Roman sarcophagus from Titel

UDC: 904:726.829"652"(497.113) 902.2(497.11) https://doi.org/10.2298/STA2070201D Original research article BOJAN ĐURIĆ, Faculty of Arts, University of Ljubljana ROMAN SARCOPHAGUS FROM TITEL¹ e­mail: bojan.djuric@ff.uni­lj.si Abstract. – The unusual Roman sarcophagus of green volcaniclastic rock that was found in Titel, a small town in Vojvodina (SRB), and is now kept in the Muzeul Național al Banatului, in Timişoara (RO), caused considerable unease among scholars in the past as it could not be convincingly connected with any of the productions in Pannonia and Moesia Superior. Only Silvio Ferri, albeit a long time ago, correctly identified its connection with the sarcophagus production in Sirmium and with the sarcophagus of Asclepiodota in particular, made of Dardagani limestone. Sarcophagi of volcaniclastic rock have only been recorded in the region of Srem and its immediate vicinity, and were all produced in Sirmium. The material most likely arrived there from the south, quarried near the village of Rajići, ca 25 km west of Domavia, in the valley of the River Drina. The structure and decoration of the sarcophagus from Titel reveal it as essentially the type produced by the workshops at Salona using models from Prokonessos. Having said that, its decorative details reveal a more complex picture. The decoration of narrow strips of plant motifs indicates a close relationship between the sarcophagus workshops at Sirmium and the workshops active in the middle and upper valley of the River Drina with its tributaries, with the centre at Skelani (municipium Malvesiatium), which, in turn, had close ties with the Salona production. The use of the Norico­Pannonian volute of Type 6 (after Pochmarski) on the inscription panel frame of the sarcophagus from Titel shows another area of influence – the travertine sarcophagus production of Aquincum – on the appearance of the sarcophagi from Sirmium that freely use these motifs (including Type 7) to form the frames of the inscription and figural panels. Available evidence clearly shows that the sarcophagus from Titel can be attributed to the Sirmium sarcophagus production of the 3rd century, more precisely its second half. Key words. – Titel, sarcophagus, volcaniclastic rock, Salona workshops, Sirmium, Aquincum travertine production O ne of the most mysterious sarcophagi discov­ ered in the area of modern­day Pannonia is certainly the one now kept in the Muzeul Național al Banatului in Timişoara (RO) (Fig. 1),2 brought there from Titel, a town in the region of Voj­ vodina (SRB), together with other monuments. The monuments came to the museum as a gift from Baron Anton von Scudier, general of the Imperial and Royal Army who was in command of the Banat region be­ tween 1871 and 1878 and military commander of the city of Timişoara from 1872 on.3 In connection with the original place of their use, Theodor Mommsen pre­ sumed4 the sarcophagus and other stone monuments 201 1 The text is written with the help of my friend, Velika Dauto­ va Ruševljan, who presented the sarcophagus at the symposium on Roman sarcophagi in Pannonia and Moesia Superior (Ljubljana, 10 March 2005); I am sincerely grateful for her contribution. I would also wish to thank Jasmina Davidović for providing all the needed data on the Sirmium sarcophagi. 2 Inv. no. 6348. I would like to thank Nicoleta Demian and Alexandru Flutur from the Muzeul Național al Banatului for their help in the examination and in providing valuable information on the sarcophagus. 3 He was field marshal and commander of the 17th Division at Timişoara from 1867 onwards and remained in civil service after the Banat general command (Banater Militärgrenze) had been dis­ solved. Mannhard 2005. 4 CIL III 420, 454. Manuscript received 5th May 2020, accepted 13th October 2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) Fig. 1. Sarcophagus from Titel (photo M. Erič) Sl. 1. Sarkofag iz Titela (foto: M. Erič) were brought to Titel as building material for the con­ struction of the medieval fort on the Titel Plateau. Prior to the medieval period, there are numerous hypotheses that the Roman fort contra Acumincum may have been located in the area of Titel;5 in spite of the absence of Roman habitation remains in the area, the predomi­ nant opinion among Serbian scholars is that was lo­ cated on this very spot. Although part of the Roman monuments kept in Timişoara and Novi Sad (SRB) may have arrived in Titel from elsewhere,6 the bulk is, nevertheless, believed to have been used here.7 The latter monuments include two sarcophagi, one undeco­ rated and still located in Titel,8 and the other in Timişoara. Supporting the hypothesis of the existence of the castrum contra Acumincum is a marble stela found in a field in the area of the village of Vilovo,9 west of Titel. The latter sarcophagus was first mentioned and illustrated with a drawing in 1877 (Fig. 2).10 Silvio Ferri included it in his overview of Roman art along the 202 Danube, published in 1933.11 Aleksandrina Cermano­ vić-Kuzmanović did not, however, include it in the overview of the sarcophagi from Noricum and Pannonia.12 In her discussion on the Roman sculpture in the pro­ vince of Lower Pannonia, Velika Dautova Ruševljan 5 For a summary, see Dimitrijević 1996, 152–154; for the discussion on the formulation contra Acinco et Bononia, see Becker et al. 2016, 71–73. 6 Primarily the milestones CIL III 6470+10638, 6470+10633. 7 One of the main pieces of evidence is presumably the now lost statue of Valerian, of which only the pedestal survives, kept in the Vojvođanski muzej in Novi Sad (previously in Budapest). For this find, see Gavrilović S. 1970. For the monuments from Titel, see Dimitrijević 1975, 43–51. 8 Standing in front of the Mileva Ajnštajn secondary school. 9 Falkenstein 1998, 338, pl. 75, 2. 10 Ivánfi 1877, 110–111, pl. 1. 11 Ferri 1933, 246–254, fig. 306–307. 12 Cermanović-Kuzmanović 1965. СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) Fig. 2. Sarcophagus from Titel – drawing of the sarcophagus (published in: Ivánfi 1877, pl. 1) Sl. 2. Sarkofag iz Titela – crtež sarkofaga (Ivánfi 1877, pl. 1) only presented it with a photograph.13 It was men­ tioned by Guntram Koch and Hellmut Sichtermann in their major book on Roman sarcophagi as coming from Tibiscum,14 and Koch briefly mentioned it in a later paper.15 In 1996, Sorin Pribac discussed the sar­ cophagus in a paper specifically dedicated to it.16 The ‘unique sarcophagus’, as Koch describes it,17 stands out among the sarcophagi from Pannonia and Moesia and its unusual features caused quite some difficulties in the scholarly interpretation. Silvio Ferri saw parallels in style and decoration with the sarcopha­ gus of Asclepiodota from Sirmium,18 in his opinion dating to the second half of the 3rd century, and with a particular, as yet unstudied, group of Sirmium sarco­ phagi. Sorin Pribac saw the decoration and style as evidence of a strong Greek and Egyptian influence, dating the sarcophagus to the end of the 2nd or begin­ ning of the 3rd century. Koch tied its decoration to the 203 sarcophagi of Moesia Superior or Pannonia, but with­ out offering exact parallels. Description The sarcophagus is made of volcaniclastic rock.19 Only the chest has survived, without the lid. The chest is missing the lower right of its protruding base and part of the bottom of the chest. At the level of the interior 13 Dautova Ruševljan 1983, pl. 32, 4. Koch, Sichtermann 1982, 333, 342. 