at the heaRt

of Poetovio

P t u j i n t h e t i m e o f t h e R o m a n e m P i R e 1





FURTHER READING

• Architectural remains and street grid

on Panorama.

Božič, D. et al., Zakladi tisočletij. Zgodovina Slovenije od neandertalcev do Slovanov

(Ljubljana 1999).

Horvat, J., M. Lovenjak, A. Dolenc Vičič,

M. Lubšina-Tušek, M. Tomanič-Jevremov and

Z. Šubic, Poetovio, Development and Topography.

In: M. Šašel Kos, P. Scherrer, The autonomous towns of Noricum and Pannonia, Pannonia I, Situla 41 (Ljubljana 2003) 153–189.

Horvat, J. and A. Dolenc Vičič, Arheološka

najdišča Ptuja. Rabelčja vas , Opera Instituti Archaeologici Sloveniae 20 (Ljubljana 2010).

Janežič, M. and E. Lazar, Roman military

equipment from the town centre of Poetovio.

In: Evidence of the Roman army in Slovenia /

Sledovi rimske vojske na Slovenskem, Katalogi in monografije 41 (Ljubljana 2015) 257–268.

Lubšina Tušek, M., Elaborat predloga za

razglasitev arheološkega najdišča Panorama

na Ptuju (EŠD 9277) za kulturni spomenik

državnega pomena (Ptuj 2015) [http://www.ptuj.

si/park_panorama]).

Ragolič, A., The territory of Poetovio and

the boundary between Noricum and Pannonia

/ Upravno območje Petovione in meja med

Norikom in Panonijo, Arheološki vestnik 65, 2014, 323–351.

Šašel Kos, M., Poetovio before the Marcomannic Wars: from Legionary Camp to Colonia Ulpia.

In: Trajan und seine Städte (Cluj-Napoca 2014) 139–165.

Tušek, I., Rimska vojska v republiki in cesarstvu ter rimski vojaški nagrobniki iz Petovione street, square

(Ptuj 2019).

Vomer Gojkovič, M. and N. Kolar, Archaeologia workshops, humble dwelling

Poetovionensis. Stara in nova arheološka spoznanja (Ptuj 1993).

luxurious residence

Vomer Gojkovič, M., B. Djurić and M. Lovenjak, Prvi petovionski mitrej na Spodnji Hajdini sanctuary

(Ptuj 2011).

aqueduct

05

01

00

2

3



• Architectural remains

and street grid on Panorama

as revealed by geophysical

investigations.

4

5

J a n a H o r v a t | a l e k s a n d r a n e s t o r o v i ć at the heaRt

of Poetovio

P t u j i n t h e t i m e o f t h e R o m a n e m P i R e CIP - Kataložni zapis o publikaciji

Univerzitetna knjižnica Maribor

94(497.4Ptuj)

HORVAT, Jana, 1959-

At the heart of Poetovio [Elektronski vir] : Ptuj in the time of the Roman empire /

[authors of texts Jana Horvat, Aleksandra Nestorović ; English translation Andreja Maver]]. -

Ptuj : The Ptuj-Ormož Regional Museum, 2021

With contributions by

Način dostopa (URL): https://pmpo.si/e-publikacija/

ISBN 978-961-6438-85-8

Milan lovenJak | andreJ Gaspari | MariJa lubšina tušek | MaJa Janežič COBISS.SI-ID 78602755



Ptuj | 2021

6





Poetovio

POETOVIO’S

ORIGINS

Petovio

since prehistory, ptuj has enjoyed a strategic location. it is sited where the river drava is relatively easy to cross and where two major routes intersect, one being the amber route, connecting the northern adriatic area with the baltic, and the other one leading on and along the navigable drava river. the first traces of human habitation at ptuj date back to the late 5th millennium bC (beginning of the Copper age), when a settlement was established on the hill of Grajski grič.

the area has been continuously inhabited ever since.

in the 1st century bC, before the roman conquest, the ptuj area lay in the eastern part of the norican kingdom, which extended across the eastern alps and their foothills, and was ruled by the Celts. several small settlements existed at ptuj at this time.

