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Lucius Septimius Severus was the Roman emperor from 193 to 211 AD. His portraits have an important place in the propaganda activities of Septimius Severus. It is evident that the initial portrait type may have served to propagandise the notion of the subject’s strength and agility as a soldier. The subsequent portrait may have been used to promote the subject’s affiliation with the House of Antonines. The third portrait, on the other hand, may have been employed to suggest that the subject was the deity Serapis or an individual bearing a similar resemblance. Finally, the final portrait may have been utilised to convey the image of a more mature and experienced statesman. It is also known that Septimius Severus propagandised Hercules (Herac­les). However, the armoured statue portrait found in the F2 Fountain (Nymphaeum) of Perge in 1968 may indicate that he was making a new kind of propaganda. Because here the emperor has a very different beard structure. His beard is divided into sections with a deep drill. This beard, which is quite dissolved and com­partmentalised, essentially resembles the beard of river gods. With this armoured statue, which basically shows ‘Adoption’ type hair and facial features, both Adoptive and the emperor must have been propagandised as a strong soldier. However, with this extremely unique beard in the statue belonging to Fountain F2, Septi­mius Severus resembles a river god, and therefore, it may have been propagandised that he was a river god who brought water to the city or someone who resembled a river god.

This study examines ancient restoration practices in the Pamphylia Region, focusing particularly on the city of Perge. It builds upon T. Ismaelli's extensive studies of Roman Imperial Period architecture and restoration methods, supplementing them with new examples specific to Pamphylia. Various restoration methods were identified and analyzed using archaeological evidence, including metal clamps, new marble inserts, and detailed repair processes aimed at extending the lifespan of architectural elements. The findings highlight the period's advanced engineering and architectural skills, demonstrating how these techniques were applied to preserve and restore significant public and private buildings. Additionally, the research categorizes these restoration practices and details techniques such as replacing damaged sections with new materials and reinforcing weakened structures using innovative methods. This detailed examination enriches the literature on ancient restoration practices in Pamphylia and interprets studies on the restoration of ancient architecture through tabular analysis. The study underscores the importance of these practices in preserving cultural heritage and offers a framework for future research. [ABSTRACT FROM AUTHOR]

This study focuses on 68 terracotta unguentaria discovered during the excavation conducted at the Perge stadium. Monograms were identified in 11 of these. It is understood that the artifacts in question are of the “Late Roman Period” unguentarium type, which was widely used throughout the Mediterranean region in the Late Antique Period. These unguentaria, known to have been in use in the Mediterranean region from the 5th century AD until the mid-7th century AD, and functionally recognized in the literature as vessels used by Christian pilgrims to carry holy waters or oils, exhibit diversity in the discovery areas in Perge. These pieces found in the stadium area were not recovered as context finds. All of these finds were identified together with mixed context within the filled soil. It has been determined that the unguentaria, which are the subject of the article, can be divided into four ware groups in terms of their clay substances. Monogrammed examples differ within themselves. These differences were studied by dividing them into subgroups: x-shaped, cross-centered, block and exceptional. It is noteworthy that almost all of the pieces without monograms are broken at the rim, while the monogrammed pieces are broken near the seal. Taking this into consideration, it has been thought that the breaks of these artifacts, considered as part of a possible ritual, may be significant in the context of sacred finds.

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In this study, four statue heads, which we think are directly or indirectly related to each other, are discussed. Our aim is to introduce these works as repetitions of what is known in the literature, to examine and interpret them and to present the result to our colleagues. One of these interesting four heads was found in the Acropolis of Athens, while the other three are of Anatolian origin. Two of these four heads are very well introduced, and two of them will be introduced here for the first time. The head, located on the West Slope of the Acropolis of Athens, was called the “Ariadne” head until recently due to its stylistic features. However, after the exhibition titled “Dionysos:” die Locken lang, ein halbes Weib? ...” (Long wavy hair, half woman?)” held in Munich in 1997, it was also suggested that this head could belong to Dionysos. The most qualified replica of this work is a head in the Pergamon Museum at Berlin. In this study, considering the typological and iconographic factors, it is focused on the heads of Athens and Berlin might belong to which god or goddess and the groups of sculptures to which they may belong are also discussed. One of the heads that make up the other group was found in Heracleia Pontica and is exhibited in the Ereğli Museum in the Black Sea. Another example was bought in Izmir by the Dutch consul in 1732 and is now exhibited in the Rijksmouseum van Oudheden at Leiden. It is thought that these heads, both belonging to the Roman Period, were copied from the Hellenistic origin. As a result of the examination and interpretation of the movements and lines of the heads, the typology of the sculptures or sculptures group to which they may belong is emphasized.

