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.
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 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 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.
The article discusses a central motif on the socle of a funerary monument at Gornji Grad, Slovenia. Together with those from Oswaldgraben (western Styria, province of Noricum) and ...Aquincum, it has been interpreted ever since the fundamental study written on the subject by Erna Diez as showing the reunion of Menelaus and Helen after the end of the Trojan War. This interpretation, how-ever, becomes less certain upon comparing the relief to a less well-known mirror from the Bulla Regia cemetery (province of Africa proconsularis). The latter shows an almost identical composition, but includes the figure of an elderly woman who does not appear in the reunion story. The main features of the scene, the hand on the hilt of the sword, the woman offering an object to the man, and the active role of Eros, can be found in another, rarely depicted myth, namely the meeting of Minos and Scylla, described in most detail in the Ciris epyllion. According to the latter, Scylla, the daughter of King Nisus, falls in love with the enemy King Minos after an intervention by Eros, and is aided, in conspiracy against her father and homeland, by her nurse.Iconographical analysis and literary sources have enabled the author to add four new depictions of Minos and Scylla to those already known. Three of those newly-added are depictions on stone reliefs, from Noricum (Gornji Grad, Oswaldgraben) and Pannonia (Aquincum), with the fourth one on the above-mentioned bronze mirror. All of them had previously been interpreted as the reunion of Menelaus and Helen after the end of the Trojan War.
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