• Ptuj and Panorama. View to the southeast.

Petabio

NAME

Petavio

When the Celts settled along the drava in the early 3rd century bC, they adopted the name of the place from the indigenous population living here. linguists Poetavio

presume that the original name may have been

* Petavio (or similar) and that it signified ‘a place on the plain’.

the romans adapted this name to suit their

Petobio

pronunciation. in the works of ancient authors and on stone monuments, it most commonly appears as Poetovio, but also in a number of variants ( Petovio, Petabio, Petavio, Poetavio, Petobio, Patavio, Potobio, Patavio

Potabio); sometimes the name is written in Greek ( Ποτόβιον, Παταύιον, Παταβίων, Πετουβιωνικόν) or abbreviated to Cvtp ( Colonia Ulpia Traiana Poetovio).

• Roman forts and fortresses in Illyricum during the first half of the 1st century AD. They were the strategic points from which the slovenian name ptuj and the German pettau the Romans controlled the newly conquered territories.

Potobio

are directly derived from the latin name.

iii





BECOMING PART

OF THE EMPIRE

in 15 bC, the norican kingdom and with it

into the roman state and formed the provinces of poetovio was incorporated into the roman state noricum and illyricum, the latter subsequently without bloodshed. in contrast, the pannonian divided into dalmatia and pannonia.

Wars fought from 12 to 8 bC were bloody; their the romans built a fort at poetovio, probably result was the conquest of illyricum, a large area already towards the end of the 1st century bC, between the adriatic and the danube. the romans which served as a base for their military opera-consolidated their rule by crushing the pannonian-tions in the pannonian plain. during the first half dalmatian rebellion in ad 6 to 9. both military of the 1st century ad, poetovio was probably the campaigns were led by tiberius, who went on to seat of the military command of the pannonian become emperor. until the mid-1st century ad, the army, as well as the centre of civilian administra-area up to the danube was gradually incorporated tion in illyricum.

• Head of a young man of the Julio-

Claudian dynasty. Marble, Ptuj, late 1st

century BC or early 1st century AD.

The founder of the Julio-Claudian dynasty

was Augustus, the first Roman emperor

(27 BC – AD 14), under whom the Romans

conquered the central Danube Basin

and the western Balkans. The marble

head may depict Augustus’ adoptive son

and heir Tiberius in his youth, when his

military achievements included leading the

conquest of Illyricum and the suppression

of the Pannonian-Dalmatian Rebellion.

• Habitation areas and traces of the army in Poetovio of the 1st century.

iV

V



ROMAN LEGIONS

• Marble tombstone

for Marcus petronius Classicus.

AT POETOVIO

videm pri ptuju, first half of

the 1st century.

in the first half of the 1st century ad,

chaPlet

poetovio was the base of the eighth legion

of oak leaves

helMet

augusta ( legio VIII Augusta), which parti-TOMBSTONE

with cheek-Pieces

cipated in the conquest of illyricum. it was FOR MARCuS PETRONIuS

and a transverse

replaced around ad 45 by the thirteenth

CLASSICuS

crest

legion Gemina ( legio XIII Gemina), which had arrived from vindonissa (the province of Germania, today in switzerland); it remained here until the end of the 1st century.

three torques

m(arcus) Petronius

or bracelets

a roman legion numbered 5000 to 6000

m(arci) f(ilius) arn(ensi tribu) Classi-

soldiers and was based in its fortress, a mili-cus marrucinus

tary stronghold at least 20 hectares in size and (centurio) leg(ionis) viii aug(ustae)

usually rectangular in plan. the fortress at hic est crematus.

poetovio presumably stood on the right bank

ossa relata domi.

arMour

of the drava, as indicated by the finds of votive P(ublius) frater et con-lega posui(t).

altars and tombstones for active soldiers, the aqueduct that the Xiii augusta built to bring fresh water from the pohorje Hills, as well as habitation traces dating to the early 1st century marcus Petronius Classicus,

ad. no physical remains of the fortress have as son of marcus,

yet been found; it is possible that it was washed (of) marrucian (origin),

away by the drava known for its frequent

(of the) arnensian (voting-tribe),

changes in course.

centurion of the eighth Legion augusta,

Greaves

was cremated here.

