaks, we can identify the Roman palla199 in at least three portraits,200 which is shorter than the tunic and worn asymmetrically with long vertical folds on the left side. Most women, however, are portrayed in long, symmetrically worn and likely locally made rectangular cloaks with a thick border that frames and emphasises the uncovered chest and head. A particularly rich and heavy version of such a cloak appears in the bust portrait in the lid acroterion of the sarcophagus for Publius Aelius Vitalis (Cat. No. 28). Girls are portrayed in the same clothes and sometimes also wear short necklaces of large beads, similarly as adult women. The women’s hairstyles are better preserved that those of men and can be sufficiently accurately identified at least in silhouette. The most clearly identifiable are those that imitate the imperial hairstyles from the second quarter of the 3rd century, from Sallustia Orbiana to Herennia Etruscil- la. These show the Scheitelfrisur, with long hair parted and combed back to leave the ears exposed, gathered at the nape into a wide, flat mass (sometimes braided, other times placed in a net), then secured at the crown to create what appears from the front as a low, flat bulge.201 A few examples are modelled on the Helmfrisur of Iulia Domna,202 while one203 shows a melon coiffure with loose hair gathered at the nape, resembling that of Iulia Avita Mamaea.204 Four women are portrayed with headwear. The ash chest with Cat. No. 43 and the ash chest lid with Cat. No. 94 show a woman in a bonnet of Type H 7 according to Rothe,205 the woman on the ash chest lid with Cat. No. 95 wears a bonnet of Type H 3, while the woman on the lid of an ash chest built into the south wall of the church in Črešnjevec206 has turban-like headdress (possibly H 6 according to Rothe). A particular feature of the family portraits on the lids of Poetovio ash chests is the generational and status differences among the portrayed female family members, which are reflected partly in their dress but primarily in their hairstyles. The hairstyles of three generations of women (grand- mother, mother, daughter) correspond to the styles characteristic of specific periods and are tied to their age and social status. Their chronological range extends from the Helmfrisur of the early 3rd century, to the Scheitelfrisur of the second quarter of the 3rd century and the hairstyles from the second half of the 3rd century.207 There are also three depictions of women as servants-slaves (Figure 37), which are very similar to one another. The best-preserved is the servant in the lateral front panel of the sarcophagus chest 199 For its use in Pannonia and the differentiation between palla and a local rectangular cloak, see Rothe 2011, 191–193. 200 Depiction in the left short side of the ash chest from Velika Nedelja (Cat. No. 49) and the lids of the ash chest from Pernica (Cat. No. 98) and that from Ptuj/PMPO RL 748 (Cat. No. 95). 201 Such hairstyles can be seen on the woman portrayed on the ash chest lids from Slivnica pri Mariboru (Cat. No. 99), Črešnjevec (Cat. No. 103), on the ash chest with Cat. No. 43, on the lids with Cat. Nos. 95 and 96, as well as the sarcophagus acroterium with Cat. No. 28. A similar hairstyle on the roughly carved figure on the sarcophagus fragment with Cat. No. 20 is later and dates to the second half of the 3rd century. 202 Ash chests with Cat. Nos. 61, 98 and 100. 203 On the ash chest with Cat. No. 49. 204 The damaged condition of the portraits prevents us from identifying possible depictions of wigs that were popular in that period (Ackers 2019). 205 Rothe 2012. 206 Cat. No. 103. 207 Examples of such female portraits of three generation are known, for example, on the sepulchral relief held in the Museo Nazionale Romano (Buccino 2011, 376, Fig. 10). On the ash chests of Poetovio, they are shown on the lids with Cat. Nos. 94, 98 and 102, all from the 3rd century. 39 Poetovio FINAL.indd 39 Poetovio FINAL.indd 39 4. 09. 2025 15:29:35 4. 09. 2025 15:29:35 Figure 37. Depictions of female servants: a - Cat. No. 19, b - Cat. No. 48, c - Cat. No. 98 from Veliko Tinje.208 She is dressed in an ankle-length tunic with short sleeves and over it a stola, which is slightly shorter and girt below the breast, and has a melon coiffure. The servant on the left short side of an ash chest from Velika Nedelja209 has a similar dress and hairstyle. The relief of the third servant, depicted in the left acroterium of an ash chest lid from Pernica,210 is severely damaged, but shows the same features as the first two. The Seasons – Tempora Anni The Seasons are depicted as personifications on the chests and even more frequently on the lids of both sarcophagi and ash chests (Figure 37). Some of them are severely damaged, but all appear to be shown as boys or young male (erotes and genii) Tempora Anni – Kairoi figures211 rather than female Horae.212 There is a single relief with a nude winged and youthful genius of a Season,213 depicted in the left front panel of a sarcophagus chest from Ptuj, with a floral garland held diagonally across his upper body. This figure may be interpreted as the genius of Spring, though it could also be an eros holding a garland, such as are known on the Metropolitan sarcophagi.214 The motif of a garland held across 208 Cat. No. 19. 209 Cat. No. 48. 210 Cat. No. 98. 211 Boschung 2013; Abad Casal 1990. 212 Machaira 1990; 2009; a Hora is only depicted in the acroterium from Spodnja Polskava (Cat. No. 32). 213 Cat. No. 11; Katarina Šmid (2020) identifies the figure as an eros. 214 A sarcophagus held in the Louvre, Paris, MA 1033 (Robert 1897, 48–51, Fig. 35; Koch – Sichtermann 1982, 143) has two corner erotes with garlands who are not the personifications of Spring, similarly as on the sarcophagus from Naples, Sta Restituta (Kranz 1984, 195, No. 39). The genius with a garland on a sarcophagus held in the Palazzo Gi- ustiniani (Kranz 1984, 221, No. 134) is undoubtedly the personification of Spring. A garland shown diagonally across the chest is also depicted with the associated Victoriae, for examples on a sarcophagus held in the Vatican, Museo 40 Poetovio FINAL.indd 40 Poetovio FINAL.indd 40 4. 09. 2025 15:29:35 4. 09. 2025 15:29:35 Figure 38. Representations of the Seasons: a - sarcophagi Cat. No. 11, b, c - Cat. No. 30; ash chests d - Cat. No. 59, e - Cat. No. 33, f, g - Cat. No. 96, h - Cat. No. 102 the chest is not very common, but does appear on Metropolitan sarcophagi that undoubtedly served as the model for this relief. The motif is also exceptional on Norican tombs, known in a single relief from Enns.215 Most Metropolitan sarcophagi with such motifs are dated to the late or post-Gallienic period, which would also be the likely time frame for the sarcophagus from Ptuj. We should add that the stride of the genius of Spring from Ptuj with crossed legs is characteristic of many figures depict- ed on the sepulchral monuments of Noricum and is generally dated to a time after the first quarter of the 3rd century.216 Two youths holding a thyrsus217 in the right or the left hand are found in the right and the left front panels, respectively, of two ash chests.218 Thyrsi are also held by the half-length figures in the acroteria of the lid of another ash chest,219 which are heavily damaged. These thyrsi have different tips; the one in the left acroterium is made up of flowers, the one in the right acroterium has wheat ears, while those on the chests are not clearly identifiable. It seems evident that these attributes identify the half-length figures on the lid as Season personifications, more precisely Spring and Summer. It is also clear that the rods with vegetal terminals can be seen as not true thyrsi. This is particularly ap- Gregoriano Profano, Inv. No. 10411 (Kranz 1984, 202, No. 62). 215 Eckhart (1976, No. 67 Pl. 19) sees the relief as a personification of Spring, while Pochmarski (1983–84) interprets it as an eros with a garland. 216 Pochmarski-Nagele 1992; Šmid 2020. 217 For the thyrsus, see Reinach 1904; Olszewski 2019. 218 Cat. Nos. 66, 59. 219 Cat. No. 96. 41 Poetovio FINAL.indd 41 Poetovio FINAL.indd 41 4. 09. 2025 15:29:35 4. 09. 2025 15:29:35 parent in the depiction of the youth on the ash chest, though the lower part of this relief is broken off and other attributes (panther, kantharos) that would identify the figure as Dionysus/Bacchus/ Liber Pater are missing. With rare exceptions on sarcophagi,220 gods are not depicted on the known sepulchral monuments. It would seem that shaping the thyrsus tips as the attributes of the Seasons is a distinctive feature of the Poetovio workshops, and the use of the attributes of the Seasons in thyrsus form underlines the connection between the Seasons and the Dionysian ideology. The half-length depictions of youths in the acroteria are often accompanied by Season attributes in baskets, namely flowers, wheat ears, grapes and other fruit. Examples include Spring and Summer in the acroteria of a sarcophagus lid from Ptuj,221 Spring in an acroterium from Miklavž na Dravskem polju222 and another Spring on an acroterium fragment held in Universalmuseum Joanneum.223 The genius of Spring from Ptuj wears a cloak fastened on the right shoulder, leaving his left shoulder bare, whereas teria of three ash chest lids in the Pokrajinski muzej Ptuj – Ormož,225 which also houses an acroterium 226 fragment with such a depiction. Spring from Miklavž is in a tunic.224 The depictions of all four genii without attributes are in the acro- Two ash chest lids from Ptuj only bear the attributes as pars pro toto representations of the Seasons.227 The female bust228 with a high bun on the crown of her head, wear- ing a peplos fastened at the left shoulder and draped across her left breast so as to leave the right breast exposed (Figure 39), is similar to the personification of Winter in the relief of the Artemis cycle in the theatre of Hierapolis.229 This figure represents a Hora, who cannot be more precisely identified 230 given the absence of attributes. Three depictions of Horae are known in the acroteria of ash chest. Figure 39. Hora, Spodnja Polskava Cat. No. 32 220 E.g. the sarcophagus fragment held at Vid near Metković; Cambi 2010, 134, No. 185. 221 Cat. No. 30. 222 Cat. No. 33; Pahič 1977a, 51. 223 Without inv. no.; Cat. No. 40; Lupa 16580. 224 Dressed in both tunic and cloak are the genii on the sarcophagus lid from Szekszárd; Koch – Sichtermann 1982, 327. 225 Cat. Nos. 100, 119, 126. 226 Cat. No. 34. 227 Cat. No. 95 and on one of the lids unearthed at Bolnišnica Ptuj (Cat. No. 102). The rear acroteria of the sarcoph- agus from Szekszárd only depict baskets. 228 The piece built into the church in Spodnja Polskava (Cat. No. 32) is most likely the acroterium of a sarcophagus lid. 229 Benson 2014, 16–17, Fig. 23. 230 Cat. No. 119. 42 Poetovio FINAL.indd 42 Poetovio FINAL.indd 42 4. 09. 2025 15:29:36 4. 09. 2025 15:29:36 There is a single example showing a winged boyish eros holding a basket in his hand, which can be found in the right acroterium of an ash chest lid231 that differs in decoration from the characteristic lids of Poetovio. The surface damage prevents us from discerning further details. A formally similar eros is on the left short side of an ash chest from Savci.232 Here, the eros is shown with a basket in a composition together with a peacock pecking at the contents of the basket full of wheat ears (?). This scene can be understood as the personification of Summer, which on Metropolitan sarcophagi may be accompanied by a peacock as its attribute.233 All the depictions that survive in a sufficiently good condition to allow us to identify the attributes show Spring in the left and Summer in the right front acroteria of sarcophagi or ash chests. Eros (and Psyche) There is a single relief that very likely holds the depiction of Eros and Psyche, on the left short side of a sarcophagus from Ptuj.234 The surviving composition suggests it is probably not the standard composition known, for example, on the Pannonian marble sarcophagi from Sremska Mitrovica235 and Szekszárd.236 However, the gesture of the right hand of the almost entirely missing central fig- ure, which is placed under the chin of Psyche and is identical to the standard gesture of Eros when paired with Psyche, allows the hypothesis that the relief shows this precise pair. Eros is also portrayed in two acroteria of ash chest lids, one from Pernica237 and the other from Figure 40. Eros the archer: a - Pernica (Cat. No. 98; from Muchar 1844, Pl. VII 2), b - Cat. No. 105 an unknown site in Slovenia (Figure 40).238 He is depicted stringing his bow, aimed at the sleeping Psyche who is absent in the relief, intending to awaken her into life,239 a motif that is known, for in- stance, on the lid of a sarcophagus from Tarsus.240 Another possibility could be that Eros is shoot- ing at a butterfly (the soul), as shown on the right short side of a sarcophagus from Bieda (Blera).241 231 Lid in Slovenska Bistrica, Cat. No. 122. 232 Cat. No. 47. 233 For the motif of a peacock on the Seasons sarcophagi, see Kranz 1984, Note 559, and p. 196, No. 41, Pl. 26.2 (sarcophagus in Museo di Ostia Antica, Inv. No. 126). 234 Cat. No. 11. 235 Vienna, KHM Inv. No. I 162; Koch – Sichtermann 1982, 330. 236 Budapest, MNM Inv. No. 23.1849.1; Koch – Sichtermann 1982, 327. 237 Pernica, church of St Margaret of Antioch, Cat. No. 98; Pochmarski 2015, 217, Fig. 6. 238 Joanneum, storage; Cat. No. 105. 239 Apul. Met. 6.21. 240 New York, Metropolitan Museum of Art, Inv. No. 70.1; McCann 1978, 30–33, Fig. 26 (https://www.google.com/ books/edition/Roman_Sarcophagi_in_the_Metropolitan_Mus/PBstaVWigg0C?hl=en&gbpv=1). 241 Robert 1897, 16, Fig. 14a. 43 Poetovio FINAL.indd 43 Poetovio FINAL.indd 43 4. 09. 2025 15:29:36 4. 09. 2025 15:29:36 The unusual half-palmette in the opposite acroterium of the lid from Pernica, which is atypical for the Poetovio production, has a parallel on the above-mentioned sarcophagus from Tarsus. Yet a third motif with Eros is to be found on a fragment of the left short side of a sarcophagus,242 positioned centrally and en face. The background and context are unidentifiable due to the limited size of the fragment. This motif is unusual and previously unknown in the Norico-Pannonian production. Pair of erotes The right short side of a sarcophagus fragment from Ptuj243 shows the stretched leg up to the hip of a naked, winged and striding youth. It can be identified as one of a pair of youthful erotes in a heraldic pose holding an object between them. Pairs of erotes holding a shell or a medallion with portraits sporadically occur as early as the 1st century CE on Metropolitan marble urns.244 In the 2nd century, they are found holding inscription plates on both urns and front sides of sarcophagi;245 there are no examples known on Pannonian marble sarcophagi. The motif is very rare in Noricum and Pannonia, only present on the short side of an ash chest made of local limestone from Sisak (Figure 41).246 The fragment from Ptuj can be dated to the Severan or post-Severan period.247 Figure 41. Part of the composition with a pair of erotes (Cat. No. 11) and the complete motif on an ash chest from Sisak (Lupa 3801) 242 Cat. No. 18. 243 Cat. No. 10. 244 Sinn 1987, 77–78. 245 E.g. the sarcophagus for Titus Canius Restitutus from Aquileia (today in Grado, in front of the baptistery); Gabel- mann 1973, 207, No. 13. 246 Migotti – Šašel Kos – Radman-Livaja 2018, 32, No. 2. 247 Pochmarski 2015, 219. 44 Poetovio FINAL.indd 44 Poetovio FINAL.indd 44 4. 09. 2025 15:29:36 4. 09. 2025 15:29:36 Mourning erotes Undoubtedly one of the most common motifs on Roman sepulchral monuments, especially sar- cophagi and ash chests, in Noricum also on tombs, is the mourning eros (Graberos, Trauergenius, Éros funéraire or erote funerario). He is usually shown accompanying a motif in the central panel, flanking it on both sides as a pendant of mirror images. The most widespread representation, repeated nearly to becoming trite, is that of a nude winged boy or youth with crossed legs and drooping wings, supporting himself on a lighted inverted torch,248 such as is used for lighting funeral pyres.249 The arm beside the torch is mostly extended along the torch and holds a hand garland, the head is tilted onto the shoulder, while the other arm is usually placed across the chest and onto the opposite shoulder, a gesture interpreted as one of mourning. The mourning eros is depicted on two of the sarcophagi from Ptuj.250 On both, only the lower parts of the legs and the lighted torch survive, while one also shows part of the hand garland, sug- gesting that we are dealing in both cases with the standard representation of a mourning eros. The depictions on ash chests present a very different picture. None shows the most common represen- tation as described above. The closest is the depiction of erotes with uncrossed legs and a raised head, holding a garland in the hand extended along the torch.251 Uncrossed legs can also be found on the erotes on another ash chest that is missing its upper part,252 whereas crossed legs are visible on two other ash chests.253 The greatest diversity is in the positioning of the arms, which is never repeated: one relief shows one arm bent at the elbow and supporting the head, while the elbow Figure 42. Depiction of mourning erotes on ash chests: a - Cat. No. 44, b - Cat. No. 50, c - Cat. No. 60, d - Cat. No. 45, e - Cat. No. 105 248 For a description, see e.g. Birkedal Hartmann 1969, 17–18; Drack 2008, 84; Pochmarski 2020, 335. 249 Virgil, Aen. VI 223–225: ‘Pars ingenti subiere feretro, triste ministerium, et subiectam more parentum aversi tenuere facem.’ 250 Cat. Nos. 6, 8. 251 Cat. No. 50. 252 Cat. No. 51. 253 Cat. Nos. 43, 44. 45 Poetovio FINAL.indd 45 Poetovio FINAL.indd 45 4. 09. 2025 15:29:36 4. 09. 2025 15:29:36 is resting on the opposite hand that is placed on the torch;254 one relief shows both arms leaning onto the inverted torch, with the head resting on the hands;255 another relief shows an eros with a raised head and spread wings supporting himself on the torch, while the other hand with a pruning knife (falx) at his side.256 This variety of depictions indicates several different models used in the Poetovio workshops (Figure 42). There is a single instance of an eros holding a raised torch,257 which is positioned diagonally across his chest; it is depicted in the left acroterium of an ash chest lid fragment from Črešnjevec.258 In Slovenia, such motifs are also known on a sarcophagus from Nova cerkev near Celje259 and on Norican tombs.260 All the erotes discussed here have a childlike or early youthful appearance, which Pochmarski261 at- tributes to the Antonine period. Only the eros from Črešnjevec is later and was likely created in the Severan period at the earliest. Attis or the mourning shepherd The reliefs include one example, surviving on a poorly preserved right front panel of an ash chest,262 as Attis (Attis tristis).263 Doubts regarding the correct identification of such figures as Attis were 264 raised primarily by Nenad Cambi, of a clothed youthful figure leaning on a lagobolon-pedum (Figure 43), such as is commonly identified who instead termed it a ‘sad Easterner’, a defeated barbarian standing next to a trophy (without a pedum) or an Oriental shepherd (with a pedum). It is therefore more appropriate to change the conventional identification as Attis to that of the mourning shepherd. Figure 43. The depiction of ‘Attis’ on an ash chest from Dravinjski vrh (Cat. No. 56) 254 Cat. No. 44. 255 Ptuj, Dominican Monastery, Cat. No. 60. 256 Cat. No. 44. 257 The raised torch is perceived in the context of a wedding or celebration. 258 Pahič 1977a, 46. 259 Visočnik 2014, 359–360, with an erroneous interpretation of the figural depictions. 260 Examples gathered in Drack 2008, 100–104. 261 Pochmarski 1987; 1998. 262 Dravinjski vrh, church of St John the Baptist, Cat. No. 57. 263 Vermaseren 1966. 264 Cambi 2003; 2021. 46 Poetovio FINAL.indd 46 Poetovio FINAL.indd 46 4. 09. 2025 15:29:36 4. 09. 2025 15:29:36 Mythological motifs Mythological motifs, which are so characteristic of the Norican tombs and aedicular stelae,265 are extremely rare on the surviving sarcophagi and ash chests of Poetovio. They are considerably more numerous on the Pannonian marble sarcophagi that were made in the same workshops as those from Ptuj, bearing the motifs such as Apollo and Marsyas,266 Ganymede and the eagle, Leda and the swan, Perseus and Medusa, Iphigenia in Tauris,267 Apollo and Daphne, as well as Heracles and Hesione.268 Built into the southwest corner of the church of St Margaret of Antioch in Kebelj, near Oplotnica, is a fragment of the lower part of an ash chest269 that holds a figural relief on the right short side (Figure 44). It depicts a female figure reclining against a rock, lying on her side and back with her head on the right, supporting her upper body on her left elbow, her bent right leg placed in front of the extended left leg. The body is preserved to the level of the left shoulder. She is wearing a cloak that covers her left shoulder, envelops her left arm and continues down her body so as to cover the legs with the exception of the right foot. The left third of the relief shows a pair of bare male legs surviving to knee height and striding toward the right. Behind his left leg is a narrow flat object, positioned diagonally to the leg, which can be identified as a ship gangway. The bottom part of the relief is occupied by an element resembling a horizontal palm frond. The remains of the relief can be identified as part of the motif of Theseus abandoning the sleeping Ariadne on the island of Naxos (Dia), with the ‘palm frond’ actually representing a stylized depiction of her bed, while the rocky background behind Ariadne represents the desolate island. This is a very rare motif in sepulchral art, known on only three Metropolitan270 and one Attic sarcophagus,271 while it has not Figure 44. Theseus abandoning Ariadne on Naxos, Kebelj (Cat. No. 66) 265 For the motifs, see e.g. Walde 2005. 266 Szekszárd, Koch – Sichtermann 1982, 327; Lupa 824. 267 Pécs, Koch – Sichtermann 1982, 327; Lupa 827. 268 Migotti 2017. 269 Cat. No. 66; Djurić 2025. 270 Relief from Hadrian’s villa, Musei Vaticani, Inv. No. 540; Bernhard, Daszewski 1986, 1058, No. 68, with referenc- es; garland sarcophagus (CE 140–150), New York, Metropolitan Museum of Art, 90.12; Bernhard, Daszewski 1986, 1058, No. 69, with references; Theseus sarcophagus (CE 240–250), Cliveden Estate, Buckinghamshire, NT 766179; Bernhard, Daszewski 1986, 1060, No. 92, with references. 271 Archaeology Museum Istanbul, Inv. No. 125; Bernhard – Daszewski 1986, 1058, No. 70 with references. 47 Poetovio FINAL.indd 47 Poetovio FINAL.indd 47 4. 09. 2025 15:29:36 4. 09. 2025 15:29:36 been previously recorded within the Norico-Pannonian mythological repertoire. The same church holds another ash chest fragment,272 built into the northwest corner of the bell tower (Figure 45). This lower part fragment bears a relief from the left short side of an ash chest that likely shows the triumph of Dionysus and Ariadne. Visible on the surviving relief is their two- wheel chariot drawn by two panthers. The two fragments probably belong to the same ash chest that featured two motifs of the myth of Ariadne on its short sides. The one with Theseus represents separation, while the other, with Dionysus, symbolises the promise of a new life. Figure 45. Chariot drawn by a female panther as part of the Triumph of Dionysus, Kebelj (Cat. No. 67) Dionysian motifs These motifs, which comprise the primary attributes of Dionysus (Bacchus, Liber Pater), namely the panther, kantharos and grapevine, are quite common on the sepulchral monuments in Noricum and Pannonia of the 2nd and 3rd centuries. On the sarcophagi and ash chests of Poetovio, only one (Figure 46a) depicts the complete Dionysian motif of a kantharos with two grape vines flanked by a seated panther on either side with one paw resting on a goat drinking horn.273 This motif is carved on the short side of a sarcophagus,274 of which only the said short side survives that nev- ertheless allows for a credible reconstruction. The motif was fairly frequent in the second half of the 2nd and in the 3rd century, appearing on all forms of sepulchral monuments. On sarcophagi, it adorns the examples from Sremska Mitrovica,275 Šid-Bjelnjača276 and Szombathely,277 though with- out the drinking horns. The small fragment of a seated panther, built into the wall of a passageway at Prešernova ulica 16 in Ptuj,278 can probably also be attributed to such a motif, belonging to a short side of a sarcophagus. Another complete motif (without the drinking horns) is depicted 272 Cat. No. 67. 273 For the motif, see Djurić 2020. 274 Cat. No. 17. 275 Vienna, KHM Inv. No. AS I 162. Koch – Sichtermann 1982, 330; Dautova Ruševljan 1983, No. 40; Djurić 2001, 48, Fig. 9; Lupa 4353. 276 Gallery of Sava Šumanović, Šid. Pop-Lazić 2008; Lupa 26164. 277 Szombathely, Savaria Múzeum Inv. No. 67.10.128. Erdélyi 1974, No. 74; Buócz 2003, 112, No. 107; Lupa 3387. 278 Unpublished; Cat. No. 71; Lupa 33313. 48 Poetovio FINAL.indd 48 Poetovio FINAL.indd 48 4. 09. 2025 15:29:36 4. 09. 2025 15:29:36 on the short side of an ash chest made of Neogene limestone, unearthed at Vranje near Sevnica (Figure 46b).279 Dionysian motifs can also appear in a reduced form, consisting of only some elements. A kan- tharos with a double grape vine is common on the short sides of ash chests (Figure 47),280 in one example281 combined with the motif of a standing panther holding a drinking horn on the opposite short side. The surviving lower parts of both short sides of a large marble ash chest from Zgornji Breg in Ptuj282 bear the same motif of a kantharos with a double grape vine, while a kantharos with Figure 46. Dionysian motifs: a - Ptuj (Cat. No. 17), b - Vranje (Lupa 1653) Figure 47. Dionysian motif of vines growing from a kantharos: a - Savci (Cat. No. 47), b - Ptuj (Cat. No. 48) 279 Graz, Joanneum Inv. No. 28. Hoffiller – Saria 1938, No. 31; Modrijan – Weber 1979–81, 48, No. 28; Koch – Sich- termann 1982, 306; Hudeczek 2004, No. 7; Pochmarski 2014b, 362; Visočnik 2017, 442, No. 449; Lupa 1653. 280 Ash chest reworked into a wash basin, in the Minorite Monastery in Ptuj, Cat. No. 48; Djurić 2023; ash chest from Savci, Cat. No. 47; Modrijan – Weber 1979–81, 94; Hudeczek 2004, No. 8; Lamut 2013; Lamut 2015; Lupa 1696. 281 Ash chest reworked into a wash basin, Cat. No. 46. 282 PMPO RL 1023, Cat. No. 52; unearthed during golf course works; Lubšina Tušek 2001, 95; Pochmarski 2014, 354, 49 Poetovio FINAL.indd 49 Poetovio FINAL.indd 49 4. 09. 2025 15:29:36 4. 09. 2025 15:29:36 a single grape vine occurs on the lateral front panel of an ash chest from Varaždin.283 Three front fragments of ash chest lids form a special group of motifs featuring a kantharos with a double grape vine,284 on which the grape vines do not cross each other at the bottom, but grow separately and in opposite directions (Figure 48). There is also an example285 that includes the gold- en apple of the Hesperides shown above the kantharos and grape vines.286 a b c Figure 48. Fragments of ash chest lids with the motif of vines growing from a kantharos: a - Ptuj, Dominican Monastery (Cat. No. 125), b - Videm pri Ptuju (Cat. No. 124), c - Laporje (Cat. No. 123) Fig. 1; Pochmarski 2015, 219; Ragolič 2023, 90–91, No. 49; Lupa 9437. 283 Cat. No. 46; Diez 1948, 156, No. 9; Ragolič 2023, 112–113, No. 71; Lupa 4262. 284 Laporje near Slovenska Bistrica (Cat. No. 123), Videm pri Ptuju (Cat. No. 124), Dominican Monastery in Ptuj (Cat. No. 125). 285 Cat. No. 125. 286 Such apples are depicted on the lid front of a marble sarcophagus from Sremska Mitrovica; Vienna, KHM Inv. No. I162; Koch – Sichtermann 1982, 330; Dautova Ruševljan 1983, No. 40; Lupa 4353. 50 Poetovio FINAL.indd 50 Poetovio FINAL.indd 50 4. 09. 2025 15:29:36 4. 09. 2025 15:29:36 CONCLUSION The marble sarcophagi of Poetovio are part of a large group of Pannonian marble Kastensarkopha- gen287 produced in the quarries in the Pohorje (Šmartno-Frajhajm, Hudinja above Vitanje, Črešnova above Zreče, in Slovenia) and at Gummern (Puch near Gummern, in Austria), and shipped to the Roman towns across Pannonia using the trade routes along the waterways (the Rivers Drau/ Drava and Danube). In addition to the 42 mostly fragmented sarcophagi from Poetovio, examples of these Kastensarkophagen, mostly complete, also came to light at Savaria288 (Szombathely 1), Siscia289 (Sisak 2), Aquae Balissae290 (Daruvar 1), Mursa291 (Osijek 2), Sopianae292 (Pécs 4), Alisca293 (Szekszárd 1), Sirmium294 (Sremska Mitrovica 5), Šid295 (2) and, furthest east, at Viminacium296 (Kostolac 4). All these sarcophagi are closely linked to the production of other forms of marble funerary monu- ments, as indicated by the tripartite structure of their front sides, the specific use of the Nori- co-Pannonian volute (which differs from those on the Pannonian travertine sarcophagi) and the choice of the mythological and symbolic motifs. They form a homogeneous group together with the characteristically Norican marble aedicula tombs and funerary stelae, with the main production centre associated with the Gummern quarry. However, there are also several exceptions that sig- nificantly deviate from this homogeneous group and demonstrate the diversity in the production of marble sarcophagi, which is possibly related to the customers and/or the origin of the crafts- men. One such example is the frieze sarcophagus from Ptuj,297 whose lower section is broken off and the exact type thus unclear. Other examples include the architectural-columnar sarcophagi from Sremska Mitrovica, namely the Seasons sarcophagus298 and the sarcophagus with Apollo and Marsyas.299 Another example is the fragment of a garland sarcophagus(?)300 from Ptuj that has a high base characteristic of architectural sarcophagi. All of these sarcophagi were richly painted, as can most clearly be observed on the sarcophagus from Sremska Mitrovica now held in Vienna301 and the sarcophagi from Szekszárd302 and Pécs,303 both held in Budapest. Forming a specific group are the limestone sarcophagi with simple, undecorated chests and gabled lids with corner acroteria; these were buried in the ground so as to leave only the lid visible above ground. Whereas the marble sarcophagi modelled the sarcophagi from Italy in their basic form and mainly 287 In Italian sarcofago a cassapanca. 