Prispevek se na primeru skupine stel, pripisanih isti celejski delavnici, osredotoča na upodobitve otrok oziroma v prvi vrsti na razmerje med starostjo portretiranca in starostjo, navedeno na ...epitafu. Te sicer običajne »anomalije« še posebej pogosto nastopijo tudi v donavskih provincah, kjer so potomci nemalokrat upodobljeni kot majhni otroci, četudi gre za (skoraj) odrasle osebe. Bodisi so bili uporabljeni spomeniki z vnaprej izklesano shemo bodisi so starši želeli s tem poudariti relacijo starši-otrok. Na skupini obravnavanih stel je le v enem primeru hči prikazana kot odrasla oseba. Temu je bržkone botrovalo dejstvo, da je bila prav ona tudi naročnica, upodobitev fantka s Horusovim čopom na drugi steli ter oblačila otrok, ki se ujemajo z opravo matere oziroma očeta, pa nakazujejo, da so vse bile izklesane individualno, po naročilu.
Sodeč po ohranjenih upodobitvah, je bil v likovni umetnosti rimske dobe najbolj priljubljen prizor iz sicer razvejane Medejine zgodbe tisti, ko Medeja z mečem v roki okleva pred ubojem svojih ...otrok. Za najbolj znano upodobitev je v antiki veljala danes izgubljena slika Timomaha iz Bizantija, neposredno pa govorijo o priljubljenosti prizora številne upodobitve v stenskem slikarstvu, gliptiki, na sarkofagih ali v prostostoječih kipih, ki so se z največ primerki ohranili v provinci Panoniji. Upodobitvi iz Petovione in Akvinka se v Medejini drži, atributih in opravi ujemata z upodobitvijo iz Herkulaneja, ki velja za ikonografsko najzvestejšo repliko Timomahovega dela. Obstoj oljenk z identično zasnovano figuro Medeje kaže na možnost prenosa kompozicije preko lahko prenosljivih predmetov.
This contribution discusses two relief depictions, which follow the works of the Greek master Lysippus. One of the partially preserved reliefs, depicting a youth in motion, characterised by the lock ...of hair on the front has been in the hitherto literature differently interpreted; Josip Korošec explained it as Kairos. The depictions of that deity share the lock of hair above the front, nakedness, posture, and scales, attached to the cords of the scales, which could also be held by the Poetovian youth. Regarding the other stone relief, the direction of the movement is quite unusual and can be taken after gem depictions, which could (also due to some alterations in arm posture and lower quality) serve as the direct source.
In the lateral side of the ara (either votive or funerary) Hercules, who follows the type of Weary Hercules, ascribed to Lysippus is depicted. The latter is (in contrast to the rarely imitated Kairos) one of the most widespread types in the Imperial era. The depictions of opera nobilia in Poetovian relief sculpture doubtless attest to the fact that the cultivated inhabitants were aware of and commissioned representations of the well-known works of Greek statuary.
Na nagrobnih spomenikih Norika in Zgornje Panonije so relativno pogosto upodobljene personifikacije letnih časov, ki nastopajo tako v podobi Erotov, Hor, bust, posebej pa izstopajo upodobitve Letnih ...časov kot mladeničev, saj ti kažejo nemalo likovnih sorodnosti z upodobitvami satirov, prav tako dobro zastopanih v obeh provincah. Slednji si delijo tako določene atribute kot še toliko bolj držo. Številni reliefi so bili najdeni na sekundarnih mestih, zaradi česar je nemalokrat domala nemogoče presoditi, v kolikor lik predstavlja satira ali genija letnih časov. Edinstvenega pomena je tako cikel letnih časov na grobnici Spektatijev v Šempetru v Savinjski dolini, kjer se personifikacije še posebej izrazito prepletajo z bakhičnim svetom (drža, pedum, panterjeva koža). Prav povezave z bakhično ikonografijo kažejo na časovno umestitev v seversko dobo, ko so upodobitve v prenesenem pomenu predstavljale apoteozo umrlega in upanje na brezskrbno posmrtno življenje.
Prispevek obravnava osrednji prizor Orfeja med živalmi na Orfejevem spomeniku na Ptuju (rimska Petoviona) in njegovo ujemanje s sliko, ki jo opisuje Filostrat Mlajši v svojem delu Εἰκόνες in ki naj ...bi visela v neki zasebni galeriji v Neapolisu. Filostratova ekfraza naj bi se ikonografsko ujemala z relativno redko zastopano skupino II b iz motivne klasifikacije Henrija Sterna, Orfej pa naj bi sodil v t. i. frigijski tip. Po Sternu je osnovni zgled za to skupino tabelna slika, ki jo opisuje Filostrat Mlajši, ali pa morebiti neka starejša slika, ki je vplivala nanjo. Kot najboljše primerjave so bili izpostavljeni mozaiki iz Blanzy-lès-Fismesa, neznanega najdišča v severni Siriji in Shahbe. Tudi nekatere živali, ki so upodobljene na Orfejevem spomeniku (lev, merjasec, volk, ovca, ptice), in drugi detajli (drevesne veje, ki se bočijo nad prizorom in na katerih sedijo ptice) so pri Filostratu izrecno omenjeni, glasbenikova drža pa se v vseh podrobnostih ujema tako s skoraj vsemi primerki iz skupine II b kot tudi s Filostratovo ekfrazo.