Military finds from the 1st century also

(his cremated) bones were sent home.

came to light on the left bank, at vičava and (the tombstone was) put up by his brother panorama, suggesting the existence of more

vine staff

and fellow soldier Publius.

than one fort at poetovio.

equiPMent and Military decorations

of centurion Marcus Petronius classicus

Centurions were low-ranking officers usually promoted from the also displayed on the tombstone is a series of military ranks of the common soldiers; they represented the backbone of decorations ( dona militaria) awarded to Classicus. topmost are Marcus Petronius classicus was a member of the the army. there were 59 centurions per legion. they distinguished three torques or bracelets ( torques or armillae). Worn over the Marrucini tribe, which occupied a small area on the adriatic coast themselves from the common soldiers by the vine staff, greaves armour and held together by leather straps are five embossed of central italy, and century commander ( centurio) of the eighth and a transverse crest on the helmet; they also wore their sword at discs ( phalerae, their ornament not accurately carved in stone), legion augusta. His brother and fellow soldier had the tombstone the left and dagger at the right hip, just the opposite to the common two enclosed by the larger torques and three by armillae. He was

– a cenotaph – put up for him at poetovio, while his cremated bones soldiers.

also awarded a chaplet of oak leaves ( corona civica) – decoration were sent home. as many legionaries of the 1st century, brothers the tombstone for Marcus petronius Classicus shows pieces for the soldier who had saved the life of a fellow roman citizen Marcus and publius were recruited in italy. the tombstone is one of military equipment: helmet with cheek-pieces and a transverse by slaying an enemy.

of the earliest funerary monuments of soldiers from poetovio.

crest, armour (probably chainmail), greaves and vine staff.

Vi

Vii





ATTIRE OF A LEGIONARY. SECONd HALF OF THE 1ST CENTuRY

TOMBSTONE

HELMET CHEEk-PIECE

LEGIONARY

OF AuLuS POSTuMIuS

CREST HOLdER

SENECA

a legionary of the second half of

the 1st century wore a tunic under

his armour, which was composed of

a(ulus) Postumius,

JAVELIN

strips of iron (segmental armour).

Sp(urii) f(ilius) Seneca

His head was protected by a helmet.

dom(o) Parma

BELT PLATE

around his waist was a military belt

veter(anus) missi(cius)

( cingulum), which was fitted with

leg(ionis) Xi an(norum) XXCv

decorative metal plates and hung with

h(ic) s(itus) e(st).

SwORd

leather straps with metal mounts and

Postumia iu-

cunda et

pendants. suspended from the belt

Primigenius

were a sword at the right hip and a

posierunt

dagger at the left hip. He was armed

liberti.

with a javelin ( pilum) and a shield.

His feet were protected by leather

LuNuLA

shoes with iron hobnails reinforcing

aulus Postumius Seneca,

the soles. the same types of weapons

• Lunula. It may once have

son of an unknown father,

were used across the roman empire,

been hanging from a military

from Parma,

revealing their production in large,

belt. Copper alloy, Panorama,

discharged from military service

specialised workshops.

1st century.

as a veteran of the eleventh Legion,

aged 85,

• Helmet cheek-piece. Copper

lies buried here.

the scabbard was found on the southern

alloy, Panorama, 1st–2nd century.