288 Buócz 2003, 112–113, No. 107. 289 Migotti – Šašel Kos – Radman-Livaja 2018, 20–23, Nos. 9–10. 290 Migotti – Šašel Kos – Radman-Livaja 2018, 117–119, No. 1. 291 Djurić – Filipović – Müller 2009, 12, 14. 292 Burger 1991, No. 101. 293 Burger 1991, No. 97. 294 Dautova Ruševljan 1983. 295 Dautova Ruševljan 1983, No. 41; Pop Lazić 2008. 296 Three unpublished sarcophagi held at the site, one sarcophagus held in the Narodni muzej in Požarevac, Koch – Sichtermann 1982, 334. 297 PMPO RL 447, Cat. No. 1. 298 Zagreb, AMZg Inv. No. 153. 299 Sremska Mitrovica, MS Inv. No. A12. 300 PMPO G 2060 PL, Cat. No. 22. 301 Vienna, KHM Inv. No. AS I 162. 302 Budapest, MNM Inv. No. 23.1849.1. 303 Budapest, MNM Inv. Nos. 62.84.1-2, 62.85.1-2. 51 Poetovio FINAL.indd 51 Poetovio FINAL.indd 51 4. 09. 2025 15:29:36 4. 09. 2025 15:29:36 differed from them in the flat ridge of the gabled lid, the ash chests are a creation of the workshops of Poetovio. Formally, this is evident in their lids that have the ridge oriented perpendicularly to the length of the chest, forming a pediment on the front side. Spatially, this is clear from their dis- tribution that is limited to Poetovio and its territory. Their structure shows a reduced version of an aedicula tomb and consists of a tripartite base and a gabled roof, with the portraits shifted from the absent niche to the tympanum. In addition to this numerically dominant group, there are several smaller and simple chests with the inscription panel on the front and several smaller lids with the ridge oriented lengthwise. The small undecorated marble chests without inscriptions, usually cov- ered with a plain slab and some also with a gabled lid with corner acroteria,304 are common forms of graves unearthed primarily under burial mounds, but are not closely related to the Poetovio ash chests. They should rather be viewed similarly as the undecorated chests of the limestone sarcoph- agi sunken into the ground. The main and predominant groups of marble sarcophagi and ash chests are similar in structure, whereas in terms of execution, the sarcophagi excel in the quality of decorative elements (mould- ing, volutes), reliefs and portraits of the deceased. The iconographic programme and motifs are similar or at least closely related in both groups, but possibly more varied on sarcophagi, though there are also some ash chests that hold exceptional depictions, such as the sleeping Ariadne on Naxos. Considering their dating, predominantly from the Severan period onward, it is understand- able that most motifs are tied to the Dionysian ideology, with the canonical depictions of the Seasons representing the cycle of life, the symbolic motifs featuring Dionysian attributes and the mythological motifs that metaphorically promise a new life, such as Ariadne’s union with Dionysus. The rare inscriptions mentioning the customers of the Poetovio sarcophagi and ash chests, as well as some of their portraits provide only limited information on this subject and we can only observe that the sarcophagi were mostly commissioned by members of the higher, the ash chests by those of the lower provincial elite. Inscriptions on sarcophagi, for example, name members of the Roman equestrian Aelii family:305 Publius Aelius Marinus, Publius Aelius Marcianus,306 decurio of the Poetovio colony, and Publius Aelius Vitalis.307 Other examples are the sarcophagus depict- ing a centurion308 and possibly the ash chest with a Greek inscription for Demetrios of Bithynia,309 centurion and member of the Roman equestrian order.310 The few functions mentioned in the surviving inscriptions on ash chests only include two soldiers of legio XIIII Gemina.311 The suggestion that some customers were crypto-Christians, as put forward by some authors in connection with the frieze sarcophagus and its depiction of a banquet under grape vine, is entirely speculative and unsupported by any concrete evidence, hence purely a matter of belief.312 304 An example of the highest quality is the limestone ash chest (Cat. No. 130) found at Obrež near Središče ob Dravi and is kept in the PMPO RL 686; Bratanič 1954. 305 Šašel Kos 1993. 306 Cat. No. 8. 307 Cat. No. 28. 308 PMPO RL 883, Cat. No. 10. 309 Cat. No. 63. 310 Jordan – Šašel Kos – Wallace 1985. 311 PMPO RL 36, Cat. No. 77 and RL 104, Cat. No. 49. 312 For such a hypothesis, see recently Šmid 2020. The only Pannonian marble sarcophagus with a very likely cryp- to-Christian motif appears to be that from Veliki Bastaji near Daruvar ( Aquae Balissae) (Migotti 1996). 52 Poetovio FINAL.indd 52 Poetovio FINAL.indd 52 4. 09. 2025 15:29:36 4. 09. 2025 15:29:36 REFERENCES AV – Arheološki vestnik CLEPann – Carmina latina epigraphica Pannonica ČZN – Časopis za zgodovino in narodopisje JÖh – Jahreshefte des Österreichischen archäologischen Institutes in Wien VS – Varstvo spomenikov ABAD CASAL 1990 Lorenzo Abad Casal, Kairoi/Tempora Anni, in: Lexicon Iconographicum Mythologiae Classicae 5.1, Zürich-München 1990, 891–920 ABRAMIĆ 1914 Mihovil Abramić, Archäologische Funde aus Pettau, JÖh 17, 1914, 87-150 ABRAMIĆ 1925 Mihovil Abramić, Poetovio. Fürher durch die Denkmäler der römischen Stadt, Wien 1925 ABRAMIĆ 1933 Mihovil Abramić, Opaske o nekim spomenicima staroga Poetovija, ČZN 28, 1933, 129-144 ACKERS 2019 Helen I. 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Koch (ed.): Akten des Symposions »125 Jahre Sarkophag-Corpus«, Marburg 4.-7. 10. 1995, Sarkophag-Studien 1, Mainz 1998, 182-200 62 Poetovio FINAL.indd 62 Poetovio FINAL.indd 62 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 POCHMARSKI 2004 Erwin Pochmarski, Das sagum – urtrachtlicher keltischer Umhang und/oder römischer Uniform- mantel, in: H. Heftner – K. Tomaschitz (eds.), Ad fontes! Festschrift Gerhard Dobesch, Wien 2004, 571–578 POCHMARSKI 2014a Erwin Pochmarski, Die Sarkophagwerkstätten von Aquincum und Brigetio, Acta Archaeologica Aca- demiae Scientiarum Hungaricae 65, 2014, 405-426 POCHMARSKI 2014b Erwin Pochmarski, Die Aschenkisten von Poetovio und Celeia, AV 65, 2014, 353-366 POCHMARSKI 2015 Erwin Pochmarski, Aschenkisten und Sarkophage von Poetovio, in: B. Porod – G. Koiner (eds.), Römische Sarkophage. Akten des internationalen Werkstattgesprächs 11. – 13. Oktober 2012, Graz (Schild von Steier, Beiheft 5), Graz 2015, 212-225 POCHMARSKI 2016 Erwin Pochmarski, Ein Sarkophagfragment mit Nymphendarstellung aus Poetovio, in: G. Koiner – U. Lohner-Urban (eds.), „Ich bin dann mal weg“. Festschrift für einen Reisenden Thuri Lorenz zum 85. Geburtstag, Wien 2016, 163-168 POCHMARSKI 2018 Erwin Pochmarski, Aschenkisten aus dem Territorium von Iuvavum, in: R. Kastler – F. Lang – H. Wendling (eds.), Faber Salisburgi. Festschrift für Wilfried K. Kovacsovics zum 65. Geburtstag, Salzburg 2018, 223-228 POCHMARSKI 2019 Erwin Pochmarski, Beobachtungen zu den Sarkofagen aus Mursa und Cibalae, Prilozi povijesti umjet- nosti u Dalmaciji 44, 2019, 247-260 POCHMARSKI 2020 Erwin Pochmarski, Trauernde Eroten auf Grabmonumenten der Provinz Noricum, in: L. Berg- er – F. Lang – C. Reinholdt – B. Tober – J. Weilhartner (eds.), Gedenkschrift für Wolfgang Wohlmayr, Salzburg 2020, 335-342 POCHMARSKI – HANDY 2020 Zur Nymphenverehrung in Noricum und Pannonien, in: S. Petković – N. Gavrilović Vitas (eds.), Ancient cult in Balkans through archaeological findings and iconography, Beograd 2020, 39-62 POCHMARSKI-NAGELE 1992 Margaretha Pochmarski Nagele, Die dyonisischen Reliefs in Noricum und ihre Vorbilder, Wien 1992 POCOCKE – MILLES 1752 Richard Pococke – Jeremias Milles, Inscriptionum antiquarum liber alter, London 1752 POP LAZIĆ 2008 Stefan Pop Lazić, Late Roman necropolis Beljnjača in Šid, Starinar 58, 2008, 163-173 POVODEN 1818 Simon Povoden, Archäologische Blütenlese, Archiv für Geographie, Historie, Staats- und Kriegeskunst 9, 1818, 209-212 63 Poetovio FINAL.indd 63 Poetovio FINAL.indd 63 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 POVODEN 1830 Simon Povoden, Antiquitaeten Poetoviens. Ahhildungen der römischen Votiv- und Begrabungssteine sammt einer Erklärung (manuscript) PREDAN et al. 2013 Primož Predan – Grega Čakš – Jasna Vinder – Barbara Čeh, Arheološko najdišče Ptuj Rabelčja vas – meteorna kanalizacija OŠ Ljudski vrt, Slovenska Bistrica 2013 (unpublished report) RAECK 2003 Wulf Raeck, Rolle und Individuum im frühen griechischen Porträt, in: M. Büchsel, P. Schmidt (eds.), Das Porträt vor der Erfindung des Porträts, Mainz 2003, 29–42 RAGOLIČ 2014 Anja Ragolič, The territory of Poetovio and the boundary between Noricum and Pannonia, AV 65, 2014, 323–351 RAGOLIČ 2020 Anja Ragolič, Katalog kamnitih spomenikov, in: Arheološka najdišča Ptuja. Panorama, Ljubljana 2020, 71-139 RAGOLIČ 2023 Anja Ragolič, Poetovio. Römische Grabdenkmäler, Inscriptiones latinae Sloveniae 2/1, Ljubljana 2023 REINACH 1904 Adolphe Joseph Reinach, Thyrsos, in: Ch. Daremberg – E. Saglio, Dictionnaire des antiquités grecques et romaines: d‘après les textes et les monuments, tome 5, Paris 1904, 287-296 RENDIĆ-MIOČEVIĆ 2013 Ante Rendić-Miočević, The marble funerary stele of a cohors II Varcianorum equitata‘s veteran, Titus Flavius Ateboduus from the Odra village near Zagreb, in: N. Cambi – G. Koch (eds.), Funer- ary Sculpture of the Western Illyricum and the Neighbouring Regions of the Roman Empire, Split 2013 343-382 RINDLER 2004 Susanne Rindler, Zur Aufnahme römischer Steindenkmäler der »Ostalpenländer« 1943/44, Zeitschrift des Historischen Vereines für Steiermark 95, 2004, 337-349 ROBERT 1897 Carl Robert, Die antiken Sarkophag-Reliefs III.1, Berlin 1897 ROTHE 2012 Clothing in the Middle Danube provinces. The garments, their origins and their distribution, JÖh 81, 1912, 137-231 SARIA 1933-34 B. Saria, Jedan nadgrobni spomenik iz Viminacija, Starinar 8-9, 1933-34, 73-82 SARIA 1939 Balduin Saria, Rimski napisi v Mariboru, Kronika slovenskih mest 6.2, 1939, 73-79 SARIA 1943 Balduin Saria, Pettau. Ein Führer durch die Stadt und deren Geschichte, Pettau 1943 SARIA 1946 Balduin Saria, Neue Inschriften aus dem norisch-pannonischen Grenzgebiet, JÖh 36, 1946, 41-66 64 Poetovio FINAL.indd 64 Poetovio FINAL.indd 64 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 SCHNURBEIN VON 1995 Siegmar von Schnurbein, Merkur als Soldat? Zur Gürtelmode des 3. Jahrhunderts n. Chr, in: W. Czysz (ed.), Provinzialrömische Forschungen. Festschrift für Günter Ulbert zum 65. Geburtstag, München 1995, 139-148 SCHOBER 1923 Arnold Schober, Die römischen Grabsteine von Noricum und Pannonien, Wien 1923 SCHWEITZER 1963 Bernhard Schweitzer, Zur Kunst der Antike: ausgewählte Schriften, Tübingen 1963 SINN 1987 Friederike Sinn, Stadtrömische Marmorurnen I, Mainz am Rhein 1987 SKRABAR 1935 Viktor Skrabar, Römische Funde aus Pettau, Mitteilungen der k.k. Zentralkommision 4, 1905, 302-316 SKRABAR 1905 Viktor Skrabar, Stara ledinska karta v ormoškem gradu, ČZN 30, 1935, 30-44 SPEIDEL 1976 Michael P. Speidel, Eagle-Bearer and Trumpeter, Bonner Jahrbücher 176, 1976, 123-163 STARAC 2021 Alka Starac, An Architect of His Own Life, Academia Letters, Article 3439, 2021 STEINBÜCHEL 1829 Anton Steinbüchel von Rheinwall, Alterthümer in der österreichischen Monarchie, Jahrbücher der Literatur. Anzeige Blatt 46, 1829, 35-75 STUVERAS 1969 Roger Stuveras, Le putto dans l‘art romain, Bruxelles 1969 ŠAŠEL KOS 1993 Marjeta Šašel Kos, A new equestrian family from Poetovio, Zeitschrift für Papyrologie und Epigraphic 95, 1993, 236-240 ŠMID 2015 Katarina Šmid, Rajko Ložar (1904–1985) und seine WienerDissertation. Ein wenig bekannter früher Beitrag zur Sarkophagforschung in Noricum und Pannonien, in: B. Porod – G. Koiner (eds.), Römische Sarkophage. Akten des internationalen Werkstattgesprächs 11. – 13. Oktober 2012, Graz (Schild von Steier, Beiheft 5), Graz 2015, 250-255 ŠMID 2020 Katarina Šmid, Med »pogansko« antiko in zgodnjim krščanstvom sarkofag z upodobitvijo gostije (convivium), in: Umetnost Ptuja in ptujski umetniki, Ptuj 2020, 31-44 ŠMID 2023 Katarina Šmid, Lysippean models on two Roman reliefs from Poetovio, AV 74, 2023, 315-329 ŠUBIC 1965 Zorka Šubic, Ptuj, VS 10, 1965, 202-204 ŠUBIC 1966 Zorka Šubic, Videm pri Ptuju, VS 11, 1966, 130 65 Poetovio FINAL.indd 65 Poetovio FINAL.indd 65 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 ŠUBIC 1967a Zorka Šubic, Ptuj, VS 12, 1967 (1969), 93-94 ŠUBIC 1967b Zorka Šubic, Epigrafske najdbe v Ptuju in območju v letih 1965-1966, AV 18, 1967, 187-191 ŠUBIC 1968-69 Zorka Šubic, Ptuj, VS 13-14, 1968-69 (1970), 164-165 ŠUBIC 1972 Zorka Šubic, La nécropole romaine a Poetovio, Inventaria Archaeologica: Jugoslavija 14, 1972 ŠUBIC 1974 Zorka Šubic, Sp. Hajdina, VS 17-19/1, 1974, 152-153 ŠUBIC 1975 Zorka Šubic, Beg Ifigenije s Tavride na videmskem reliefu, Ptujski zbornik 4, 1975, 95-100 ŠUBIC 1977 Zorka Šubic, Novi rimski napisi iz Poetovione (1968-1972), AV 28, 1977, 92-99 TUŠEK 1984 Ivan Tušek, Rimska apnenica v Rabelčji vasi v Ptuju, AV 35, 1984, 225-231 TUŠEK 1986 Ivan Tušek, Novi rimski reliefni kamni in napisi iz Ptuja, AV 37, 1986, 343-370 TUŠEK 1992a Ivan Tušek, Ptuj. Zaščitna izkopavanja ob novi porodnišnici, VS 34, 1992, 282-284 TUŠEK 1992b Ivan Tušek, Ptuj. Prešernova 16, VS 34, 1992, 286-287 TUŠEK 1993a Ivan Tušek, Ptuj. Prešernova 16, VS 35, 1993, 137 TUŠEK 1993b Ivan Tušek, Novi oltarni in reliefni kamni iz Petovione, AV 44, 1993, 203-208 UBL 1969 Hannsjörg Ubl, Waffen und Uniform des römischen Heeres der Prinzipatsepoche nach den Grabreliefs Noricums und Pannoniens (Diss. Universität Wien 1969) = Waffen und Uniform des römischen Heeres der Prinzipatse- poche nach den Grabreliefs Noricums und Pannoniens (Austria antiqua. Band 3), Graz 2013 VERMASEREN 1966 Maarten Jozef Vermaseren, The legend of Attis in Greek and Roman art, Leiden 1966 VISOČNIK 2014 Julijana Visočnik, Rimski spomeniki na Dobrni in njeni okolici, Kronika 62, 2014, 355-364 VISOČNIK 2017 Julijana Visočnik, The Roman Inscriptions from Celeia and its Ager, Celje 2017 VOMER GOJKOVIČ 1993 Mojca Vomer Gojkovič, Lončarsko opekarska delavnica v rimski obrtniški četrti na Ptuju, Ptujski arheološki zbornik, Ptuj 1993, 449-463 66 Poetovio FINAL.indd 66 Poetovio FINAL.indd 66 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 VOMER GOJKOVIČ 1996 Mojca Vomer Gojkovič, Grobišče pri Dijaškem domu v Rabelčji vasi na Ptuju, Ptujski zbornik 6.1, Ptuj 1996, 229-312 VOMER GOJKOVIČ 1997 Mojca Vomer Gojkovič, Marmorfragment mit Vogeldarstellung, Akten des IV. Internationalen Kollo- quiums über Probleme des provinzialrömischen Kunstschaffens: Celje 8.-12. Mai 1995, Ljubljana 1997, 131- 134 VOMER GOJKOVIČ 2015 Mojca Vomer Gojkovič, A sarcophagus from Orešje near Ptuj, in: B. Porod – G. Koiner (eds.), Rö- mische Sarkophage. Akten des internationalen Werkstattgesprächs 11. – 13. Oktober 2012, Graz (Schild von Steier, Beiheft 5), Graz 2015, 256-268 WALDE 2005 Elisabeth Walde, Im herrlichen Glanze Roms. Die Bilderwelt der Römersteine in Österreich, Innsbruck 2005 WARD 2012 Graeme Alexander Ward, Centurions: the practice of Roman officership, Chapel Hill 2012 (Diss. Univer- sity of North Carolina) WARD 2017 Graeme Alexander Ward, From Stick to Scepter: How the Centurion’s Switch Became a Symbol of Roman Power, Paper presented to the 148th Annual Meeting of the Society for Classical Studies held January 5-8, 2017, Toronto, Canada (https://www.academia.edu/30840391/) WILSON 2010 Mark Wilson, Biblical Turkey: A Guide to the Jewish and Christian Sites of Asia Minor, Istanbul 2010 WLACH 2014 Gudrun Wlach, Arnold Schober – Leben und Werk, in: E. Trinkl (ed.), Akten des 14. Österreichischen Archäologentages am Institut für Archäologie der Universität Graz vom 19. bis 21. April 2012, Wien 2014, 457-470 ZIEGLER 2000 Daniela Ziegler, Frauenfrisuren der römischen Antike: Abbild und Realität, Berlin 2000 ŽNIDARČIČ – MIOČ 1989 Miro Žnidarčič – Peter Mioč, Osnovna geološka karta SFRJ, list Maribor in Leibnitz, 1:100.000, Beograd 1989 67 Poetovio FINAL.indd 67 Poetovio FINAL.indd 67 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 Poetovio FINAL.indd 68 Poetovio FINAL.indd 68 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 CATALOGUE Poetovio FINAL.indd 69 Poetovio FINAL.indd 69 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 List of abbreviations: AMZg Arheološki muzej, Zagreb CLEPann Carmina latina epigraphica Pannonica EDCS Epigraphische-Datenbank Clauss-Slaby (http://www.manfredclauss.de/) HD/EDH Epigraphische Datenbank Heidelberg (https://edh.ub.uni-heidelberg.de/) ILJug Šašel A. – Šašel J., Inscriptiones Latinae quae in Iugoslavia inter annos MCMXL et MCMLX repertae et editae sunt, 1963 (= Situla 5) KHM Kunsthistorisches Museum, Vienna Lupa Ubi Erat Lupa (http://lupa.at) MNM Magyar Nemzeti Múzeum, Budapest MS Muzej Srema, Sremska Mitrovica PMMb Pokrajinski muzej, Maribor PMPO Pokrajinski muzej Ptuj – Ormož, Ptuj TM Trismegistos (http://www.trismegistos.org/) Note: The inscriptions on the monuments described in the catalogue are taken from the work of Anja Ragolič, 2023. 70 Poetovio FINAL.indd 70 Poetovio FINAL.indd 70 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 SARCOPHAGI 1. FRIEZE SARCOPHAGUS PL. 1 the arm bent at waist height, while the right hand is not visible. The figure on the left also Prov.: Zgornja Hajdina near Ptuj, church of St has the left arm bent at waist height, with the Martin, south wall of the presbytery. hand loosely hanging down, while the right arm Material: Eastern Alpine marble, Pohorje quar tifiable object. Shown between them is a pair -of nude boys, each oriented toward one of the Loc.: Ptuj, PMPO, Inv. No. RL 447. is bent at chest height and holds an uniden- ry (Sample PET 12; H. W. Müller). reclining figures. The boy on the left is kneel- Condition: Large part of the front side bro- ing on the couch, placing a garland around the ken off above the bottom, missing the left and woman’s neck. The boy on the right is sitting, right corners at least for the thickness of the with an extended right arm possibly holding short sides, more so on the left than on the a vessel towards the man, while the left arm right. Upper left corner crushed and restored. is reaching towards the man’s chest below the Surface heavily weathered, with poorly visible neck. Such nude child figures with garlands and marks in the form of slightly curved horizontal itan sarcophagi and identified as deliciae. On the lines left by a double-pointed quarry pick used details. The interior shows well-preserved tool kalathoi in hand are known from the Metropol- sepulchral monuments with banqueting scenes, to carve out the chest interior. they can be seen participating in the feasting as front. The bedding surface has a raised semi deliciae. Shown at either end -and in front of the couch is a female figure circular edge along the interior to keep the lid seated on a chair with a backrest. Both wom-in place. en are dressed in a tunic and Structure: Chest with relief decoration on the ers engaged in play and to whom the Romans also referred as Size: 232 × 62 × 21 cm; side th. 22 cm. pleasant and amusing ‘pets’, with whom oth- palla, the latter Iconography: The centrally placed couch ( lec- better visible on the right woman. The tunics tus, kline) with a high back and armrests (fulcra), are girt under the breasts. Between them stands such as are depicted on many Roman reliefs a round, likely three-legged table (mensa tripes), with banqueting scenes, holds two reclining which the woman on the left is touching with figures, likely a man on the right and a woman her left hand and the woman on the right with on the left. The man has short hair, the woman her right hand. The woman on the left has her perhaps a melon coiffure (Melonenfrisur). They right arm bent and raised before her at chest are both dressed in tunics. The woman also height, possibly with two extended fingers, a cloak ( sagum?) pleated on the left shoulder. ( modius, calathus?) in her lap, presumably filled Both figures are portrayed in a manner rem wears an asymmetrical palla, the man possibly while the woman on the right holds a vessel - with fruit. Placed in the centre of the table is iniscent of half-length funerary portraits on a round platter with food, likely poultry based numerous Pannonian funerary stelae or Nori- on its outline, which would typically follow fish can medallions and aedicula tombs, and only a as the most prized meat at banquets. To the detail on the left side of the left figure hints at left and right of the platter is a round loaf of a reclining pose. The figure on the right holds bread with a hole in the middle. Another object a drinking cup (modiolus?) in the left hand, with 71 Poetovio FINAL.indd 71 Poetovio FINAL.indd 71 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 is depicted below the left loaf, but it is no lon- gy, while a Christian interpretation is much less ger identifiable. likely, but cannot be entirely excluded. of the central scene, two on each side. On the Lit.: Conze 1875, 12; Abramić 1925, 171; Klemenc far left is a partially preserved figure shown in Other figures are arranged to the left and right Dating: 3rd century. profile, facing right and holding a platter with – Hebert – Saria 1936, 59; Djurić 2001b, 47, No. 1; Djurić et al. 2004, 400 (PET 12); Djurić 2015, pallium is visible under the arms. On the far www: Lupa 5295. right, a similar figure is depicted in profile, but food (?) in the outstretched hands; part of the 92–101; Šmid 2020; Ragolič 2023, 164, No. 156. facing away from the central scene, dressed in 2. SARCOPHAGUS WITH LID PL. 2 a pallium and holding a platter in the hands out- are servants-slaves attending to the banqueters. Loc.: Graz, Universalmuseum Joanneum, Inv. Shown in a similar posture is another figure on stretched at the level of the face. Both figures Prov.: Hajdina (?) near Ptuj. No. 50. ing a large cup ( Material: Eastern Alpine marble. the left, dressed in a tunic (?) and pallium, hold- calathus?) in the outstretched left hand at chest height, while the missing right Condition: Complete chest and lid with right, dressed in a lateral decoration panels. The central panel has tunica manicata girt below the a straight moulded frame on all four sides, it is breasts, touching the chair’s backrest with the finely finished and prepared for the inscription. right hand while holding a mantele , napkin used The decoration panels have a straight mould-for wiping hands during meals ( lavatio ), that is ed frame on all four sides and are left rough. slung over the left shoulder. The gender of this The short sides have an outlined decoration figure cannot be identified due to damage; the panel in each. The bedding surface has a raised high-girt tunic and the regional tradition of de-semicircular edge along the interior to keep the picting female servant-slaves suggest it is more lid in place. The front side is six modules long. likely a woman, though there are also known The lid is in the form of a slab. similar depictions of youthful luxury slaves – capillati be identified in the person standing behind the Satyrica 41.6). The figure of a handwasher can 18 cm. Structure: Chest with an unrecessed tripartite seated woman on the right. This figure is shown front composed of a central inscription and frontally, with the head slightly turned to the al may be a puer speciosus, as named by Petronius Size: chest 206 × 55 × 98 cm; lid 173 × 64 × ( arm presumably held a wine jug – this individu- chipped edges. or paedagogiani. Dating: 3rd century. Shown on the far right are two cylindrical ob- Lit.: Diez 1948, 152; Gabelmann 1977, 241; Modri- jects with a domed lid terminating in a knob jan – Weber 1979–81, 103; Djurić 2001b, 47–48, and tied with a ribbon. They are pair of flasks No. 2; Ragolič 2023, 159, No. 146. for wine and water in wicker containers. www: Lupa 4577. metrically arches towards the 3. SARCOPHAGUS WITH LID PL. 2 kline The scene unfolds beneath a vine that sym- and right. The vine has five-lobed leaves with Prov.: Ptuj, Rogaška cesta 14 (today Zagrebš-incised central veins, simple single tendrils and from the left full bunches of sub-round, only slightly elon- municipality, 1967. ka cesta 28), Lot No. 318/3, Sp. Breg cadastral gated grapes. In the 3rd century, the vine motif is primarily associated with Dionysian ideolo Loc.: Ptuj, PMPO, Inv. No. RL 872.- 72 Poetovio FINAL.indd 72 Poetovio FINAL.indd 72 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 Context: The excavations for a soakaway on inscription. The decoration panels also have a Spodnji Breg brought to light a lidded sarcoph- straight moulded frame on all four sides, but agus. Its chest and lid were fixed together with otherwise left rough. The short sides are plain an iron dowel on either side (Inv. No. R11307), and have a clamp hole at the upper edge. The secured with lead. The sarcophagus was buried bedding surface has a raised semicircular edge 1.85 meters below the modern-day surface (see along the interior for keeping the lid in place. Fig. 6) and held the skeleton of a woman and The front side is six modules long. grave goods: a small glass jug with a handle313 The lid is in the form of a slab and has a groove (Inv. No. R11308), a small globular glass bot-framing the underside or standing surface in-tle 314 (Inv. No. R11311), a fragment of a lead tended to fit onto the chest. The short sides of mirror frame with relief decoration (spruce the lid have a clamp hole for fastening the lid branch above a circle) (Inv. No. R11310) and a to the chest with a pair of iron clamps secured bronze as of Claudius I 315 (Inv. No. RN 3834). with lead. Outside the sarcophagus, a small globular glass Dating: CE 150–300 (based on grave goods, bottle with a long neck 316 cf . (Inv. No. R11309), Lazar 2003, 130, 142). a round bronze fitting (Inv. No. R11312), an amber bracelet or spindle (Inv. No. R11313) Lit.: Šubic 1967, 94; Šubic 1972; Jevremov 1988, and half of a disc-shaped amber bead (Inv. 115; Djurić 2001b, 47–48, No. 3; Djurić – Hebert No. R11314) were found on the surface from et al. 2004, 400 (PET 7, PET 8); Ragolič 2023, 158, which the pit for the sarcophagus was dug. Un No. 145.- earthed higher up, on another ancient ground www: Lupa 9363. above the sarcophagus were fragments of two incense burners (Inv. Nos. R11319, R11320), 4. SARCOPHAGUS PL. 2, 3 damaged beaker decorated with incisions and Prov.: Orešje near Ptuj, Orešje 76 (Grdiša fam-three plates (Inv. Nos. R11315–11317) and a barbotine (Inv. No. R11321). ily). Material: Eastern Alpine marble, Pohorje quar Loc.: Ptuj, PMPO, Inv. No. RL 1034.- ry (Samples PET 07, 08; H. W. Müller). Material: Eastern Alpine marble. Condition: Complete chest and lid, containing Condition: Complete chest with damaged the skeleton of a woman and grave goods ( cf. upper and bottom edges on the back and a Šubic 1972). cracked right short side that holds a later hole Size: chest 208 × 50 × 100 cm; lid 224 × 14 × for water drainage. 106 cm; bottom th. 10–13 cm; side th. 16–28 Size: 200 × 91 × 94 cm; bottom th. 51 cm; side cm. th. 14 cm. Structure: Low chest with an unrecessed tri- Structure: Chest with a tripartite front com- partite front composed of a central inscrip- posed of a recessed central inscription and lat- tion and lateral decoration panels. The central eral decoration panels. The central panel has a panel has a straight moulded frame on all four straight moulded frame on all four sides, it is sides, it is finely finished and prepared for the finely finished and prepared for the inscription. The decoration panels also have a moulded frame, formed as a Norico-Pannonian volute 313 Lazar 2003, 130, Form 5.1.6. in the upper part, and are left rough. The short 314 Lazar 2003, 142, Form 6.2.4. sides have an outlined decoration panel, which 315 Identification: Efrem Pegan, Narodni muzej Slo-is coarsely dressed. The thick bottom allows venije. for the possibility of the piece being an ash 316 Lazar 2003, 142, Form 6.2.4. 73 Poetovio FINAL.indd 73 Poetovio FINAL.indd 73 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 chest. The front side is five modules long. (PET 44); Ragolič 2023, 120–121, No. 79; CLE- Dating: Second half of the 2nd – 3rd Pann 20. century. Lit.: Pahič 1977a, 52; Djurić 2001b, 48, No. 4; www: Lupa 4271; EDCS-11301067; HD069061; TM 407241. Djurić 2005, 82; Vomer Gojkovič 2015; Ragolič 2023, 301, No. 398. 6. SARCOPHAGUS PL. 3, 4 5. SARCOPHAGUS FOR QUINTINA PL. 3 Prov.: Ptuj, Zgornji Breg, prior to 1948. Prov.: Zgornja Hajdina near Ptuj, excavations Loc.: Ptuj, PMPO Mithraeum III, Inv. No. RL of the Maribor museum association in 1905 or 1020. 