15 Koch 2015, 371. 16 Pribac 1996. 17 Koch 2015, 371. 18 Dautova Ruševljan 1983, 17, no. 47; Cermanović-Kuzmanović 1964; Ninković 2015, 157–158; Lupa 4355. 19 Pribac identifies it as granite. 14 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) bottom of the sarcophagus, there is a roughly horizon­ tal crack visible on all sides and connected with a ver­ tical crack running across the left side of the inscrip­ tion panel. The rectangular chest20 has a projecting base on all four sides21 with a plain lower part and a moulded upper part in the shape of a decorated cyma reversa. The chest is decorated only on the front and two short a b c Fig. 3. Sarcophagus from Titel: a) inscription field with the Norico­Pannonian volute of Type 6; b) dolphin in the left panel of the front side; c) beast on the left short side (photo M. Erič) Sl. 3. Sarkofag iz Titela: a) natpisno polje sa noričko­panonskom volutom tipa 6; b) delfin u levom polju prednje strane; c) životinja na levoj kraćoj strani (foto: M Erič) 204 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) b c a d e f Fig. 4. a) pattern of acanthus leaves; b) ivy tendril; c) laurel garland; d) pattern of acanthus leaves on the base; e) pattern of acanthus leaves tied with a cord; f) wave pattern Sl. 4. a) motiv listova akantusa; b) vitica bršljana; c) girlanda od lovora; d) motiv listova akantusa na bazi; e) motiv vrpcom povezanih listova akantusa; f) motiv talasa sides, the back is roughly carved. The front is tripar­ tite, with narrower figural side panels that have semi­ circular upper terminals, and a wider inscription panel in the centre. The short sides have a single figural panel with a moulded frame on all four sides, the same as in all other panels. The inscription panel has a volute of the Type 6 of Pochmarski22 on both vertical sides (Fig. 3a), while the side panels on the front are missing the bottom part of the frame. The side panels on the front bear a dolphin in each, facing down and outward. The short sides are decorated with a winged beast facing the front of the sarcophagus. The dolphins (Fig. 3b) have a pronounced and open beak, a triangular fin on the head and a large almond­ ­shaped eye dominating the head, a double fin just behind the lower jaw and a smooth sinuous body that terminates, via a spherical element, in a triple tail fin. The beasts on the short sides (Fig. 3c) are formally almost identical. Both have the body of a horse with legs terminating in hooves, the thin and upturned tail 205 of a lion ending in a hairy tuft, a neat mane, as well as a bird head with pointed ears and a large hooked beak. They are shown in motion, partly on the bottom edge of the panel and partly in the empty space of the pan­ el. Their inner front leg is raised and bent, resting on a ram’s head that floats in space. All the surfaces between the frames of the panels that are usually left plain on sarcophagi are here com­ pletely covered with strips of rather stylised and sharply carved plant motifs.23 On the front, the panels with dolphins are flanked on both sides with a vertical pattern of five pairs of double acanthus leaves grow­ ing out of small leaf calyces, as the main motif of the front (Fig. 4a). The drill was used exceptionally on this 20 Length 206.5 cm, height 76.5 cm, width 88.5 cm. Base size: length 219.5 cm, width 96 cm. 22 Pochmarski 2014. 23 “… tutto è geometricamente e freddamente concepito ed eseguito, …”, Ferri 1933, 247. 21 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) Fig. 5. Part of the sarcophagus lid kept in the Archaeological Museum, Zagreb (photo author) Sl. 5. Deo poklopca sarkofaga koji se čuva u Arheološkom muzeju u Zagrebu (foto: autor) motif. The strips above the side panels are decorated with a stylised ivy tendril in two variants, one with circular shoots and leaves, the other only with elon­ gated and curved heart­shaped leaves (Fig. 4b). The triangular spaces on either side of the semicircular up­ per frames of the side panel frames bear a double spiral tendril. Above the inscription panel is a strip with a geo­ metric laurel garland, running from the centre to either side (Fig. 4c). Carved inside the Norico­Pannonian volutes flanking the inscription panel is a double pal­ mette in the centre and an eight­petal rosette in the corners (Fig. 3a). The surface around the frames on the short sides is identically decorated. Above is a horizontal laurel gar­ land, also running from the centre toward either end. The vertical strip at the front edge has a pattern of four double acanthus leaves tied with a cord, carved with the use of a drill (Fig. 4e). The vertical strip on the back edge bears a wave pattern (Fig. 4f). The cyma of the sarcophagus base is decorated with stylised acanthus leaves (Fig. 4d). Analysis Material. The green volcaniclastic rock used for the production of Roman sarcophagi in Pannonia has, thus far, only been recorded at Sirmium24 and its vicinity.25 The Muzej Semberije in Bijeljina (BiH) also holds a large labrum made of this rock, while pieces of the rock came to light among the ruins of the Late Roman com­ plex at the Kamenica site near Vinkovci (Cibalae).26 It is a hyaloclastite, a rock that forms on the mar­ gins of a lava flow, where it comes into contact with water. A macroscopically very similar rock was used in the past for Muslim gravestones or ‘nišani’, which still stand around the villages in the hinterland of the medieval fortress at Zvornik (BiH). In the area of the 206 Rajići village, located some 23 km south of Zvornik and ca 25 km west of Bratunac, the locally quarried rock is still used for the exterior revetments of houses. The rock of this modern quarry has been sampled to establish whether it is the same as the one used for the sarcophagi. The analysis has shown that the two rocks are not identical and that the one from the modern quarry was formed by the sedimentation of volcanic particles during eruption. The fine­grained tuffitic matrix makes it of a lower quality in comparison with the hyaloclastites and prone to quicker weathering. However, both rocks belong to the same volcanic com­ plex. In nature, hyaloclastites usually occur in very limited bodies as thin margins of lava extrusions, fre­ quently followed by other types of volcanites, hence both rock types can easily occur in the same quarry. The known sarcophagi and their fragments made of hyaloclastite that was most likely quarried in the area of the modern-day village of Rajići comprise a sarcophagus chest with wreaths kept in the Muzej Srema in Sremska Mitrovica,27 an unpublished sarco­ phagus with lid from the eastern cemetery of Sirmium,28 24 Djurić et al. 2006. Davidović 2007a. The known piece of the sarcophagus lid kept in the Arheološki muzej in Zagreb (CRO), which Josip Brun­ šmid (1908–09, 216–217, no. 480) conditionally identified as originating from Topusko, should doubtless be seen as a product of a Sirmium workshop, very likely discovered in Sremska Mitrovica and brought to Zagreb (see Migotti et al. 2018, 204). 