Set up by freedmen Postumia iucunda

slope of Grajski grič. it was originally

and Primigenius.

composed of two wooden plates lined with

t.

leather and in parts reinforced with metal

fittings. surviving of this scabbard is the fit-vica 1. s

tings of the upper part made of copper alloy

• Belt plates. Copper alloy,

and plated with a silvery metal (either silver Panorama, first half of

or tin) on the front. the scabbard is relatithe 1st century.

vely narrow, suggesting it had once formed

the veteran of legio XI, aulus PostuMius part of a cavalry sword ( spatha), which were seneca, was born in parma, northern italy, longer and narrower than those of the infan-and died at poetovio, at the ripe age of 85 years.

try, with blades measuring around 63 cm.

it was his former slaves, postumia iucunda and ega griča, druga polo

it is decorated with embossed images of

primigenius, who arranged for the tombstone to mythological creatures associated with

• Ear lath from the

• Pieces of scale armour tied

be set up.

• Marble

military might and victory. a pair of floating terminal of a reflex

together with thin wire. Copper

tombstone

seneca’s legion was stationed at Burnum, in victories, goddesses of victory, holds a shield bow, with a groove

alloy, Vičava, second half of the

for Aulus

central dalmatia. Military service in those days with the image of the emperor. below them is for attaching the

1st century.

Postumius

lasted around 25 years, which would suggest that a spread-winged eagle, a divine bird, symbol bowstring. Reflex

Seneca.

seneca retired some 30 years before his death, of Jupiter and the emperors. the dioscuri,

bows were composed

• Decorative disc, possibly

Poetovio’s

soon after the fiercest military campaigns in užno pobočje Grajsk

twin deities credited with the role of savio-of bone and wooden





part of a military decoration


west cemetery


illyricum. With the retirement bonus following urs and heralds of new and happier times,

parts. Roman archers

worn over the armour. It

at Spodnja

an honourable discharge, he chose to retire to the are depicted in the company of horses. three were usually of Eastern

holds the relief depiction

Hajdina,

fast-growing city next to the fortress at poetovio.

of the zones show a pair of griffins flanking origin and served in

of Medusa with snakes for

second quarter

the simple form and decoration of the

žnica meča. J

an amphora. Griffins are creatures with the

auxiliary units. Bone,

hair, believed to ward off

of the 1st

tombstone reflect the taste of the immigrants No

body of a lion and the head, wings and claws Vičava, 1st – early 2nd

evil. Copper alloy, Panorama,

century AD.

from italy.

•

of an eagle, symbolising divine power.

century.

1st–2nd century.

Viii

iX





HORSE EQuIPMENT

Ad 69 – THE YEAR

IN THE 1ST CENTuRY

OF THE FOuR EMPERORS

Horses were equipped with a metal

SAddLE

Following the death of the tyrannical emperor change their loyalties from the then emperor aulus bridle and leather straps with distributors, nero (9 June 68), a period of military and political vitellius to vespasian.

decorative discs and pendants, the latter in the romans took over the

Celtic form of four-horned

discord, as well as power struggles ensued. Four em-in the meeting, Marcus antonius primus, who

the function of amulets, to ward off evil. the saddles in the 1st century

perors succeeded each other in the space of a single was a young legion commander from Carnuntum cavalrymen also used a saddle and spurs, but bC. the horns were made

• Pendant of horse equipment.

year, ad 69: Galba, otho, vitellius and vespasian.

(petronell near vienna), inspired the soldiers and no stirrups; neither did the romans shoe

Brass with traces of silvering,

of sheet metal covered with

Vičava, first half and mid-1

vespasian only presented himself to the public after st

convinced the military leaders to enter italy even their horses.

leather and sewn onto a

century.

having secured sufficient support from key armies, before the arrival of the near eastern army. under the equipment of the roman war horse

padded saddle. the front

horns provided support

those in the balkans and the near east. the near his command, the army from illyricum secured the differed little from that in civilian use.

to the rider’s thighs and

eastern army was led by vespasian himself or his border of the province of noricum and hastened to were crucial in mounting

friends, while the balkan armies supported him on italy, where it defeated vitellius’ legions at Bedria-and dismounting, while

the incentive of their legion commanders. led by cum and Cremona to capture rome in december.

the rear pair prevented the

the provincial governor of pannonia, these comas the result of the balkan army’s decision to rider from falling back. the

horns were movable, which

manders met in the fortress at poetovio in august support him in the meeting at poetovio, vespasian facilitated riding, but also

69 to discuss the long, but quietly prepared plan to came out victorious.

mounting and dismounting.