1907. Material: Eastern Alpine marble, Pohorje quar- Loc.: Maribor, PMMb, Inv. No. A 2330. ry (Sample PET 40; H. W. Müller). Material: Eastern Alpine marble, Pohorje quar- Condition: Bottom part with all four sides bro- ry (Sample PET 44; H. W. Müller). ken off. Condition: The two parts of the upper front Structure: Chest with a tripartite front com- side, once built into the wall of the PM Mari- posed of a recessed central inscription and lat- bor, broke into several pieces that were then eral decoration panels. The central panel has a restored and reassembled. There were six frag- moulded frame. The lateral panels also have a ments upon discovery that are today joined moulded frame. The short sides are plain and into two pieces; the right upper part is missing. coarsely dressed. The front side is five modules Size: 205 (reconstr.) × 32 (reconstr. 70) × 17.5 long. cm; surviving size 1. 135 × 19 × 16 cm; surviv- Size: 206 × 37 × 102 cm; bottom th. 18 cm; ing size 2. 33 × 12 × 16 cm; left short side th. 19 cm. side th. 16 – 20 cm. Structure: Chest with an unrecessed tripartite Iconography: The lateral front panels show a front composed of a central inscription and pedestal with concave sides. The right panel lateral decoration panels. The central panel has more precisely shows the lower part of crossed a straight moulded frame and bears an inscrip- legs, while the left panel shows the lower part tion. The decoration panels also have a mould- of an inverted torch. They are likely mirror de- ed frame, formed as a Norico-Pannonian vo- pictions of mourning erotes leaning onto an lute in the upper part, and are left rough. The inverted torch, with their legs crossed. short sides have a simple frame and are left Dating: Second half of the 2nd – 3rd century. rough. The front side is five modules long. Lit.: Diez 1948, 153; Cermanović 1965, 99, No. 11; Inscription: [D(is) M(anibus)] / [et perpe]tuae sae-Djurić 2001b, 53, No. 6; Djurić – Hebert et al. 2004, curitati (!) ne grave sit quicum/[que leg]is cognoscere 402 (PET 40); Ragolič 2023, 168–169, No. 165. casus Quintinae est in / [---]ii tegitur fato rapta malo et iniquo numi/[ne --] NISIDVCI[ // ann]or(um) 7. SARCOPHAGUS PL. 4 LX semi/[ssis --- req]uiem ex more vetusto perpet/ Prov.: Ptuj, garden of the Minorite Monastery, [uam ---]dec(?) ex provincia RITIIASV [---] / [--- 1958. coni]ugi inco[mparabili--- Dating: 3rd Loc.: Ptuj, PMPO, Inv. No. RL736. century. Lit.: Hoffiller – Saria 1938, 180–182, No. 401; Diez Material: Eastern Alpine marble. 1948, 152–153; Cermanović 1965, 98, No. 7; Djurić Condition: Bottom part repurposed, turned 2001b, 53, No. 5; Djurić – Hebert et al. 2004, 402 upside down, as a rectangular basin with two 74 Poetovio FINAL.indd 74 Poetovio FINAL.indd 74 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 rounded corners and shortened on the short Inscription: --- ] / [P(ublius)] Aelius Marinus sides. d[ec(urio) col(oniae) Poetov(ionensis)] / eq(uo) publ(i- Size: 178 (reconstr. 198) × 21–23 (reconstr. 74) co) praef(ectus) coh(ortis) II Hispanorum et / P(ubli- × 95 cm; bottom th. 23 cm. us) Aelius Marcianus dec(urio) col(oniae) eiusdem / eq(uo) publ(ico) praef(ectus) coh(ortis) I Germanorum Structure: Chest with an unrecessed tripartite / parentibus pientissimis lateral decoration panels. The central panel Dating: Antonine (Šašel Kos) or Early Sever-front composed of a central inscription and has a moulded frame, it is finely finished and an. prepared for the inscription. The lateral panels Lit.: Jevremov 1988, 115–116, No. 132; Šašel Kos also have a moulded frame. The short sides are 1993, 236; Djurić 2001b, 53, No. 7; Djurić – Hebert et left rough. The front side is five modules long. al. 2004, 400 (PET 9); Pochmarski 2015, 219; Ragolič Lit.: Unpublished. 2023, 14–15, No. 1. www: Lupa 4218; EDCS-03700679; HD052957; 8. SARCOPHAGUS FOR AELII PL. 4 TM 197278. Prov.: Ptuj, Vičava, during water pipeline works, 9. SARCOPHAGUS PL. 5 Loc.: Ptuj, PMPO, Inv. No. RL 967. Prov.: Spodnja Hajdina near Ptuj, excavations for a house on Lot No. 863, Hajdina cadastral 1974. ry (Sample PET 09; H. W. Müller). Loc.: Ptuj, PMPO, Inv. No. RL 938. Condition: Bottom part with missing left cor Material: Eastern Alpine marble, Pohorje quar- municipality, property of Svenšek, 1972. ner in the width of the decoration panel. - Material: Eastern Alpine marble, Pohorje th. 37 cm, side th. 20 cm. -face damage. Structure: Chest with a tripartite front com Size: 194 × 46 (reconstr. 74) × 119 cm; bottom Condition: Left bottom part with severe sur quarry (Sample PET 05; H. W. Müller). eral decoration panels. The central panel has a - side th. 15–19 cm. posed of a recessed central inscription and lat Size: 106 × 30 × 42 cm; bottom th. 31 cm, - moulded frame, it is finely finished and bears Structure: Chest with a tripartite front com- an inscription. The lateral panels also have a posed of a recessed central inscription and moulded frame. The surviving right short side lateral decoration panels (right one missing). has a moulded frame and is coarsely dressed The central and lateral panels have a moulded in preparation for the relief to be carved. The frame that is almost completely abraded. front side is six modules long. Iconography: The left decoration panel shows Iconography: The right decoration panel part of a nude male figure, his legs surviving shows the nude crossed legs of a boyish figure, above the knees and the torso below the waist. shown frontally with the weight on the left leg, His weight is on the right leg. To his right is the on a pedestal with concave sides. To his right remains of a vertically positioned rod-like ob- is the lower part of an inverted torch, possibly ject. It does not seem to be a depiction charac- also part of a wreath. It is the depiction of a teristic of a mourning eros with the weight on mourning eros leaning onto a torch and possi- the leg opposite the torch on which he leans, bly holding a wreath in his lowered right hand. but possibly one of a nude Mars or hero. The missing left decoration panel presumably Dating: Second half of the 2nd – 3rd century. held his mirror image. Lit.: Šubic 1974, 152; Djurić 2001b, 53, No. 8; 75 Poetovio FINAL.indd 75 Poetovio FINAL.indd 75 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 Djurić – Hebert et al. 2004, 400 (PET 5); Ragolič medallion) between them. 2023, 169, No. 166. Dating: Severan (Pochmarski). 10. SARCOPHAGUS FRAGMENT PL. 5 Lit.: Šubic 1968–69, 164–165; Jevremov 1988, 124, Prov.: Ptuj, church of St George, façade reno No. 149; Djurić 2001b, 48, No. 9; Djurić – Hebert - vation, 1968. et al. 2004, 401 (PET 27); Pochmarski 2015, 219; Handy – Pochmarski 2020, 300; Ragolič 2023, 165– Loc.: Ptuj, PMPO, Inv. No. RL 883. 166, No. 159. Material: Eastern Alpine marble, Pohorje quar- www: Lupa 4219. ry (Sample PET 27; H. W. Müller). Condition: Right front corner with missing top 11. SARCOPHAGUS FRAGMENT PL. 5 part and damaged surface. Prov.: Ptuj. Size: 46 × 64 × 30 cm; bottom th. 31 cm, side Loc.: Ptuj, PMPO, Inv. No. RL 463. th. 13 cm. Material: Eastern Alpine marble, Pohorje quar- posed of a recessed central inscription and Condition: Left front corner with missing bot-lateral decoration panels. The right decoration Structure: Chest with a tripartite front com- ry (Sample PET 10; H. W. Müller). panel has a moulded frame. The surviving right tom part and surface damage, particularly on the left short side. short side has a simple frame. The front side is Size: 44 × 53 × 36 cm; side th. 20 cm. five modules long. Iconography: The right front panel depicts Structure: Chest with a tripartite front com- a male figure in posed of a recessed central inscription and contrapposto , with the weight on the left leg, standing on a footing. The lateral decoration panels. The left front panel half-missing head is damaged, possibly beard has a moulded frame, formed as a Norico-Pan-- ed. The left arm is bent, with the elbow and nonian volute in the upper part. The surviving hand destroyed, likely placed over the belt, pos left short side also has a moulded frame with - sibly holding a scroll. The right arm is stretched the upper part formed as a Norico-Pannonian away from the hip and resting on a staff with volute. The front side is five modules long. a rounded terminal – vitis. The man is dressed Iconography: The left front panel depicts a in a belted tunica manicata reaching above the winged nude youth with his head turned to his knees, with sleeves extending to mid-forearm. left. The youthful, full face is damaged, as is The belt is relatively wide, the belt buckle dam- the ear. The hair is styled in strands pulled back aged, while the excess belt is tucked under the into a melon hairstyle and tied into a round belt on the right hip and looped forward above chignon at the nape. The shoulders are depict- it. He also wears a sagum reaching to his knees, ed frontally, the hips are slightly turned to his draped across his left shoulder and fastened right. The legs, surviving above the knees, are on the right one with a disc brooch. The lower crossed. The genitalia are clearly visible. The edge of the sagum is decorated with fringes. It is wings on either side reach down to the hips. a depiction of a centurio in ‘camp dress’ (Speidel Folds of a cloak fall along the body under the 1976, 124). arms, though it is not visible on the shoulders. The right short side shows a youthful nude He is holding a slightly downward-curving flo- winged eros. He is shown mid-stride, with his ral garland diagonally across his chest, from the right leg extended backward, surviving up to left hip to the right shoulder. The cuffs of the the waist along with part of his right wing. It is garland are depicted at the outer edges of his one of a pair of erotes holding an object (shell, hands, and both ends of the garland are point- 76 Poetovio FINAL.indd 76 Poetovio FINAL.indd 76 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 ed and curved. The youthful figure represents No. 11; Djurić – Hebert et al. 2004, 402 (PET 31); a personification of Spring or an eros holding Ragolič 2023, 163, No. 154. a garland. The left short side shows a nude child figure 13. SARCOPHAGUS FRAGMENT PL. 6 Rising from the figure’s back is a triangular Loc.: Ptuj, PMPO, Inv. No. RL 113. wing that identifies it as Psyche. Her body sur with drapery over the left shoulder and arm. Prov.: Ptuj, Vičava, 1901.- vives from the waist up, it is slightly tilted and Material: Eastern Alpine marble, Pohorje quar- turned to the right. Her head has the face bro ry (Sample PET 32; H. W. Müller).- ken off and is turned upwards. Only the rear Condition: Upper part of the front inscription part of the hairstyle survives, showing curls panel with damage to the bedding surface and the chin is the hand of a possibly slightly larger, sarcophagus chests. 317 now missing destroyed figure and a chignon at the neck. Holding the head at tool marks on the interior side characteristic of centre of the panel. depicted in the Size: 81 × 33 × 22 cm; side th. 22 cm. Dating: Early Severan. front including a central inscription panel with Structure: Chest with a presumably tripartite Lit.: Jevremov 1988, 124, No. 150; Djurić 2001b, a moulded frame. 48, No. 10; Djurić – Hebert et al. 2004, 400 (PET Inscription: ---]L(uci) Luperci dec(urionalibus) 10); Pochmarski 2015, 217–219; Ragolič 2023, 166, o[rn(amentis)] / [Aq]uinc(i) d(ecreto) d(ecurio-No. 160. num) Aquin[c(ensium) orn(ati)] / et Tiber(iniae) www: Lupa 4220. Favent[inae] 12. SARCOPHAGUS FRAGMENT Lit.: Gurlitt 1901, 221–222; Abramić 1925, 52, No. PL. 6 18; Jevremov 1988, 90, No. 80; Djurić 2001b, 53, Prov.: Ptuj, Mala vojašnica, 1912. No. 12; Djurić – Hebert et al. 2004, 402 (PET 32); Loc.: Ptuj, PMPO, Inv. No. RL 546. Ragolič 2023, 72–73, No. 31; CIL III 15186. Material: Eastern Alpine marble, Gummern www: Lupa 9354; EDCS-32700115; HD068849; TM 410079. quarry (Sample PET 31; H. W. Müller). Condition: Left front corner with a missing 14. SARCOPHAGUS FRAGMENT PL. 6 lower part. Prov.: Ptuj, Mala vojašnica, 1912. Structure: Chest with a tripartite front com- posed of a recessed central inscription and lat Loc.: Ptuj, PMPO, Inv. No. RL 114.- eral decoration panels. The left front panel has Material: Eastern Alpine marble, Gummern nian volute in the upper part, and is left rough. Condition: Two fragments of the upper part of The surviving left short side has an outlined a moulded frame, formed as a Norico-Panno- quarry (Sample PET 30; H. W. Müller). decoration panel. The front side is five mod- ding surface and tool marks on the interior side the front inscription panel with damaged bed- ules long. characteristic of sarcophagus chests. Size: 58 × 35 × 35 cm; side th. 16–18 cm. Size: 81 × 26 × 19 cm; side th. 19 cm. Lit.: Diez 1948, 153; Cermanović 1965, 99, No. Structure: Chest with a presumably tripartite 12; Jevremov 1988, 90, No. 81; Djurić 2001b, 53, front including a central inscription panel with a moulded frame. 105; Verzar-Bass 2005, 54, Fig. 24; Lupa 13954. Inscription: 317 Possibly Eros? or Aphrodite?; see Scrinari 1972, ---] calciolar[iorum 77 Poetovio FINAL.indd 77 Poetovio FINAL.indd 77 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 Lit.: Abramić 1925, 58, No. 53; Abramić 1931, 200, Lit.: Schmid 1936, 98, No. 2; Hoffiller – Saria 1938, No. 24; Hoffiller – Saria 1938, 165, No. 367; Jevre- 188, No. 416; Djurić 2001b, 53, No. 16; Djurić – mov 1988, 93, No. 87; Djurić 2001b, 53, No. 13; Hebert et al. 2004, 401 (PET 17); Ragolič 2023, 145, Djurić – Hebert et al. 2004, 402 (PET 30); CIL III No. 120. 15186; Ragolič 2023, 135, No. 100. www: EDCS 11301078; HD 069085. www: Lupa 9375; EDCS-11301050; HD068959; TM 407228. 17. SARCOPHAGUS FRAGMENT PL. 6 15. SARCOPHAGUS FRAGMENT Prov.: Ptuj, church of St George. PL. 6 Loc.: Ptuj, PMPO, Inv. No. RL 1019. Prov.: Videm pri Ptuju, precinct wall of the church of St Vitus, 1966. Material: Eastern Alpine marble, Pohorje quar- ry (Sample PET 01; H. W. Müller). Material: Eastern Alpine marble, Pohorje quar Condition: Right front corner of a sarcopha-Loc.: Ptuj, PMPO, Inv. No. RL 864. ry (Sample PET 28; H. W. Müller). - gus chest with missing upper part and standing surface. The front side is almost entirely miss- Condition: Fragment of the inscription panel ing, with only a small part of the relief visible with tool marks on the bottom characteristic in the lower right corner. The lower left part of sarcophagus chests. holding a superficially damaged relief of the Size: 47 × 59 × 23 cm; bottom th. 23 cm. right short side. Structure: Chest with a presumably tripartite Size: 73 × 30 × 63 cm; bottom th. 35 (?) cm. front. Structure: Chest with a presumably tripartite Inscription: front and with the short side panels in a simple --- i]n agro ped[es ---frame. Lit.: Šubic 1966; Šubic 1967, 189; Pahič 1977b, Iconography: Only the relief on the short side 85; Jevremov 1988, 63, No. 36; Djurić 2001b, 53, is identifiable. It has a centrally positioned No. 14; Djurić – Hebert et al. 2004, 402 (PET 28); two-handled vessel – Ragolič 2023, 310, No. 408; CIL III 15186. kantharos – surviving up to half its height and flanked on either side by www: Lupa 13117; EDCS-10001167; HD013977. a panther. The animal is sitting and facing out-ward, likely with its head turned back, resting 16. SARCOPHAGUS FRAGMENT PL. 6 its right front paw on a curved goat’s horn. Prov.: Ptuj, during construction at Miklošičeva Vine tendrils and grape bunch are shown be-12, 1936. hind it. This is a canonical, symmetrically com-posed Dionysian motif of a kantharos with vine Loc.: Ptuj, PMPO, Inv. No. RL 78. laden with grape bunches, flanked by a heraldic Material: Eastern Alpine marble, Pohorje quar-pair of outward-facing seated panthers. ry (Sample PET 17; H. W. Müller). Dating: 3 rd century. Condition: Fragment of the front inscription Lit.: Djurić 2001b, 53, No. 17; Djurić – Hebert et panel and tool marks on the interior side char-al. 2004, 400 (PET 1); Djurić 2020; Ragolič 2023, acteristic of sarcophagus chests. 167–168, No. 163. Size: 51 × 13 × 20 cm; side th. 20 cm. Structure: Chest with a presumably tripartite front including a central inscription panel. Inscription: --- ]renia[ --- 78 Poetovio FINAL.indd 78 Poetovio FINAL.indd 78 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 18. SARCOPHAGUS FRAGMENT PL. 6 Paul, south wall. Prov.: Ptuj, during construction at Miklošičeva Material: Eastern Alpine marble. 12, 1936. Condition: Left front panel with missing left Loc.: Ptuj, PMPO, Inv. No. RL 450. and bottom edges, and minimal surface damage. Material: Eastern Alpine marble, Pohorje quar- Size: 39 × 47 cm. ry (Sample PET 15; H. W. Müller). Structure: Chest with a presumably tripartite Condition: Left front corner of a sarcophagus front composed of a central inscription and lat- Size: 13 × 20 × 51 cm. a moulded frame, formed as a Norico-Panno-nian volute in the upper part. chest with minor surface damage. eral decoration panels. The lateral panels have lateral decoration panels. The lateral front pan standing on a low pedestal and turned slightly -to the right, toward the inscription panel. She els have a moulded frame, formed as a Nori-stands in contrapposto , with her weight on the co-Pannonian volute in the upper part. The front composed of a central inscription and Iconography: The panel shows a female figure Structure: Chest with a presumably tripartite short sides have a simple frame. left leg, dressed in a tunic with short sleeves and a stola girt below her breasts. Her right arm Iconography: The left decoration panel of the is extended beside the body, holding a small front shows part of the right wing with feath-kettle. Her left arm is bent, with the forearm ers of a winged figure. positioned horizontally outward and holding Shown en face in the centre of the left short a long-handled vessel facing upward. A mappa side is a winged child figure with a full face and (towel) hangs over her left shoulder. Her head curly hair that falls onto the neck at the back. is shown in profile, turned to the right, with a The figure survives from the mid-chest to just melon coiffure tied into a chignon at the nape. above the head. Despite the damage, a longi- The figure is a servant ( camilla, delicatus/delica- tudinal braided crest of hair running from the ta) at a banquet, offering water and a towel for centre of the head. The ears are not visible be- Dating: 3rd century (?). neath the hair. Only one outstretched wing is forehead to the nape can be discerned in the handwashing. preserved, with precisely rendered feathers of Lit.: Muchar 1845, 343; Orožen 1889, 220; Klemenc – Saria 1939, 64; Pahič 1977a, 59; Ragolič 2023, 212, two types: short, rounded feathers on the wing No. 244. interior and long, pointed flight feathers on the exterior. There is an unidentifiable object in the www: Lupa 4156. background. It is a depiction of a winged eros who is possibly seated under a shell. 20. SARCOPHAGUS FRAGMENT PL. 7 Dating: Late Antonine (?). Prov.: Ptuj. Lit.: Djurić 2001b, 48, No. 18; Djurić – Hebert et al. Loc.: Ptuj, PMPO, Inv. No. RL 1029. 2004, 400 (PET 15); Pochmarski 2015, 217; Ragolič Material: Eastern Alpine marble. 2023, 168, No. 164. Condition: Upper left part of the front side 19. SARCOPHAGUS FRAGMENT PL. 7 with damaged bedding surface. Prov.: Veliko Tinje, church of Sts Peter and Size: 76 × 30 × 17 cm; side th. 17 cm. Paul, south wall. Structure: Chest with a tripartite front com- Loc.: Veliko Tinje, church of Sts Peter and posed of a recessed central inscription and 79 Poetovio FINAL.indd 79 Poetovio FINAL.indd 79 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 has a moulded frame. The lateral decoration Iconography: The presumed left corner of the panels also have a moulded frame, formed as lateral decoration panels. The inscription panel land spanning the width of the short side. a Norico-Pannonian volute in the upper part. branch that reaches to the lower third of the short side depicts a downward-pointed palm Inscription: D(is) [M(anibus)] / Scanti[us?---] / surface. Its upper part is not visible due to V[--- damage. Next to it is a garland of oak leaves roughly carved female figure with long hair aged and unidentifiable, but does show an in-wardly coiled tendril. Within the garland is a Iconography: The left front panel shows a with acorns (corona lunga). Its upper end is dam- crown ( is visible) with a damaged and unidentifiable Scheitelfrizur ) raised central part. Dating: Second half of the 3 rd century. Lit.: Schmid 1936, 101, No. 10; Djurić 2001b, 48, turned up above the neck and secured at the rosette of vine leaves and grape bunches (one combed back and gathered in a net (?), then Lit.: Djurić – Hebert et al. 2004, 182, No. 16; Ragolič No. 19; Djurić – Hebert et al. 2004, 400 (PET 4); 2023, 99, No. 58. Ragolič 2023, 169, No. 167. www: Lupa 9420. 23. SARCOPHAGUS FRAGMENT PL. 8 21. SARCOPHAGUS FRAGMENT PL. 7 Prov.: Ptuj, Panorama, 1983. Prov.: Ptuj, city walls, northwest roundel, 2022. Loc.: Ptuj, PMPO, without inv. no. Loc.: Ptuj, city walls, northwest roundel. Material: Eastern Alpine marble. Material: Eastern Alpine marble. Condition: Lower left corner of the front side. Condition: Bottom fragment with the standing Size: 68 × 24 × 55 cm. surface damaged through reuse as base. Structure: Chest with a tripartite front com- Structure: Chest with a tripartite front com eral decoration panels. The short sides have a -moulded frame on three sides, while the frame Size: 125 (visible) × 90 cm × 22 cm. posed of a recessed central inscription and lat- eral decoration panels. The lateral decoration on the lower side is defined with a line. posed of a recessed central inscription and lat- panel has a moulded frame, and is left rough. Iconography: Depicted on the left front panel Lit.: Cigler – Pukšič 2022, 36. is a pedestal vessel (kantharos?) and tendril. Lit.: Tušek 1986, 354; Djurić 2001b, 53, No. 28; 22. SARCOPHAGUS FRAGMENT PL. 7 Ragolič 2023, 167, No. 161. Prov.: Ptuj, Mala vojašnica, 1936. Loc.: Ptuj, PMPO, Inv. No. G 2060 PL. Material: Eastern Alpine marble, Pohorje quar- ry/Gummern (Sample PET 04; H. W. Müller). Condition: Left part of the short side with Figure 49. Drawing of the sarcophagus fragment (by missing top and partly damaged relief. The M. Lubšina Tušek) backside bears a Styrian coat-of-arms in relief. Size: 47 × 61 × 46 cm. Structure: Ionic base moulding characteristic of Eastern architectural sarcophagi and gar- 80 Poetovio FINAL.indd 80 Poetovio FINAL.indd 80 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 24. SARCOPHAGUS FRAGMENT PL. 8 Size: 79 × 84 cm. Prov.: Ptuj, Panorama, 1983. Structure: Chest with a short side bearing a dec- Loc.: Ptuj, PMPO, without inv. no. oration panel with a frame that is moulded on three sides and only outlined on the lower side. Material: Eastern Alpine marble. Lit.: Unpublished. Condition: Lower left corner of the rear side. Structure: Chest with the short side bearing a 28. LID FRAGMENT PL. 8 frame that is moulded on three sides and sim- Prov.: Ptuj, during the construction of a new ple on the lower side, and otherwise left rough. school (Benifiziatenhaus), today Slovenski trg 4, Size: 46 × 31 × 70 cm. 20 May 1853; rediscovered during the renova- Lit.: Tušek 1986, 354; Djurić 2001b, 53, No. 28; tion of the house at Ob Grajeni 1, 1979. Ragolič 2023, 167, No. 161. Loc.: Ptuj, PMPO, Inv. No. RL 1018. 25. SARCOPHAGUS FRAGMENT PL. 8 ry (Sample PET 36; H. W. Müller). Material: Eastern Alpine marble, Pohorje quar- Prov.: Ptuj. Condition: Left front corner fragment with an Loc.: Ptuj, castle, east façade of the west tower. acroterium. The edges of the acroterium and Material: Eastern Alpine marble. other parts are damaged, the surface of the fe- male portrait in the acroterium is also damaged. part of a short side. Size: 62 × 42 × 52 cm. Condition: Middle part of the bottom with Size: 66 × 45 cm. Structure: High gabled lid of the Proconnesian Structure: Chest with a short side bearing an height of the ridge. The ridge is missing. The type with large acroteria that do not exceed the outlined panel that is coarsely finished. front slope imitates a roof with tegulae and im- Lit.: Unpublished. brices, which are also presented in outline on 26. SARCOPHAGUS FRAGMENT PL. 8 portrait in relief. The pediment on the short the vertical front side. The acroterium holds a Prov.: Ptuj. side is undecorated. Material: Eastern Alpine marble. half-length portrait of a woman dressed in a tu-nic and rich, symmetrically worn cloak likely of Loc.: Ptuj, castle, east façade of the west tower. Iconography: The left front acroterium holds a Condition: Part of the front side. a local type. Her hair is combed back to partially Size: 33.5 × 26 cm. cover the ears, gathered at the nape into a wide Structure: Chest with an unrecessed tripartite mass, then secured at the crown ( Scheitelfrisur). front. The panels are outlined and left rough. Inscription: D(is) [M(anibus)] // P(ublius) Lit.: Unpublished. Ael(ius) Vitalis Qv[---] / filius eor(um) et [--- 27. SARCOPHAGUS FRAGMENT PL. 8 Lit.: Knabl 1853, 213–214; Klemenc – Saria 1936, Dating: Second quarter of the 3rd century. Prov.: Ptuj. 47; Tušek 1986, 345; Šašel Kos 1993, 240; Djurić Loc.: Ptuj, castle, east façade of the west tower. 2001b, 53, No. 22; Pochmarski 2015, 219; Ragolič Material: Eastern Alpine marble. 2023, 83–84, No. 41; CIL III 4072. Condition: Short side with damage to the bot www: Lupa 4252; EDCS-28800800; HD068859; - tom and left edges. TM 195596. 81 Poetovio FINAL.indd 81 Poetovio FINAL.indd 81 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 Prov.: Ptuj. Spring. The right acroterion also holds a half-length youthful figure with curly hair and wear 29. LID FRAGMENT PL. 9 personification of a season (Tempus Anni) – Loc.: Ptuj, PMPO, Inv. No. RL 752. ing a cloak. The figure has a bent right arm - Material: Eastern Alpine marble, Pohorje quar- with an upward-facing open hand. Next to it is ry (Sample PET 02; H. W. Müller). a low-footed vessel (basket?) filled with ears of Condition: Left rear corner with an acroterium, grain. It is the personification of a season (Tem- covering roughly half the whole width. pus Anni) – Summer. Depicted in both tympa- na is a gorgoneion with acanthus leaves. Size: 89 × 59 × 71 cm. Structure: High gabled lid of the Proconnesian 1993b, 204; Djurić 2001b, 53, No. 23; Djurić – He Lit.: Tušek 1992b, 287 with fig.; Tušek 1993a; Tušek type with large acroteria that do not exceed the bert - et al. 2004, 400 (PET 16); Ragolič 2023, 162– smooth. The pediment and acroterium on the www: Lupa 9441. short side hold a coarsely finished decoration height of the missing ridge. The rear slope is 163, No. 153. panel with a simple frame. The acroterium on 31. LID FRAGMENT PL. 10 tion panel. Prov.: Ptuj, excavations in the basement at the rear side does not have a defined decora- Slovenski trg 6, 1952. Lit.: Djurić 2001b, 53, No. 20; Djurić – Hebert et al. Loc.: Ptuj, PMPO, Inv. No. RL 612. 2004, 400 (PET 2). Material: Eastern Alpine marble, Pohorje quar- 30. LID FRAGMENTS PL. 9 ry (Sample PET 18; H. W. Müller). Prov.: Ptuj, wall in the house at Prešernova 16, Condition: Left front fragment of the lid bro- 1992. ken off at the left front acroterium. Partially Loc.: Ptuj, PMPO, Inv. No. RL 1016. damaged surface of the inscription panel. Material: Eastern Alpine marble, Pohorje quar Size: 37 × 21 × 23 cm. - ry (Sample PET 16; H. W. Müller). Structure: Gabled (?) lid possibly with corner Condition: Left and right front corners with acroteria, bearing an inscription panel with a two acroteria and parts of the pediments. The simple frame on the vertical front side. relief depictions in the acroteria and pediments Inscription: D(is) [M(anibus)] // P(ublius) show partial surface damage. Fl(avius) Va[lerius?] / coniugi [--- Size: fragment 1 42 × 42 × 53 cm; fragment 2 Lit.: Bratanič 1953, 282; Djurić 2001b, 53, No. 24; 49 × 43 × 67 cm. Djurić – Hebert et al. 2004, 401 (PET 18); Ragolič Structure: Gabled lid with corner acroteria 2023, 91–92, No. 50; ILJug 346. and plain slopes. The half-length figures in the www: EDCS 10000397, HD 074710. acroteria are located in the corners and placed on a raised edge of the lid. The figures in the 32. LID FRAGMENT PL. 10 pediments are depicted in decoration panels Prov.: Spodnja Polskava, church of St Stephen, with thin simple frames. east wall. Iconography: The left acroterium holds a Loc.: Spodnja Polskava, church of St Stephen, a cloak fastened at the right shoulder with a Material: Eastern Alpine marble, Gummern disc brooch. Next to the figure is a low-foot half-length youthful figure with curly hair, east wall. ed vessel (basket?) filled with flowers. It is the - quarry (Sample PET 42; H. W. Müller). 82 Poetovio FINAL.indd 82 Poetovio FINAL.indd 82 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 Condition: Part of an acroterium broken off Material: Eastern Alpine marble. on all sides and weathered. Condition: central part of an acroterium with Size: 25 × 34 cm. surface damage. Structure: Gabled lid with corner acroteria (?). Size: 39 × 13 × 26 cm. en face, wearing a peplos fastened on the left Iconography: Positioned in the corner of the shoulder with a rosette-shaped brooch and Iconography: Half-length female figure shown Structure: Gabled lid with corner acroteria. hair is tied in a topknot. It is likely the depic- neck. It probably represents a Hora, a personi-tion of a Hora, the personification of a season. fication of a season. Without attributes. Without attributes. Lit.: Unpublished. leaving the right shoulder and breast bare. Her with the hair combed back (?) and down the acroterium is a female (?) head shown en face Lit.: Klemenc – Saria 1939, 48; Pahič 1977a, 55; Pahič 1977c, 267–268; Djurić 2001b, 53, No. 26; 35. LID FRAGMENT PL. 11 Djurić – Hebert et al. 2004, 403 (PET 42); Ragolič 2023, 252, No. 308. Prov.: Ptuj (?). www: Lupa 5308. Loc.: Ptuj, PMPO, Inv. No. RL 483. 