26 Vulić H. 2016. 27 Inv. no. A/1183; Cermanović-Kuzmanović1965, 103, no. 37; Koch, Sichtermann 1982, 330; Dautova Ruševljan 1983, 17, pl. 30/4; Davidović 2007a, 52, no. 9, fig. 9; Davidović 2007b, 11, fig. 7; Lupa 4356. 28 Sremska Mitrovica, private ownership. I thank Jasmina Davidović for providing the information. 25 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) a c b d Fig. 6. Sarcophagi from: a) Sremska Mitrovica; b) Belgrade; c) Indjija; d) Zasavica Sl. 6. Sarkofazi iz: a) Sremske Mitrovice; b) Beograda; c) Inđije; d) Zasavice the sarcophagus chest from Titel kept in the Muzeul Național al Banatului in Timişoara, part of a sarcoph­ agus lid kept in the Arheološki muzej in Zagreb29 (Fig. 5), a sarcophagus with lid from Zasavica,30 a sarcophagus with lid in Indjija,31 a sarcophagus with lid from Belgrade,32 a sarcophagus chest from Titel,33 a sarcophagus chest from Zemun34 and a sarcophagus lid in Sremska Mitrovica35 (Fig. 6). The rock of these products is macroscopically easily identifiable and differs very clearly from the other rocks used for the sarcophagi of Sirmium. For the purposes of a petrographic analysis,36 samples were taken from the sarcophagus with wreaths in the Muzej Srema, the lid piece kept in the Arheološki muzej in Zagreb and the sarcophagus kept in the Muzeul Banatului in Timişoara (Fig. 7). A comparison of the microfacies of the samples has shown that the rocks are nearly identical, classi­ fied as hyaloclastites with a local gradual transition into peperites. The chemical composition of the vol­ canic rocks has been assessed by phenocryst mineral­ ogy as dacitic: plagioclases and biotite predominate, while hornblende and quartz occur in a subordinate 207 amount. The alteration of rocks is very significant and comprises analcime, clay minerals, chlorite and car­ bonate minerals. Analcime replaces plagioclase phe­ nocrysts and forms the cement; its morphology indi­ cates low­temperature hydrothermal conditions during crystallisation, which probably coincides with 29 Inv. no. 480. Brunšmid 1908–9, 216–217, no. 480; Cermanović-Kuzmanović 1965, 99, no. 13, fig. 12; Dautova Ruševljan 1983, 98, pl. 32/2; Davidović 2007a, 54, no. 15, fig. 15; Lupa 4286. 30 Šabac, in the court of the secondary school; Davidović 2007a, 54, no. 16, fig. 16; Davidović 2007b. 31 Indjija, in front of the cultural centre. 32 Narodni muzej Beograd, inv. no. 3346. Found in 1927 in Belgrade; Pop-Lazić 2002, 25, 48, fig. 8/3; Ninković 2015, 153, fig. 7. 33 Titel, in front of the Mileva Ajnštajn secondary school; Davidović 2007b, 14. 34 Zemun, town park along Nemanjina Street; Brunšmid 1895, 169; Davidović 2007b, 13; 35 Behind the building of the Istorijski arhiv Srem, previously the Gradski park; Davidović 2007a, 53, no. 13, fig. 13; Davidović 2007b, 10, fig. 5. 36 My sincere thanks to Polona Kralj, Ljubljana, who perfor­ med the analyses. СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) a b c Fig. 7. Thin sections: a) sarcophagus with wreaths, Muzej Srema; b) sarcophagus lid kept in the Archaeological Museum, Zagreb; c) sarcophagus from Titel (Explanation: Bi – biotite phenocryst, F – plagioclase phenocryst, A­f/A­c – analcime replacing plagioclase phenocryst / analcime cement, C­s – smectitic clay minerals, K – carbonate minerals, Mx – siliciclastic­volcaniclastic matrix, Hy – hyaloclast) Sl. 7. Tanki preseci: a) sarkofag sa vencima, Muzej Srema; b) poklopac sarkofaga u Arheološkom muzeju u Zagrebu; c) sarkofag iz Titela (Objašnjenje: Bi – fenokristal biotita, F – fenokristal plagioklasa, A­f/A­c – analcim koji zamenjuje fenokristal plagioklasa/analcimski cement, C­s – smektitska glina, K – minerali karbonata, Mx – siliklastično­vulkanoklastični matriks, Hy – hijaloklast) a b c Fig. 8. Sarcophagi from: a) Salona of Type 5 in the quarry state of completion; b) Asclepiodota, National Museum Belgrade; c) Reconstructed sarcophagus with dolphins, Archaeological Museum, Zagreb (photo: a, c – by author; b – M. Erič) Sl. 8. Sarkofazi iz: a) Salone tipa 5 u kamenolomskoj kondiciji; b) Asklepiodote, Narodni muzej u Beogradu; c) rekonstruisani sarkofag sa delfinima, Arheološki muzej u Zagrebu (foto: a, c – autor; b – M. Erič) 208 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) the formation of hyaloclasts and hydrothermal condi­ tions related to the cooling of the parent dacitic lava flow. Hyaloclastites formed in situ along the lava margins as an envelope layer. Although dacitic volcanic rocks are encountered at several localities in the southern Pannonian Basin and the Vardar Fault System, the availability of out­ crops and their accessibility, the very specific condi­ tions for the formation of the hyaloclastites that con­ trolled the extent of deposits, and the very specific alteration indicate the target deposits were very possi­ bly quite rare. The formation of analcime in such an extent as observed in the studied volcanic rocks criti­ cally influences their physical and chemical charac­ teristics; the rock became more porous and brittle, but still sufficiently compact and homogenous and, in comparison to calcarenites, more resistant to weather­ ing and dissolution by meteoric waters. Structural scheme of the sarcophagus and its characteristics. One of the key structural differences that the sarcophagus from Titel shows in comparison with most sarcophagi in Pannonia and Moesia Superior is its base, which is carved on all four sides of the chest. The base has a vertical lower and an obliquely mould­ ed upper section, such as is known on half­finished products of the Prokonnesos quarries (Type C after Asgari)37 and the sarcophagi made of local limestone in the quarry that supplied the workshops in Salona (Type 5 after Cambi)38 (Fig. 8a). A further two exam­ ples of such a base are also known from the interior of Dalmatia,39 either imported from Salona or closely imitating the Salona production. The only known ex­ ample in Pannonia is the sarcophagus of Asclepiodota from Sirmium40 (Fig. 8b), made of Dardagani lime­ stone,41 which has the upper oblique section simply moulded rather than formed into a composite cyma reversa. Of the Metropolitan workshops, such a base is extremely rare, known e.g. on the sarcophagus with a young girl on her deathbed, kept in the British Mu­ seum,42 made of Carrara marble43 and dated to around 200–220. The front side of the sarcophagus from Titel is conceived as a series of three equal squares with the sides measuring 69 cm that reach from the upper edge of the chest to the middle of the base, i.e. the lower edge of the cyma. The central square is intended for the inscription panel; the lateral squares are mirror images of one another and comprise a Norico­Panno­ nian volute of the inscription panel frame and a nar­ row figural panel. 