• Rear left horn of a saddle.

• Strap distributor of horse

Leather was sewn on through

equipment. Alloy of copper, zinc,

the holes along the edges. Sheet

tin and lead. Traces of silvering

copper, Vičava, 1st century.

on the front. Vičava, 1st century.

• March of the Roman army

from Illyricum to Rome in 69.

• Reconstruction of

• Strap distributor of horse

• Coin with the image of the Emperor

the war horse equipment

equipment. Brass, Vičava,

Vespasian, minted in 72–73 AD. Ptuj.

in the 1st century.

mid-1st-century.

X

Xi





tacitus

LEGIONARY CAMP

TRAdE ANd

on Poetovio

IN THE SECONd HALF

MANuFACTuRE

OF THE 1ST CENTuRY

OF GOOdS IN

PUblIUs CoRNElIUs TACITUs (born around 56, died after 118), Roman senator and in 97 consul, is considered one of the greatest THE 1ST CENTuRY

Roman historians. He mentions Poetovio in his great work entitled Histories ( Historiae), which recounts the history of the civil wars after it was presumably the thirteenth legion Gemina Nero’s suicide. In the beginning of Book III, he writes of the meeting that replaced the old wooden fortress with one built that took place in August 69 at Poetovio; this is the first time the city economic and political stability, as well

appears in ancient written documents.

of stone, as inferred from the bricks stamped with the legion’s name. it also constructed a 20-kilometre long as a safe and well-organised network of

3.1

maritime, riverine and land routes enabled a Under happier auspices and in a more loyal spirit aqueduct from the pohorje Hills to spodnja Hajdina.

the Flavianist leaders were discussing the plans of the the finds of votive altars show that several sanctuaries vast expansion of production and trade, with campaign. They had assembled at Petovio, the winter-were put up in this period, including a temple for the mass-produced goods and select luxury items

quarters of the 13th legion. There they debated, whether supreme god Jupiter.

reaching even the remotest of places.

they should blockade the passes of the Pannonian Alps inscriptions tell us that poetovio was also a port, immigrants from italy also brought with

till the whole strength of their party should be gathered

• Intaglio depicting Ceres–

• Brick with the stamp of

used by the pannonian navy ( classis Flavia Pannonica).

them their dietary habits, primarily based on Tellus with a child in her arms

the Thirteenth Legion Gemina.

in their rear, or whether it would be the more vigorous a settlement ( canabae) of artisans and merchants and an ear of grain. Carnelian,

olive oil and wine. these commodities were

Vičava, second half of

policy to close with the enemy, and to contend for the who supplied and serviced the army grew next to the Vičava, 2nd–3rd century.

supplied to poetovio from the large estates in the 1st century.

possession of Italy. Those who thought it advisable to fortress and at the river crossing, on both banks. it was istria and the po plain. oil was transported wait for reinforcements, and to protract the campaign, in amphorae, wine largely in wooden barrels.

dwelt on the strength and reputation of the German a settlement of immigrants from italy, including retired select types of wine also came from the

legions. ...

soldiers or veterans, as well as locals.

eastern and western Mediterranean. roman

3.2 In answer to this, Antonius Primus, who was food often involved the use of fish sauces;

the most energetic promoter of the war, declared that these were imported from the iberian

prompt action would be advantageous to themselves, peninsula.

and fatal to Vitellius. ...

during the 1st century, the large work-

s hops in northern italy provided a variety

3.3

• Intaglio depicting

• Amphora for wine from

With flashing eyes, and in the fierce tones that Bellerophon on Pegasus.

of high-quality tableware (plates, cups,

the Iberian Peninsula. Pottery,

might be most widely heard (for the centurions and Carnelian, Vičava,

beakers), as well as oil lamps.