33. LID FRAGMENT Material: Eastern Alpine marble, Pohorje quar-PL. 10 ry (Sample PET 06; H. W. Müller). Prov.: Miklavž na Dravskem polju, church of Condition: Lower part of the lid broken off at St. Nicholas, north wall. the left front acroterium. Loc.: Miklavž na Dravskem polju, church of Size: 51 × 34 × 22 cm. St. Nicholas, north wall. Structure: Gabled lid with imitation tegulae and Material: Eastern Alpine marble, Pohorje quar-imbrices on the front slope that terminate at ry/Gummern (Sample PET 43; H. W. Müller). the relatively narrow vertical front edge bear-Condition: Part of a left front acroterium with ing an inscription, and presumably with corner missing top and left parts. Surface partially acroteria. damaged. Inscription: [---] VAL(---Size: 31 × 23 cm. Lit.: Djurić 2001b, 53, No. 21; Djurić – Hebert et Structure: Gabled lid with corner acroteria al. 2004, 400 (PET 6); Ragolič 2023, 151, No. 132. bearing decorative fields in simple frames. 36. LID FRAGMENT PL. 11 Iconography: Half-length figure shown en face and dressed in a tunic, next to it a basket with Prov.: Ptuj. flowers. It is the personification of a season Loc.: Ptuj, PMPO, without inv. no. ( Tempus Anni ) – Spring. Lit.: Pahič 1969, Note 223, 103, Pl. 5; Pahič 1977a, Material: Eastern Alpine marble. 51; Djurić 2001b, 53, No. 27; Djurić – Hebert et al. Condition: Lower part of a lid. 2004, 403 (PET 43); Ragolič 2023, 275, No. 348. Size: 38 × 28 × 9 cm; front edge h. 13 cm. www: Lupa 5888. Structure: Gabled lid with imitation tegulae Prov.: Ptuj, between 1941 and 1945. minating at a vertical front edge. Lit.: Unpublished. 34. LID FRAGMENT and imbrices probably on the front slope, ter-PL. 10 Loc.: Ptuj, PMPO, Inv. No. RL 449. 83 Poetovio FINAL.indd 83 Poetovio FINAL.indd 83 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 37. LID FRAGMENT PL. 11 figure is a personification of a season – Spring. Prov.: Šmartno na Pohorju, church of St Mar Lit.: Unpublished.- tin, presbytery window. www: Lupa 16580. Loc.: Šmartno na Pohorju, church of St Mar- 40. LID FRAGMENT tin, presbytery window. Prov.: Starše. Material: Eastern Alpine marble. Loc.: Lost. Condition: Fragmented part of a lid with ridge Material: Eastern Alpine marble. and slope. Condition: Right part of a sarcophagus lid Size: unknown. Size: 87 × 28 × ? cm. Structure: Gabled lid with a flat ridge. Structure: Hipped lid with imitation tegulae Lit.: Unpublished. and imbrices, possibly only on the front slope. 38. LID FRAGMENT PL. 11 Source: R. Gaupmann, Verzeichniß sämmtlicher Prov.: Ptuj, Osnovna šola Ljudski vrt, excava in St. Johann am Draufelde zum Verkaufe liegen-- tion by Ivan Žižek in 2009–2010. der Römerstein[e], Pettau 1874 (BDA-INVE_ZK_ Loc.: Ptuj, PMPO, without inv. no. 25_1874_177)(information by Stephan Karl) Material: Eastern Alpine marble. Lit.: Unpublished. Condition: Complete lid with heavily eroded surface and destroyed acroteria. Size: 260 × 150 × 50 cm. Structure: Hipped lid with a flat ridge, plain slopes and corner acroteria. One of the short sides has a clamp hole. The vertical front edge Figure 50. Drawing of the sarcophagus lid (Vienna, is finely finished. Bundesdenkmalamt-INVE_ZK_25_1874_177_2_8, by Lit.: Horvat – Dolenc Vičič 2010, 122–123, No. 55; R. Gaupmann) Djurić 2019, 53–54; Ragolič 2023, 172–173, No. 174. 41. LID FRAGMENT PL. 11 39. LID FRAGMENT PL. 11 Prov.: Ptuj. Loc.: Graz, Universalmuseum Joanneum, with- Material: Eastern Alpine marble. out inv. no. Condition: Central part of the front side. Prov.: Ptuj (?). Loc.: Ptuj, PMPO, without inv. no. Material: Eastern Alpine marble. Condition: Upper part of an acroterium with a Size: Unknown. Size: 24 × 15 × 22 cm. tegulae and imbrices, perhaps only on the front slope. weathered surface. Structure: Possibly gabled lid with imitation Structure: Gabled lid with corner acroteria. Lit.: Unpublished. Iconography: Top of a head with a topknot, probably belonging to a half-length (female?) figure, to the right of it a basket of fruit. The 84 Poetovio FINAL.indd 84 Poetovio FINAL.indd 84 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 ASH CHESTS 42. ASH CHEST PL. 12 trapposto, with his weight on the right leg. He Prov.: Ptuj, Prešernova 4, prior to 1850. is wearing a belted knee-length tunica manicata, Loc.: Ptuj, PMPO, Inv. No. RL 37. with a disc brooch and hanging over his bent over it a sagum fastened on his right shoulder Material: Eastern Alpine marble, Pohorje quar- left arm, in which he holds a scroll at waist ry (Sample PET 34; H. W. Müller). height, pointing to it with the index and mid- Condition: Complete chest with damage to the dle fingers of his bent right arm. His face is severely damaged, but does show a short beard lower front edge and reliefs. and short hair. Size: 77 × 44 × 54 cm; bottom th. 23 cm; side Dating: First half of the 3 rd century. th. 9–10 cm. Structure: Chest with an unrecessed tripartite Lit.: Gurlitt 1892, 179; Abramić 1925, 57, No. 40; Ložar 1927, 23–24, No. 79; Hoffiller – Saria 1938, front composed of a central inscription and 178, No. 394; Diez 1948, 154, No. 1; Jevremov lateral decoration panels. The inscription panel 1988, 88, No. 77; Djurić 2001a, 122 No. 1; Djurić – has a straight moulded frame on all four sides. Hebert et al. 2004, 402 (PET 34); Pochmarski 2015, The lateral front panels have a simple frame, 216; Ragolič 2023, No. 47; CIL III 13412. the upper part of which is in the form of a www: Lupa 3758; EDCS-29601598; HD068855; geometrically irregular Norico-Pannonian vo-TM 409586. lute. et Aur(elio) Verin/o co(n)iugi qui vixit / an(nos) Prov.: Hajdina, cemetery, prior to 1827. LXX(?) (e)t Aure/li(a)e Ver(a)e ‘e’t Aurel/i(a)e Inscription: Cartoria Calandina / v(iva) f(ecit) sibi 43. ASH CHEST PL. 12 Iconography: The left front panel holds an No. 93. en Material: Eastern Alpine marble. Verecund(a)e Loc.: Graz, Universalmuseum Joanneum, Inv. face and full-figure depiction of standing Carto- ria Calandina. She is shown in a tunic and sym- Condition: Complete chest with damaged re- (Rothe 2012, 191) with a thick border around Size: 89 × 56 × 61 cm. the neck and down to the waist, emphasising metrically worn, traditional rectangular cloak liefs. the uncovered chest and head. Her right arm Structure: Chest with an unrecessed tripartite is bent and placed above the waist, holding an front composed of a central inscription and unidentified object. Her left arm is extended lateral decoration panels. The inscription panel beside the body, also holding an unidentified has a straight moulded frame on all four sides. object. She wears a necklace. Her face is dam The lateral front panels have a simple frame, - aged. The hair is gathered behind the ears at the upper part of which is in the form of a the nape into a wide, flat mass and turned up geometrically irregular Norico-Pannonian vo-- ward (Scheitelfrisur); she may be wearing a wig lute. or her hair may be covered with a bonnet. The Inscription: M(arcus) Ulp(ius) Tertullus / v(ivus) right front panel holds an en face and full-figure f(ecit) sibi et Ulp(iae) Antoniae / coniugi an(norum) depiction of Aurelius Verinus standing in con- XL et Ulp(io) / Tutori filio an(norum) XXXVI / 85 Poetovio FINAL.indd 85 Poetovio FINAL.indd 85 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 et Ulp(ius) Tertius / fil(ius) / Ulp(ia) Tutorina / et has a straight moulded frame. The lateral front Ulp(ius) Tutorinus nepotes panels have a moulded frame. Iconography: The right and left front panels Inscription: M(arco) Ulpio Ca[tul]/lino qui vixit show mirror images of a mourning eros stand- / ann(os) XLV M(arcus) Ulp(ius) Seve(r)i/anus et ing on a low pedestal with concave sides, the Ulpia Severian(a) / filii et Iulia / Ianuaria ux{s} legs crossed and the weight resting on the out- or her(edes) / f(aciendum) curav(erunt) sec(undum) / site hand that is placed on the torch next to the - hold mirror images of a mourning eros on a high pedestal with concave sides, the legs inscription panel. Their small wings are turned crossed and the weight resting on the outer leg. downward. The left eros has a damaged head, they have one arm bent and supporting the Iconography: The left and right front panels head, while the elbow is resting on the oppo er leg. Both are leaning onto an inverted torch; vol(untatem) testam(enti) turned inward in a three-quarter profile. His vertically positioned inverted torch with the in With the head raised, they are leaning onto a a hair crest running from his forehead to the hangs loosely at the side and holds a pruning crown. The right eros has his head turned en knife ( falx ). The small wings with distinctly face and tilted inward, with long hair covering carved feathers are raised beside the head that hair is gathered into a bun at the nape, with ner arm raised and bent, while the other hand - his neck and a hair crest running from his fore- is turned inward. The hair is pulled back and head to the crown. tied into a bun at the nape. The left short side holds a depiction of an ascia , Dating: Late Antonine to Severan. the right short side that of an archipendulum . Lit.: Premerstein 1904, 181, Fig. 129; Hoffiller – Sa-Dating: Late Antonine to Early Severan. ria 48, No. 111; Saria 1939, 76, Fig. 4; Diez 1948, Lit.: Povoden 1818, 210–211; Steinbüchel 1829, 155, No. 5; Pahič 1970, 190, Fig. 23; Pahič 1977a, 64; Hoffiller – Saria 183–184, No. 407; Diez 1948, 50; Pahič 1983, 124; Pochmarski 1998, 183, No. 155, No. 4; Modrijan – Weber 1979–81, 87, No. 93; 10; Djurić, 2001a, 122, No. 4; Drack 2008, 98–99; Djurić, 2001a, 122, No. 4; Pochmarski 2014, 361; Pochmarski 2014, 361; Pochmarski 2015, 213; Pochmarski 2015, 213; Ragolič 2023, 105–107, No. Ragolič 2023, 254–255, No. 312; CIL III 04084. 65; CIL 03, 04084. www: Lupa 2129; HD066917; EDCS-14400611; www: Lupa 1697; EDCS-26600469; HD066997; TM 403924. TM 407681. 45. ASH CHEST PL. 13 44. ASH CHEST PL. 13 Prov.: Ptuj, prior to 1600 at the church of St Prov.: Maribor, Koroška cesta 7, prior to 1902. George, in 1829 recorded at Kurelčeva ulica Loc.: Maribor, PMMb Inv. No. A 2309. 31, Varaždin. Material: Eastern Alpine marble, Gummern Loc.: Varaždin, Gradski muzej, Inv. No. 66345. quarry (Sample MAR 15, Harald W. Müller). Material: Eastern Alpine marble. Condition: Chest with missing top part. The Condition: Chest largely broken just above the Size: 129 × 57 (reconstr. 64) × 84 cm; bottom side and part of the front surviving above. Re-liefs weathered. head of the right figure is remodelled. bottom, with only the left part of the left short Structure: Chest with a tripartite front com Size: 102 × 51 × 68 cm; bottom th. 17 cm, side -th. 12–13 cm. th. 18 cm; side th. 11 cm. posed of a recessed central inscription and lateral decoration panels. The inscription panel Structure: Chest with a tripartite front com- 86 Poetovio FINAL.indd 86 Poetovio FINAL.indd 86 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 posed of a recessed central inscription and lateral decoration panels. The inscription pan- lateral decoration panels. The inscription panel el has a straight moulded frame. The lateral has a straight moulded frame on all four sides. front panels have a simple frame, formed as The lateral front panels have a simple frame, a Norico-Pannonian volute in the upper part. formed as a Norico-Pannonian volute in the The short sides have decoration panels within Inscription: in the centre of the upper edge, intended for a Victori Qua/drati et Iuli(a)es(!) / Ve-clamp hole. The bedding surface has a raised upper part. simple frames that have a rectangular widening eorum hic / positus semicircular edge along the interior to keep the ranill(a)es(!) / Iulius Victori/us Quadratus / filius lid in place. Iconography: The left front panel shows a full- length figure of a man standing on a pedestal Inscription: D(is) M(anibus) / Val(erius) Valens tunic reaching above his knees and a / carissim(ae) q(uae) v(ixit) an(nos) XXV et / T(i-sagum that to) Val(erio) Valentino f(ilio) et / Valeriano Iustino with concave sides. He is dressed in a belted v(ivus) f(ecit) s(ibi) et / Ulp(iae) Licini(a)e coniug(i) extends to the upper part of his calves and is fastened at the right shoulder. His right arm n(epotibus) is bent and placed diagonally across the chest Iconography: The left front panel holds a full- to the left shoulder, with the hand showing length and en face depiction of a man wearing extended index and middle fingers, possibly a belted and knee-length tunica manicata. The holding an object. His left arm is extended belt is hidden under the overlapping tunic. He along the body, possibly holding an object. His also wears a sagum fastened at his right shoulder face is damaged and unrecognizable, as is his with a disc (?) brooch. His bent left arm, held short hairstyle. The right front panel shows at waist height, holds a scroll, to which he is a two-handled vessel – kantharos – with vine pointing with the fingers of his bent right arm. Dating: 3rd The right front panel also holds a full-length century. and growing from it. His beardless face is damaged, his hair is short. Lit.: Saria 1946, 62–64, No. 17, Fig. 35; Diez 1948, en face depiction of a man wearing a belt- 156, No. 9; Ilijanić 1961; Fulir 1969, 405; Fulir ed, knee-length tunica manicata and a sagum fas- tened at the right shoulder. The belt is hidden 1970, 9; Djurić 2001a, 122, No. 9; Ragolič 2023, beneath the overlapping tunic. His arms are 112–113, No. 71; CIL III 4082; ILJug 351. bent and positioned at waist height. His face www: Lupa 4262; EDCS-28800808; HD074455; and hairstyle are damaged, but the silhouette TM 407679. suggests a medium-length beard. 46. ASH CHEST PL. 13, 14 Prov.: Savci, vineyard of Filip Petek, 1796. Loc.: Graz, Universalmuseum Joanneum, Inv. No. 84. Material: Eastern Alpine marble. Condition: Chest without bottom. Surface heavily weathered. Size: 89 × 36 × 65 cm; bottom th. 13 cm, side th. 11–13 cm. Structure: Chest with an unrecessed tripartite front composed of a central inscription and Figure 51. Drawing of the ash chest (from Knabl 1851) 87 Poetovio FINAL.indd 87 Poetovio FINAL.indd 87 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 The right short side bears a Dionysian motif of volute in the upper part. The short sides have a two-tiered kantharos, from which grow two decoration panels within a simple frame. intertwining vines with leaves, grape bunches Iconography: The left front panel shows a full-and tendrils. The left short side shows a pea-length figure of a man on a rectangular pedes-cock reaching with his head toward the basket tal. He is dressed in a belted tunic that reaches with ears of grain (?) held by a winged eros just above his knees and likely has long sleeves shown in profile and identified as a personi-( tunica manicata ). Only the terminal part of the fication of a season ( Tempus Anni ) – Summer. belt, identified as a cingulum militare , survives, Dating: First half of the 3 rd century. which he holds with his right hand in a man-ner known from some depictions of soldiers Lit.: Knabl 1851, 64–66; Skrabar 1935, 36–37; Kle-from the first half of the 3 rd century. He has menc – Saria 1936, 66; Hoffiller – Saria 1938, 196, a long sagum draped over his shoulders, proba-No. 445; Diez 1948, 156, No. 10; Pahič 1977a, 50; bly fastened with a missing brooch at the right Modrijan-Weber 1979–81, 94, No. 84; Hudeczek shoulder. The outline of his heavily damaged 2004, No. 8; Djurić, 2001a, 122, No. 9; Lamut 2013; head suggests a thick beard, such as is mainly Pochmarski 2014, 357, Fig. 4; Lamut 1915, 312– characteristic of the Severan period. All surviv 319; Pochmarski 2015, 216–217; Handy – Poch--ing elements identify him as a military figure in marski 2020, 281, No. 25; Ragolič 2023, 314–316, ‘camp dress’. No. 419; CIL III 04081+p.1044. www: Lupa 1696; EDCS-26600467; HD066088; The left short side shows a forward-facing, TM 407678. standing panther with its left front paw on a drinking horn made from a goat horn. The 47. ASH CHEST PL. 14, 15 right short side shows two crossing vines with Prov.: Ptuj, reused in the late 16th/early 17th two leaves, two grape bunches and tendrils century as a wash basin in the Minorite Mon- growing from a centrally placed, two-tiered astery, in 1945 found in the ruins of a house in vessel on foot without handles; albeit without Dravska ulica, opposite the water tower. handles, parallels suggest it can be identified as Loc.: Ptuj, PMPO, Inv. No. RL 453, now in the a kantharos. Minorite Church in Ptuj Dating: Severan Material: Eastern Alpine marble, Pohorje quar Lit.: Diez 1948, 156, No. 12; Djurić 2001a, 122, No. - ry (Sample PET 14; H. W. Müller). 11; Djurić 2001b, 50, Fig. 11; Djurić – Hebert et al. Condition: Converted into a wash basin by 2004, 400 (PET 14); Ragolič 2023, 157, No. 143; carving a deep rectangular hole into the front Djurić 2023. lower part of the basin. The front side is al- PL. 15 48. ASH CHEST most entirely carved away and the upper sur-Prov.: Velika Nedelja, 1894. side and hollowing out the bottom to form the www: Lupa 9439. face removed. Size: 112 × 69 × 45 cm; bottom th. 22–35 cm, Loc.: Ptuj, PMPO, Inv. No. RL 104. side th. 11 cm. Material: Eastern Alpine marble, Pohorje quar- Structure: Chest with a tripartite front com ry (Sample PET 29; H. W. Müller).- posed of a central inscription and lateral dec- Condition: Complete chest with missing part oration panels. The inscription panel has a of the upper right corner and damaged upper moulded frame, presumably straight on all four and lower edges. Broken along two horizontal sides. The lateral front panels have a moulded lines. Reused as a trough, with a large round frame, possibly formed as a Norico-Pannonian 88 Poetovio FINAL.indd 88 Poetovio FINAL.indd 88 4. 09. 2025 15:29:37 4. 09. 2025 15:29:37 drainage hole on the right side of the inscrip- face is unclear. She wears a melon coiffure with tion panel. Weathered relief surface. the hair falling onto the neck and likely gath- Size: 173 × 70 × 93 cm; bottom th. 35 cm, side ered into a braided chignon. Structure: Chest with a tripartite front com with a ribbon and under it full-length en face de--pictions of four children, two daughters and th. 17–18 cm. The right short side shows a laurel (?) garland has a straight moulded frame on all four sides. an on the far left is wearing a floor-length tunic and palla . The woman on her right is shown The lateral front panels have a moulded frame in a floor-length tunica manicata , her arms are on three sides, formed as a Norico-Pannonian lateral decoration panels. The inscription panel two sons. The surviving lower part of the wom-posed of a recessed central inscription and volute in the upper part. In the right front pan bent and placed on the waist. She is holding -an unidentifiable round object. The boys on el, the lower frame removed to fit the legs of the right-hand side wear a tunic, reaching just the figure. The short sides have decoration below their knees, and a sagum fastened at the panels within a fillet moulded frame on three right shoulder. Their right arms are bent and sides, formed as a double Norico-Pannonian placed on the chests just above the belt, while volute in the upper part with a rectangular wid-the left arms are extended beside the body, ening between them intended for a clamp hole, holding an unidentifiable object. while the lower side has a simple frame. Inscription: The left short side shows an oversized mensa Fann(ius) Florentinus / mil(es) leg(io-tripes with cabriole legs in the centre, laden with nis) XIIII G(eminae) et Ulp(ia) / Severina coni(ux) small loaves of bread, flanked by a household v(ivi) f(ecerunt) s(ibi) / et Fanni(i)s Florentin(a)e an-slave-servant ( camilla and camillus , delicati ) on ei-n(orum) / XVI et Super(a)e ann(orum) IIII et / Flo-ther side. On the left is a female servant in con-riano ann(orum) II et Floro / ann(i) I fili(i)s trapposto , with the weight on her left leg, wear-Iconography: The right front panel holds a full-ing a floor-length and short-sleeved tunic and length en face depiction of a man (Fannius Flo-a stola girt below the breasts with a wide belt. rentinus), without a pedestal, wearing a belted With her slightly bent right arm held beside the tunica manicata , reaching above his knees, and a body, she is holding a small kettle, while her sagum that extends to his knees at the back, fas-raised and bent left arm carries a vessel with a tened at the right shoulder with a disc brooch. long handle; a mantela hangs over her left shoul-He has a belt with a large ring buckle on his der. Placed on the ground between her and the hips, with a long strap end curving from the table are two flasks in wicker containers with a middle to the right hip, where it loops under ring handle. To the right of the table stands a the belt and hangs vertically down his side. His camillus in contrapposto , with the weight on his left right arm is bent and positioned at waist height, leg, dressed in a short-sleeved tunic reaching while his left hand may be resting on the hilt of just below his knees. His left arm is extended a sword suspended at his left hip. His face and along his body and holds a glass flask in a wick-his short hairstyle are unclear. er container with a ring handle. His right arm The left front panel holds a full-length en face is bent and raised in front of his chest, holding depiction of a woman (Ulpia Severina) dressed a cup. Placed on the ground between him and in a belted floor-length tunica manicata and an the table is a one-handled jug with a constrict- asymmetrical palla draped over her left shoul- ed neck and a wide mouth. Both figures have der and held in her slightly bent left arm. Her damaged heads and unclear faces. The woman belt has an oval buckle. Her right arm is bent has a melon coiffure with the hair falling onto above the belt to reach across the chest. Her her neck, while the man has short hair. 89 Poetovio FINAL.indd 89 Poetovio FINAL.indd 89 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 Dating: First half of the 3rd century. ing onto the forehead and curls covering the Lit.: Gurlitt 1895, 64; Hoffiller – Saria 1938, 197, back of the neck. Pochmarski 2015, 215, Fig. 5; Handy – Pochmarski et al. 2004, 402 (PET 29); 122, No. 27; Pochmarski 2014, 361, Fig. 7; Poch-marski 2015, 216, Fig. 2; Ragolič 2023, 156–157, 2020, 291, No. 70; Ragolič 2023, 327–329, No. 436; No. 142. CIL III 14065. Jevremov 1988, 86–87, No. 75; Djurić 2001a, 122, Lit.: Jevremov 1988, 90–91, No. 83; Djurić 2001a, No. 12; Djurić – Hebert No. 446; Diez 1948, 158, No. 15; Pahič 1977a, 59; Dating: Late Antonine to Early Severan. www: Lupa 4213. www: Lupa 3781; EDCS-29900136; HD069150; TM 409775. 50. ASH CHEST PL. 17 49. ASH CHEST Prov.: Ptuj. PL. 16, 17 Prov.: Ptuj, Vičava, while digging a trench at Loc.: Ptuj, City Tower, Inv. No. RL 783. Vurberška cesta, 1946. Material: Eastern Alpine marble, Pohorje quar- Loc.: Ptuj, PMPO, Inv. No. RL 448. ry (Sample PET 51; H. W. Müller). Material: Eastern Alpine marble. Condition: Bottom part with heavily weathered surface. Condition: Complete chest broken during transport to the museum above the bottom Size: 119 × 27 (reconstr. 49) × 43 cm; bottom and diagonally across the middle. Restored. th. 27 cm, side th. 16–17 cm. Size: 137 × 70 × 76 cm; bottom th. 32 cm, side Structure: Chest with a tripartite front com- th. 15 cm. posed of a recessed central inscription and posed of a recessed central inscription and have a moulded frame. lateral decoration panels. The inscription panel Iconography: The left and right front panels has a straight moulded frame on all four sides. show mirror images of a mourning eros on a Structure: Chest with a tripartite front com- has a moulded frame. The lateral front panels lateral decoration panels. The inscription panel The lateral front panels have a simple frame, formed as a Norico-Pannonian volute in the low pedestal. They stand in contrapposto with the upper part. The short sides have decoration weight on the outer leg and an inverted torch panels marked with a carved line and with a along the inner leg. rectangular widening at the centre of the upper Lit.: Abramić 1925, 142; Diez 1948, 156, No. 6; edge intended for a clamp hole. The bedding Pochmarski 1998, 191, No. 78; Djurić 2001a, 122, surface has a raised semicircular edge along the No. 6; Pochmarski 2015, 213; Ragolič 2023, 162, interior to hold the lid. The standing surface No. 152. has a sunken centre. www: Lupa 5780. Iconography: The left and right front panels hold mirror depictions of nude winged boys in contrapposto, with the weight on the outer leg. The outer arm is bent and placed with the hand on the opposite shoulder, while the inner arm is extended along the inverted torch, serving as support, and holding a hand garland that is Figure 52. Drawing of the ash chest (Vienna, graphic wrapped around the torch. The head is shown imprint, Steinbüchel?, Pl. VII) in three-quarter profile, looking downward. The melon hairstyle has a central ridge extend- 90 Poetovio FINAL.indd 90 Poetovio FINAL.indd 90 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 Prov.: Hajdina, golf course, Lot No. 1120/2, lateral decoration panels. The inscription panel has a straight moulded frame, while the lower 51. ASH CHEST PL. 17 front composed of a central inscription and Hajdina cadastral municipality, 1997. Loc.: Ptuj, PMPO, Inv. No. 1023. have a moulded frame on two sides, the lower side has a simple frame. The lateral front panels Condition: Bottom part. have decoration panels probably with a simple frame. Material: Eastern Alpine marble. side has a fillet moulded frame. The short sides Size: 147 × 28 × 90 cm; bottom th. 24 cm. posed of a recessed central inscription and side shows the remains of a relief along the lateral decoration panels. The inscription panel lower edge. has a straight moulded frame, presumably on Lit.: Šubic 1969, 99; Pahič 1977a, 47; Ragolič 2023, Structure: Chest with a tripartite front com- pedestal with concave sides. The right short Iconography: The right front panel shows a moulded frame. The short sides have a simple 313, No. 416. all four sides. The lateral front panels have a frame. 53. ASH CHEST FRAGMENT PL. 18 Inscription: --] / R+M Q+++QVL Iustinia- Prov.: Črešnjevec, church of St Michael, north num / annorum quatuor meser (=mensium ?) / IIII wall. Iustianus et Valeria Vivia vi/vi fecerunt parentes in- Loc.: Črešnjevec, church of St Michael, north Ursinum annorum dece(m) m(ensium) V / Fl(avius) felicissimi wall. Iconography: The left and right front panels Material: Eastern Alpine marble. show a pedestal with concave sides, the right Condition: Bottom part covering three quar- one also the lower legs of a full-length figure ters of the front side with missing upper part standing on it. The short sides show vine with and all raised surfaces removed. grape bunches and tendrils growing from a Size: 77 × 37 cm. pedestal vessel, most likely a two-tiered kan-Structure: Chest with a tripartite front com-tharos with crossing vines. posed of a central inscription and lateral deco-Lit.: Lubšina Tušek 2001, 95 with fig.; Pochmarski ration panels. The inscription panel likely had a 2014, 354, Fig. 1; Pochmarski 2015, 219; Ragolič straight moulded frame. The lateral front pan-2023, 90–91, No. 49. els likely also had a moulded frame. 52. ASH CHEST BOTTOM fec(erunt) sibi / et Aureli(a)e Antoni(a)e / fili(a)e PL. 18 {vi}viv(a)e www: Lupa 9437. Inscription: --] et Potentinia Cl[--- ] / con(iux) vivi church of St John the Baptist, altar table. Iconography: The right front panel shows a man on a high pedestal with concave sides. The Prov.: Dravinjski vrh near Videm pri Ptuju, Loc.: Dravinjski vrh near Videm pri Ptuju, man is in contrapposto with the weight on his left church of St John the Baptist, altar table. leg, wearing a belt knee-length tunic and a sa-Material: Eastern Alpine marble. gum reaching to the mid-calf. Condition: Bottom part with missing left part Lit.: Pahič 1984, 222, Fig. 28; Djurić 2001a, 122, and right front corner. No. 46; Ragolič 2023, 234, No. 274. Size: 148 × 14 × 83 cm. www: Lupa 4693; HD018366; EDCS-06100495; Structure: Chest with an unrecessed tripartite TM 214744. 91 Poetovio FINAL.indd 91 Poetovio FINAL.indd 91 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 54. ASH CHEST FRAGMENT PL. 18 tus) vi(vus) fe(cit) si(bi) et / sui(s) Ursul(a)e / con(iu- Prov.: Kebelj, church of St Margaret of An gi) car(issimae) an(norum) / XXV et Ursi(!) fi(lio) / - tioch, renovation in 2003. an(norum) V Loc.: Kebelj, church of St Margaret of An Lit.: CIL III 11717; Hoffiller – Saria 1938, 39–40, -No. 88; Klemenc – Saria 1939, 64; Diez 1948, 160– tioch. 161, No. 20; Cermanović 1965, 98, No. 2; Pahič Material: Eastern Alpine marble. 1977b, 59; Djurić 2001a, 122, No. 20; Gulič 2007, Condition: Bottom part with missing standing 18–19; Pochmarski 2014, 362; ILLPRON 1925; surface and right lower corner. Surface severely Ragolič 2023, 210–211, No. 242. weathered. www: Lupa 3625; EDCS-14600199; HD066803. Size: 89 × 29 × 40 cm. Structure: Chest with a tripartite front com- posed of a recessed central inscription and lateral decoration panels. The inscription panel has a straight moulded frame. The lateral front panels have a simple frame. Inscription: S AN +++ / RIVS. Secundo et / Secundino, filiis vivis (reading A. Ragolič). Iconography: Both lateral front panels show high pedestals with concave sides holding a male (?) figure with bear legs surviving from the knees down. Lit.: Gulič 2006, 126. 