Prispevek obravnava odtujevanje (pretežno grških) umetniških del s strani rimskih zavojevalcev oziroma oblastnikov. Rimski poveljniki so iz zavzetih mest med drugim vojnim plenom odpeljali tudi ...številna umetniška dela, ki so jih v prestolnici razstavili, da so postala ornamenta urbis, medtem ko se sami z njimi praviloma niso okoristili. Na drugi strani so si jih lahko nezakonito, po zaslugi svojega položaja, prilaščali nekateri oblastniki. Evidenten primer tovrstne korupcije je Gaj Veres, proti kateremu je ostro nastopil Cicero.
Upodobitev na reliefu na levi bočni strani edikulne grobnice družine Gaja Spektatija Priskijana v Šempetru je bila doslej deležna različnih interpretacij. Po ne najbolj posrečeni razlagi z ...ugrabitvijo neke ženske, verjetno Helene, je bil prizor bolj prepričljivo razložen kot izsek iz sveta športnih tekmovanj. Par na sredini naj bi predstavljal nadvse priljubljeno rokoborbo v palestri (πάλη), figura na levi pa dodatnega atleta (ἔφεδρος), ki z zanimanjem sledi dvoboju in čaka, da bo prišel na vrsto, medtem ko naj bi efeb na desni predstavljal nosilca bakle (λαμπαδηδρόμος), tekmovalca v grškem agonu λαμπαδηδρομία. To razlago so ovrgle nesporne podobnosti z atiškim sarkofagom iz Tespij, ki so relief razložile kot boj Oresta in Pilada s Tavrijci.
The motif of Icarus is richly represented in small objects, such as gems and cameos, as well as in wall paintings, but appears only rarely in stone sculpture. As pointed out by Arnold Schober, it has ...achieved its greatest popularity in Noricum and especially in Pannonia: outside these provinces, a larger number is represented only in Regio X Venetia et Histria. Icarus is accompanied by Daedalus or one of the Parcae, who is attaching wings to his arms. The majority of the statuettes shows Icarus standing, naked or draped only in a chlamys, with large wings attached to his shoulders. Since the Roman Empire has so few representations of the young hero just before or during the fight, Schober has labelled this motif as a special feature of Norico-Pannonian sepulchral monuments. Most of the statuettes were found in the territory of a Roman necropolis, and they apparently belonged to the decoration of the sepulchral monuments. They usually served as the acroteria of the tympanums of the aedicule tomb, which is confirmed by their more or less rudimentary workmanship and in some cases by a pair of holes in the plinth. Icarus was also one of the rare mythological motifs depicted on the sepulchral monuments of the eastern part of Gallia Cisalpina, where it doubtlessly decorated the acroterium. Statues were found in the necropolises of Aquileia and Altinum. All date to the Julio-Claudian era and resemble those from Noricum and Pannonia. The theme probably came to the Danubian provinces with a time delay through well-established merchant connections. The high-quality fragment from Flavia Solva shows sitting on Icarus’ left side a naked woman, usually interpreted as one of the Parcae, who is securing his wings. In this position she replaces Daedalus, who is sculpted beside Icarus especially from the 5th century BC onward. She might be an allusion to Icarus’ premature death. An almost identical composition is found in a wall painting from Echzell (Germania Superior), where the Parca is replaced with Daedalus, and on a sarcophagus from Asia Minor depicting Icarus’ life. Based on the narrative cycle of Icarus’ life on that sarcophagus, Salvatore Calderone has pointed out a Neoplatonic explanation of the myth: that the fight and fall could symbolise the soul which goes into the sky, from where it falls to Earth again. As Icarus in the Danubian provinces is never shown falling but rather flying or about to take wing (the only exception being the relief from Carnuntum), the image may express a Neoplatonic thesis and the apotheosis of the deceased. The provinces display at least three elementary types: Icarus standing alone with outstretched winged arms – this type probably derives from Aquileia; Icarus in relief, together with the Parca or Daedalus; and the bust of Icarus in the tympanum of the stele or acroterium. The fragment in Joanneum has most probably arrived from one of the Attic sarcophagi, where the Parca often appears by the side of the protagonists who die prematurely.
The article discusses a relief of Selene and Endymion on a marble slab found in the courtyard of Knežji dvorec (Princes’ Palace) in Celje (Cilli in German in the early literature). The best ...comparisons to Selene (half-naked, holding a whip or a sceptre) can be found on the remnants of Vespasianic wall-painting from Pompeii and Herculaneum, and partially also on the much later mosaic from Uthina. Endymion and Eros, on the other hand, are better compared to the so-called first class of Roman Endymion-sarcophagi, dating to around AD 120–180. On the right lateral side is a winged childish figure, holding a covered basket, who in my opinion most likely represents one of the Seasons in the form of Erotes that were especially widespread in the second half of the 2nd century. The marble slab was originally a constituent part of the base of a larger aedicula tomb. Vera Kolšek drew attention to a badly damaged relief of Rhea Silvia and Mars, immured as spolium in a residential house at Prešernova ulica 10 in Celje. Both narrative reliefs share almost identical dimensions and similar compositions, and last but not least, both pairs of lovers are occasionally found side by side on Roman funerary sculpture and could therefore be part of the same tomb – either on the left or right corner.
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