209 Such a tripartite division is characteristic of sar­ cophagi produced in Sirmium of green volcaniclastic rock (e.g. the sarcophagus with wreaths)44 and Darda­ gani limestone (e.g. sarcophagus with rosettes,45 sar­ cophagus with dolphins46) (Fig. 8c). In Salona, an ex­ ample of such a form is the sarcophagus of Iulia Aurelia Hilara, made of limestone in the early 4th cen­ tury,47 which is a typical representative of the local production imitating the Prokonnesian model with a base (Fig. 9). Above the base, the front side of the sarcophagus chest from Titel is divided lengthwise into four equal parts. The central two parts comprise the inscription panel and its moulded frame, the left and right sides of which are in the shape of a Norico­Pannonian vo­ lute of Type 6, while the lateral parts consist of the centrally designed figural panel within a moulded frame and decorative strips around it. The Norico­Pan­ nonian volute of Type 6 also occurs on the unpub­ lished sarcophagus from Sremska Mitrovica, where it decorates the frame of the side front panels in a man­ ner known on the sarcophagus of Asclepiodota deco­ rated with the volute of Type 7 (after Pochmarski). This volute form is also present on the sarcophagus with dolphins kept in Zagreb in the same manner as that of Type 6 on the sarcophagus from Titel, i.e. flanking the inscription panel. These are the forms and uses of moulded frames enclosing inscription fields typical of the travertine sarcophagi48 produced at the quarries for Aquincum and Brigetio,49 from where they came into the Sirmium production. 37 38 39 118. Asgari 1990, fig. 3, type C. Cambi 2010, fig. 11, type 5. Paškvalin 2012, 445, nos. 7, 8; Lozić 2018, 146, nos. 117, 40 See note 18. For the Dardagani Quarry, see Djurić et al. 2012. 42 The British Museum, inv. no. 1805,0703.144; Walker 1990, 17–18, no. 6. 43 Walker, Matthews 1990, 130–131. 44 See note 26. 45 Vulić N. 1931, 96, no. 277 with illustration; CermanovićKuzmanović 1964, 101; Cermanović-Kuzmanović 1965, 102, no. 31, fig. 26; Koch, Sichtermann 1982, 330; Dautova Ruševljan 1983, 16, pl. 30/3; Davidović 2007a, 50, no. 5; Ninković 2015, 159, fig. 13. 46 Djurić 2020 (in print); Lupa 22799. 47 Arheološki muzej Split, inv. no. 313D; Cambi 2010, 125, no. 144, pl. 84/1; Lupa 24893. 48 Djurić et al. 2018. 49 Pochmarski 2014. 41 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) a b c Fig. 9. Sarcophagi with a tripartite division of the front: a) sarcophagus from Titel; b) sarcophagus with wreaths from Sremska Mitrovica; c) sarcophagus with rosettes from Sremska Mitrovica; d) sarcophagus of Iulia Aurelia Hilara from Solin d 210 Sl. 9. Sarkofazi sa trodelnom podelom prednje strane: a) sarkofag iz Titela; b) sarkofag sa vencima iz Sremske Mitrovice; c) sarkofag sa rozetama iz Sremske Mitrovice; d) sarkofag Julije Aurelije Hilare iz Solina СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) a b Fig. 10. a) Short sides of the sarcophagus from Voganj, Srem Museum (photo M. Erič); b) Dolphin on the composite funerary monument from the cemetery at Kolovrat, Prijepolje Museum (photo author) Sl. 10. a) Kratke strane sarkofaga iz Vognja, Muzej Srema (foto: M. Erič); b) Delfin na kompozitnom nadgrobnom spomeniku sa groblja u Kolovratu, Muzej u Prijepolju (foto: autor) Figural decoration. The side front panels depict dolphins, a motif otherwise almost unknown on the sarcophagi of Pannonia, Moesia Superior and Dalma­ tia. The only known example of such a use of the dol­ phin motif is the fragmented sarcophagus of Darda­ gani limestone from Sremska Mitrovica, now kept in Zagreb.50 Dolphins also occur on the short sides of the sarcophagus from Voganj near Sremska Mitrovi­ ca51 (Fig. 10a), again made of Dardagani limestone. On other forms of monuments, dolphins occur as complementary decoration of inscription or figural panels, on some of the funerary monuments in Aquin­ cum52 and Sopianae.53 In the eastern part of the prov­ ince of Dalmatia, it is a motif popular in the valley of the Drina and east of it on the pyramidal upper parts of funerary monuments with a cuboid body, from the 3rd century in Skelani (municipium Malvesatium),54 Rutoši,55 Prilipac,56 Zvornik.57 The form of the dolphin with a spherical element separating the sinuous body and the triple tail fin is specific and, presumably, characteristic of the stone­ masonry workshop that produced it. Such a spherical element is also carved on the two dolphins on the sar­ cophagus with rosettes from Voganj, in an almost identical form with the triple fin also on the left and right sides of the composite funerary monument from the cemetery at Kolovrat near Prijepolje58 (Fig. 10b) and the monuments from Aquincum and Sopianae.59 211 The short sides of the sarcophagus from Titel show unusual identical beasts in motion (Fig. 3c). They are not classic griffins with the body of a lion and the wings and head of an eagle, as Silvio Ferri saw them, but rather beasts that may, reservations notwithstand­ ing,60 be identified as hippogryphs.61 50 See note 44. Muzej Srema, inv. no. A/1163; Cermanović-Kuzmanović 1964, 102; Cermanović-Kuzmanović 1965, 102, no. 35, fig. 30; Dautova Ruševljan 1983, 16, no. 43, pl. 29/1; Davidović 2007a, 47–48, no. 2, fig. 2; Lupa 4328. 52 Lupa 10757. 53 Burger 1991, 24; Lupa 641, 643. 54 Patsch 1907, 456, fig. 61; Petrović 1986, 33, fig. 37; Zotović R. 1995, 129, fig. 154. 55 Vulić N. 1941–1948, 119; Petrović 1986, 33, fig. 38 (under Nova Varoš); Zotović R. 1995, 127, fig. 140. 56 Petrović P. 1986, 33, fig. 36; Zotović R. 1995, 126, fig. 134. In front of the church of the Birth of Virgin Mary, Prilipac. 57 In front of the building of the Narodna biblioteka and the museum collection in Zvornik. 58 Muzej u Prijepolju, inv. nos. 4, 6; Zotović M. 1975, 81, fig. 13, 15; Lupa 29935. 59 Fragment of a sarcophagus (?) in Budapest: Lupa 10757 and a fragment of a stele in Pécs: Burger 1991, 24; Lupa 641. 60 See e.g. Reinach 1920. 61 Pribac presumed the combination of a griffin and Pegasus. Roscher (1890, 2664 with illustration) erroneously identified a similar creature on a cylindrical seal of Assyrian style (Lajard 1847, fig. XXIX 5) as a hippalektryon. 