55. ASH CHEST PL. 19 Figure 53. Drawing of the ash chest (by V. Kmetič, from Hoffiler – Saria 1938) Prov.: VelikoTinje, church of Sts Peter and Paul, north wall foundations. Loc.: Veliko Tinje, church of Sts Peter and 56. ASH CHEST FRAGMENT PL. 19 Paul, north wall foundations. Prov.: Dravinjski vrh near Videm pri Ptuju, Material: Eastern Alpine marble. church of St John the Baptist, 1966. Condition: The preserved chest is built into the Loc.: Dravinjski vrh near Videm pri Ptuju, foundation of the church, its front side invis church of St John the Baptist, east wall.- ible. Material: Eastern Alpine marble. Size: 75 × 50 × 60 cm. Condition: Right short side with missing sur- Structure: Chest with a tripartite front com face and lower part. - lateral decoration panels. The inscription panel Structure: Chest with a tripartite front com-has a straight moulded (?) frame. posed of a recessed central inscription and Size: 12 × 56 × 84 cm. posed of a central inscription and lateral deco- mirror depictions of mourning erotes holding Iconography: The right front panel shows a torches diagonally across the chest. Iconography: The lateral front panels hold ration panels. figure of a youthful man wearing a tunic and Inscription: D(is) M(anibus) / Valentinus / li(ber- probably trousers. The tunic is girt, with the 92 Poetovio FINAL.indd 92 Poetovio FINAL.indd 92 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 left leg is extended as the supporting leg, while Prov.: Ptuj, restoration of the Minorite church the right leg is bent and crossed over the left. belt hidden under the overlapping tunic. The 58. ASH CHEST FRAGMENT PL. 19 The poorly distinguishable left arm is bent dastral municipality, 1951. of Sts Peter and Paul, Lot No. 1407, Ptuj ca- right arm is bent and raised toward the face. Loc.: Ptuj, PMPO, Inv. No. RL 600. and placed diagonally at waist level, while the Sad Easterner, with a downturned pedum to his Condition: Right upper part of the front side right. It is likely the depiction of Attis tristis, or the Material: Eastern Alpine marble. with slightly damaged surface. Lit.: Šubic 1967, 98–99; Šubic 1975, 95, No. 9; Size: 54 × 26 × 12 cm; side th. 12 cm. Pahič 1977b, 47, Fig. 9; Djurić 2001a, 123, No. 44; Ragolič 2023, 313, No. 417. Structure: Chest with an unrecessed tripartite www: Lupa 4275. front composed of a central inscription and lateral decoration panels. The inscription panel 57. ASH CHEST FRAGMENTS has a straight moulded frame. The lateral front PL. 19 panels have a simple frame, formed as a Nori-Prov.: Ptuj, Trstenjakova ulica 9, Lot No. 1112, co-Pannonian volute in the upper part. Ptuj cadastral municipality, 1959. Inscription: [---]us / [---]le / [---Loc.: Ptuj, PMPO, Inv. No. RL 720. Iconography: The right front panel holds the Material: Eastern Alpine marble. depiction of a nude youth surviving just above Condition: Left upper part of the front side the hip. His curved torso is draped with a cloak with a weathered surface. over his left shoulder. His left arm is extend-ed down along the body, while his right arm is Size: 54 × 26 × 16 cm; side th. 16 cm. bent upward and holds a thyrsus with a plant tip, Structure: Chest with a tripartite front com-possibly of ears of grain. His beardless head posed of a recessed central inscription and is turned slightly toward the inscription pan-lateral decoration panels. The inscription panel el, has large almond-shaped eyes and curly hair has a straight moulded frame. The lateral front with a central ridge. He is likely a personifica-panels have a simple frame, formed as a Nori-tion of a season ( Tempus Anni ) – Summer. co-Pannonian volute in the upper part. Lit.: Bratanič 1952, 305, Fig. 5; Djurić 2001a, 123, Inscription: [---]/Pauli[ --- / qui vix[--- / [..] No. 41; Pochmarski 2015, 213; Ragolič 2023, 141, MF[---No. 112; ILJug 349. Iconography: The left front panel holds an www: EDCS 10000400; HD 068836. depiction of a man dressed in a tunic en face and sagum , fastened on the right shoulder with 59. ASH CHEST FRAGMENT PL. 20 a missing fibula. Both arms are bent towards Prov.: Ptuj, Dominican Monastery. the chest. The left hand holds a rod-like object, Loc.: Ptuj, Dominican Monastery, above the likely a scroll, to which he points with the index passage from the monastery to the bell tower. and middle fingers of his right hand. The face and hairstyle are damaged and unclear. The Material: Eastern Alpine marble. outline of the head shows no traces of a beard. Condition: Left upper part of the front side Lit.: Mikl 1960–61, 158, Fig. 2; Djurić 2001a, 122, with missing lower part and well-preserved No. 40; Ragolič 2023, 119, No. 77; ILJug 1154. surface. The groin area has been remodelled. www: EDCS-100001157; HD 074729. Size: 44 × 34 cm. 93 Poetovio FINAL.indd 93 Poetovio FINAL.indd 93 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 Structure: Chest with a tripartite front com- onto the chest across the middle of the shoul- posed of a recessed central inscription and ders. Her right arm is bent and placed above lateral decoration panels. The inscription panel the waist, holding an unidentifiable object. She has a straight moulded frame. The lateral front is wearing a necklace. The face is damaged, her panels have a moulded frame, formed as an ir- hair is gathered behind the ears into a wide, flat regular Norico-Pannonian volute in the upper mass, turned up at the neck and secured at the part. crown (Scheitelfrizur). The left short side shows Iconography: The left front panel shows a a stylised depiction of a garland with a ribbon. winged child-like figure en face, with the head Dating: 3rd century. turned down and to the left, and curly hair tied Lit.: Hoffiller – Saria 1938, 177, No. 392; Diez 1948, in a chignon at the nape. The genitalia were 154, No. 2; Cermanović 1965, 98, No. 5; Djurić piece was built into the monastery (eros trans- www: EDCS-11301061; HD069024 formed into an angel). Both arms are bent up most likely removed or remodelled when the 2001a, 122, No. 2; Ragolič 2023, 84–85, No. 43.- ward, resting on top of an inverted torch. The 61. ASH CHEST FRAGMENT PL. 21 the right leg. Prov.: Črešnjevec, church of St Michael, east legs are probably crossed, with the weight on precinct wall, 1858. Dating: Late Antonine (?). Loc.: Črešnjevec, park in front of the church Lit.: Hoffiller – Saria 1938, 190, No. 426; Diez of St Michael. 1948, 156, No. 7; Cermanović 1965, 99, No. 10; Pochmarski 1998, 185, No. 24; Djurić 2001a, 122, Material: Eastern Alpine marble. No. 7; Pochmarski 2015, 213, 215; Ragolič 2023, Condition: Left lower part of the front side 165, No. 157. with missing corner and removed raised sur- www: Lupa 3776; EDCS 30300697. face. 60. ASH CHEST FRAGMENT PL. 20 th. 13 cm. Size: 36 × 42 × 38 cm; bottom th. 38 cm, side Prov.: Ptuj (?). Structure: Chest with a tripartite front com- Loc.: Ptuj, PMPO, Inv. No. RL 33. posed of a recessed central inscription and Material: Eastern Alpine marble. lateral decoration panels. The inscription panel has a straight moulded frame on all four sides. Condition: Left upper corner of the front side with heavily weathered surface. Inscription: Max[---] / (obiit)) an(norum) [---] / Size: 51 × 17 × 35 cm; side th. 13–14 cm. et Ma[---] / infe[licissima] / eoru[m ---] / Am(an) Structure: Chest with an unrecessed tripartite Iconography: the left front panel shows an out-front composed of a central inscription and tia [---] lateral decoration panels. The inscription panel ably standing on a pedestal. line of a man dressed in a long garment, prob- panels have a simple frame, formed as a Nori Lit.: Knabl 1859, 87; Abramić 1933, 132, Fig. 43; -Hoffiller – Saria 1938, 38, No. 84; Diez 1948, 158, has a straight moulded frame. The lateral front co-Pannonian volute in the upper part. Inscription: Aur(elio) Barbo V[--- / AEI(?)[--- 41; Djurić 2001a, 122, No. 17; Ragolič 2023, 236, No. 17; Pahič 1977a, 46; Pahič 1990, 172–173, Fig. Iconography: The left front panel shows a No. 277; CIL III ad 5302; ILLPRON 1760. standing en face figure of a deceased woman in www: Lupa 1684; HD 066947; EDCS-14400591; a tunic and symmetrically worn cloak with a TM 403914. thickened border curving around the neck and 94 Poetovio FINAL.indd 94 Poetovio FINAL.indd 94 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 62. ASH CHEST FRAGMENT PL. 21 1985, 85; Kovács 2007, 27, No. 62; Ragolič 2023, Prov.: Ptuj, church of St George, renovation 127–128, No. 87. in 1968. www: Lupa 9447; HD035596; EDCS-39500040; Loc.: Ptuj, PMPO, Inv. No. RL 928. TM 196276; PH295871. Material: Eastern Alpine marble. 64. ASH CHEST FRAGMENT PL. 22 Condition: Left upper part of the front side Prov.: Ptuj, 1908, west tower of the castle. with missing left corner. Loc.: Ptuj, PMPO, old Inv. No. 25. Size: 54 × 26 × 12 cm; side th. 13 cm. Material: Eastern Alpine marble. Structure: Chest with an unrecessed tripartite Condition: Fragment of the front side with the front composed of a central inscription and left upper corner of the inscription panel. lateral decoration panels. The inscription panel Size: 41 × 15 × 17 cm; side th. 14 cm. has a straight moulded frame. The lateral pan-Structure: Chest with a presumably tripar els have a simple frame and are left rough.-tite front with a central inscription and lateral Inscription: Sept[imi?--- ] / VET[--] / [--]E[---] decoration panels. The inscription panel has a Lit.: Šubic 1977, 92, Pl. III.3; Djurić 2001a, 123, straight moulded frame. No. 42; Ragolič 2023, 100–101, No. 60. Inscription: Severus VI[---63. ASH CHEST FRAGMENT PL. 22 Lit.: Hoffiller – Saria 1938, 182, No. 404; Ragolič Prov.: Ptuj, Vičava, Lot No. 336/9, Krčevina 2023, 122, No. 81. cadastral municipality, 1965. www: EDCS-11301070; HD 069068. Loc.: Ptuj, PMPO, Inv. No. RL 836. 65. ASH CHEST FRAGMENT PL. 22 ry (Sample PET 69; H. W. Müller). Prov.: Ptuj, Panorama, excavation by Abramić Material: Eastern Alpine marble, Pohorje quar- in 1911. inscription panel missing its right and upper Loc.: Ptuj, PMPO, Inv. No. RL 487. Condition: Fragment of the front side with an edges, broken in two fragments at the bottom. Material: Eastern Alpine marble. Surface fairly weathered. Condition: Left upper corner of the front side. Size: 54 × 47 × 35 cm; bottom th. 28 cm, side Weathered surface. th. 13 cm. Size: 28 × 18 × 8 cm; side th. 8 cm. Structure: Chest with a tripartite front com- Structure: Chest with a tripartite front com- posed of a central inscription and lateral dec- posed of a central inscription and lateral dec- oration panels. The inscription panel has a oration panels. The lateral front panels have a straight moulded frame on all four sides. simple frame, formed as a Norico-Pannonian Inscription: [---] ΔΟΙ δʻ ήʾδη γείνατο Α [--- volute in the upper part. κλήματι τερπόμενος ἦδος ἔχει στρατε[ι ---] / ἵππῳ piction of a young man with a Helmfrisur that ἐ ] / πάτρης ἐκ γαίης Βειθυνίδος ὃς Διον[ύ]/σου / Iconography: The left front panel holds the de- ΔΑΙΝΕΑΛΗ με τετιμένον κ / βασιλήων / falls onto the neck, with details unclear. To his ξυνὴ μοῖρα βίου καὶ ψανάτου δάμ[ασεν] / Οὔνομα left is presumably the tip of a thyrsus with a ΔΕΙΣΙΜΟΙ Δημήτριος / οὐδε με τύμβῳ / bunch of flowers. It is most likely a personi- ἄ μνηστον στοργὴ θῆκεν ἐμῶν [γο]/[ν]έων fication of the season ( Tempus Anni) – Spring. Lit.: Šubic 1965, 203; Jordan – Šašel Kos – Wallace Lit.: Abramić 1914, 105, Fig. 79; Ragolič 2020, 118, No. 39. 95 Poetovio FINAL.indd 95 Poetovio FINAL.indd 95 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 66. ASH CHEST FRAGMENT PL. 23 Size: 50 × 16 × 63 cm. Prov.: Kebelj, church of St Margaret of An- Structure: Chest with the left short side bearing tioch, renovation in 2003. the decoration panel in a simple frame. Loc.: Kebelj, church of St Margaret of An- Iconography: The left short side shows a feline tioch, southwest corner. on the right side, facing right, with prominent Material: Eastern Alpine marble. teats on the belly. In the centre is a round ob-ject with a feature to the left that can together Condition: Right bottom part of the chest with be identified as a two-wheel chariot. It is most visible right short side damaged at its front and likely the depiction of the motif of the Tri-bottom edges. The drainage hole made in the umph of Dionysus upon his return from India, upper right part shows the chest had previous-where Dionysus and Ariadne stand on a chari-ly been used as a trough. ot drawn by panthers. Size: 75 × 26 × 30 cm. Dating: 3 rd century. Structure: Chest with the right short side bear- Lit.: Djurić 2025. ing the decoration panel in a simple frame, wider in its lower part. 68. ASH CHEST FRAGMENT PL. 23 Iconography: The right short side shows a fe- Prov.: Orešje, Lot No. 248/24, Krčevina cadas- ing her upper body on her left elbow, propped Loc.: Ptuj, PMPO, without inv. no. against a rock. She is lying on bed of seaweed. male figure reclining on her side and support- tral municipality, ploughing in 1984. She is wearing a cloak that covers her left Material: Eastern Alpine marble. shoulder, envelops her left arm and continues Condition: Left upper corner of the left short exception of the right foot. Her fingers hold Size: 50 × 31 × 10.5 cm; side th. 12 cm. the drapery, with the index finger and thumb down her body so as to cover the legs with the side. extended. The left third of the relief shows a Structure: Chest with the left short side bearing a decoration panel in a simple frame that has a pair of bare male legs striding toward the right, rectangular widening in the centre of the upper as well as a slanted ship gangway behind his left edge, intended for a clamp hole. leg. The depiction can be identified as the mo- tif of Theseus abandoning the sleeping Ari- Iconography: Vine leaf and tendril, probably adne on the island of Naxos (Dia). forming part of the motif of a kantharos from Dating: 3rd which two crossed vines grow. century. Lit.: Gulič 2006, 126; Djurić 2025. Lit.: Tušek 1986, 360, Pl. 16.3; Ragolič 2023, 170, No. 168. Prov.: Kebelj, church of St Margaret of An 69. ASH CHEST FRAGMENT PL. 24-67. ASH CHEST FRAGMENT PL. 23 tioch. Prov.: Ptuj. Loc.: Kebelj, church of St Margaret of An Loc.: Ptuj, City Tower, PMPO, without inv. no. - tioch, northwest corner of the bell tower. Material: Eastern Alpine marble. Material: Eastern Alpine marble. Condition: Left central part of a short side. Condition: Rear lower part of the left short Heavily weathered. side broken off at the level of the bottom. Size: 39 × 16 cm. Substantially damaged relief. Structure: Chest with the short side bearing a 96 Poetovio FINAL.indd 96 Poetovio FINAL.indd 96 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 decoration panel in a simple frame. a defined decoration panel. Iconography: Three downturned vine leaves Size: 25 × 80 cm. and one grape bunch. Structure: Chest with a presumably tripartite Lit.: Unpublished. front. 70. ASH CHEST FRAGMENT Lit.: Gulič 2007, 58–59; Ragolič 2023, 212, No. 245. PL. 24 Prov.: Ptuj. 73. ASH CHEST PL. 25 Loc.: Ptuj, Prešernova 16, east wall of the en- Prov.: Šmartno na Pohorju, at Lober farmstead Material: Eastern Alpine marble. smith Tomaž Ačko in Ogljenšak, until 1885 in the Frajštajn (Freistein) manor near Spodnja trance passage. prior to 1829, then used as a trough by black- Condition: Left lower part of a short side. Sur- Polskava. face damaged in parts. Size: 39.5 × 26.4 cm. No. 95. Loc.: Graz, Universalmuseum Joanneum, Inv. Structure: Chest with the short side bearing a Material: Eastern Alpine marble, Pohorje quar- decoration panel in a simple frame. ry (Sample LMJ 95, H. W. Müller). Iconography: sitting panther, probably form- Condition: Chest with the bedding surface ing part of a heraldic composition of two irregularly removed. Lower part of the front panthers flanking a central vessel (kantharos?) abraded and left lower corner missing. from which two vines grow. Size: 115 × 43 × 72 cm. Lit.: Unpublished. Structure: Chest with an unrecessed tripartite www: Lupa 33313. front composed of a central inscription and lateral decoration panels. The inscription panel 71. ASH CHEST FRAGMENT PL. 24 has a straight moulded frame. The lateral pan-Prov.: Ptuj. els have a defined frame and are left rough. The short sides are finely dressed. Loc.: Ptuj, PMPO, old Inv. No. 64. Material: Eastern Alpine marble. Inscription: --] suum / miseranda dolorem num/ Condition: Left upper corner of the rear side. qua(m) feci dolum neque duos / par tibi ama(n)tes (h) oc mi ʻhʾi indign(a)e / positum [i]n pectore voʻuʾlnus Size: 72 × ? × 43 cm; side th. 13 cm. / dulcem superstitui natum / miseranda genetrix tertio Structure: Rectangular chest. [a]n/no misera florentem condere sax[s]o Lit.: Unpublished. Lit.: Knabl 1856, 525–527; Pichler 1871, 118–119; JJ 74, 12; Diez 1948, 160, No. 19; Pahič 1977a, 58; 72. ASH CHEST PL. 24 Modrijan – Weber 1979–81, 74, No. 95; Grassl Prov.: Veliko Tinje, church of Sts Peter and 1976; Djurić, 2001a, 122, No. 19; Djurić – Hebert Paul, south wall. et al. 2004, 384, 408; Ragolič 2023, 222–224, No. Loc.: Veliko Tinje, church of Sts Peter and 258; CIL III 5295 + 11709; ILLPRON 1889; AE Paul, south wall. 1984, 715. Material: Eastern Alpine marble. www: Lupa 1683; HD001842; EDCS-14500606; TM 214577. Condition: The visible short side is damaged on the corners with partially visible left front panel. The short side is finely dressed without 97 Poetovio FINAL.indd 97 Poetovio FINAL.indd 97 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 74. ASH CHEST PL. 25 Size: 80 × 40 × 52 cm; bottom th. 32 cm; side Prov.: Studenice, church of the Three Kings, th. 11–15 cm. Loc.: Studenice, church of the Three Kings, front composed of a central inscription and lateral decoration panels. The inscription panel corner of the church extension, prior to 1826. Structure: Chest with an unrecessed tripartite corner of the church extension. Material: Eastern Alpine marble. have a defined frame and are left rough. The has a fillet moulded frame. The lateral panels made in both arches of the Norico-Pannonian Inscription: ---] / c(oniugi) k(arissimo) mil(iti) l(e-volutes and in the lower left part of the inscrip Condition: Complete chest with three holes underside has a slightly sunken centre. - gionis) XIIII / g(eminae) q(ui) v(ixit) ann(os) LXV tion panel. et / Munat(io) Valentino / f(ilio) k(arissimo) q(ui) Size: 115.5 × 59 × 89.5 cm. v(ixit) ann(os) XVIII Structure: Chest with a tripartite front com- Lit.: Skrabar 1905, 302; Abramić 1925, 57 No. 39; posed of a recessed central inscription and Klemenc – Saria 1936, 43; Hoffiller – Saria 1938, 171, lateral decoration panels. The inscription panel No. 378; Diez 1948, 155, No. 3; Jevremov 1988,125– has a straight moulded frame on all four sides. 126, No. 152; Djurić 2001a, 122, No. 3; Djurić – He- The lateral panels have a fillet moulded frame, bert et al. 2004, 400 (PET 11); Horvat – Dolenc Vičič with the upper part formed as a Norico-Pan 2010, 108; Ragolič 2023, 60–61, No. 22.- nonian volute, and are left rough. The visible www: Lupa 3754; EDCS-11301054; HD068971; short side is finely dressed. TM 407230. Inscription: D(is) M(anibus) C(aius) Iul(ius) / Ro- manus et / Verina con(iux) v(ivi) / f(ecerunt) s(ibi) et Romulae fil(iae) / ((obitae)) an(norum) XXX et fil(iis) Romulo / et Suriano Lit.: Steinbüchel 1829, 64; Muchar 1844, 435; Knabl 1855, 159–163; Pahič 1977a, 58; Pahič 1983, 247–248, Fig. 70; Djurić 2001 122, No. 35; Ragolič 2023, 249–250, No. 302; CIL III 05299; ILLPRON 1922. www: Lupa 4155; EDCS-14500610; HD066806; 76. ASH CHEST FRAGMENT PL. 26 TM 411911. Prov.: Ptuj. 75. ASH CHEST PL. 25 Loc.: Ptuj, west tower of the castle. Prov.: Ptuj, Volkmerjeva cesta, north of the Material: Eastern Alpine marble. church of St Oswald, 1905, southern cemetery Condition: Bottom part of the chest. Heavily of Poetovio. weathered. Loc.: Ptuj, PMPO, Inv. No. RL 36. Size: 96 × 34 cm; bottom th. 32 cm. Material: Eastern Alpine marble, Pohorje quar- Structure: Chest with an unrecessed tripartite ry (Sample PET 11; H. W. Müller). front composed of a central inscription and Condition: Chest with missing upper part lateral decoration panels. The inscription panel slightly above the bottom and obliquely broken has a moulded frame. The lateral panels have a across the middle. Restored. simple frame and are left rough. Inscription: ---- / [---] +++++(?) / +++[---]el l 98 Poetovio FINAL.indd 98 Poetovio FINAL.indd 98 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 / [---]ae sv / [---]mess an(norum) XX et Pegissa (?) [---] / Brutti, ((obitus)) Lit.: Karl 2013, 245; Djurić – Ragolič 2022. an(norum) XX. F(ilia?) GEN+[---] / [n]epoti [---] 77. ASH CHEST FRAGMENT Lit.: Predan 2001, 132, No. 92; Ragolič 2023, 240, PL. 26 No. 282. Prov.: Ptuj, castle. www: Lupa 31461. Loc.: Ptuj, City Tower, PMPO, Inv. No. RL 780. 79. ASH CHEST FRAGMENT PL. 26 Material: Eastern Alpine marble. Prov.: Ptuj, Miklošičeva 12, 1936. the inscription panel and part of the right dec Loc.: Ptuj, PMPO, Inv. No. RL 68. Condition: Central part of the front side with - oration panel. Material: Eastern Alpine marble. Size: 54 × 26 × 12 cm. Condition: Fragment of the front side with Structure: Chest with an unrecessed tripartite part of the central and left panels. front composed of a central inscription and Size: 46 × 25 × 14 cm; side th. 13 cm. lateral decoration panels. The inscription panel Structure: Chest with an unrecessed tripartite has a moulded frame. The lateral panels have a front composed of a central inscription and simple frame and are left rough. lateral decoration panels. The inscription and Inscription: --] / III Salvia Qu[in]/tian(a)(?) co- lateral decoration panels have a moulded frame. niugi / karissimo v(iva) f(ecit) / et sibi et Tit/[--- Inscription: --]omu [--- / actuari[o --- / ve Magnae Lit.: Pococke – Milles 1752, 109, No. 4; Steinbüchel c[--- / XXXV et mens[es --- 1829, 35; Muchar 1844, 413; Djurić 2001a, 122, No. Lit.: Klemenc – Saria 1936, 48–49; Hoffiller – Saria 31; CIL III 4079; Ragolič 2023, 98–99, No. 57. 1938, 177, No. 390; Diez 1948, 156, No. 16; Djurić www: Lupa 6096; EDCS-28800806; HD074423; 2001a, 122, No. 13; CIL 3, 14065; Ragolič 2023, 80, TM 407676. No. 38. 78. ASH CHEST FRAGMENT 80. ASH CHEST WITH LID PL. 26 PL. 26 Prov.: Ptuj, Gregorčičev drevored, Lot Nos. Prov.: Črešnjevec, church of St Michael, north 489/5–8, 493/4–5, Ptuj cadastral municipality, wall. 1956, southern cemetery of Poetovio. Loc.: Črešnjevec, church of St Michael, north Loc.: Ptuj, PMPO, Inv. No. RL 711. wall. Material: Eastern Alpine marble, Pohorje quar-Material: Eastern Alpine marble. ry (Sample PET 13; H. W. Müller). Condition: Central part of the front side with Condition: Complete chest broken into three part of the central and left panels. Surface in fragments, with a broken and partially surviv-the left third is completely removed and coarse-ing lid in the shape of an unworked slab. Re-ly levelled, elsewhere the surface is picked for stored. better mortar adhesion. Size: chest 102 × 56 × 70 cm; bottom th. 26 Size: 73 × 15 cm. cm; side th. 15 cm; lid th. 5 cm. Structure: Chest with a tripartite front com-Structure: Chest with an unrecessed tripartite posed of a central inscription and lateral dec-front composed of a central inscription and oration panels. The inscription panel has a lateral decoration panels. The inscription panel moulded frame. has a moulded frame. The lateral panels have a Inscription: ----- / [---]+N[---]+[---] /((obitus?)) defined frame, with the upper part formed as 99 Poetovio FINAL.indd 99 Poetovio FINAL.indd 99 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 The bedding surface has a raised semicircular Prov.: Spodnja Hajdina near Ptuj, while deep-edge along the interior to keep the lid in place. a Norico-Pannonian volute, and are left rough. 82. ASH CHEST PL. 28 ening the road between Hajdina and Pragersko, Lit.: Mikl 1960–61, 157–158; Jevremov 1988, 49, 1972, western cemetery of Poetovio. No. 19; Djurić 2001a, 122, No. 28; Djurić – Hebert Loc.: Ptuj, PMPO, Inv. No. 944. et al. 2004, 400 (PET 13); Horvat – Dolenc Vičič 2010, 149; Ragolič 2023, 155–156, No. 141. Material: Eastern Alpine marble. www: Lupa 4209. Condition: Chest broken vertically in the left third and missing the left rear corner. 81. ASH CHEST WITH LID PL. 27 Size: 88 × 57 × 61 cm; bottom th. 35 cm, side Prov.: Ptuj, Ptuj-Hospital, 1991, eastern ceme- th. 12–13 cm. tery of Poetovio. Structure: Chest with unrecessed tripartite Loc.: Ptuj, PMPO, without inv. no. front composed of a central inscription and Material: Eastern Alpine marble. lateral decoration panels. The inscription panel chest and lid, with only slight damage to the panels have a defined frame, with a pedimental front right corner of the lid. It was found frame on the upper side, and are left rough. closed, containing the skeleton of a child bur-Lit.: Šubic 1974, 153. Condition: Complete and very well-preserved a simple frame in the lower part. The lateral has a fillet moulded frame on three sides and ied with a gold phallus on gold wire. Size: chest 84 × 50 × 64 cm; bottom th. 39 cm, 83. ASH CHEST FRAGMENT PL. 28 side th. 12–13 cm; lid 100 × 33 × 75 cm. Prov.: Ptuj, Zgornji Breg, Leskoškova njiva, 28 front composed of a central inscription and Loc.: Ptuj, PMPO, Inv. No. RL 562. lateral decoration panels. The inscription pan Structure: Chest with unrecessed tripartite September 1908. - el has an unfinished moulded frame on three Material: Eastern Alpine marble. sides, while the lower side only has a line; the Condition: Three fragments of the upper front surface is coarsely finished. The lateral pan- and short sides (two of them survive and are els have a defined frame, with the upper part now in the PMPO), broken off above the bot- coarsely finished. The short sides are coarsely Size: 85 × 21 (reconstr. 45) × 30 cm; side th. dressed and have a clamp hole in the centre of formed as a Norico-Pannonian volute, and are tom. the upper edge. 8–10 cm. Gabled lid with an overhang, flat ridge and without acroteria. All surfaces are coarsely fin- ished. It is fastened to the chest with an iron clamp filled with lead on both short sides. Part-finished product in the quarry phase of production. Lit.: Tušek 1992a, 284; Djurić 2001a, 122, No. 33. Figure 55. Drawing of the ash chest (Historical Archives Ptuj, document No. 7272) 100 Poetovio FINAL.indd 100 Poetovio FINAL.indd 100 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 front composed of a central inscription and Prov.: Ptuj. lateral decoration panels. The inscription panel Structure: Chest with an unrecessed tripartite 86. ASH CHEST FRAGMENT PL. 28 has a moulded frame. The lateral panels have a Loc.: Ptuj, PMPO, without inv. no. defined frame, with the upper part formed as Material: Eastern Alpine marble. a Norico-Pannonian volute, and are left rough. Condition: Part of the lateral front panel. Lit.: Diez 1948, 156, No. 8; Djurić 2001a, 122, No. Size: 17 × 17 × 44 cm; side th. 16 cm. 8; Ragolič 2023, 163, No. 155. Structure: Chest with a presumably tripartite Prov.: Kebelj, church of St Margaret of An lateral decoration panels. The lateral panels -have a moulded frame. 84. ASH CHEST FRAGMENT PL. 28 front composed of a central inscription and tioch, renovation in 2003. Loc.: Kebelj, church of St Margaret of An Lit.: Unpublished.- tioch. 87. ASH CHEST FRAGMENT PL. 29 Material: Eastern Alpine marble. Prov.: Kebelj, church of St Margaret of An- Condition: Bottom part with missing left cor- tioch, renovation in 2003. ner. Loc.: Kebelj, church of St Margaret of An- Size: 80 × 15 cm. tioch. Structure: Chest with an unrecessed front Material: Eastern Alpine marble. composed of a central inscription and lateral Condition: Lower left corner of the front side. decoration panels. The inscription panel has a Damaged left edge, surface weathered. moulded frame on either side and a line in the Size: 60 × 30 cm. lower part. The lateral panels have a defined frame and are left rough. Structure: Chest with the front side bearing a Lit.: Gulič 2006, 126. sunken inscription panel in a moulded frame at the centre, flanked by a wide band on either 85. ASH CHEST FRAGMENT PL. 28 side. Prov.: Ptuj. Inscription: -- / Iulius [---] / dec(..) Ma[---] (read- Loc.: Ptuj, PMPO, without inv. no. ing A. Ragolič) Material: Eastern Alpine marble. Lit.: Gulič 2006, 126. Condition: Left central part of the front side. 88. ASH CHEST FRAGMENT PL. 29 Size: 40 × 11 × 14 cm; side th. 13 cm. Prov.: Črešnjevec, church of St Michael, south- Structure: Chest with a tripartite front com west corner of the foundations, 1964.- posed of a central inscription and lateral dec- Loc.: Črešnjevec, church of St Michael, south- moulded frame. The lateral front panels have Material: Eastern Alpine marble. a simple frame. oration panels. The inscription panel has a west corner of the foundations. Condition: Left lower part of the front side Lit.: Unpublished. with weathered surface. Size: 109 × 33 cm. Structure: Chest with an unrecessed tripartite front composed of a central inscription and 101 Poetovio FINAL.indd 101 Poetovio FINAL.indd 101 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 lateral decoration panels. The inscription panel right corners, as well as damaged lower left cor- has a moulded frame. The lateral front panels ner of the front. Surface weathered. have a simple frame and are left rough. Size: 97 × 37 cm. Prov.: Črešnjevec, church of St Michael, west side. precinct wall, 1857. Inscription: Calligeniae filiae dulcis/simae an(no-Loc.: Črešnjevec, in front of the church of St Mi-rum) III m(ensium) VI d(ierum) XV Aur(elius) / chael. Callimorphus et Ael(ia) Sabina / parentes infelicis-Material: Eastern Alpine marble. 89. ASH CHEST FRAGMENT sunken inscription panel in a moulded frame PL. 29 at the centre, flanked by a wide band on either Lit.: Pahič 1962–64; 1964; Predan 2001, 175, Pl. 26. Structure: Chest with the front side bearing a simi Condition: Heavily damaged chest in two piec- Lit.: Steinbüchel 1829, 61; Diez 1948, 153; Ragolič es. The front side is almost complete, with only 2023, 85–86, No. 44; CIL III 4073. the upper left corner missing, all other sides are www: Lupa 4259; EDCS-28800801; HD074443; almost entirely missing and the bottom is dam- TM 407672. aged on the underside and missing the right rear corner. Size: 103 × 56 × 70 cm; bottom th. 38 cm, side th. 13–15 cm. Structure: Chest with the front side bearing a sunken inscription panel in a moulded frame at the centre, flanked by a wide coarsely dressed band on either side. All other sides are also coarsely dressed. Inscription: Figure 56. Drawing of the ash chest (Vienna, KHM, [ ---]ia Verc/[--- ] et Deusa / liberta Antikensammlung, Archive No. 23 ex 1830, Somenzari, arc(am) / fecit patro/n(a)e su(a)e Pl. VII) Lit.: Knabl 1859, 87; Abramić 1933, 133, Fig. 43; No. 18; Pahič 1977a, 46; Pahič 1990, 172–173, Fig. Hoffiller – Saria 1938, 39, No. 85; Diez 1948, 158, 91. ASH CHEST FRAGMENT PL. 30 42; Djurić 2001a, 122, No. 18; Ragolič 2023, 237– Prov.: Starše. 238, No. 279; CIL III ad 5303; ILLPRON 1763. Loc.: Graz, Universalmuseum Joanneum, with- www: Lupa 1685; HD066953; EDCS-14500614; out inv. no. TM 402628. Material: Eastern Alpine marble. 90. ASH CHEST PL. 30 Condition: Bottom fragment with part of the Prov.: Ptuj, used as a trough in the house at front side. No. 100 (?) until 1822, in 1823 built into City Size: 73 × 26 × 70 cm. Tower. Structure: Chest with the front side bearing Loc.: Ptuj, City Tower, PMPO, Inv. No. RL 792. a sunken inscription panel, in a frame that is Material: Eastern Alpine marble, Pohorje quar moulded in the lower part, that covers the en-- ry (Sample PET 62; H. W. Müller). tire height and width. Condition: Chest with missing upper and lower Inscription: --] / [--] iusseru[nt] PAT[-----]V[--] non for[------] / nunc matris pietaten ‘m’ (h)abet per 102 Poetovio FINAL.indd 102 Poetovio FINAL.indd 102 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 dom(i)nica r[ura] / [e]t licuit matri corpus sepe