Vičava, 1st century.

some of the common soldiers had intruded themselves 1st–2nd century.

local production was rapidly growing in

into the deliberations), he poured out such a torrent of poetovio. in the first half of the 1st century, these and similar words, that he carried away even the marble quarries began to be opened in the

cautious and prudent, while the general voice of the multitude extolled him as the one man, the one general pohorje Hills; there were also workshops that in the army, and spurned the inaction of the others. He produced quality table and cooking ware.

had raised this reputation for himself at the very first an important factor of poetovio’s economic

assembly, when, after Vespasian's letters had been read, pros perity was the navigable drava, as

he had not, like many, used ambiguous language, on waterborne transport was considerably

which he might put this or that construction as might cheaper than transport on land.

serve his purpose. It was seen that he openly committed himself to the cause, and he had therefore greater weight with the soldiers, as being associated with them in what was either their crime or their glory. ...

• Amphora for olive oil from

Istria. Pottery, Vičava, 1st –

Translated by Alfred John Church and William Jackson Brodribb early 2nd century.

http://classics.mit.edu/Tacitus/histories.3.iii.html Xii

Xiii





BuILdING INSCRIPTION OF THE EMPEROR TRAJAN

FOuNdING THE CITY

Colonia

ulpia traiana

• Fragment and reconstruction of a marble building inscription. The inscription slab was originally around 3.70 m long. Vičava, between 102 and 106.

Poetovio

the emperor trajan established a

[imp(erator) Caes(ar) Divi nervae f(ilius) nerva traianus aug(ustus)]

colony in poetovio after the thirteenth

legion Gemina had left the city, sometime

[Germanicus Dacicus Po]ntife[x maximus]

between 98 and 102. it was given the

[tribunicia potestate ... imp(erator)] iiii co(n)s(ul) v [pater patriae]

official name Ulpia Traiana after trajan’s family name and cognomen.

[Coloniae ulpiae trai]anae Poet[ovionensium]

Colonies were cities with limited

[forum dedit?]

autonomy that the romans established

in conquered territory and settled by

tHe eMperor Caesar nerva traJan auGustus, son oF tHe deiFied nerva, Conqueror oF

roman citizens. each colony was allotted

GerMany, Conqueror oF daCia, pontiFeX MaXiMus, in His ... year oF tribuniCian poWer, Four a territory and part of its arable land was

tiMes aCClaiMed ImPerATor, Five tiMes Consul, FatHer oF His Country, built tHis ForuM (?) distributed among the immigrants.

For tHe Colony ulpia traiana poetovio.

Colonists from italy immigrated to

poetovio, as well as retired soldiers, who

had received a retirement bonus in either

cash or land.

the beginnings of poetovio as a colony

the fragment of a building inscription found at vičava, which can be reconstructed with trajan’s are marked by large and state-financed

name, titles and functions, reveals that the building projects; public buildings were

emperor ordered an important public structure to put up in the city centre, the bridge across be put up, possibly a forum (central square with administrative buildings); this occurred between the drava was either newly constructed or

102 and 106. before becoming emperor, trajan was renovated, roads were renovated.

governor of the province of pannonia sometime between 92 and 98; it is therefore possible that he

• Greatest extent of Poetovio in the 2nd and 3rd centuries.

was personally familiar with poetovio.

XiV

XV





BRIdGE ACROSS THE dRAVA

BuILdING INSCRIPTION OF THE EMPEROR HAdRIAN

tHe eMperor Caesar traJan Hadrian auGustus, son oF tHe deiFied traJan, Conqueror oF partHia, Grandson oF

tHe deiFied nerva, pontiFeX MaXiMus, in His siXteentH year oF tribuniCian poWer, tHriCe Consul, FatHer oF

When still a young officer,

• Marble head of the Emperor

His Country, proConsul, bridGe ...