51 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) a b Fig. 11. a) sarcophagus of Caius Albucius Menippus, AM Split; b) sarcophagus of Petronia, Sofronia and Nereus, Solin (photo author) Sl. 11. a) sarkofag Gajusa Albucijusa Menipusa, Arheološki muzej u Splitu; b) sarkofag Petronije, Sofronije i Nereusa, Solin (foto: autor) A griffin with a raised inner front paw placed over the head of a ram is a motif that does occur on sarco­ phagi, on their short sides in either a sitting or recum­ bent position, but is almost absent from the sarcophagi in Pannonia and Dalmatia.62 The only standing grif­ fin, with a winged lion’s body and a bird’s head is known on a sarcophagus with portraits from Sremska Mitrovica,63 but without additional attributes. Plant decoration. The surface around the figural and inscription field is completely covered over with strips of plant ornament. This manner of total decora­ tion is unknown in either Pannonia or Moesia, with the exception of Sirmium, though it can be observed on the sarcophagi of the Salona workshops. At Sirmium, three sarcophagi made of Dardagani limestone64 and the unpublished sarcophagus of volcaniclastic rock are decorated in this manner, while at Salona there are five such sarcophagi made of local limestone65 (Fig. 11) and at least one of marble,66 dating between the end of the 1st and the first half of the 4th century. Salo­ na also yielded five stelai67 (Fig. 12a) thus decorated, made in the 2nd and 3rd centuries of local limestone. Such decoration in the area between Sirmium and Salona is mainly known in the valley of the River Dri­ na and its tributaries, wider in the area between Rogati­ ca68 and Čačak, as well as between Berane and Bratunac, with a great concentration of monuments from 212 the 3rd century in the territory of municipium Domavianorum (colonia Domavia) and municipium Malvesiatium. Most of these numerous monuments are pieces of composite altars (mainly known under the term cippus) and stelai: shafts of composite altars from Roga­ tica, Klašnik, Skelani,69 Berane70 (Fig. 12b), Otanj,71 Tučkovo;72 stelai from Vrba, Osatica, Bosanska Crvica, 62 A motif that is popular is a pair of lions with paws on rams’ heads, which crown funerary stelai. 63 Muzej Srema, inv. no. A/14; Garašanin 1951, pl. XI b; Cer­ manović-Kuzmanović 1964, 100; Cermanović-Kuzmanović 1965, 102, no. 33, fig. 28a; Dautova Ruševljan 1983, 16, pl. 26/1; Davidović 2007a, 46, no. 1, fig. 1; Lupa 4344. 64 Muzej Srema, inv. no. A/14; sarcophagus of Asclepiodota; sarcophagus from Voganj. 65 Cambi 2010, cat. no. 14 (first half of the 4th c.), 41 (mid­2nd c.), 82 (late 2nd – early 3rd c.), 162 (end of 2nd c.), 189 (late 1st – early 2nd c.). 66 Cambi 2010, cat. no. 150 (early 3rd c.). 67 Lupa 24193, 24518, 24526, 24834, 30960. 68 Šačić Beća 2018. 69 Paškvalin 2012, 256, no. 7 (Rogatica, 3rd c.), 259, no. 10 (Klašnik, 3rd c.), 259, no. 11 (Skelani, 3rd c.). 70 Polimski muzej in Berane; Ćulafić s.a., 72–73. I wish to thank Violeta Folić for her help. 71 Zotović R. 1995, 115, no. 75 (late 2nd – early 3rd c.). 72 Ferjančić et al. 2008, 64–66, no. 16. СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) a b c Fig. 12. Plant decoration on: a) funerary stele of Quintus Agrius Barbarus, AM Split; b) shaft of a composite altar from Berane, Polimlje Museum, Berane; c) funerary stele of Aurelia Scenuta from the cemetery at Kolovrat, Prijepolje Museum (photo: a, c – by author; b – V. Fotić) Sl. 12. Vegetabilni motivi: a) nadgrobna stela Kvintusa Agrijusa Barbarusa, Arheološki muzej u Splitu; b) telo kompozitnog oltara iz Berana, Polimski muzej Berane; c) nadgrobna stela Aurelije Skenute sa groblja u Kolovratu, Muzej u Prijepolju (foto: a, c – autor; b – V. Fotić) Vlasenica, Bratunac, Mihaljevići, Fakovići, Tegare,73 Komini,74 Kolovrat75 (Fig. 12c), Kovačevac,76 Đuro­ vo77 and Ražana.78 The decoration in these strips is sharply carved, quite diverse and fairly stylised, exactly the same as the decoration on the sarcophagus from Titel. The pattern of pairs of acanthus leaves in the shape of petals growing out of a calyx (Fig. 4a) is one of the decorative motifs most characteristic of the workshops in Salona,79 which can be found in its original form on one of Corinthian capitals at Tusculum (Salona) (Fig. 13a). It is frequently carved on funerary altars and stelai in the valley of the Drina and its tributaries. A stylisti­ cally identical motif, combined into a vertical pattern on the sarcophagus from Titel, can be found on a com­ posite altar from Berane (Fig. 13b); also close is the motif on the stela from Đurovo. A similar motif, joined into a pattern, is the dou­ ble bunch of (acanthus?) leaves tied with a cord (Fig. 4e). On the monuments of Salona80 (Fig. 13c), it occurs 213 in only half of the form as the terminal of linear gar­ lands, in which the cord is actually the manchette. 73 Paškvalin 2012, 124–125, no. 64 (Vrba, 2nd­3rd c.), 144– 145, no. 78 (Osatica, 2nd­3rd c.), 145, no. 79 (Bosanska Crvica, 3rd c.), 160, no. 94 (Vlasenica, 3rd c.), 159–160, no. 93 (Bratunac, 2nd­ 3rd c.), 168, no. 102 (Mihaljevići, 3rd c.), 168–169, no. 103 (Fak­ ovići, 3rd c.), 169, no. 104 (Tegare, 2nd­3rd c.). 74 Cermanović-Kuzmanović 1981, 75. no. 2; Lupa 29966. 75 Cermanović-Kuzmanović 1978–79; Lupa 29937. 76 Lupa 29938. 77 Vulić N. 1931, 137, no. 331; Lupa 29942. 78 Zotović R. 1995, 108, no. 33 (3rd c.). 79 E.g. on the stele for Agrius Barbarius from the 3rd c. (AM Split, inv. no. A 855; Lupa 24518); ossuarium for Marcus Aurelius Varro, 200–250 (AM Split inv. no. 1262; Lupa 24687); sarcopha­ gus for Caius Albucius Menippus from the second half of the 3rd c. (AM Split, inv. no. A 300; Lupa 24507); sarcophagus for Marcia Nigella from the second half of the 2nd­3rd c. (AM Split, inv. no. A 2559; Lupa 24540); sarcophagus for Valerius Dines and Attia Va­ leria from the 3rd c. (AM Split, inv. no. A 1634; Lupa 24900). 80 Sarcophagus for Caius Albucius Menippus СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) a c b d Fig. 13. Acanthus motifs: a) corinthian capital, Tusculum, Solin; b) a pair of acanthus leaves on the composite altar from Berane, Polimlje Museum, Berane; c) leaves tied with a cord on the sarcophagus of Caius Albucius Menippus, Archaeological Museum, Split; d) leaves tied with a cord in the center of a garland on a composite altar from Berane, Polimlje Museum, Berane (photo: a, c – by author; b, d – V. Fotić) Sl. 13. Motivi listova akantusa: a) korintski kapitel, Tuskulum, Solin; b) kompozitni oltar iz Berana, Polimski muzej Berane; c) povezani vrpcom na sarkofagu Gajusa Albucijusa Menipusa, Arheološki muzej u Splitu; d) povezani vrpcom u centru girlandena na kompozitnom oltaru na kompozitnom oltaru iz Berana, Polimski muzej Berane (foto: a, c – by autor; b, d – V. Fotić) The double form can be found, for example, on the funerary altar from Berane (Fig. 13d), where the gar­ land runs from the central motif of tied leaves to either side; it also occurs in the same position on the funerary altar from Skelani.81 The motif of a stylised, sinusoid ivy tendril with rounded triangular leaves inside the curves of the ten­ dril is very common. On the sarcophagus from Titel it is shown in two variants, one with spiral shoots and leaves, the other with leaves only. The combination with shoots and leaves can be observed, for example, on the stele for Suricina from Podstrana82 (Fig. 14a), the variant with leaves carved tightly against the in­ side of the tendril curve, only on the unpublished sarco­ phagus from Sremska Mitrovica and the stele for Aelius Ingenuus (Fig. 14b), also from Sremska Mitrovica.83 The motif of a laurel garland84 is also common. It occurs on monuments such as the large marble sar­ cophagus for Valerius Dines and Attia Valeria from 214 Salona as the decoration of the corner column shafts (Fig. 14c), on the stele from Podstrana, the stele from Mihaljevići, the sarcophagus with wreaths from Sremska Mitrovica and elsewhere. The wave band consisting of conjoining S­shaped elements has not been recorded in the area between Salona and Sirmium. It is common in another form, often associated with vegetal tendrils, for example, on the sarcophagus for Petronia, Sofronia and Nereus from Solin,85 almost identical on the lid of a sarcophagus also 81 Paškvalin 2012, 260–261, no. 14, 3rd c. Lupa 24240. 83 Muzej Srema, inv. no. A 762–764; Dautova Ruševljan 1983, 13, no. 2; Lupa 4335. 84 Paškvalin 2012, 196 describes it as ‘herringbone­like leaves.’ 85 Cambi 2010, 99–100, no. 14; 4th c. 82 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) a b c Fig. 14. Ivy tendril motif: a) on the stele of Suricina from Strožanac in Podstrana; b) on the stele of Aelius Ingenuus, Srem Museum; c) laurel garland on the sarcophagus of Valerius Dines and Attia Valeria from Salona (photo: a, b – O. Harl; c – by author) Sl. 14. Motiv vitice: a) bršljana na steli Suricine iz Strožanca u Podstrani; b) bršljana na steli Elijusa Ingenuusa, Muzej Srema; c) lovorova girlanda na sarkofagu Valerijusa Dinesa i Atije Valerije iz Salone (foto: a, b – O. Harl; c – autor) from Solin86 (Fig. 15a), on the stele for Gentius from Kovačevac87 and on a portrait stele from Tegare.88 The motif of a spiral tendril, used on the sarcoph­ agus from Titel to fill the corner space above the arched upper frames of the side panels on the front, is also fairly common, used to decorate different surfac­ es of stone monuments. The most unusual of such motifs is certainly the one that adorns the side panels of the front side of a small sarcophagus or ash chest from Rogatica.89 It also frequently decorates the sur­ face between the inscription and portrait panels on stelai and funerary altars, for example on the stele for Aurelius Gallus and Aurelia Madusa from Donje Šti­ tarevo,90 or the funerary altar for Titus Aelius Victor from Karan91 (Fig. 15b). We should also mention the cyma reversa on the base of the sarcophagus from Titel. It is covered by a pattern of stylised acanthus leaves without exact par­ 215 allels, though very similarly shaped leaves occur on a large composite altar from Belgrade,92 dated to the 3rd century, and on the now lost epistyle of a funerary ae­ dicula from Šipovo,93 dated to the 4th century (Fig. 15c). 86 Cambi 2010, 122, no. 126; 4th c. Muzej u Prijepolju; Lupa 29938; 150–230. 88 Zemaljski muzej Sarajevo, inv. no. 262. Paškvalin 2012, 67–68, no. 18. 89 In the park in front of the Rogatica health centre. Illustra­ tion on https://bs.wikipedia.org/wiki/C._Ris_(Rogatica) accessed 18.3.2020). 90 Lozić 2018, 194, no. 190; Lupa 23734. 91 Petrović P. 1986, 18–19, no. 6; Lupa 29919. 92 Vulić N. 1933, 5–8, no. 3; Petrović J. 1933, 313–317; Ga­ vrilović N. 2020. 93 Illustration of the surviving epistyle that is now missing, in Truhelka 1892, fig. 5. 87 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) a c b Fig. 15. a) wave band on the acroterion of a sarcophagus, Archaeological Museum, Split; b) spiral tendril motif on the composite altar of Titus Aelius Victor, Karan; c) fragments of the funerary aedicula from Šipovo, National Museum, Sarajevo (photo: a – Cambi 2010; b – by author; c – Truhelka 1892) Sl. 15. a) Motiv talasa na akroteriji sarkofaga, Arheološki muzej u Splitu; b) motiv spiralne vitice na kompozitnom oltaru Tita Elijusa Viktora, Karan; c) fragmenti nadgrobne edikule iz Šipova, Zemaljski muzej u Sarajevu (foto: a – Cambi 2010; b – by autor; c – Truhelka 1892) Discussion The analysis of the material, the architectural structure and the decoration clearly reveals the sar­ cophagus from Titel as a product of a Sirmium work­ shop. According to available evidence, the green vol­ caniclastic rock of which the sarcophagus is made was only used at Sirmium and its products distributed across its wider surroundings. There are two kinds of sarcophagi made of this rock, for which it is, as yet, impossible to know whether they are chronologically parallel or not. One with numerous examples consists of undecorated and very meticulously made sarcopha­ gi with lids that bear the characteristic form of corner acroteria composed of two narrow ridges joined at a 45º angle (Fig. 16a).94 The other kind is richly deco­ rated with reliefs95 and shows a close connection with another group of Sirmium sarcophagi, made of Dar­ dagani limestone. Almost all the decorated sarcophagi of both rocks share the basic division of the front side into three square fields. The sarcophagus for Asclepio­ dota, of Dardagani limestone, is almost identical in 216 the shape of the chest with its base, structure and deco­ rative technique to the sarcophagus from Titel. The above allows us to conclude that the Sirmium workshops of sarcophagi used half­finished products of two different rocks from two different quarries (Rajići?, Dardagani), but both located in the valley of the River Drina. In contrast to the half­finished products of eastern Alpine marble and Budakálasz travertine, the half­finished products coming from these two quarries do not come with a previously defined basic structure. The most likely reason for this difference in the degree of quarry finish should be sought in the more brittle nature of the volcaniclastic rock and Neo­ gene limestone, i.e. their greater proneness for damage during transport from the quarry to the workshop that gave it its final appearance. The part of the lid kept in 94 Zasavica, Indjija, Beograd, Zemun, Titel, Sremska Mitro­ vica; Davidović 2007a; 2007b. 95 Two in Sremska Mitrovica, Titel, the lid in Zagreb. СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) a c b Fig. 16. a) acroteria on the sarcophagus lid from Zasavica, National Museum, Šabac; b) piece of a sarcophagus lid with a double acroterion, Srem Museum; c) ossuarium with double acroteria from Grave 54 of the cemetery at Kolovrat, Prijepolje Museum (photo: a – NM Šabac; b – M. Erič; c – A. Cermanović­Kuzmanović) Sl. 16. a) akroterije na poklopcu sarkofaga iz Zasavice, Narodni muzej Šabac; b) deo poklopca sarkofaga sa duplim akroterijama, Muzej Srema; c) urna s duplim akroterijama iz