  • re Structure: Chest with the front side bearing a dolendu[m] / qu(a)e nunc (h)abet titul(um) non terr(a) sunken inscription panel, in a frame moulded e inimic(a)e ia[centem] / se’d’ potius donis sollemnibus on all four sides, that covers the entire height esse colend[um] / Surilla ego so(m)(!) qu(a)e per’i’mor and width. filia C(h)loe[s---] Iconography: an ascia is depicted on the right Lit.: Pichler 1871, 122–128; Grassl 1976, 49–55; short side. Pahič 1977a, 57; Ragolič 2023, 284–285, No. 362; Lit.: Pahič 1977e; Pahič 1984a; Djurić – Hebert et CIL 03, 05695 = 11827; Weber, Inschr. No. 396; al. 2004, 403 (SMA 2); Ragolič 2023, 224, No. 259. CLEPann 21. www: Lupa 25471. www: Lupa 1693; EDCS-14501073; HD064098; TM 188708. 94. LID OF AN ASH CHEST PL. 31 92. ASH CHEST FRAGMENT Prov.: Ptuj. PL. 30 Prov.: Veliko Tinje, church of Sts Peter and Loc.: Ptuj, PMPO, Inv. No. RL 64. Paul, north wall. Material: Eastern Alpine marble. Loc.: Veliko Tinje, church of Sts Peter and Condition: Complete lid with a horizontal Paul, north wall. break. Both left acroteria are damaged, as is the Material: Eastern Alpine marble. ridge in the rear part. Part of the front edge Condition: Bottom part with damaged lower and weathered surface. below the ridge is broken off. Fairly damaged front corners. Size: 109 × 35 × 78 cm. Size: 71 × 22 cm. sunken inscription panel, in a simple frame, plain. The tympanum panel has relief depic-that covers the entire height and width. tions in a simple frame. Inscription: Structure: Chest with the front side bearing a and four corner acroteria. The lid slopes are Structure: Gabled lid with a raised flat ridge sibi / Iuli(o) Iust(o) an(norum) XV---] / et Primus filius / vivi fecer(unt) Inscription: D(is) M(anibus) Iconography: The tympanum holds en face and Lit.: Orožen 1889, 220; Klemenc – Saria 1939, 64; half-length portraits of four family members Diez 1948 cit. 32; Pahič 1968–69, 171 with fig.; Pa-consisting of the father and mother in the cen-hič 1977b, 59, Fig. 25; Ragolič 2023, 208–209, No. tre flanked on either side by an underage son. 240; CIL III 11716; ILLPRON 1926. The father and both sons are dressed in a sagum www: Lupa 13363; EDCS-14600198; HD066802. fastened at the right shoulder with an uniden- 93. ASH CHEST FRAGMENT (?) PL. 30 tifiable brooch. The mother’s clothing is dam-aged beyond identification. The father’s por-Prov.: Šmartno na Pohorju, church of St Mar-trait imitates that of Gordian III. The mother’s tin, bell tower. face is elongated, with a melon coiffure with long hair that leave the ears exposed and turn Loc.: Šmartno na Pohorju, church of St Mar-upward at the nape. The portraits of the sons tin, bell tower. are severely damaged. Material: Eastern Alpine marble, Pohorje quar-Dating: Mid-3 rd century. ry (Sample SMA 2, Harald W. Müller). Condition: Complete chest with damaged left Lit.: Abramić 1925, 142, No. 16; Hoffiller – Saria lower corner of the front. 1938, 189, No. 422; Diez 1948, 158, No. 21; Jevre- Size: 118 × 55 × 70 cm. mov 1988, 64, No. 38; Djurić 2001a, 122, No. 21; 103 Poetovio FINAL.indd 103 Poetovio FINAL.indd 103 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 Mander 2012, 287, No. 609; Pochmarski 2018, 226, and sagum fastened at the right shoulder with a Fig. 5; Ragolič 2023, 130, No. 91. disc brooch. His face is unclear, his hair short. www: Lupa 3773; EDCS-11301084; HD 069091. The left front acroterium holds the depiction of a basket of flowers as a representation of a 95. LID FRAGMENT PL. 31 season – Spring. Prov.: Ptuj. Dating: Mid-3rd century. Loc.: Ptuj, PMPO, Inv. No. RL 748. Lit.: Diez 1948, 161, No. 22; Jevremov 1988, 70, Material: Eastern Alpine marble. No. 47; Djurić 2001a, 122, No. 22; Pochmarski 2015, 217; Ragolič 2023, 174, No. 177. Condition: Front part with missing right third www: Lupa 4255. and top of the left acroterium. Surface dam-aged and weathered. 96. LID OF AN ASH CHEST PL. 32 Size: 111 × 40 × 78 cm. Prov.: Ptuj. Structure: Gabled lid with a raised flat ridge Loc.: Ptuj, PMPO, Inv. No. RL 123. and corner acroteria. The lid slopes are plain. Material: Eastern Alpine marble. The separate tympanum and acroterium panels Condition: Front part of the lid with horizon have relief depictions in simple frames.-tal breaks. Surface damaged and weathered. Iconography: The tympanum holds en face and half-length portraits of five family members Size: 125 × 40 × 35 cm. (the one on the far right is missing) beneath a Structure: Gabled lid with a raised flat ridge shell. The three left figures represent three gen-and corner acroteria. The lid slopes are plain. erations of women. The one positioned in the The separate tympanum and acroterium panels centre is a girl dressed in a tunica manicata and have relief depictions in simple frames. an asymmetrical palla . Her arms are bent and Iconography: The tympanum holds en face and placed on her chest. In her right hand, she holds half-length portraits of three family members a bird, while her left hand is unclear. Around beneath a shell and a curtain ( parapetasma ), con-her neck is a necklace of large round beads. sisting of a mother, father and son. Positioned Her face is unclear. She has a melon coiffure in the centre is a severely damaged image of a above the ears and nape. The woman further young man. Standing to his left is the mother, left is probably the mother, in the same dress. dressed in a girt tunic with wide long sleeves ( tu-Her right arm is bent and placed on her chest, nica manicata ) and a symmetrically worn cloak. while her left hand likely rests on her daugh-Her right arm is bent and placed on her chest. ter’s right shoulder. Her face is unclear and her She wears a thin necklace. Her face is unclear long hair is gathered into a net(?) behind her and her long hair gathered into a net (?) behind exposed ears, turned upward at the nape and her exposed ears, turned upward at the nape secured at the crown ( Scheitelfrizur ). The wom-and secured at the crown ( Scheitelfrizur ). On the an on the far left is elderly and dressed in a right is the father, dressed in a tunic and sagum tunica manicata girt below the breasts and a sym-fastened at the right shoulder. His left arm is metrically worn cloak. Her right arm is bent bent and placed on his chest, holding a scroll. and placed on the chest, holding a flower. Her face is unclear, with a rather broad outline and The acroteria hold half-length images of nude large almond-shaped eyes. Her hair is raised to young men with curly hair and a topknot, posi- mid-ear level and covered with a turban-like tioned on the corner. They are holding a thyr- headdress (Type H 6 after Rothe). To the right sus in the inner hand, tipped with bunches of of the central figure is a man in a tunica manicata flowers (left) and ears of grain (right). They are 104 Poetovio FINAL.indd 104 Poetovio FINAL.indd 104 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 personifications of the seasons – Spring and Size: 167 × 50 cm. Summer. Structure: Gabled lid with corner acroteria. Dating: Mid-3rd century. The separate tympanum and acroterium panels Lit.: Diez 1948, 162, No. 23; Jevremov 1988, 67, in front and sides have relief depictions in sim- No. 42; Djurić 2001a, 122, No. 22; Mander 2012, ple frames. The frames between the front acro- 288, No. 611; Pochmarski 2015, 217; Ragolič 2023, teria and the tympanum bear a pilaster with a 171–172, No. 172. spirally fluted shaft and capital. Crowning the www: Lupa 4254. lid is a pair of figures in the round. Iconography: The tympanum holds en face and 97. LID FRAGMENT PL. 32 half-length portraits of five family members Loc.: Ptuj, PMPO, Inv. No. RL 490. centre, father to the right of her, two older sons to the left and the youngest daughter be Prov.: Ptuj, hospital field, 1930. beneath a shell, consisting of a mother in the - Material: Eastern Alpine marble. tween the mother and the father. The mother is Condition: Right front part with a damaged dressed in a tunica manicata and an asymmetrical corner. Surface heavily weathered. palla. Her right arm is bent and placed on her Size: 40 × 28 × 28 cm. index and ring fingers. Her face is heavily dam daughter’s upper arm, with extended thumb, - Structure: Gabled lid with corner acroteria. aged. She has a melon coiffure with exposed The lid slope is plain. The separate tympanum ears and neck. The father is dressed in a tunic and acroterium panels have relief depictions in and sagum, fastened at the right shoulder with a simple frames. brooch. His left arm is bent and extended out- Iconography: The tympanum holds ward, holding a scroll, to which he is pointing en face and half-length portraits of the deceased, of which with the fingers of his right hand, placed on only the right figure survives, of a boy dressed his chest. His face is also heavily damaged, but in a shows a medium-length beard and short, indis-sagum . His left arm is bent and placed on his chest, holding an unidentifiable object. His tinct hair. Depicted on the far left is the eldest face is damaged, his hair short. The acroterium son, dressed in a tunica manicata and sagum, fas- panel shows a downward- and inward-facing tened at the right shoulder with a brooch. His dolphin with a strong snout, almond-shaped right arm is bent and extended leftward with eye and small tail fin. an outstretched index finger. His face is oval, Lit.: Diez 1948, 162, No. 24; Djurić 2001a, 122, No. possibly with a short beard, his hair is short. 24; Ragolič 2023, 172, No. 173. Standing between him and the mother is his younger brother, also wearing a tunica manicata Prov.: Pernica, church of St Margaret, prior to right shoulder. His right arm is bent and placed on his chest, with the index and middle fingers 98. LID OF AN ASH CHEST and sagum, fastened with a disc brooch on the PL. 32 1844. extended. The front of his head is broken off. Loc.: Pernica, church of St Margaret, west wall. The daughter, placed between the parents, is Material: Eastern Alpine marble, Pohorje quar dressed in a tunic and asymmetrical palla. She - Condition: Front side with missing top and face and hairstyle are unclear. The left acroterium holds an ry (Sample MAR 2; H. W. Müller). wears a necklace with large round beads. Her corner of the right acroterium. Fairly weath en face depiction - ered surface. The figures crowning the lid are of a female servant (camilla) wearing a long, completely built into the wall. short-sleeved tunic reaching down to her feet, 105 Poetovio FINAL.indd 105 Poetovio FINAL.indd 105 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 ly bent and extended downward. She is holding Condition: Front side of a lid with missing left a jug in her right hand and a vessel with a long possibly with a stola over it. Her arms are slight- Material: Eastern Alpine marble. handle in her left hand. A mantele hangs over top. Portraits are severely damaged, surface acroterium, most of the right acroterium and her left shoulder. The right acroterium bears heavily weathered. an en face depiction of a male servant ( camillus ) Size: 144 × 43 cm. in an unbelted tunic, with his head turned to the right. His right arm is slightly bent and ex- Structure: Gabled lid with a flat ridge and cor- tended toward the family, holding a cup. His ner acroteria. The tympanum panel has relief holding a bottle. In a drawing published by Iconography: The tympanum holds en face and Muchar, a winged Eros with a bow is depicted left arm is extended beside his body, probably depictions in a simple frame. stylized half-palmette on the right side of the the centre is a pair, a man and a woman, who right acroterium, while an outward-facing pair are likely the eldest of the group. Two younger of heraldic lions carved in the round crown the persons are shown at either end of the group, on the left side of the left acroterium, and a symmetrically positioned beneath a shell. At half-length portraits of six family members front side of the lid. while the youngest persons are depicted be- Dating: First half of the 3rd century. tween these and the central pair, one on either Lit.: Muchar 1844, 399; Diez 1948, 162, No. 25; side. The woman in the central pair is heavily Garbsch 1965, 7, No. 2; Djurić 2001a, 122, No. 25; damaged. She wears a cloak and a thin necklace Mander 2012, 276, No. 554; Pochmarski 2015, 217, with round beads, her hair is gathered above Fig. 6; Ragolič 2023, 278, No. 354. her ears, possibly held by a scarf or head cov- www: Lupa 4143. ering. Her husband, to the left of her, is clad in a sagum and has his left hand on the chest holding a scroll. Of the second and younger pair, the woman at the far left is dressed in a tunic and a symmetrically worn cloak. Her right arm is bent and placed on her chest, holding a round object, likely a pomegranate. She also wears a necklace with round beads. Her face is destroyed and her long hair is gathered in a net (?), turned upward deep at the nape and secured at the crown (Scheitelfrizur), similar to the hairstyles spanning from Iulia Mamaea to Herennia Etruscilla. Shown on the far right is Figure 57. Drawing of the ash chest lid (from Muchar her husband, wearing a sagum fastened at the 1844) right shoulder. His left hand rests on his chest. His face and hairstyle are destroyed. The two Prov.: Slivnica pri Mariboru, Marian church, -ing at it with the fingers of his right hand. The north wall. young man on the left has his right hand placed Loc.: Slivnica pri Mariboru, Marian church, in the same position, while his left hand is dam 99. LID OF AN ASH CHEST dressed in a sagum. The one on the right holds a PL. 33 scroll against his chest with his left hand, point youngest men, in the foreground, are also - north wall. aged and unclear. 106 Poetovio FINAL.indd 106 Poetovio FINAL.indd 106 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 The panel of the heavily damaged right acro- waist, holding an unidentifiable object, possi- terium shows a half-length figure, possibly the bly a bird, in her right hand. She also wears a personification of a season. necklace with round beads. The details of her Dating: Second quarter or mid-3 face and short hairstyle are unclear. rd century. Lit.: Muchar 1844, 424; Klemenc – Saria 1939, 57; The acroteria hold the half-length images on Pahič 1977a, 54, Fig. 16; Djurić 2001a, 123, No. 57; the corners. Although unclear in details, they Mander 2013, 275, No. 553; Pochmarski 2014, 359, are the personification of the seasons. Fig. 6; Ragolič 2023, 266, No. 331. Lit.: Šubic 1967, 94; Jevremov 1988, 70, No. 48; www: Lupa 4145. Djurić 2001a, 122, No. 25; Mander 2012, 287, No. 610; Pochmarski 2015, 217; Ragolič 2023, 170, No. 100. LID OF AN ASH CHEST PL. 33 169. Prov.: Ptuj, naselje bratov Reš, Lot No. 523/9, www: Lupa 9410. Krčevina cadastral municipality, Pivkova ulica 3, 1967, base of an inhumation grave. 101. LID OF AN ASH CHEST PL. 34 Loc.: Ptuj, PMPO, Inv. No. RL871. Prov.: Ptuj, Ptuj-Hospital, 1991, eastern ceme-tery of Poetovio. Material: Eastern Alpine marble. Loc.: Ptuj, PMPO, without inv. no. Condition: Complete lid with restored acroter-Material: Eastern Alpine marble. ium tops. Relief heavily weathered. Condition: Complete lid with missing acroteria Size: 134 × 36 × 101 cm. and upper edge. Relief weathered. Structure: Gabled lid with a flat ridge and four Size: 95 × 40 × 78 cm. corner acroteria. The lid slopes are plain. The separate tympanum and acroterium panels Structure: Gabled lid with a flat ridge and four have relief depictions in a simple frame that corner acroteria. The lid slopes are plain. The has concave left and right sides. The acroteria tympanum panel has relief depictions in a sim- have two-sided decorative panels with a simple ple frame. frame. Inscription: D(is) M(anibus) Inscription: D(is) M(anibus) Iconography: The tympanum holds en face and Iconography: The tympanum holds en face and half-length portraits of four family members half-length portraits of three family members consisting of a father, mother and two boys. consisting of a father, mother and daughter be- The father, positioned on the right, is dressed tween them. The mother, on the left, is dressed in a tunic and sagum fastened on his right shoul- in a tunic and symmetrically worn cloak, open der with a disc brooch. His face is broad, his around the neck and chest, where her right hand hairstyle is short. Next to him is the mother, rests on its thick border. The details of her face wearing a tunic and symmetrically worn cloak and hairstyle are indistinct, though her hairstyle with a thickened edge running from her left may be a Scheitelfrizur. The man is dressed in a shoulder across her chest to her right shoulder. tunica manicata and sagum, fastened on his right She wears a necklace of round beads. Her hair shoulder with a disc brooch. Both of his arms is long, gathered in a net (?) behind her ears, are bent and placed on his chest. In his left turned upward at the nape and secured at the hand, he holds a scroll, to which he is pointing crown (Scheitelfrizur). The two boys are dressed with the fingers of his right hand. Shown in the in a tunic and sagum fastened at the right shoul- centre is a young woman in a tunic and cloak. der with a disc brooch. Their hair is short, the Her arms are bent and positioned above her facial features unclear. 107 Poetovio FINAL.indd 107 Poetovio FINAL.indd 107 4. 09. 2025 15:29:38 4. 09. 2025 15:29:38 Dating: Second quarter or mid-3rd century. Structure: Gabled lid with a flat ridge. The lid Lit.: Unpublished. slopes are presumably plain. 102. LID OF AN ASH CHEST PL. 34 half-length portraits of at least four, but most Iconography: The tympanum holds en face and Prov.: Ptuj, Ptuj-Hospital, 1991, eastern ceme- likely five family members (three of them sur- Loc.: Ptuj, PMPO, without inv. no. underage daughter to the left and grandmother at the far left. Placed centrally is the moth tery of Poetovio. vive) beneath a shell, consisting of the mother, Material: Eastern Alpine marble. er, dressed in a tunic and cloak with a prom-- Condition: Complete lid with a weathered sur- inent fold running from her right shoulder to Size: 104 × 29 × 67 cm. her left shoulder. She may be wearing a neck-lace. Her face is damaged, her long hair gath face. the centre of her chest and likely continuing to corner acroteria. The lid slopes are plain. The upward at the nape and fastened at the crown separate tympanum and acroterium panels ( Scheitelfrizur ). The grandmother is dressed in a have relief depictions in simple frames. tunic and symmetrically worn cloak. Her right Structure: Gabled lid with a flat ridge and four ered in a net (?) behind her exposed ears, turned - Iconography: The tympanum holds an right arm. She wears a necklace with large round en face beads. Her face is damaged, her Inscription: D(is) M(anibus) arm is bent and placed on her granddaughter’s right shoulder with a brooch. His arms are bent -tween them wears a tunic and cloak. Her arms and raised in front of his chest. In his left hand, are bent and positioned slightly above her waist. he holds a scroll, to which he is pointing with In her right hand, she holds a bird. She wears a in a clear and possibly covered with a turban-like tunica manicata and sagum fastened at the headdress (Type H 7 after Rothe). The girl be and half-length portrait of a man. He is dressed Helmfrisur not He has a short beard, his hair is short and curly. necklace with round beads. Her face and short the index and middle fingers of his right hand. The left and right acroteria depict situla-like rd hairstyle are unclear. baskets, the left one filled with flowers, the Dating: Second quarter or mid-3 century. right one with ears of grain; they symbolise the Lit.: Pahič 1977d, 205 with fig.; Djurić 2001a, 123, seasons – Spring and Summer. No. 53. Dating: Severan. 104. LID OF AN ASH CHEST PL. 34 Lit.: Unpublished. Prov.: Črešnjevec, church of St Michael, south Prov.: Črešnjevec, church of St Michael, south Loc.: Črešnjevec, church of St Michael, south wall. wall. Material: Eastern Alpine marble. 103. LID FRAGMENT wall. PL. 34 Loc.: Črešnjevec, church of St Michael, south Material: Eastern Alpine marble. the tympanum, right acroterium and top part. Relief is heavily damaged and weathered. wall. Condition: Front side with missing right end of missing acroterium and upper edge. Relief Size: 93 × 23 cm. Condition: Left half of the front side with weathered and whitewashed. Structure: Gabled lid with a likely flat ridge and Size: 35 × 33 cm. corner acroteria. The tympanum panel has a 108 Poetovio FINAL.indd 108 Poetovio FINAL.indd 108 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 simple frame. The acroteria are undecorated Iconography: The tympanum holds en face and and finely dressed. half-length portraits of family members (only Inscription: one at the far right survives). The surviving fig-D(is) [M(anibus)] ure shows a man wearing a sagum fastened on Iconography: The tympanum holds en face and the right shoulder with a disc brooch. His left half-length portraits of seven family mem-arm is bent and placed above his belt, holding bers (six of them survive). Centrally placed is a scroll and extending his index finger towards an older woman dressed in a tunic and cloak, the missing figure of a woman (?) to the left, wearing a necklace with round beads. Her face who partially overlaps him. His face is dam-is damaged, her hair is gathered under a head aged, beardless, with fairly large and protruding covering (?). To the right is a younger woman, ears, the upper part of his head is broken off. probably her daughter, dressed in a tunic and The right front acroterium shows a severely an asymmetrical palla . She also wears a neck-damaged winged eros in a pronounced stride to lace with round beads. Her face, with large al-the right. His right leg is stretched back, his left mond-shaped eyes, is heavily eroded. Her hair leg is bent forward. His (left?) arm is extended is pulled up and covered with a scarf of Type horizontally forward, likely holding an object H 6 after Rothe. Shown at the far right is a man, that identifies him as an eros (bow), less likely likely the husband, wearing a sagum (?). His face as a personification of a season (attribute). His is damaged, his eyes large, his hair short. To the right hand is unclear. His head is damaged. left of the central figure is a woman dressed in a tunic and palla . Her face and hairstyle are Lit.: Pochmarski 2015, 217; Ragolič 2023, 173, No. unclear. Further left is a younger man in a tunic 176. and sagum . His face is destroyed, his hair short. www: Lupa 8488. At the far left is a boy in a tunic and possibly 106. LID FRAGMENT sagum , his face and hairstyle unclear. PL. 35 Dating: First half of the 3rd century. Prov.: Črešnjevec, church of St Michael, east Lit.: Pahič 1984, 222, Fig. 29; Djurić 2001a, 123, precinct wall. No. 54; Ragolič 2023, 244, No. 290. Loc.: Črešnjevec, archaeological park in front www: Lupa 4692. of the church of St Michael. 105. LID FRAGMENT PL. 34 ry (Sample CSR 4; H. W. Müller). Material: Eastern Alpine marble, Pohorje quar- Prov.: Ptuj (?). Condition: Left front quarter with missing Loc.: Graz, Universalmuseum Joanneum, with- ridge and standing surface. Relief is damaged out inv. no. in places, Triton’s head is broken off. Material: Eastern Alpine marble. Size: 112 × 54 × 50 cm. Condition: Front side with the right part of the Structure: High gabled lid with corner acroteria tympanum and most of the right acroterium. and imitation tegulae and imbrices, the ridge Relief is damaged, the part on the far left is was presumably flat. The separate tympanum broken off. and acroterium panels have simple frames. The Structure: Gabled lid with corner acroteria. Iconography: The tympanum shows a centrally placed Triton with legs terminating in a trilo-The separate tympanum and acroterium panels bate fin. His head is shown in profile facing Size: 56 × 24 × 36 cm. short sides are finely dressed. have simple frames. left, blowing into a spindle-shaped shell. To 109 Poetovio FINAL.indd 109 Poetovio FINAL.indd 109 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 the left is a downward-facing dolphin with the Lit.: Unpublished. same trilobate tail fin, which presumably had its heraldic pendant to the right of the Triton. 109. LID OF AN ASH CHEST PL. 36 The left acroterium holds a nude winged youth Prov.: Črešnjevec, church of St Michael, south wall. – eros, depicted in contrapposto with the weight on his right leg. He holds a torch diagonally Loc.: Črešnjevec, church of St Michael, south across his body, from his left hip over his right wall. shoulder. His left arm is extended downward, Material: Eastern Alpine marble. while his right arm is bent up. Condition: Block with outlined pediment and Lit.: Muchar 1845, 342; Abramić 1933, 132; Modri-acroteria. jan – Weber 1979–81, 105, No. 96; Pahič 1977a, Size: 123 × 45 cm. 46; Djurić 2001a, 53, No. 25; Djurić – Hebert et al. 2004, 403 (CRS 4); Drack 2008, 103–104; Ragolič Structure: Basic design of a gabled lid with a 2023, 243, No. 289. flat ridge and corner acroteria, as well as rough- 107. LID FRAGMENT PL. 36 panels. Part-finished product. Lit.: Pahič 1984, 222, Fig. 29; Djurić 2001a, 123, www: Lupa 4696. ly carved separate tympanum and acroterium Prov.: Ptuj, Ptuj-Hospital, 1991, eastern ceme- No. 55; Ragolič 2023, 243, No. 288. tery of Poetovio. Loc.: Ptuj, PMPO, Inv. No. RL 1011. 110. LID OF AN ASH CHEST PL. 36 Material: Eastern Alpine marble. Prov.: Črešnjevec, church of St Michael, north Size: 23 × ? × 6.5 cm. Loc.: Črešnjevec, church of St Michael, north wall. Structure: unknown. Condition: Fragment of the front tympanum. wall. Material: Eastern Alpine marble, Pohorje quar- of a young woman dressed in a tunic and palla, Condition: block with outlined pediment and holding a bird in her right hand. Iconography: Part of the chest and right arm ry (Sample CRS 3, Harald W. Müller). acroteria, missing the upper and left parts. Lit.: Vomer Gojkovič 1993, 461, Pl. 14.6; Vomer Size: 110 × 18 cm. Gojkovič 1997. Structure: Basic design of a gabled lid with cor- 108. LID FRAGMENT PL. 35 ner acroteria, as well as roughly carved separate Prov.: Ptuj, Ptuj-Hospital, 1991, eastern ceme tympanum and acroterium panels. Part-fin-- tery of Poetovio. ished product. Loc.: Ptuj, PMPO, without inv. no. Lit.: Pahič 1984; Djurić 2001a, 123, No. 56; Djurić Material: Eastern Alpine marble. – Hebert et al. 2004, 40 (sample CRS 3); Ragolič 2023, 244, No. 291. Condition: Rear (?) corner of a lid. Size: 60 × 21 × 48 cm. 111. LID OF AN ASH CHEST PL. 36 Structure: Gabled lid with a flat ridge and four tin, precinct wall. Prov.: Šmartno na Pohorju, church of St Mar- corner acroteria. The underside is sunken with a wide standing surface and a rectangular dow Loc.: Šmartno na Pohorju, church of St Mar-- el hole for securing the lid to the chest. tin, precinct wall. Material: Eastern Alpine marble. 