This study aims to examine a group of inscribed statue bases found in the city of Perge in Pamphylia to determine their religious context. The inscriptions on these bases state that the agoranomoi dedicated the statues of Eros to the city and in one example, to an unnamed goddess. All the inscriptions are previously published and evaluated in the scope of a corpus and all dated to the Roman Imperial Period. The evaluation of these statue bases in regards to their urbanistic context indicates that the statues of Eros were erected related to the buildings or complexes where the city's social, economic, and political life were clustered around such as Agora / Macellum, monumental fountains, entrance gates, and colonnaded streets. The source materials coming from other Pamphylian cities and Asia Minor and Greece show that the dedication of Eros statues was a practice neither unique to Perge nor limited to the agoranomoi. Instead, it was frequently made by various civic officials who were especially entrusted with supervisory duties, and it can be considered as a part of religious ritual in relation with Aphrodite, a versatile goddess who, among her many aspects, was perceived as the protectress of magistrates from the 5th century BC onwards. Evidence for the cult of Aphrodite is present in Perge and the other Pamphylian cities, however, based on the extant evidence, understanding the nature of the goddess, ie in regards to what capacity the people worshipped her, is difficult. Thus, these dedications of Eros statues by agoranomoi in Perge can allow us to elucidate an unknown aspect of the goddess in Perge, her guardianship over the civic officials. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Adalya is the property of Koc University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Adalya is the property of Koc University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, an inscription from a stone quarry, inscribed upon the face of a marble block is examined. This inscribed block was reused, forming the base for an imperial statue within the theater of Perge, when the face of this inscrption was turned to face the ground. A comparison with a dedicatory inscription from Simitthus (Numidia) and another, with an inscription from a stone quarry from the city of Rome, show in all three inscriptions the name Primus who is known to have been a procurator for the quarries in Numidia under Domitianus. This inscribed marble block found in the theater of Perge shows that marble imported from the African provinces was used in Pamphylia, and, further it provides an indication that the decoration of the interior of the theater began, at the latest, during the reign of Flavian.

In a recent festschrift Aşkım Özdizbay has published two inscriptions from Perge, which require a revision. An investigation of these inscriptions and a comparison made with some inscriptions published in I.v. Perge showed that these are the bottom sections of two known inscriptions from Perge. Inscription A reads that the honouree was praefectus praetorio during the reigns of Claudius and of Nero. This person can only be the well known Sextus Afranius Burrus, who was the sole praetorian prefect from A.D. 50/1 to 61/2. The information related to this person was identified on a published fragment from Perge (I.v. Perge no. 222), further it is shown that Inscription A is the lower part of this already published Perge fragment. The honouree in Inscription B was a prefect in ala Picentiana and later became procurator of provincia Galaticae et Pamphyliae in the reigns of Claudius and Nero. The individual having these two qualifications was Lucius Pupius Praesens, who was honoured in Iconium (CIG 3991 = IGR III 263), and is known from a fragmentary inscription published in I.v. Perge no. 24. The dimensions and content of this fragmentary inscription entirely correspond with Inscription B. Therefore, Inscription B should be the lower part of I.v. Perge I, no. 24.

Two building inscriptions with a dedication to a Flavian emperor from the Pam­phylian city of Perge were initially printed in the publications specified in fn. 1 and 2 with in­correct epi-graphic characters and sigla. Both inscriptions are here re-edited with corrected versions.