Grobnice 54 sa groblja na Kolovratu, Muzej u Prijepolju (foto: a – Narodni muzej Šabac; b – M. Erič; c – A. Cermanović­Kuzmanović) Zagreb, with the decoration in high relief, suggests that the lids of these sarcophagi were carved at least in their final shape at the end workshops. All the lids of these sarcophagi have specifically shaped double corner acroteria, as do the richly decora­ ted piece of a sarcophagus lid kept in Zagreb and the un­ published sarcophagus from Sremska Mitrovica. The double acroterion is certainly one of the most characte­ ristic features on the sarcophagi of the Sirmium produ­ ction and represents their distinctive feature (Fig. 16b). It is reasonable to speculate that the lid of the sarco­ phagus from Titel also had such acroteria on its lid. If the shape of the chest with its base clearly indi­ cates an origin in the Salona sarcophagus production, related to Prokonnesian models, this is by no means certain for the lids with double corner acroteria. The sarcophagus lids from Salona include a single exam­ ple,96 made of Prokonnesos marble, that has a corner acroterion associated with a small segment of a smaller acroterion. The only known example of a lid with double acroteria outside Sirmium is that of a small os­ 217 suarium–cinerary urn from the cemetery at Kolovrat near Prijepolje (Fig. 16c).97 On the other hand, acro­ teria of such form are widespread on the altars from the wider valley of the Drina and its tributaries, with 96 Cambi 2010, 103, no. 32, pl. 21. Grave 54, Muzej Prijepolje, unpublished. I thank Deana Ratković for the permission to publish the photo from the archives of A. Cermanović-Kuzmanović and Zvonko Mandić from Prijepolje museum for his help. 98 Skelani: Mesihović 2011, 214–215, no. 9; 222–223, no. 17; 223–224, no. 18; 241–242, no. 36; 246–247, no. 42; 282–283, no. 11; 283–284, no. 12; 289, no. 19; Babić 2008, 57. Sase: Mesihović 2011, 187–188, no. 22; 188–189, no. 23. Ustikolina: Mesiho­ vić 2011, 292–293, no. 23. Rogatica: Bojanovski 1967, 152–153, no. 7, fig. 11; Mesihović 2011, 123–124, no. 2. Pleševica near Ro­ gatica: Ferjančić, Samardžić 21014, no. 2, 474–475. Bajina Bašta: Glavaš 2016, 21, fig. 10; Kolovrat: Mirković 1975, 98, no. 2; Lupa 29932; Zotović M. 1975, 181, no. 17; Lupa 29934; Užice: Vulić N. 1941–48, 247, no. 485; Gradina on Jelica: Ferjančić et al. 2008, 44–45, no. 3; Čačak: Ferjančić et al. 2008, 49–50, no. 6; 60, no. 14; Jezdina: Ferjančić et al. 2008, 54–55, no. 10. 97 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) a b c d Fig. 17. Altars with double acroteria from: a) Skelani; b) Čačak; c) Karan; d) Kolovrat (photo: a – Patsch 1907; b – Ferjančić et al. 2008; c–d – by author) Sl. 17. Oltari s duplim akroterijama iz: a) Skelana; b) Čačka; c) Karana; d) Kolovrata (foto: a – Patsch 1907; b – Ferjančić et al. 2008; c–d autor) 218 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) Fig. 18. Map of sites: 1) sarcophagi of green volcaniclastic rock; 2) other objects made of green volcaniclastic rock; 3) monuments mentioned in the text as parallels (DARE Creative Commons, adapted by author) Sl. 18. Mapa lokaliteta: 1) sarkofazi od zelene vulkanoklastične stene; 2) drugi objekti napravljeni od zelene vulkanoklastične stene; 3) spomenici spomenuti u tekstu kao paralele (DARE Creative Commons, dopunjeno od strane autora) the centre in its middle reaches, in municipium Malvesiatium (Skelani)98 (Fig. 17). The close connection of the Sirmium sarcophagus production with the stonemasonry production of the middle and upper reaches of the Drina and its tributar­ ies (Fig. 18), which is, in turn, closely related to the Salona stonemasonry production, is also reflected in the array of decorative motifs, the manner of their use by covering all surfaces with ornamental strips and the manner of carving the almost two­dimensional, stylised and geometricised forms. Having said that, 219 some details of the figural decoration on the sarcopha­ gus from Titel show that the workshops of Sirmium also adopted certain Pannonian decorative elements, such as the spherical element between the body of the dolphin and its tail fin, which does have a parallel in the stonemasonry production in the Drina Valley, but is much more common in Pannonia,99 more precisely 99 Fragment of a sarcophagus(?) in Budapest: Lupa 10757 and a fragment of a stele in Pécs: Burger 1991, 24; Lupa 641. СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) in the Aquincum travertine production, from where the motif was most likely adopted. Other characteristics of the figural decoration on the sarcophagus from Titel, such as the figures of hippogryphs against an empty background of the figural panel, have formal parallels only in the Sirmium production. In order to correctly understand the Sirmium pro­ duction of sarcophagi, it is also important to note that the workshops in Sirmium adopted the Norico­Panno­ nian volutes that are typical of the Budakálasz travertine sarcophagus production, using them not only to shape the frames of the inscription panels, as is the case of the sarcophagus from Titel, but also to form very de­ corative frames of figural panels. These forms are un­ known in the stonemasonry productions in the valley of the Drina and in Salona. All of the observations above render the dating of the sarcophagus from Titel a task less daunting than it seemed at the beginning of the analysis. Sorin Pribac dates its creation to the end of the 2nd or beginning of the 3rd century.100 Silvio Ferri, who was the first to cor­ rectly parallel the sarcophagus to that of Asclepiodota, dates it ‘… non oltre la seconda metà del III secolo …’, adding that the decoration may even allow a dating into the 5th or the 6th century.101 The analysis of the decoration on the sarcophagus in connection with the locally produced Salona sarcophagi and the monu­ ments from the valley of the Drina place its producti­ on to the 3rd century, which would correspond with Ferri’s observation on ‘… un passo in avanti …’ in comparison with the decoration on the sarcophagus of Asclepiodota. The new dating of the latter sarcophagus to the mid­3rd century or shortly thereafter102 allows the sarcophagus from Titel to be seen as the product of a Sirmium workshop from the second half of the 3rd century. Translated by A. Maver Starinar is an Open Access Journal. All articles can be downloaded free of charge and used in accordance with the licence Creative Commons – Attribution­NonCommercial­NoDerivs 3.0 Serbia (https://creativecommons.org/licenses/by­nc­nd/3.0/rs/). Часопис Старинар је доступан у режиму отвореног приступа. Чланци објављени у часопису могу се бесплатно преузети са сајта часописа и користити у складу са лиценцом Creative Commons – Ауторство-Некомерцијално-Без прерада 3.0 Србија (https://creativecommons.org/licenses/by­nc­nd/3.0/rs/). 