110 Poetovio FINAL.indd 110 Poetovio FINAL.indd 110 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 Condition: Complete lid with damaged acro- Condition: Fragment of the front side with the teria. left acroterium. Surface weathered. Size: 100 × 74 × 18 cm. Size: 40 × 23 × 20 cm. Structure: Gabled lid with a flat ridge, four cor- Structure: Gabled lid with a presumably flat ner acroteria and deeply sunken underside. ridge and corner acroteria. Lit.: Pahič 1977a, 59, No. 7; Djurić 2001a, 123, No. Inscription: [D(is)] M(anibus) 58. Lit.: Gulič 2007, 21; Ragolič 2023, 211–212, No. 112. LID FRAGMENT 243. PL. 36 Prov.: Malečnik, 1958. 115. LID OF AN ASH CHEST PL. 37 Loc.: Malečnik, church of St Peter (?), possibly Prov.: Veliko Tinje, church of Sts Peter and lost. Paul, north wall. Material: Eastern Alpine marble. Loc.: Veliko Tinje, church of Sts Peter and Condition: Lid with missing rear part and dam Paul, north wall.- aged surface and acroteria. Material: Eastern Alpine marble. Size: 87 × ? × 86 cm. Condition: Fragment of the front side with the Structure: Gabled lid with a flat ridge and cor left acroterium. Surface weathered.- ner acroteria. Size: 64 × 15 × ? cm. Lit.: Pahič 1960–61; Pahič 1977a, 50, No. 7; Djurić Structure: Gabled lid with a presumably flat 2001a, 123, No. 59; Ragolič 2023, 269, No. 338. ridge and corner acroteria. 113. LID OF AN ASH CHEST Lit.: Gulič 2007, 21; Ragolič 2023, 214, No. 249. PL. 37 Prov.: Veliko Tinje, church of Sts Peter and 116. LID FRAGMENT PL. 37 Paul, south wall. Prov.: Veliko Tinje, church of Sts Peter and Loc.: Veliko Tinje, church of Sts Peter and Paul, north foundations. Paul, south wall. Loc.: Veliko Tinje, church of Sts Peter and Material: Eastern Alpine marble. Paul, north foundations. Condition: Part of a lid with corner acroteria Material: Eastern Alpine marble. missing the top parts. Surface weathered. Condition: Fragment of the front side with the Size: ? × 25 × 80 cm. right acroterium bearing a decoration panel. Structure: Gabled lid with a presumably flat Surface weathered. ridge and corner acroteria. Size: ? × 45 × 22 cm. Lit.: Gulič 2007, 58–59; Ragolič 2023, 213, No. 247. Structure: Gabled lid with a presumably flat 114. LID OF AN ASH CHEST ridge and corner acroteria. PL. 37 Prov.: Veliko Tinje, church of Sts Peter and Lit.: Gulič 2007, 34–36; Ragolič 2023, 214, No. 250. Paul, north wall. 117. LID FRAGMENT PL. 37 Loc.: Veliko Tinje, church of Sts Peter and Prov.: Veliko Tinje, church of Sts Peter and Paul, north wall. Paul, north wall, 2007. Material: Eastern Alpine marble. Loc.: Veliko Tinje, next to the church of Sts Peter and Paul. 111 Poetovio FINAL.indd 111 Poetovio FINAL.indd 111 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 Material: Eastern Alpine marble. Inscription: D(is) M(anibus) Condition: Fragment of the rear side with Iconography: All four acroterium panels depict Size: 81 × 54 × 27 cm; short side edge h. 8 cm; personifications of the seasons without the at-tributes. One of the long sides shows an ivy missing left and upper parts. en face busts of female figures that represent the standing surface w. 13 and 16 cm. Structure: Gabled lid with a sunken underside central acanthus cup. One of the short sides vine with heart-shaped leaves growing from a hollowed out using a point chisel. and one of the slopes bear a silhouette of an Lit.: Unpublished. ascia. 118. LID FRAGMENT Lit.: Šubic 1965, 203; Šubic 1967b, 189, Fig.; Jevre-PL. 38 mov 1988, 125, No. 151; Djurić 2001a, 123, No. 60; Prov.: Veliko Tinje, church of Sts Peter and Ragolič 2023, 131, No. 93; ILJug 1157. Paul, north wall, 2007. 120. LID OF AN ASH CHEST PL. 38 Loc.: Veliko Tinje, church of Sts Peter and Prov.: Ptuj, Vodnikova ulica – Pošta, Lot No. Paul. 1233, Ptuj cadastral municipality, 3 September Material: Eastern Alpine marble. 1997. Condition: Corner fragment with missing acro-Loc.: Ptuj, PMPO, Inv. No. RL 1028. terium. Material: Eastern Alpine marble. Size: ? × 24 × 80 cm. Condition: Complete lid with one corner miss-Structure: Gabled lid with a finely dressed ing. Surface weathered. plain slope and corner acroteria. The edge of Size: 104 × 24 × 84 cm. the short side is finely dressed and has a clamp hole. Structure: Longitudinally gabled lid with plain slopes and narrow flat ridge, without acroteria. Iconography: An ascia is carved on the short side acroterium. The ridge has three evenly spaced rectangular holes. Lit.: Unpublished. Inscription: D(is) M(anibus) 119. LID OF AN ASH CHEST PL. 38 Lit.: Unpublished. Prov.: Ptuj, Lot No. 2119/4, Zgornji Breg ca-121. LID OF AN ASH CHEST dastral municipality, 1965. PL. 39 Loc.: Ptuj, PMPO, Inv. No. RL 839. Prov.: Ptuj. Material: Eastern Alpine marble. Loc.: Ptuj, PMPO, Inv. No. RL 120. Condition: Complete lid with missing acro- Material: Eastern Alpine marble. terium tops and damaged pediment. Surface Condition: Complete lid with missing ridge tip weathered. and with a transverse break. Possibly part-fin- Size: 94 × 18 × 73 cm. ished product. Structure: Longitudinally gabled lid with plain Size: 131 × 28 × 94 cm. slopes, narrow flat ridge and corner acroteria. Structure: Longitudinally gabled lid with plain Decoration panels in the acroteria and in one slopes, narrow flat ridge and four corner acro- of the tympana. Clamp hole in each of the teria. One pediment has a deep recess with a short sides. round hole. 112 Poetovio FINAL.indd 112 Poetovio FINAL.indd 112 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 Lit.: Jevremov 1988, 90, No. 82; Djurić 2001a, 123, of Sts Philip and Jacob, during renovation in No. 61; Ragolič 2023, 171, No. 170. 1993–95. 122. LID FRAGMENT Loc.: Laporje near Slovenska Bistrica, church PL. 39 of Sts Philip and Jacob, north wall. Prov.: Slovenska Bistrica, church of St Bar-Material: Eastern Alpine marble. tholomew. Loc.: Slovenska Bistrica, church of St Bar Condition: Left front side of a lid with missing -right part up to the central motif, missing lower tholomew, south wall. and top parts. Relief slightly damaged. Material: Eastern Alpine marble. Size: 45 × 20 cm. Condition: Front right part of a lid with miss-Structure: Gabled lid with plain slopes. ing standing surface. Size: 50 × 28 cm. Iconography: The tympanum panel shows a kantharos with a curved neck and hemispher-Structure: Gabled lid with corner acroteria. ical body in the centre that has two uncrossed The separate tympanum and acroterium panels vines with leaves and grape bunches growing have simple frames. The lid between the ridge from it. and the right acroterium holds a figure in the Lit.: Ragolič 2023, 231, No. 271. round. sonification of a season. The same acroterium - west wall. Loc.: Videm pri Ptuju, church of St Vitus, west on the right short side has a part of a conical wall. object, possibly a head wearing an Eastern-style land with ribbons. The right front acroterium Prov.: Videm pri Ptuju, church of St Vitus, shows a winged eros holding a basket as a per Iconography: The tympanum shows a leaf gar- 124. LID FRAGMENT PL. 40 nic and - lower parts, as well as some of the left part. sagum draped over his left shoulder and Size: 42 × 17 cm. fastened on the right shoulder, draping under his head and upper body. His bare legs from ure reclining on his left side, with his head to Condition: Front pediment missing right and the right. He is dressed in a knee-length girt tu cap. Positioned on top of the lid is a male fig- Material: Eastern Alpine marble. Structure: gabled lid with a tympanum panel in resting on the left one. His right arm is extend- Iconography: The tympanum panel shows a ed beside the body, with his palm resting on the knees down are crossed, with his right calf a simple frame. the lower arm placed under his head. He may vines with round-lobed leaves and grape be holding an unidentifiable object in his right bunches growing from it. hand. The face and hairstyle are severely dam-Lit.: Ragolič 2023, 310, No. 409. his right thigh, while the left arm is raised, with ical body in the centre that has two uncrossed kantharos with a curved neck and hemispher- aged and unidentifiable. Lit.: Pahič 1968–69a; Pahič 1977a, 54; Ragolič 2023, 125. LID FRAGMENT PL. 40 227, No. 264. Prov.: Ptuj, Dominican Monastery. www: Lupa 5384. Loc.: Ptuj, Dominican Monastery, west wall of 123. LID FRAGMENT the inner court. PL. 40 Prov.: Laporje near Slovenska Bistrica, church Material: Eastern Alpine marble. 113 Poetovio FINAL.indd 113 Poetovio FINAL.indd 113 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 Condition: Front pediment with missing right Condition: Right front corner with missing and lower parts, as well as some of the left part. acroterium. Size: 54 × 29 cm. Size: 43 × 15 cm. Structure: gabled lid with a flat ridge and tym- Structure: Longitudinally gabled lid with cor- panum panel. ner acroteria and decoration panels along the Iconography: The tympanum panel shows a lower edge and in the acroteria. and hemispherical body in the centre that has Iconography: Ivy scroll with heart-shaped two uncrossed vines with round-lobed leaves kantharos with S-shaped handles, curved neck Inscription: [D(is)] M(anibus) and grape bunches growing from it. There is ably a rosette in the right acroterium. leaves in the panel along the lower edge. Prob- a round fruit above the rim of the kantharos between the two vines. Lit.: Unpublished. Lit.: Diez 1948, 157, No. 11; Djurić 2001, 122, No. 128.LID FRAGMENT PL. 42 11; Ragolič 2023, 165, No. 158. Prov.: Žetale, church of St Michael. 126. LID OF AN ASH CHEST PL. 41 Loc.: Žetale, church of St Michael, south wall. Prov.: Draženci, property of the village com- Material: Grey-brown Neogene sandstone. munity, used as a trough until 1959. Condition: Front part with damaged upper Material: Eastern Alpine marble. acroterium. Relief damaged and heavily weath-ered. The stone surface is red-brown as the re Loc.: Ptuj, PMPO, RL 733. section and right acroterium, with missing left Condition: Complete lid with a transverse sult of fire exposure. - one pediment. Damaged tops of the acrote Size: 95 × 25 cm. break across the middle and missing half of - ria. Reliefs severely damaged, surface heavily Structure: Gabled lid with a tympanum panel, weathered. possibly with corner acroteria. Structure: Longitudinally gabled lid with plain portraits of seven family members consisting of five men and two women (second and fifth Size: 150 × 39 × 110 cm. Iconography: The tympanum holds en face bust teria. figure from the left). They are severely dam-slopes, narrow flat ridge and four corner acro- Iconography: The acroterium panels hold cor- in a tunic and aged and details unclear. The men are dressed ner depictions of half-length personification der. The women wear a tunic and cloak, as well sagum fastened at the right shoul- of the seasons. as a necklace of large round beads. The facial Lit.: Pahič 1977a, 47; Jevremov 1988, 87; Ragolič features of the figures are unclear, though 2023, 301, No. 397. all have short hairstyles or hair combed back Prov.: Šmartno na Pohorju, church of St Mar Lit.: Mikl Curk 1974, with fig.; Pahič 1977a, 62; -Djurić 2001a, 123, No. 63; Ragolič 2023, 300, No. tin, sacristy interior. 396. 127. LID FRAGMENT above the ears. PL. 41 Loc.: Šmartno na Pohorju, church of St Mar- tin, sacristy interior. Material: Eastern Alpine marble. 114 Poetovio FINAL.indd 114 Poetovio FINAL.indd 114 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 129. LID OF AN ASH CHEST PL. 42 Prov.: Hajdina near Ptuj. Loc.: Graz, Uiversalmuseum Joanneum, Inv. No. 1. Material: Neogene limestone. Condition: complete lid. Size: 100 × 43 × 57 cm. Structure: cross-gabled lid with plain slopes, flat perpendicular ridges with four tympana and four acroteria. Lit.: Modrijan – Weber 1979–81, 104, No. 1. 130. ASH CHEST WITH LID PL. 42 Prov.: Obrež near Središče ob Dravi, Lot No. 447, Središče cadastral municipality, 1953. Loc.: Ptuj, PMPO, Inv. No. RL 686. Material: calcareous sandstone (?). Condition: Complete chest. Complete lid with damaged lower edge and missing two acroter- ia. The chest interior held two pottery vessels used as urns. Size: chest 61 × 41 × 49 cm, lid 70 × 59 × 17 cm. Structure: Chest with plain sides. Longitudinal- ly gabled lid with plain slopes, sharp ridge and four corner acroteria. Lit.: Bratanič 1954, 374–375. 115 Poetovio FINAL.indd 115 Poetovio FINAL.indd 115 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 LIST OF PROVENANCE FOR THE SARCOPHAGI Cat. No. Hajdina 2 Miklavž na Dravskem polju 33 Orešje pri Ptuju 4 Ptuj church of St George 10, 17 Ptuj Castle, W tower 25, 26, 27 Ljudski vrt 39 Mala vojašnica 12, 14, 22 City 11, 20, 29, 34, 35, 36, 37, 40, 42 Miklošičeva 12 16, 18 Minorite Monastery 7 City walls – NW tower 21 Panorama 23, 24 Prešernova 16 30 Rogaška cesta 14 3 Slovenski trg 4 28 Slovenski trg 6 31 Vičava 8, 13 Zgornji Breg 6 Spodnja Hajdina 9 Spodnja Polskava 32 Starše 41 Šmartno na Pohorju 38 Veliko Tinje 19 Videm pri Ptuju 15 Zgornja Hajdina 1, 5 116 Poetovio FINAL.indd 116 Poetovio FINAL.indd 116 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 LIST OF PROVENANCE FOR THE ASH CHESTS Cat. No. Črešnjevec 54, 62, 88, 102, 103, 105, 108, 109 Draženci 125 Dravinjski vrh 53, 57 Hajdina 44, 52, 128 Kebelj 55, 67, 84, 87 Laporje near Slovenska Bistrica 122 Malečnik 111 Maribor 45 Obrež near Središče ob Dravi 129 Orešje near Ptuj 68 Pernica 97 Ptuj church of St George 63 Dominican Monastery 60, 124 Ptuj Castle 78 Ptuj Castle, W tower 65, 77 Gregorčičev drevored 80 City 46, 51, 61, 69, 71, 72, 85, 86, 89, 93, 94, 95, 104, 120 Miklošičeva 12 79 Minorite Church 59 Minorite Monastery 48 Naselje bratov Roš 99 Panorama 66 Porodnišnica 82, 96, 100, 101, 106, 107 Pošta 119 Prešernova 4 43 Prešernova 16 70 Trstenjakova 9 58 Vičava 50, 64 Volkmerjeva cesta 76 Zgornji Breg 83, 118 Savci 47 Slivnica pri Mariboru 98 Slovenska Bistrica 121 Spodnja Hajdina 81 Starše 90 Studenice 75 Šmartno na Pohorju 74, 92, 110, 126 Velika Nedelja 49 Veliko Tinje 56, 73, 91, 112, 113, 114, 115, 116, 117 Videm pri Ptuju 123 Žetale 127 117 Poetovio FINAL.indd 117 Poetovio FINAL.indd 117 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 LIST OF MUSEUMS AND OTHER LOCATIONS OF THE SARCOPHAGI Graz (Austria), Universalmuseum Joanneum Inv. Cat. No. 50 Sarcophagus with lid Cat. No. 2 without Fragment of a sarcophagus lid 39 Maribor, Pokrajinski muzej Inv. Cat. No. A 2330 Sarcophagus for Quintina Cat. No. 5 Ptuj, city walls, NW tower Fragment of a sarcophagus Cat. No. 21 Ptuj, Pokrajiski muzej Ptuj-Ormož Inv. Cat. No. G 2060 PL Fragment of a sarcophagus Cat. No. 22 RL78 Fragment of a sarcophagus 16 RL113 Sarcophagus for Lupercus 13 RL114 Fragment of a sarcophagus 14 RL447 Frieze sarcophagus 1 RL449 Fragment of a sarcophagus lid 34 RL450 Fragment of a sarcophagus 18 RL463 Fragment of a sarcophagus 11 RL483 Fragment of a sarcophagus 35 RL546 Fragment of a sarcophagus 12 RL612 Fragment of a sarcophagus lid 31 RL736 Sarcophagus 7 RL752 Fragment of a sarcophagus lid 29 RL864 Fragment of a sarcophagus 15 RL872 Sarcophagus with lid 3 RL883 Fragment of a sarcophagus 10 RL938 Sarcophagus 9 RL967 Sarcophagus for the Aelii 8 RL1016 Fragments of a sarcophagus lid 30 RL1018 Lid fragment of a sarcophagus for the Aelii 28 RL1019 Fragment of a sarcophagus 17 RL1020 Sarcophagus 6 RL1029 Fragment of a sarcophagus 20 RL1034 Sarcophagus 4 without Fragment of a sarcophagus 23 without Fragment of a sarcophagus 24 without Fragment of a sarcophagus 25 without Fragment of a sarcophagus 26 without Fragment of a sarcophagus 27 118 Poetovio FINAL.indd 118 Poetovio FINAL.indd 118 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 without Fragment of a sarcophagus lid 36 without Fragment of a sarcophagus lid 37 without Sarcophagus lid 38 without Fragment of a sarcophagus lid 41 Miklavž na Dravskem polju, church of St Nicholas Fragment of a sarcophagus lid Cat. No. 33 Spodnja Polskava, church of St Stephen Fragment of a sarcophagus lid Cat. No. 32 Šmartno na Pohorju, church of St Martin Fragment of a sarcophagus lid Cat. No. 37 Veliko Tinje, church of Sts Peter and Paul Fragment of a sarcophagus Cat. No. 19 LIST OF MUSEUMS AND OTHER LOCATIONS OF THE ASH CHESTS Črešnjevec, church of St Michael Fragment of an ash chest Cat. No. 53 Fragment of an ash chest 61 Fragment of an ash chest 89 Fragment of an ash chest lid 103 Fragment of an ash chest lid 104 Fragment of an ash chest lid 106 Lid of an ash chest 109 Lid of an ash chest 110 Dravinjski vrh, church of St John the Baptist Fragment of an ash chest Cat. No. 52 Fragment of an ash chest 56 Graz (Austria), Universalmuseum Joanneum Inv. Cat. No. 1 Lid of an ash chest Cat. No. 129 84 Ash chest 46 93 Ash chest 43 95 Ash chest 73 without Fragment of an ash chest 91 without Fragment of an ash chest lid 105 119 Poetovio FINAL.indd 119 Poetovio FINAL.indd 119 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 Kebelj, church of St Margaret of Antioch Fragment of an ash chest Cat. No. 54 Fragment of an ash chest 66 Fragment of an ash chest 67 Fragment of an ash chest 84 Fragment of an ash chest 87 Laporje near Slovenska Bistrica, church of Sts Philip and Jacob Fragment of an ash chest lid Cat. No. 123 Malečnik, church of St Peter Fragment of an ash chest lid Cat. No. 112 Maribor, Pokrajinski muzej Inv. Cat. No. A 2309 Ash chest Cat. No. 44 Pernica, church of St Margaret Lid of an ash chest Cat. No. 98 Ptuj, Dominican Monastery Fragment of an ash chest Cat. No. 59 Fragment of an ash chest lid 125 Ptuj, Ptuj Castle, W tower Fragment of an ash chest Cat. No. 76 Ptuj, City Tower without Del skrinje Cat. No. 69 Inv. Cat. No. RL780 Fragment of an ash chest 77 RL792 Ash chest 90 Ptuj, Pokrajiski muzej Ptuj-Ormož Inv. Cat. No. RL33 Fragment of an ash chest Cat. No. 60 RL36 Ash chest 75 RL37 Ash chest 42 RL64 Lid of an ash chest 94 RL68 Fragment of an ash chest 79 RL104 Ash chest 49 RL120 Lid of an ash chest 121 RL123 Lid of an ash chest 96 RL448 Ash chest 49 RL453 Ash chest 47 RL487 Fragment of an ash chest 65 RL490 Fragment of an ash chest lid 97 120 Poetovio FINAL.indd 120 Poetovio FINAL.indd 120 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 RL562 Ash chest 83 RL600 Fragment of an ash chest 58 RL686 Ash chest with lid 130 RL711 Ash chest with lid 80 RL720 Fragment of an ash chest 57 RL733 Lid of an ash chest 126 RL748 Fragment of an ash chest lid 95 RL783 Ash chest 50 RL836 Fragments of an ash chest 63 RL839 Lid of an ash chest 119 RL871 Lid of an ash chest 100 RL928 Fragments of an ash chest 62 RL944 Ash chest 82 RL1011 Fragment of an ash chest lid 107 RL1023 Ash chest 51 RL1028 Lid of an ash chest 120 Old Cat. No. 25 Fragment of an ash chest 64 without Fragment of an ash chest 69 without Fragment of an ash chest 70 without Ash chest with lid 81 without Fragment of an ash chest 85 without Fragment of an ash chest 86 without Lid of an ash chest 101 without Lid of an ash chest 102 without Fragment of an ash chest lid 108 Ptuj, Prešernova 16 Fragment of an ash chest Cat. No. 70 Slivnica pri Mariboru, Marian church Lid of an ash chest Cat. No. 99 Slovenska Bistrica, church of St Bartholomew Fragment of an ash chest lid Cat. No. 122 Studenice, church of the Three Kings Ash chest Cat. No. 74 Šmartno na Pohorju, church of St Martin Fragment of an ash chest(?) Cat. No. 93 Lid of an ash chest 111 Fragment of an ash chest lid 127 121 Poetovio FINAL.indd 121 Poetovio FINAL.indd 121 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 Varaždin (Croatia), Gradski muzej Inv. Cat. No. 66345 Ash chest Cat. No. 45 Veliko Tinje, church of Sts Peter and Paul Ash chest Cat. No. 55 Ash chest 72 Fragment of an ash chest 92 Lid of an ash chest 113 Lid of an ash chest 114 Lid of an ash chest 115 Lid of an ash chest 116 Lid of an ash chest 117 Lid of an ash chest 118 Videm pri Ptuju, church of St Vitus Lid of an ash chest Cat. No. 124 Žetale, church of St Michael Fragment of an ash chest lid Cat. No. 128 122 Poetovio FINAL.indd 122 Poetovio FINAL.indd 122 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 LIST OF TABLES Pl. 1 Cat. No. 1a Frieze sarcophagus, front side. ©PMPO. Photo O. Harl. Cat. No. 1b-c Frieze sarcophagus, front side, bedding surface and interior side. ©PMPO. Laser scanning Gnom d.o.o., image G. Rutar. Pl. 2 Cat. No. 2 Sarcophagus with lid. ©Joanneum. Photo B. Djurić. Cat. No. 3 Sarcophagus with lid. ©PMPO. Photo M. Pajk. Cat. No. 4a Sarcophagus, front side. ©PMPO. Photo B. Djurić. Pl. 3 Cat. No. 4b-c Sarcophagus, short sides. ©PMPO. Photo B. Farič. Cat. No. 5a Sarcophagus for Quintina. ©PM Maribor. Photo B. Djurić. Cat. No. 5b Sarcophagus for Quintina. ©B. Hebert, Graz, legacy of E. Diez. Cat. No. 6a Sarcophagus, bottom. ©PMPO. Photo B. Djurić. Pl. 4 Cat. No. 6 Sarcophagus, front side. ©PMPO. Photo B. Djurić. Cat. No. 7a Sarcophagus. ©PMPO. Photo B. Djurić. Cat. No. 7b Sarcophagus, front side. ©PMPO. Photo B. Djurić. Cat. No. 8 Sarcophagus for the Aelii, front side. ©PMPO. Photo M. Pajk. Pl. 5 Cat. No. 9 Sarcophagus, front side. ©PMPO. Photo B. Djurić. Cat. No. 10 Fragment of a sarcophagus. ©PMPO. Photo M. Pajk. Cat. No. 11 Fragment of a sarcophagus. ©PMPO. Photo M. Pajk. Pl. 6 Cat. No. 12 Fragment of a sarcophagus. ©PMPO. Photo M. Pajk. Cat. No. 13 Sarcophagus for Lupercus. ©PMPO. Photo M. Pajk. Cat. No. 14 Fragment of a sarcophagus. ©PMPO. Photo B. Djurić. Cat. No. 15 Fragment of a sarcophagus. ©PMPO. Photo M. Pajk. Cat. No. 16 Fragment of a sarcophagus. ©PMPO. Photo B. Djurić. Cat. No. 17 Fragment of a sarcophagus. ©PMPO. Photo M. Pajk. Cat. No. 18 Fragment of a sarcophagus. ©PMPO. Photo M. Pajk. Pl. 7 Cat. No. 19 Fragment of a sarcophagus. Photo B. Djurić. Cat. No. 20 Fragment of a sarcophagus. ©PMPO. Photo M. Pajk. Cat. No. 21 Fragment of a sarcophagus. Photo L. Pukšič. Cat. No. 22 Fragment of a sarcophagus. Photo B. Farič. Pl. 8 Cat. No. 23 Fragment of a sarcophagus. Photo M. Lubšina Tušek. Cat. No. 24 Fragment of a sarcophagus. Photo B. Djurić. Cat. No. 25 Fragment of a sarcophagus. Photo B. Djurić. Cat. No. 26 Fragment of a sarcophagus. Photo B. Djurić. Cat. No. 27 Fragment of a sarcophagus. Photo B. Djurić. Cat. No. 28 Lid fragment of a sarcophagus for the Aelii. ©PMPO. Photo M. Pajk. Pl. 9 Cat. No. 29 Fragment of a sarcophagus lid. ©PMPO. Photo M. Pajk. Cat. No. 30a Fragment of a sarcophagus lid, right front acroterium. ©PMPO. Photo M. Pajk. Cat. No. 30b Fragment of a sarcophagus lid, left front acroterium. ©PMPO. Photo M. Pajk. Pl. 10 Cat. No. 31 Fragment of a sarcophagus lid. ©PMPO. Photo B. Djurić. Cat. No. 32 Fragment of a sarcophagus lid. Photo B. Djurić. 123 Poetovio FINAL.indd 123 Poetovio FINAL.indd 123 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 Cat. No. 33 Fragment of a sarcophagus lid. Photo B. Djurić. Cat. No. 34 Fragment of a sarcophagus lid. ©PMPO. Photo M. Pajk. Pl. 11 Cat. No. 35 Fragment of a sarcophagus lid. ©PMPO. Photo M. Pajk. Cat. No. 36 Fragment of a sarcophagus lid. ©PMPO. Photo B. Djurić. Cat. No. 37 Fragment of a sarcophagus lid. Photo ZVKDS OE Mb. Cat. No. 38 Lid of a sarcophagus. ©PMPO. Photo B. Djurić. Cat. No. 39 Fragment of a sarcophagus lid. ©Joanneum. Photo O. Harl. Cat. No. 41 Fragment of a sarcophagus lid. ©PMPO. Photo B. Djurić. Pl. 12 Cat. No. 42 Ash chest. ©PMPO. Photo O. Harl. Cat. No. 43a Ash chest, front side. ©Joanneum. Photo O. Harl. Cat. No. 43b Ash chest, right short side. ©Joanneum. Photo O. Harl. Cat. No. 43c Ash chest, left short side. ©Joanneum. Photo O. Harl. Pl. 13 Cat. No. 44 Ash chest, front side. ©PM Maribor. Photo I. Kacafura. Cat. No. 45 Ash chest, front side. ©Gradski muzej Varaždin. Photo O. Harl. Cat. No. 46a Ash chest, front side. ©Joanneum. Photo O. Harl. Pl. 14 Cat. No. 46b Ash chest, right short side. ©Joanneum. Photo B. Djurić. Cat. No. 46c Ash chest, left short side. ©Joanneum. Photo B. Djurić. Cat. No. 47a Ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 47b Ash chest, right short side. ©PMPO. Photo B. Djurić. Cat. No. 47c Ash chest, left short side. ©PMPO. Photo B. Djurić. Pl. 15 Cat. No. 47d Ash chest, underside-wash basin. ©PMPO. Photo B. Djurić. Cat. No. 48a Ash chest, front side. ©PMPO. Photo S. Habič. Cat. No. 48b Ash chest, right short side. ©PMPO. Photo S. Habič. Cat. No. 48c Ash chest, left short side. ©PMPO. Photo S. Habič. Pl. 16 Cat. No. 49a Ash chest, front side. ©PMPO. Photo M. Pajk. Cat. No. 49b Ash chest, upper side. ©PMPO. Photo Gnom d.o.o. Cat. No. 49c Ash chest, rear side. ©PMPO. Photo Gnom d.o.o. Pl. 17 Cat. No. 49e Ash chest, right short side. ©PMPO. Photo Gnom d.o.o. Cat. No. 49f Ash chest, left short side. ©PMPO. Photo Gnom d.o.o. Cat. No. 50 Ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 51a Ash chest, front side. ©PMPO. Photo O. Harl. Cat. No. 51b Ash chest, right short side. ©PMPO. Photo O. Harl. Cat. No. 51c Ash chest, left short side. ©PMPO. Photo O. Harl. Pl. 18 Cat. No. 52a Bottom of an ash chest, front side. Photo B. Djurić. Cat. No. 52b Bottom of an ash chest, right short side. Photo B. Djurić. Cat. No. 53 Fragment of an ash chest, front side. Photo L. Pukšič. Cat. No. 54 Fragment of an ash chest, front side. Photo L. Pukšič. Pl. 19 Cat. No. 55 Ash chest, short side. Photo B. Djurić. Cat. No. 56a Fragment of an ash chest, right short side. Photo B. Djurić. Cat. No. 56b Fragment of an ash chest, front side. Photo B. Djurić. Cat. No. 57 Fragment of an ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 58 Fragment of an ash chest, front side. ©PMPO. Photo B. Djurić. Pl. 20 Cat. No. 59 Fragment of an ash chest, front side. Photo B. Djurić. Cat. No. 60a Fragment of an ash chest, front side. ©PMPO. Photo B. Djurić. 124 Poetovio FINAL.indd 124 Poetovio FINAL.indd 124 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 No. 60b Fragment of an ash chest. ©PMPO. Photo B. Djurić. Pl. 21 Cat. No. 61 Fragment of an ash chest, front and upper side. Photo B. Djurić. Cat. No. 62 Fragment of an ash chest, front side. ©PMPO. Photo B. Djurić. Pl. 22 Cat. No. 63 Fragment of an ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 64 Fragment of an ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 65 Fragment of an ash chest, front side. ©PMPO. Photo M. Pajk. Pl. 23 Cat. No. 66 Fragment of an ash chest, right short side. Photo B. Djurić. Cat. No. 67 Fragment of an ash chest, left short side. Photo B. Djurić. Cat. No. 68 Fragment of an ash chest, left short side. ©PMPO. Photo B. Djurić. Pl. 24 Cat. No. 69 Fragment of an ash chest, short side. ©PMPO. Photo B. Djurić. Cat. No. 70 Fragment of an ash chest, short side. 3D photo P. V. Bayer. Cat. No. 71 Fragment of an ash chest. ©PMPO. Photo B. Djurić. Cat. No. 72 Ash chest, short side. Photo B. Djurić. Pl. 25 Cat. No. 73 Ash chest, front side. © and photo Inštitut za arheologijo ZRC. Cat. No. 74 Ash chest, front side. Photo M. Pajk. Cat. No. 75 Ash chest, front side. ©PMPO. Photo O. Harl. Pl. 26 Cat. No. 76 Fragment of an ash chest, front side. Photo B. Djurić. Cat. No. 77 Fragment of an ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 78 Fragment of an ash chest, front side. Photo O. Harl. Pl. 27 Cat. No. 79 Fragment of an ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 80 Ash chest with lid, front side. ©PMPO. Photo B. Djurić. Cat. No. 81 Ash chest with lid, front side. ©PMPO. Photo B. Djurić. Pl. 28 Cat. No. 82 Ash chest, front side. ©PMPO. Photo M. Pajk. Cat. No. 83 Fragments of an ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 84 Fragment of an ash chest, front side. Photo L. Pukšič. Cat. No. 85 Fragment of an ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 86 Fragment of an ash chest, front side. ©PMPO. Photo B. Djurić. Pl. 29 Cat. No. 87 Fragment of an ash chest, front side. Photo L. Pukšič. Cat. No. 88 Fragment of an ash chest, front side. Photo S. Pahič, archive of PMMb. Cat. No. 89 Fragment of an ash chest, front side. Photo B. Djurić. Pl. 30 Cat. No. 90 Ash chest, front side. Photo B. Djurić. Cat. No. 91 Fragment of an ash chest, front side. ©Joanneum. Photo O. Harl. Cat. No. 92 Fragment of an ash chest, front side. Photo B. Djurić. Cat. No. 93 Fragment of an ash chest(?), front side. Photo L. Pukšič. Pl. 31 Cat. No. 94a Lid of an ash chest, front side. ©PMPO. Photo M. Pajk. Cat. No. 94b Lid of an ash chest, upper side. ©PMPO. Photo M. Pajk. Cat. No. 95 Fragment of an ash chest lid, front side. ©PMPO. Photo M. Pajk. Pl. 32 Cat. No. 96 Lid of an ash chest, front side. ©PMPO. Photo I. Kacafura. Cat. No. 97 Fragment of an ash chest lid, front side. ©PMPO. Photo M. Pajk. Cat. No. 98a Lid of an ash chest, front side, Pernica. Photo B. Djurić. Cat. No. 98b Lid of an ash chest, front side. 3D photo P. V. Bayer. Pl. 33 Cat. No. 99 Lid of an ash chest, front side. Photo B. Djurić. Cat. No. 100a Lid of an ash chest, front side. ©PMPO. Photo M. Pajk. 125 Poetovio FINAL.indd 125 Poetovio FINAL.indd 125 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 Cat. No. 100b Lid of an ash chest. ©PMPO. Photo M. Pajk. Cat. No. 100c Lid of an ash chest. ©PMPO. Photo M. Pajk. Pl. 34 Cat. No. 101 Lid of an ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 102 Lid of an ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 103 Fragment of an ash chest lid, front side. Photo B. Djurić. Cat. No. 104 Fragment of an ash chest lid, front side. Photo B. Djurić. Cat. No. 105 Fragment of an ash chest lid, front side. ©Joanneum. Photo O. Harl. Pl. 35 Cat. No. 106 Fragment of an ash chest lid, front and upper sides. Photo B. Djurić. Cat. No. 108 Fragment of an ash chest lid. ©PMPO. Photo B. Djurić. Pl. 36 Cat. No. 107 Fragment of an ash chest lid, front side. ©PMPO. Photo B. Djurić. Cat. No. 109 Lid of an ash chest, front side. Photo B. Djurić. Cat. No. 110 Lid of an ash chest, front side. Photo B. Djurić. Cat. No. 111 Lid of an ash chest, bottom side. Photo B. Djurić. Cat. No. 112 Lid of an ash chest. Photo B. Djurić. Pl. 37 Cat. No. 113 Lid of an ash chest. Photo B. Djurić. Cat. No. 114 Lid of an ash chest. Photo B. Djurić. Cat. No. 115 Lid of an ash chest. Photo B. Djurić. Cat. No. 116 Fragment of an ash chest lid. Photo B. Djurić. Cat. No. 117 Fragment of an ash chest lid. Photo B. Djurić. Pl. 38 Cat. No. 118a Fragment of an ash chest lid. Photo B. Djurić. Cat. No. 118b Fragment of an ash chest lid. Photo B. Djurić. Cat. No. 119a Lid of an ash chest. ©PMPO. Photo B. Djurić. Cat. No. 119b Lid of an ash chest, front side. ©PMPO. Photo B. Djurić. Cat. No. 120 Lid of an ash chest. ©PMPO. Photo B. Djurić. Pl. 39 Cat. No. 121 Lid of an ash chest. ©PMPO. Photo S. Habič. Cat. No. 122 Fragment of a lid. Photo L. Pukšič in S. Pahič (Arhiv PMMb). Pl. 40 Cat. No. 123 Fragment of an ash chest lid. Photo B. Djurić. Cat. No. 124 Fragment of an ash chest lid. Photo B. Djurić. Cat. No. 125 Fragment of an ash chest lid. Photo B. Djurić. Pl. 41 Cat. No. 126a Lid of an ash chest. ©PMPO. Photo B. Djurić. Cat. No. 126b Lid of an ash chest. ©PMPO. Photo B. Djurić. Cat. No. 127 Fragment of an ash chest lid. Photo B. Djurić. Pl. 42 Cat. No. 128 Fragment of an ash chest lid B. Djurić. Cat. No. 129 Lid of an ash chest. ©Joanneum. Photo B. Djurić. Cat. No. 130 Ash chest with lid. ©PMPO. Photo S. Habič. 