Hadrian (117–138). The part

hadrian travelled from

from the neck down is a modern

Italy to join his detachments

addition. Unknown site, first

stationed at Aquincum (present-

half of the 2nd century.

day Budapest) and on his way

In 1912, a fragment of an inscription slab was found at the Drava together with stone blocks and dedicated a large altar to Jupiter at

wooden piles. The slab would have been more than five metres long when complete. It tells of the Poetovio. Upon becoming emperor,

construction work on the bridge in the time of the Emperor Hadrian (117–138) and was originally he fostered the development of

positioned on the arch marking the entrance to the bridge across the Drava. The fragment was the new colony by financing the

found on the current right bank, which was the left bank in Roman times, as the river changed its construction or renovation of a

course on several occasions throughout history.

roughly 200 m long stone bridge

across the River Drava, in AD

132 also the renovation of the

[im]p(erator) C[aes(ar) Divi traiani Parthici fil(ius)]

main northbound road through

Poetovio.

Divi [nervae nep(os) traianus hadrianus augu(ustus)]

pon[tifex maximus trib(unicia) potest(ate) Xvi co(n)s(ul) iii p(ater) p(atriae) proco(n)s(ul)]

[p]onte[m - - - ]

Found in proximity to Hadrian’s building inscription was also a marble slab that had once formed part of the ceiling of the arch that stood at the entrance to the bridge across the Drava. It bears a bundle of lightning bolts – the attribute of the supreme god Jupiter, protector of the Emperor Hadrian – depicted within a moulded and decorated frame. First half of the 2nd century.

XVi

XVii





ROMAN

MILITARY dIPLOMA

The bronze tablet with five lines surviving of the a legal marriage ( conubium). These two privileges gave inscription was found in Vičava in 2011. It was recov-the men previously without Roman citizenship the ered from a layer dated to the late 1st–early 2nd century.

opportunity of climbing the social ladder, they were It is part of a military diploma, which is a modern also an incentive for military service.

name for a pair of bronze tablets tied together with The diplomas were made individually, one for each wire and bearing a double transcription of the issue soldier, and only in the central office in Rome; this with which the Roman emperor granted privileges to made them uniform in appearance. The original impe-a soldier on his honourable discharge from the army.

rial decrees ( constitutiones), which the bronze tablets It served to the recipient as proof of having been copied, were written on bronze plaques and displayed granted Roman citizenship ( civitas) and of the right to on the walls of different public buildings in Rome.

partially reconstructed, the inscription on the diploma from poetovio reads:

• Fragment of a Roman military

diploma made of bronze.Vičava, konec

[imp. Caes(ar) ---

1. st.

equitibus et peditibus qui militant in alis --- et cohortibus --- quae apellantur --- et --- -u]m vetera[na et --- et quae sunt in moesia Superiore s]ub iulio Cand[ido stipendiis emeritis dimissis ho]nesta miss[ione ipsis liberis the missing beginning of the

granted and the fifth line part of

tiberius iulius

posterisque eorum civ]itatem ded[it et conubium text named the emperor with his

the formula on granting the right

candidus Marius celsus

cum uxoribus quas tun]c habuisse[nt cum est titles under whom the diploma

to a legal marriage ( conubium).

became provincial governor and

civitas iis data aut si qui caelibes essent cum had been issued, as well as the

the missing text that followed commander-in-chief of the army iis quas postea duxissent, dum taxat singuli number and full names of the

further down noted the date and

in upper Moesia (present-day

singulas. ---

army units of the soldiers granted the names of the consuls, the serbia) presumably in the autumn

------]

citizenship.