100 101 102 220 Pribac 1996, 266. Ferri 1933, 247. Djurić 2020. СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) BIBLIOGRAPHY: Asgari 1990 – N. Asgari, Objets de marbre finis, semi­finis et inacheves du Proconesse, in: Pierre éternelle: du Nil au Rhin: carrières et préfabrication, Bruxelles 1990, 106–126. Babić 2008 – M. 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Walker, Catalogue of Roman Sarcophagi in the British Museum (CSIR Great Britain Vol. II, fasc. 2), London 1990. Petrović P. 1986 – P. Petrović, Rimski kameni spomenici iz Karana, Titovo Užice 1986. Walker, Matthews 1990 – S. Walker, K. Matthews, Stable Isotope Analysis of Carrara Marble: Some Questions fort the Archaeologist, in: Marble. Art Historical and Scientific Perspectives on Ancient Sculpture, M. True, J. Podany (eds.), (Papers delivered at a symposium organized by the Depart­ ments of Antiquities and Antiquities Conservation and held at the J. Paul Getty Museum April 28–30, 1988), Malibu 1990, 125–134. Pochmarski 2014 – E. Pochmarski, Die Sarkophagwerk­ stätten von Aquincum und Brigetio, Acta Archaeologica Academiae Scientiarum Hungaricae 65, 2014, 405–426. Zotović M. 1995 – M. Zotović, Antički spomenici i pred­ meti sa lokaliteta Kolovrata kod Prijepolja, Raška baština 1, 1975, 179–183. Pop-Lazić 2002 – S. Pop-Lazić, Nekropole rimskog Singidu­ numa (Necropolises of Roman Singidunum), Beograd 2002. Zotović R. 1995 – R. Zotović, Rimski nadgrobni spomenici istočnog dela provincije Dalmacije, Užice 1995. Petrović J. 1986 – J. Petrović, Prilozi rimskoj topografiji grada Beograda, Starinar 8–9, 1933–34, 313–321. 222 СТАРИНАР LXX/2020 Bojan ĐURIĆ Roman Sarcophagus from Titel (201–223) Rezime: BOJAN ĐURIĆ, Filozofski fakultet Univerziteta u Ljubljani RIMSKI SARKOFAG IZ TITELA Ključne reči. – Titel, sarkofag, vulkanoklastična stena, radionice Salone, Sirmium, proizvodnja travertina, Akvinkum Među rimskim sarkofazima Panonije posebno mesto zauzima sarkofag koji je pronađen u Titelu i posle 1871. godine prenet, po naređenju Antona fon Skudijera (Anton von Scudier), tada­ šnjeg vojnog komandanta Temišvara, zajedno s drugim kame­ nim spomenicima, u današnji Muzej Banata (Muzeul Național al Banatului) u Temišvaru. Sarkofag je, zajedno sa crtežom, prvi put objavio E. Ivanfi (Ivánfi) još 1877. godine, a kasnije ga je u svoj pregled o rimskoj umetnosti područja uz Dunav uključio i Silvio Feri (Silvio Ferri). A. Cermanović-Kuzmanović ga u svoj posleratni pregled sarkofaga Norika i Panonije nije uključila, dok je V. Dautova Ruševljan u svom radu o rimskoj plastici na području Donje Panonije objavila samo njegovu fotografiju. U velikom pregledu rimskih sarkofaga G. Koha (Koch) i H. Zih­ termana (Sichtermann) pojavljuje se pogrešno kao sarkofag iz Tibiscum-а (Jupa, RO), a detaljnu obradu doživljava 1996. go­ dine ispod pera Sorina Pribaka (Sorin Pribac). Svi navedeni autori slažu se u tome da je sarkofag iz Titela dosta enigmatičan i neobičan, i to kako za produkciju sarkofaga s područja Panonije tako i za onu Gornje Mezije, dok ga S. Feri, na osnovu dekorativnih motiva, jedini vezuje za sirmijumsku proizvodnju sarkofaga i posebno za sarkofag Asclepiodotin. Osim formalnih karakteristika, za razumevanje sarkofaga iz Titela od bitnog je značaja vrsta kamena od kojeg je napravljen. Radi se o zelenoj vulkanoklastičnoj steni koja je poznata u okolini sela Rajići, zapadno od Srebrenice, a od koje je izra­ đen veći broj sarkofaga vezanih isključivo za Sirmijum (dva sarkofaga iz Sremske Mitrovice: jedan u Muzeju Srema i drugi u privatnom vlasništvu; poklopac sarkofaga u Arheološkom muzeju u Zagrebu; sarkofazi iz Zasavice, Inđije, Šapca, Zemu­ na i Beograda). U formalnom smislu posredi je sarkofag sa tripartitnom podelom prednje strane i sa centralnim natpisnim poljem i užim bočnim poljima za dekoraciju. Takva podela je karakteri­ stična ne samo za panonske mermerne i travertinske sarkofage već i za salonitansku domaću proizvodnju u regionalnom kreč­ njaku. U tom pogledu značajna je njegova baza sa Cyma reversa ukrasima, po kojoj se razlikuje od svih panonskih sarkofaga, a čije se paralele nalaze u salonitanskoj proizvodnji koja polazi od prokoneških modela. Dekorativna polja prednje i obe bočne strane uokvirena su profilacijom, koja je na natpisnom polju sa obeju bočnih strana oblikovana u vidu noričko-panonske volute tipa 6 po Pohmarskom, karakteristične za proizvodnju traver­ tinskih sarkofaga vezanih za Aquincum. 223 Titelski sarkofag obiluje dekorativnim motivima koji pre­ krivaju sve uske površine između ivica sanduka i pojedinih po­ lja. To su različiti i dosta stilizovani vegetabilni motivi bršlja­ nove loze, lovorove girlande, palmeta, kao i posebno značajni: vrpca čašolikih duplih listova akanta i vrpca malih povezanih snopova akantovih listova. Način ukrašavanja tih uskih površina kao i sami dekorativni motivi uporedivi su jedino sa salonitan­ skim proizvodima, kako sarkofaga tako i sepulkralnih stela, a nalazimo ih i na kamenim spomenicima poznatim sa nalazišta iz srednjeg i gornjeg toka Drine kao i na prostoru između Ro­ gatice i Čačka. U Sirmijumu takav način ukrašavanja pokazuju sarkofazi napravljeni od dardaganskog krečnjaka (npr. sarko­ fag iz Vognja i sarkofag Asclepiodotin). Figuralni motivi titelskog sarkofaga – po jedan delfin sa obeju strana prednje površine i po jedan hipogrif na bočnim stranama – dosta su specifični. Delfini na sarkofazima u Pano­ niji nisu poznati, a s takvim motivom jedino je u Sirmijumu pro­ nađen sarkofag koji je napravljen od dardaganskog krečnjaka (čuvan u Arheološkom muzeju u Zagrebu). Motiv hipogrifa je jedinstven i nema paralela, ali način njihovog prikazivanja na praznoj površini u vrlo šematskom reljefu i šturom modeliranju nalazi paralele jedino u sirmijumskim sarkofazima izrađenim od krečnjaka. Iako je pronađen bez poklopca, njegov oblik bi se mogao pretpostaviti na osnovu sirmijumskih paralela. Naime, kod sir­ mijumskih poklopaca sarkofaga tipičan je oblik njihovih akro­ terija. To su duple akroterije – s jednom većom i do nje s jednom manjom akroterijom, poznate najviše na raznim oltarima na ši­ rem prostoru srednjeg toka reke Drine, sa središtem u Skelanima (municipium Malvesiatium). Sa tog prostora poznat je i mali osarijum sa nekropole Kolovrat kod Prijepolja koji ima karak­ teristične duple akroterije na poklopcu. Analiza materijala, oblika i motiva titelskog sarkofaga po­ kazala je da je njegov izvor u sirmijumskoj radionici, koja je radila u regionalnom kamenu – kako zelenom vulkanoklastitu tako i u dardaganskom krečnjaku. Njen repertoar oblika i moti­ va bio je usko vezan za dugu tradiciju podrinskih radionica, za koje se zna da su bile pod jakim uticajem salonitanskih radio­ nica, ali da su u svom repertoaru imale i neke motive preuzete iz panonske produkcije. Visok kvalitet nekih od njenih proizvoda omogućuje i pretpostavku o dolasku majstora direktno iz Salo­ ne. Titelski sarkofag se u hronološkom smislu pokazao kao proizvod druge polovine 3. veka. СТАРИНАР LXX/2020