126 Poetovio FINAL.indd 126 Poetovio FINAL.indd 126 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 LIST OF FIGURES Figure 1. Marble spolia used in the construction of Ptuj Castle, here shown in the east façade of the west tower Figure 2. Foundations with marble spolia: Črešnjevec, church of St Michael, southwest corner of the first church (left), and Veliko Tinje, church of Sts Peter and Paul, northwest corner (right) Figure 3. Marble spolia reused as building blocks in the south wall of the Romanesque church of St Michael in Črešnjevec Figure 4. Quoins of marble spolia in the Romanesque bell tower of St Michael’s church in Šmartno na Pohorju (left) and in the church of St Margaret of Antioch in Kebelj (right) Figure 5. Various uses of the known sarcophagi and ash chests of Poetovio, expressed in percent- age (key: 1 – primary use; 2 – secondary use in Antiquity; 3 – damaged in Antiquity; 4 – secondary use in post-Antiquity; 5 – building material; 6 – intentional display; 7 – unknown Figure 6. Stratigraphic position of a sarcophagus upon discovery (Cat. No. 3; Šubic 1972) Figure 7. Incidence of inscriptions and decorations on the known sarcophagi and ash chests of Poetovio, expressed in percentage Figure 8. Territory of Poetovio according to Horvat et al. 2003 Figure 9. Territory of Poetovio according to Ragolič 2014 Figure 10. The δ18O and δ13C isotope diagram for Pohorje (blue) and Gummern marbles (green) used for the sarcophagi Figure 11. The δ18O and δ13C isotope diagram for Pohorje (blue) and Gummern marbles (green) used for the ash chests Figure 12. The δ18O in δ13C isotope diagram of the samples taken from the known Pohorje quarries plotted against the data fields of Pohorje (blue) and Gummern marbles (green) according to Müller Figure 13. Diagrams showing the width, length and height of the chests of Pannonian marble sarcophagi Figure 14. Diagram showing the length and weight of the chests of Pannonian marble sarcophagi Figure 15. Examples of sarcophagi in the quarry production state (Cat. Nos. 4 and 3) Figure 16. Sarcophagus lid in the quarry production state (Cat. No. 29) Figure 17. Surface finish of the interior side and bottom, as well as bedding (Cat. Nos. 1 and 6) Figure 18. Dividing a rectangle into five equal parts (dashed line) using applied geometry (Brunes star) Figure 19. Dividing a rectangle into six equal parts (dashed line) using applied geometry (Brunes star) Figure 20. Dividing a rectangle into five equal parts (dashed line) and determining the width of the lateral front panels (dotted line) using applied geometry (Brunes star) Figure 21. Diagrams showing the width, length and height of the marble ash chests Figure 22. Diagram showing the length and weight of the marble ash chests 127 Poetovio FINAL.indd 127 Poetovio FINAL.indd 127 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 Figure 23. Examples of ash chests in the quarry production state: A – Ptuj (Cat. No. 81), B – Črešnjevec (Cat. No. 89) Figure 24. A – basic design of an ash chest lid on a block of marble, Črešnjevec (Cat. No. 109); B – sunken underside of an ash chest lid, Veliko Tinje (Cat. No. 117) Figure 25. Dividing a rectangle into four equal parts (dashed line) using applied geometry (Cat. No. 80) Figure 26. Perpendicular (A) and longitudinal forms (B) of ash chest lids Figure 27. Designing a Norico-Pannonian volute using a combination of three aligned circles Figure 28. The analysis of the Norico-Pannonian volute on a sarcophagus (Cat. No. 12) Figure 29. Designing a Norico-Pannonian volute using a combination of four aligned circles Figure 30. The analysis of the Norico-Pannonian volute on a sarcophagus from Pécs (Lupa 827) Figure 31. The analysis of the Norico-Pannonian volute on an ash chest (Cat. No. 83) Figure 32. Sarcophagus with a barrel-shaped lid (PMPO RL 734) Figure 33. Diagrams showing the width, length and height of the limestone ash chests Figure 34. Lid of an ash chest from Hajdina (Cat. No. 129) Figure 35. Examples of full- and half-length portraits of men: a- sarcophagus Cat. No. 10; ash chests b- Cat. No. 43, c- Cat. No. 47, d- Cat. No. 49, e- Cat. No. 46, f- Cat. No. 58, g- Cat. No. 98, h- Cat. No. 100, i- Cat. No. 94, j- Cat. No. 102 Figure 36. Examples of full- and half-length portraits of women: ash chests a- Cat. No. 43; b- Cat. No. 49, c- Cat. No. 95, d- Cat. No. 100, e- Cat. No. 103, f- sarcophagi Cat. No. 28, g- Cat. No. 103, h- Cat. No. 95, i- Cat. No. 103 Figure 37. Depictions of female servants: a- Cat. No. 19, b- Cat. No. 48, c- Cat. No. 98 Figure 38. Representations of the Seasons: a- sarcophagi Cat. No. 11, b,c- Cat. No. 30; ash chests d- Cat. No. 59, e- Cat. No. 33, f,g- Cat. No. 96, h- Cat. No. 102 Figure 39. Hora, Spodnja Polskava Cat. No. 32 Figure 40. Eros the archer: a- Pernica (Cat. No. 98; from Muchar 1844, Pl. VII 2), b- Cat. No. 105 Figure 41. Part of the composition with a pair of erotes (Cat. No. 11) and the complete motif on an ash chest from Sisak (Lupa 3801) Figure 42. Depiction of mourning erotes on ash chests: a- Cat. No. 44, b- Cat. No. 50, c- Cat. No. 60, d- Cat. No. 45, e- Cat. No. 105 Figure 43. The depiction of ‘Attis’ on an ash chest from Dravinjski vrh (Cat. No. 56) Figure 44. Theseus abandoning Ariadne on Naxos, Kebelj (Cat. No. 66) Figure 45. Chariot drawn by a female panther as part of the Triumph of Dionysus, Kebelj (Cat. No. 67) Figure 46. Dionysian motifs: a- Ptuj (Cat. No. 17), b- Vranje (Lupa 1653) Figure 47. Dionysian motif of vines growing from a kantharos: a- Savci (Cat. No. 47), b- Ptuj (Cat. No. 48) Figure 48. Fragments of ash chest lids with the motif of vines growing from a kantharos: a- Ptuj, Dominican Monastery (Cat. No. 125), b- Videm pri Ptuju (Cat. No. 124), c- Laporje (Cat. No. 123) 128 Poetovio FINAL.indd 128 Poetovio FINAL.indd 128 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 Figure 49. Drawing of the sarcophagus fragment (by M. Lubšina Tušek) Figure 50. Drawing of the sarcophagus lid (Vienna, Bundesdenkmalamt-INVE_ZK_25_1874_177_2_8, by R. Gaupmann) Figure 51. Drawing of the ash chest (from Knabl 1851) Figure 52. Drawing of the ash chest (Vienna, graphic imprint, Steinbüchel?, Pl. VII) Figure 53. Drawing of the ash chest (by V. Kmetič, from Hoffiler – Saria 1938) Figure 54. Drawing of the ash chest (from Skrabar 1905) Figure 55. Drawing of the ash chest (Historical Archives Ptuj, document No. 7272) Figure 56. Drawing of the ash chest (Vienna, KHM, Antikensammlung, Archive No. 23 ex 1830, Somenzari, Pl. VII) Figure 57. Drawing of the ash chest lid (from Muchar 1844) 129 Poetovio FINAL.indd 129 Poetovio FINAL.indd 129 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 VZOREC KAT. Na VZOREC Mg Al KAT. K Na Sc Mg V Al Cr K Fe Sc Mn V Co Cr Cu Fe Zn Mn Rb Co Sr Cu Y Zn Cd Rb Ba Sr La Y Ce Cd Zn ŠT. ŠT. Rb Sr Y Cd Ba La Ce Eu Hf Th U δ¹⁸O δ¹³C ppm % ppm ppm ppm ppm ppm % ppm % ppm ppm ppm ppm ppm % ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm PET01 17 287 PET01 17 2,39 1468 916 287 0,5 2,39 10 1468 916 3 0,12 0,5 35 10 0,9 3 1,5 0,12 8 35 2,6 0,9 250 1,5 1,3 8 0,1 2,6 17 250 1,07 1,3 1,93 0,1 PET02 29 111 PET02 29 0,50 218 111 111 0,3 0,50 9 218 1 111 0,06 0,3 46 9 0,6 1 1,5 0,06 8 46 0,3 0,6 293 1,5 0,7 8 0,1 0,3 9 293 0,32 0,7 0,48 0,1 8 2,6 250 1,3 0,1 17 1,07 1,93 0,06 0,05 0,3 0,2-7,78 0,26 PET04 22 188 PET04 22 46 1683 819 188 0,5 46 9 1683 819 2 0,10 0,5 30 9 0,9 2 5,8 0,10 11 30 2,2 0,9 235 5,8 0,7 11 0,1 2,2 23 235 0,84 0,7 1,60 0,1 8 0,3 293 0,7 0,1 9 0,32 0,48 0,02 0,05 0,1 0,1-11,06 1,15 PET05 9 156 PET05 9 0,29 973 574 156 0,3 0,29 8 973 11 574 0,06 0,3 10 8 0,7 11 1,4 0,06 6 10 1,9 0,7 200 1,4 0,7 6 0,1 1,9 55 200 0,69 0,7 1,18 0,1 11 2,2 235 0,7 0,1 23 0,84 1,60 0,03 0,05 0,3 0,1-6,64 1,26 PET06 35 104 PET06 35 0,42 989 479 104 0,3 0,42 9 989 3 479 0,17 0,3 75 9 0,7 3 0,7 0,17 5 75 1,3 0,7 222 0,7 0,6 5 0,1 1,3 14 222 0,68 0,6 1,01 0,1 6 1,9 200 0,7 0,1 55 0,69 1,18 0,04 0,05 0,2 0,1-5,72 0,52 PET07 3 44 PET07 3 0,47 398 166 44 0,3 0,47 8 398 3 166 0,10 0,3 168 8 0,7 3 1,2 0,10 16 168 0,7 0,7 185 1,2 0,8 16 0,1 0,7 26 185 0,66 0,8 1,46 0,1 5 1,3 222 0,6 0,1 14 0,68 1,01 0,03 0,05 0,8 0,2-6,29 1,04 PET09 8 63 PET09 8 0,45 532 154 63 0,3 0,45 8 532 2 154 0,04 0,3 20 8 0,6 2 1,2 0,04 10 20 0,5 0,6 200 1,2 0,4 10 0,1 0,5 5 200 0,28 0,4 0,38 0,1 16 0,7 185 0,8 0,1 26 0,66 1,46 0,04 0,05 0,2 0,2-11,31 -0,17 PET10 11 407 PET10 11 0,55 730 144 407 0,4 0,55 8 730 7 144 0,11 0,4 45 8 0,9 7 0,3 0,11 3 45 0,3 0,9 196 0,3 0,4 3 0,1 0,3 8 196 0,47 0,4 0,85 0,1 10 0,5 200 0,4 0,1 5 0,28 0,38 <0,01 0,05 0,1 0,1-6,84 2,08 PET12 1 71 PET12 1 0,40 1113 734 71 0,5 0,40 11 1113 734 3 0,07 0,5 31 11 0,8 3 1,0 0,07 11 31 2,9 0,8 274 1,0 0,5 11 0,1 2,9 17 274 0,58 0,5 1,06 0,1 3 0,3 196 0,4 0,1 8 0,47 0,85 0,02 0,05 0,2 0,1-11,96 0,64 PET15 18 498 PET15 18 0,31 649 100 498 0,4 0,31 8 649 2 100 0,09 0,4 35 8 1,0 2 0,6 0,09 5 35 0,2 1,0 274 0,6 0,6 5 0,1 0,2 14 274 0,45 0,6 0,67 0,1 11 2,9 274 0,5 0,1 17 0,58 1,06 0,02 0,05 0,1 0,1-5,74 0,92 PET16 30 233 PET16 30 0,15 312 100 233 0,4 0,15 4 312 2 100 0,04 0,4 29 4 0,5 2 0,2 0,04 2 29 0,1 0,5 189 0,2 0,3 2 0,1 0,1 7 189 0,20 0,3 0,34 0,1 5 0,2 274 0,6 0,1 14 0,45 0,67 0,03 0,17 0,8 0,11-14,67 1,39 PET17 16 291 PET17 16 1,36 1466 484 291 0,4 1,36 10 1466 484 2 0,08 0,4 26 10 1,0 2 0,9 0,08 4 26 1,5 1,0 199 0,9 1,4 4 0,1 1,5 11 199 0,98 1,4 1,59 0,1 2 0,1 189 0,3 0,1 7 0,20 0,34 0,03 0,05 0,5 0,05-17,21 0,13 PET18 31 770 PET18 31 0,34 1483 307 770 0,4 0,34 8 1483 307 2 0,08 0,4 38 8 0,9 2 0,4 0,08 3 38 1,3 0,9 211 0,4 1,0 3 0,1 1,3 13 211 0,52 1,0 0,82 0,1 4 1,5 199 1,4 0,1 11 0,98 1,59 0,05 0,09 0,5 0,13-6,57 0,18 PET27 10 305 PET27 10 1,22 2090 1470 0,4 305 1,22 12 2090 1470 0,4 6 0,28 243 12 1,0 6 1,0 0,28 11 243 5,8 1,0 322 1,0 2,2 11 0,1 5,8 64 322 2,07 2,2 3,70 0,1 3 1,3 211 1,0 0,1 13 0,52 0,82 0,10 0,06 0,5 0,14-13,05 0,49 PET28 15 126 PET28 15 1,06 304 108 126 0,4 1,06 10 304 2 108 0,09 0,4 38 10 0,9 2 0,2 0,09 3 38 0,4 0,9 183 0,2 0,5 3 0,1 0,4 4 183 0,38 0,5 0,57 0,1 11 5,8 322 2,2 0,1 64 2,07 3,70 0,22 0,05 0,5 0,57-10,92 0,55 PET30 14 182 PET30 14 0,23 1502 695 182 0,4 0,23 10 1502 695 4 0,14 0,4 43 10 1,0 4 1,4 0,14 3 43 2,9 1,0 163 1,4 0,8 3 0,1 2,9 74 163 0,95 0,8 1,77 0,1 3 0,4 183 0,5 0,1 4 0,38 0,57 0,03 0,05 0,5 0,76-7,16 0,17 PET31 12 759 PET31 12 0,40 1823 629 759 0,4 0,40 9 1823 629 2 0,10 0,4 35 9 1,0 2 0,9 0,10 9 35 5,9 1,0 203 0,9 0,5 9 0,1 5,9 38 203 0,77 0,5 1,24 0,1 3 2,9 163 0,8 0,1 74 0,95 1,77 0,09 0,05 0,5 0,15-6,89 0,83 PET32 13 775 PET32 13 0,24 975 484 775 0,4 0,24 14 975 2 484 0,36 0,4 65 14 0,9 2 2,1 0,36 12 65 1,7 0,9 248 2,1 0,3 12 0,1 1,7 87 248 0,26 0,3 0,42 0,1 9 5,9 203 0,5 0,1 38 0,77 1,24 0,05 0,15 1,1 0,25-6,27 71 PET36 28 314 PET36 28 0,50 1915 604 314 0,6 0,50 13 1915 604 5 0,33 0,6 88 13 1,4 5 2,6 0,33 15 88 2,0 1,4 250 2,6 4,2 15 0,1 2,0 19 250 2,58 4,2 3,64 0,1 12 1,7 248 0,3 0,1 87 0,26 0,42 0,07 0,07 0,6 0,18-7,51 94 126 PET40 6 313 PET40 6 0,80 4725 2102 0,7 313 0,80 14 4725 2102 0,7 6 0,31 68 14 1,3 6 1,2 0,31 11 68 10,2 1,3 182 1,2 1,7 11 0,1 10,2 86 182 2,19 1,7 4,36 0,1 15 2,0 250 4,2 0,1 19 2,58 3,64 0,15 0,11 0,8 0,24-11,79 1,30 PET42 32 285 PET42 32 1,21 1184 256 285 0,4 1,21 10 1184 256 2 0,14 0,4 66 10 1,1 2 0,8 0,14 27 66 3,0 1,1 188 0,8 0,9 27 0,3 3,0 3 188 0,38 0,9 0,70 0,3 11 10,2 182 1,7 0,1 86 2,19 4,36 0,13 0,10 0,6 0,19-6,78 72 PET43 33 167 PET43 33 0,87 977 100 167 0,4 0,87 9 977 3 100 0,13 0,4 40 9 1,0 3 1,1 0,13 8 40 0,1 1,0 171 1,1 0,8 8 0,1 0,1 4 171 0,60 0,8 0,99 0,1 27 3,0 188 0,9 0,3 3 0,38 0,70 0,05 0,06 0,5 0,05-6,77 1,02 PET44 5 207 PET44 5 1,15 682 551 207 0,4 1,15 10 682 3 551 0,09 0,4 35 10 1,0 3 0,8 0,09 8 35 1,7 1,0 358 0,8 0,6 8 0,1 1,7 12 358 0,65 0,6 1,06 0,1 8 0,1 171 0,8 0,1 4 0,60 0,99 0,03 0,05 0,5 13-8,59-0,14 MAR2 97 70 MAR2 97 1,06 87 85 70 <2 1,06 <10 87 <2 85 0,10 <2 32 <10 0,6 <2 0,2 0,10 <5 32 0,6 0,6 223 0,2 0,4 <5 <0,1 0,6 7 223 0,6 0,4 0,35 <0,1 8 1,7 358 0,6 0,1 12 0,65 1,06 0,03 0,05 0,5 0,08-7,47-0,08 MAR15 45 <50 MAR15 45 0,11 164 143 <50 <2 0,11 <10 164 2 143 0,03 <2 20 <10 0,6 2 0,1 0,03 <5 20 0,4 0,6 142 0,1 0,1 <5 <0,1 0,4 12 142 0,5 0,1 0,28 <0,1 <5 0,6 223 0,4 <0,1 7 0,6 0,35 <0,03 <0,1 0,9 0,05-8,10 1,24 PET11 76 97 PET11 76 0,33 174 113 97 0,3 0,33 8 174 2 113 0,04 0,3 16 8 0,7 2 1,7 0,04 9 16 0,3 0,7 231 1,7 0,2 9 0,1 0,3 6 231 0,24 0,2 0,38 0,1 <5 0,4 142 0,1 <0,1 12 0,5 0,28 <0,03 <0,1 <0,5 0,12-5,89 0,72 PET13 80 559 PET13 80 0,85 6538 1322 1,3 559 0,85 12 6538 1322 1,3 2 0,22 115 12 0,7 2 13,3 0,22 56 115 5,3 0,7 273 13,3 1,3 56 0,1 5,3 24 273 1,60 1,3 2,82 0,1 9 0,3 231 0,2 0,1 6 0,24 0,38 0,02 0,05 0,1 0,1-12,30 1,10 PET14 48 116 PET14 48 0,30 1376 554 116 0,4 0,30 9 1376 554 2 0,21 0,4 53 9 1,1 2 1,0 0,21 6 53 1,8 1,1 182 1,0 0,8 6 0,1 1,8 107 182 0,98 0,8 1,86 0,1 56 5,3 273 1,3 0,1 24 1,60 2,82 0,08 0,05 0,2 1,7-13,62 1,23 PET29 49 229 PET29 49 0,31 717 369 229 0,4 0,31 10 717 3 369 0,09 0,4 30 10 1,0 3 0,4 0,09 3 30 3,5 1,0 200 0,4 0,4 3 0,1 3,5 21 200 0,42 0,4 0,77 0,1 6 1,8 182 0,8 0,1 107 0,98 1,86 0,11 0,06 0,5 0,17-6,01 0,76 PET34 43 296 PET34 43 0,37 3694 1147 0,6 296 0,37 14 3694 1147 0,6 6 0,21 41 14 1,2 6 1,8 0,21 10 41 4,9 1,2 191 1,8 1,4 10 0,1 4,9 74 191 1,83 1,4 3,36 0,1 3 3,5 200 0,4 0,1 21 0,42 0,77 0,03 0,06 0,5 0,16-13,40 1,00 PET 51 51 PET 51 51 10 4,9 191 1,4 0,1 74 1,83 3,36 0,11 0,06 0,7 0,24 -6,50 0,67 PET62 89 PET62 89 -6,28 1,72 PET69 64 PET69 64 -10,72 1,51 SMA2 92 201 SMA2 92 0,66 2663 1178 0,9 201 0,66 11 2663 1178 0,9 10 0,17 73 11 0,8 10 1,2 0,17 8 73 5,5 0,8 178 1,2 3,8 8 0,1 5,5 25 178 3,15 3,8 5,1 0,1-657 1,25 CSR3 109 425 CSR3 0,27 711 109 159 425 0,3 0,27 7 711 3 159 0,05 0,3 20 7 0,7 3 1,1 0,05 11 20 0,3 0,7 218 1,1 0,5 11 0,1 0,3 13 218 0,39 0,5 0,68 0,1 8 5,5 178 3,8 0,1 25 3,15 5,1 0,14 0,05 0,4 0,4-9,17 1,65 CSR4 105 41 CSR4 0,45 95 105 81 41 0,3 0,45 7 95 7 81 0,06 0,3 17 7 0,7 7 11 0,06 14 17 0,1 0,7 218 11 0,3 14 0,1 0,1 8 218 0,25 0,3 0,33 0,1 11 0,3 218 0,5 0,1 13 0,39 0,68 0,02 0,05 0,1 0,1-14,32 7 LMJ95 74 413 LMJ95 74 261 1451 856 413 4 261 14 1451 856 3 14 4 60 14 14 3 16 14 15 60 21 14 424 16 5 15 1 21 17 424 45 5 51 1 14 0,1 218 0,3 0,1 8 0,25 0,33 0,01 0,05 0,1 0,1-10,74 122 15 21 424 5 1 17 45 51 3 5 5 44 -991 6 Tabela rezultatov analiz marmorja poetovionskih sarkofagov (PET01-PET44) in pepelnic (MAR2-CSR4), Harald W. Müller Tabela rezultatov analiz marmorja poetovionskih sarkofagov (PET01-PET44) in pepelnic (MAR2-CSR4), Harald W. Müller Pohorje Pohorje Gummern Gummern Pohorje/Gummern Pohorje/Gummern Gummern Pohorje/Gummern 130 Poetovio FINAL.indd 130 Poetovio FINAL.indd 130 4. 09. 2025 15:29:39 4. 09. 2025 15:29:39 K Sc V Cr Fe Mn Co Cu Zn Rb Sr Y Cd Ba La Ce Eu Hf Th U δ¹⁸O δ¹ 111 Mn Co Cu VZOREC Zn KAT. Rb Na Sr Mg Y Al Cd K Ba Sc La V Ce Cr Eu Fe Hf Mn Th Co U Cu δ¹⁸O Zn δ¹³C Rb Sr Y Cd Ba ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ŠT. 0,5 10 3 0,12 35 0,9 1,5 8 2,6 250 1,3 0,1 17 1,07 1,93 0,06 0,05 0,3 0,2-7,78 0,26 ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm % ppm ppm ppm ppm ppm % ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm ppm 0,3 9 1 0,06 46 0,6 1,5 8 0,3 293 0,7 0,1 9 0,32 0,48 0,02 0,05 0,1 0,1-11,06 1,15 35 0,9 1,5 PET01 17 8 2,6 287 250 2,39 1,3 1468 916 0,1 17 0,5 1,07 10 1,93 3 0,06 0,12 0,05 35 0,3 0,9 0,2 1,5-7,78 8 0,26 2,6 250 1,3 0,1 17 0,5 9 2 0,10 30 0,9 5,8 11 2,2 235 0,7 0,1 23 0,84 1,60 0,03 0,05 0,3 0,1-6,64 1,26 46 0,6 1,5 PET02 29 8 0,3 111 293 0,50 0,7 218 0,1 111 9 0,3 0,32 9 0,48 1 0,02 0,06 0,05 46 0,1 0,6 0,1 1,5-11,06 1,15 8 0,3 293 0,7 0,1 9 574 0,3 8 11 0,06 10 0,7 1,4 6 1,9 200 0,7 0,1 55 0,69 1,18 0,04 0,05 0,2 0,1-5,72 0,52 30 0,9 5,8 PET04 22 11 2,2 188 235 46 0,7 1683 819 0,1 23 0,5 0,84 9 1,60 2 0,03 0,10 0,05 30 0,3 0,9 0,1 5,8-6,64 11 1,26 2,2 235 0,7 0,1 23 479 0,3 9 3 0,17 75 0,7 0,7 5 1,3 222 0,6 0,1 14 0,68 1,01 0,03 0,05 0,8 0,2-6,29 1,04 10 0,7 1,4 PET05 9 6 1,9 156 200 0,29 0,7 973 0,1 574 55 0,3 0,69 8 1,18 11 0,04 0,06 0,05 10 0,2 0,7 0,1 1,4-5,72 6 0,52 1,9 200 0,7 0,1 55 166 0,3 8 3 0,10 168 0,7 1,2 16 0,7 185 0,8 0,1 26 0,66 1,46 0,04 0,05 0,2 0,2-11,31 -0,17 75 0,7 0,7 PET06 35 5 1,3 104 222 0,42 0,6 989 0,1 479 14 0,3 0,68 9 1,01 3 0,03 0,17 0,05 75 0,8 0,7 0,2 0,7-6,29 5 1,04 1,3 222 0,6 0,1 14 154 0,3 8 2 0,04 20 0,6 1,2 10 0,5 200 0,4 0,1 5 0,28 0,38 <0,01 0,05 0,1 0,1-6,84 2,08 168 0,7 1,2 PET07 3 16 0,7 44 185 0,47 0,8 398 0,1 166 26 0,3 0,66 8 1,46 3 0,04 0,10 0,05 168 0,2 0,7 0,2 1,2-11,31 -0,17 16 0,7 185 0,8 0,1 26 144 0,4 8 7 0,11 45 0,9 0,3 3 0,3 196 0,4 0,1 8 0,47 0,85 0,02 0,05 0,2 0,1-11,96 0,64 20 0,6 1,2 PET09 8 10 0,5 63 200 0,45 0,4 532 0,1 154 5 0,3 0,28 8 0,38 2 <0,01 0,05 0,04 20 0,1 0,6 0,1 1,2-6,84 10 2,08 0,5 200 0,4 0,1 5 0,5 11 3 0,07 31 0,8 1,0 11 2,9 274 0,5 0,1 17 0,58 1,06 0,02 0,05 0,1 0,1-5,74 0,92 45 0,9 0,3 PET10 11 3 0,3 407 196 0,55 0,4 730 0,1 144 8 0,4 0,47 8 0,85 7 0,02 0,11 0,05 45 0,2 0,9 0,1 0,3-11,96 0,64 3 0,3 196 0,4 0,1 8 100 0,4 8 2 0,09 35 1,0 0,6 5 0,2 274 0,6 0,1 14 0,45 0,67 0,03 0,17 0,8 0,11-14,67 1,39 31 0,8 1,0 PET12 1 11 2,9 71 274 0,40 0,5 1113 734 0,1 17 0,5 0,58 11 1,06 3 0,02 0,07 0,05 31 0,1 0,8 0,1 1,0-5,74 11 0,92 2,9 274 0,5 0,1 17 100 0,4 4 2 0,04 29 0,5 0,2 2 0,1 189 0,3 0,1 7 0,20 0,34 0,03 0,05 0,5 0,05-17,21 0,13 35 1,0 0,6 PET15 18 5 0,2 498 274 0,31 0,6 649 0,1 100 14 0,4 0,45 8 0,67 2 0,03 0,09 0,17 35 0,8 1,0 0,11 0,6-14,67 1,39 5 0,2 274 0,6 0,1 14 0,4 10 2 0,08 26 1,0 0,9 4 1,5 199 1,4 0,1 11 0,98 1,59 0,05 0,09 0,5 0,13-6,57 0,18 29 0,5 0,2 PET16 30 2 0,1 233 189 0,15 0,3 312 0,1 100 7 0,4 0,20 4 0,34 2 0,03 0,04 0,05 29 0,5 0,5 0,05 0,2-17,21 0,13 2 0,1 189 0,3 0,1 7 0,4 8 2 0,08 38 0,9 0,4 3 1,3 211 1,0 0,1 13 0,52 0,82 0,10 0,06 0,5 0,14-13,05 0,49 26 1,0 0,9 PET17 16 4 1,5 291 199 1,36 1,4 1466 484 0,1 11 0,4 0,98 10 1,59 2 0,05 0,08 0,09 26 0,5 1,0 0,13 0,9-6,57 4 0,18 1,5 199 1,4 0,1 11 12 6 0,28 243 1,0 1,0 11 5,8 322 2,2 0,1 64 2,07 3,70 0,22 0,05 0,5 0,57-10,92 0,55 38 0,9 0,4 PET18 31 3 1,3 770 211 0,34 1,0 1483 307 0,1 13 0,4 0,52 8 0,82 2 0,10 0,08 0,06 38 0,5 0,9 0,14 0,4-13,05 0,49 3 1,3 211 1,0 0,1 13 108 0,4 10 2 0,09 38 0,9 0,2 3 0,4 183 0,5 0,1 4 0,38 0,57 0,03 0,05 0,5 0,76-7,16 0,17 243 1,0 1,0 PET27 10 11 5,8 305 322 1,22 2,2 2090 1470 0,4 0,1 64 2,07 12 3,70 6 0,22 0,28 0,05 243 0,5 1,0 0,57 1,0-10,92 0,55 11 5,8 322 2,2 0,1 64 0,4 10 4 0,14 43 1,0 1,4 3 2,9 163 0,8 0,1 74 0,95 1,77 0,09 0,05 0,5 0,15-6,89 0,83 38 0,9 0,2 PET28 15 3 0,4 126 183 1,06 0,5 304 0,1 108 4 0,4 0,38 10 0,57 2 0,03 0,09 0,05 38 0,5 0,9 0,76 0,2-7,16 3 0,17 0,4 183 0,5 0,1 4 0,4 9 2 0,10 35 1,0 0,9 9 5,9 203 0,5 0,1 38 0,77 1,24 0,05 0,15 1,1 0,25-6,27 71 43 1,0 1,4 PET30 14 3 2,9 182 163 0,23 0,8 1502 695 0,1 74 0,4 0,95 10 1,77 4 0,09 0,14 0,05 43 0,5 1,0 0,15 1,4-6,89 3 0,83 2,9 163 0,8 0,1 74 484 0,4 14 2 0,36 65 0,9 2,1 12 1,7 248 0,3 0,1 87 0,26 0,42 0,07 0,07 0,6 0,18-7,51 94 35 1,0 0,9 PET31 12 9 5,9 759 203 0,40 0,5 1823 629 0,1 38 0,4 0,77 9 1,24 2 0,05 0,10 0,15 35 1,1 1,0 0,25 0,9-6,27 9 71 5,9 203 0,5 0,1 38 0,6 13 5 0,33 88 1,4 2,6 15 2,0 250 4,2 0,1 19 2,58 3,64 0,15 0,11 0,8 0,24-11,79 1,30 65 0,9 2,1 PET32 13 12 1,7 775 248 0,24 0,3 975 0,1 484 87 0,4 0,26 14 0,42 2 0,07 0,36 0,07 65 0,6 0,9 0,18 2,1-7,51 12 94 1,7 248 0,3 0,1 87 14 6 0,31 68 1,3 1,2 11 10,2 182 1,7 0,1 86 2,19 4,36 0,13 0,10 0,6 0,19-6,78 72 88 1,4 2,6 PET36 28 15 2,0 314 250 0,50 4,2 1915 604 0,1 19 0,6 2,58 13 3,64 5 0,15 0,33 0,11 88 0,8 1,4 0,24 2,6-11,79 1,30 15 2,0 250 4,2 0,1 19 0,4 126 10 2 0,14 66 1,1 0,8 27 3,0 188 0,9 0,3 3 0,38 0,70 0,05 0,06 0,5 0,05-6,77 1,02 68 1,3 1,2 PET40 6 11 10,2 313 182 0,80 1,7 4725 2102 0,7 0,1 86 2,19 14 4,36 6 0,13 0,31 0,10 68 0,6 1,3 0,19 1,2-6,78 11 72 10,2 182 1,7 0,1 86 100 0,4 9 3 0,13 40 1,0 1,1 8 0,1 171 0,8 0,1 4 0,60 0,99 0,03 0,05 0,5 13-8,59-0,14 66 1,1 0,8 PET42 32 27 3,0 285 188 1,21 0,9 1184 256 0,3 3 0,4 0,38 10 0,70 2 0,05 0,14 0,06 66 0,5 1,1 0,05 0,8-6,77 27 1,02 3,0 188 0,9 0,3 3 551 0,4 10 3 0,09 35 1,0 0,8 8 1,7 358 0,6 0,1 12 0,65 1,06 0,03 0,05 0,5 0,08-7,47-0,08 40 1,0 1,1 PET43 33 8 0,1 167 171 0,87 0,8 977 0,1 100 4 0,4 0,60 9 0,99 3 0,03 0,13 0,05 40 0,5 1,0 13 1,1-8,59 8-0,14 0,1 171 0,8 0,1 4 85 <2 <10 <2 0,10 32 0,6 0,2 <5 0,6 223 0,4 <0,1 7 0,6 0,35 <0,03 <0,1 0,9 0,05-8,10 1,24 35 1,0 0,8 PET44 5 8 1,7 207 358 1,15 0,6 682 0,1 551 12 0,4 0,65 10 1,06 3 0,03 0,09 0,05 35 0,5 1,0 0,08 0,8-7,47 8-0,08 1,7 358 0,6 0,1 12 143 <2 <10 2 0,03 20 0,6 0,1 <5 0,4 142 0,1 <0,1 12 0,5 0,28 <0,03 <0,1 <0,5 0,12-5,89 0,72 32 0,6 0,2 MAR2 97 <5 0,6 70 223 1,06 0,4 87 <0,1 85 7 <2 0,6 <10 0,35 <2 <0,03 <0,1 0,10 32 0,9 0,6 0,05 0,2-8,10 <5 1,24 0,6 223 0,4 <0,1 7 113 0,3 8 2 0,04 16 0,7 1,7 9 0,3 231 0,2 0,1 6 0,24 0,38 0,02 0,05 0,1 0,1-12,30 1,10 20 0,6 0,1 MAR15 45 <5 0,4 <50 142 0,11 0,1 164 <0,1 143 12 <2 0,5 <10 0,28 2 <0,03 <0,1 0,03 20 <0,5 0,6 0,12 0,1-5,89 <5 0,72 0,4 142 0,1 <0,1 12 12 2 0,22 115 0,7 13,3 56 5,3 273 1,3 0,1 24 1,60 2,82 0,08 0,05 0,2 1,7-13,62 1,23 16 0,7 1,7 PET11 76 9 0,3 97 231 0,33 0,2 174 0,1 113 6 0,3 0,24 8 0,38 2 0,02 0,04 0,05 16 0,1 0,7 0,1 1,7-12,30 1,10 9 0,3 231 0,2 0,1 6 0,4 9 2 0,21 53 1,1 1,0 6 1,8 182 0,8 0,1 107 0,98 1,86 0,11 0,06 0,5 0,17-6,01 0,76 115 0,7 13,3 PET13 80 56 5,3 559 273 0,85 1,3 6538 1322 1,3 0,1 24 1,60 12 2,82 2 0,08 0,22 0,05 115 0,2 0,7 1,7 13,3-13,62 1,23 56 5,3 273 1,3 0,1 24 369 0,4 10 3 0,09 30 1,0 0,4 3 3,5 200 0,4 0,1 21 0,42 0,77 0,03 0,06 0,5 0,16-13,40 1,00 53 1,1 1,0 PET14 48 6 1,8 116 182 0,30 0,8 1376 554 0,1 107 0,4 0,98 9 1,86 2 0,11 0,21 0,06 53 0,5 1,1 0,17 1,0-6,01 6 0,76 1,8 182 0,8 0,1 107 14 6 0,21 41 1,2 1,8 10 4,9 191 1,4 0,1 74 1,83 3,36 0,11 0,06 0,7 0,24-6,50 0,67 30 1,0 0,4 PET29 49 3 3,5 229 200 0,31 0,4 717 0,1 369 21 0,4 0,42 10 0,77 3 0,03 0,09 0,06 30 0,5 1,0 0,16 0,4-13,40 1,00 3 3,5 200 0,4 0,1 21-6,28 1,72 41 1,2 1,8 PET34 43 10 4,9 296 191 0,37 1,4 3694 1147 0,6 0,1 74 1,83 14 3,36 6 0,11 0,21 0,06 41 0,7 1,2 0,24 1,8-6,50 10 0,67 4,9 191 1,4 0,1 74-10,72 1,51 PET 51 51-6,28 1,72-657 1,25 PET62 89-10,72 1,51 11 10 0,17 73 0,8 1,2 8 5,5 178 3,8 0,1 25 3,15 5,1 0,14 0,05 0,4 0,4-9,17 1,65 PET69 64-657 1,25 159 0,3 7 3 0,05 20 0,7 1,1 11 0,3 218 0,5 0,1 13 0,39 0,68 0,02 0,05 0,1 0,1-14,32 7 73 0,8 1,2 SMA2 92 8 5,5 201 178 0,66 3,8 2663 1178 0,9 0,1 25 3,15 11 5,1 10 0,14 0,17 0,05 73 0,4 0,8 0,4 1,2-9,17 8 1,65 5,5 178 3,8 0,1 25 81 0,3 7 7 0,06 17 0,7 11 14 0,1 218 0,3 0,1 8 0,25 0,33 0,01 0,05 0,1 0,1-10,74 122 20 0,7 1,1 CSR3 11 109 0,3 425 218 0,27 0,5 711 0,1 159 13 0,3 0,39 7 0,68 3 0,02 0,05 0,05 20 0,1 0,7 0,1 1,1-14,32 7 11 0,3 218 0,5 0,1 13 4 14 3 14 60 14 16 15 21 424 5 1 17 45 51 3 5 5 44-991 6 17 0,7 11 CSR4 14 105 0,1 41 218 0,45 0,3 95 0,1 81 8 0,3 0,25 7 0,33 7 0,01 0,06 0,05 17 0,1 0,7 0,1 11-10,74 122 14 0,1 218 0,3 0,1 8 60 14 16 LMJ95 74 15 21 413 424 261 5 1451 856 1 17 4 45 14 51 3 3 14 5 60 5 14 44 16-991 15 6 21 424 5 1 17 Pohorje Tabela rezultatov analiz marmorja poetovionskih sarkofagov (PET01-PET44) in pepelnic (MAR2-CSR4), Harald W. Müller Gummern Pohorje/Gummern Gummern Pohorje/Gummern Pohorje Gummern Pohorje/Gummern 131 Poetovio FINAL.indd 131 Poetovio FINAL.indd 131 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Poetovio FINAL.indd 132 Poetovio FINAL.indd 132 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 TABLES Poetovio FINAL.indd 133 Poetovio FINAL.indd 133 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Poetovio FINAL.indd 134 Poetovio FINAL.indd 134 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 1 1a 1b 1c Poetovio FINAL.indd 135 Poetovio FINAL.indd 135 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 2 2 3 4a Poetovio FINAL.indd 136 Poetovio FINAL.indd 136 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 3 4b 4c 5a 5b 6a Poetovio FINAL.indd 137 Poetovio FINAL.indd 137 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 4 6 7a 7b 8 Poetovio FINAL.indd 138 Poetovio FINAL.indd 138 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 5 9 10 11 Poetovio FINAL.indd 139 Poetovio FINAL.indd 139 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 6 12 13 14 15 16 17 18 Poetovio FINAL.indd 140 Poetovio FINAL.indd 140 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 7 19 22 20 21 Poetovio FINAL.indd 141 Poetovio FINAL.indd 141 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 8 23 24 25 26 27 28 Poetovio FINAL.indd 142 Poetovio FINAL.indd 142 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 9 29 30a 30b Poetovio FINAL.indd 143 Poetovio FINAL.indd 143 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 10 31 32 33 34 Poetovio FINAL.indd 144 Poetovio FINAL.indd 144 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 11 35 36 37 39 41 38 Poetovio FINAL.indd 145 Poetovio FINAL.indd 145 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 12 42 43a 43b 43c Poetovio FINAL.indd 146 Poetovio FINAL.indd 146 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 13 44 45 46a Poetovio FINAL.indd 147 Poetovio FINAL.indd 147 4. 09. 2025 15:29:40 4. 09. 2025 15:29:40 Table 14 46b 46c 47a 47b 47c Poetovio FINAL.indd 148 Poetovio FINAL.indd 148 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 15 47d 48a 48b 48c Poetovio FINAL.indd 149 Poetovio FINAL.indd 149 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 16 49a 49b 49c Poetovio FINAL.indd 150 Poetovio FINAL.indd 150 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 17 49e 49f 50 51a 51b 51c Poetovio FINAL.indd 151 Poetovio FINAL.indd 151 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 18 52a 52b 53 54 Poetovio FINAL.indd 152 Poetovio FINAL.indd 152 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 19 55 56a 58 56b 57 Poetovio FINAL.indd 153 Poetovio FINAL.indd 153 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 20 59 60a 60b Poetovio FINAL.indd 154 Poetovio FINAL.indd 154 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 21 61 62 Poetovio FINAL.indd 155 Poetovio FINAL.indd 155 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 22 63 64 65 Poetovio FINAL.indd 156 Poetovio FINAL.indd 156 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 23 66 67 68 Poetovio FINAL.indd 157 Poetovio FINAL.indd 157 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 24 69 70 71 72 Poetovio FINAL.indd 158 Poetovio FINAL.indd 158 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 25 73 74 75 Poetovio FINAL.indd 159 Poetovio FINAL.indd 159 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 26 76 77 78 Poetovio FINAL.indd 160 Poetovio FINAL.indd 160 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 27 79 80 81 Poetovio FINAL.indd 161 Poetovio FINAL.indd 161 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 28 82 83 84 85 86 Poetovio FINAL.indd 162 Poetovio FINAL.indd 162 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 29 87 88 89 Poetovio FINAL.indd 163 Poetovio FINAL.indd 163 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 30 90 91 92 93 Poetovio FINAL.indd 164 Poetovio FINAL.indd 164 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 31 94a 94b 95 Poetovio FINAL.indd 165 Poetovio FINAL.indd 165 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 32 96 97 98a 98a Poetovio FINAL.indd 166 Poetovio FINAL.indd 166 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 33 99 100a 100b 100c Poetovio FINAL.indd 167 Poetovio FINAL.indd 167 4. 09. 2025 15:29:41 4. 09. 2025 15:29:41 Table 34 101 102 105 103 104 Poetovio FINAL.indd 168 Poetovio FINAL.indd 168 4. 09. 2025 15:29:42 4. 09. 2025 15:29:42 Table 35 106 108 Poetovio FINAL.indd 169 Poetovio FINAL.indd 169 4. 09. 2025 15:29:42 4. 09. 2025 15:29:42 Table 36 107 109 110 111 112 Poetovio FINAL.indd 170 Poetovio FINAL.indd 170 4. 09. 2025 15:29:42 4. 09. 2025 15:29:42 Table 37 113 114 115 116 117 Poetovio FINAL.indd 171 Poetovio FINAL.indd 171 4. 09. 2025 15:29:42 4. 09. 2025 15:29:42 Table 38 118a 118b 119a 119b 120 Poetovio FINAL.indd 172 Poetovio FINAL.indd 172 4. 09. 2025 15:29:42 4. 09. 2025 15:29:42 Table 39 121 122 Poetovio FINAL.indd 173 Poetovio FINAL.indd 173 4. 09. 2025 15:29:42 4. 09. 2025 15:29:42 Table 40 123 124 125 Poetovio FINAL.indd 174 Poetovio FINAL.indd 174 4. 09. 2025 15:29:42 4. 09. 2025 15:29:42 Table 41 126a 126b 127 Poetovio FINAL.indd 175 Poetovio FINAL.indd 175 4. 09. 2025 15:29:42 4. 09. 2025 15:29:42 Table 42 128 129 130 Poetovio FINAL.indd 176 Poetovio FINAL.indd 176 4. 09. 2025 15:29:42 4. 09. 2025 15:29:42