name of the unit in which the

of 96. the recipient of the diploma,

the first surviving line

recipient of the diploma served,

who most likely participated in the

relates part of the name of the

his personal name and rank,

dacian Wars fought in the late 1st

unit ( veterana), the second

century, was discharged under his

translation with the reconstructed parts:

the statement that the text was

names the governor of the

copied and checked from the

governorship, possibly during the

province of upper Moesia, Julius

bronze tablet attached in rome

brief reign of the emperor nerva

tHe eMperor … Granted CitizensHip to tHe CavalryMen and inFantryMen WHo served in [nuMeral] alae and Candidus, the third line mentions

(96–98) or early in the reign of

[nuMeral] CoHorts Called … and … (niCknaMed) veteran … tHat are stationed in upper Moesia under tHe to the wall of a public building,

CoMMand oF Julius Candidus, Honourably disCHarGed (aFter 25 or More years oF serviCe and WHose naMes honourable discharge ( honesta

as well as the names of the seven

trajan (98–117). He may have been

are Written beloW), and to tHeir CHildren and desCendants, as Well as tHe riGHt oF leGal MarriaGe WitH

missio), the fourth line relates

witnesses confirming the text to

part of the first wave of colonists

tHe Wives WHoM tHey Had WHen CitizensHip Was Given to tHeM or, iF any are unMarried, WitH tHose WoMen that citizenship ( civitas) was

to poetovio.

WHoM tHey MiGHt Marry later, WitH only one WiFe For eaCH Man...

be an exact copy of the original.

XViii

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MuNICIPAL

AdMINISTRATION

ANd PuBLIC

OFFICES

poetovio rapidly grew into the largest city

between the northern adriatic and the danube.

it was run by individuals from italy born in the wealthiest of roman families. apart from immigrants, local people of Celtic descent

also lived in the city. From the late 2nd century onwards, immigrants included those from the

eastern Mediterranean.

important public offices at poetovio gave it special status within a wider region. the archives and the records office ( tabularium) for upper pannonia were established here, as well as the central office for inheritance tax for both the upper and lower pannonia ( XX hereditatum ultrarumque Pannoniarum). From the time of Hadrian (117–138) onwards, the city held the central office for illyrian customs that covered

• Ear of a life-sized bronze statue, foot

a large area from bavaria to the black sea and of Panorama. It was the statue of an

involved roughly fifty customs posts. the public important person that probably stood

offices were located at the western outskirts of at the highest point along the main road

connecting Poetovio with large towns

the city, at spodnja Hajdina.

along the Danube.

CITY

TERRITORY

As all Roman towns and cities, Poetovio also had its territory. In the west, it included at least part of the Pohorje Hills and their marble quarries, while it presumably incorporated the spa town of Aquae Iasae (Varaždinske Toplice) in the west.

After the division of the province Pannonia to its upper and lower parts

• City territory of Poetovio.

between 103 and 106/107, Poetovio came under Upper Pannonia.

XX

XXi





CENTRE

The marble altar,

dedicated to the

OF POETOVIO

supreme god Jupiter,

was set up by Tercius,

ON PANORAMA

a slave employed as

an official of the tax

administration at

one of the central parts of the city was located investigations also revealed the houses of the Poetovio. The altar

on the hill of panorama. it was probably built-city’s rich, with numerous rooms, some with

probably dates to the

up according to a pre-conceived plan in the first underfloor heating, baths with semi-circular or period of the joint

half of the 2nd century. individual buildings were circular rooms, porticoes and wall paintings. on reign of the Emperors

subsequently subject to renovation and adaptation the summit of panorama was a square building Caracalla and Geta,

works, at least until the end of the 4th century.

with a triple ambulatory, possibly one of the most from February 211 to

the streets were paved either with gravel or prominent sanctuaries in poetovio. the stone February 212. It was

with large stones and formed a rectilinear grid with remains from panorama suggest the existence of reused as lining in a

two small squares. an aqueduct led to panorama other sanctuaries. in the late 4th century, an early Late Roman grave on

from the catchment area in the valley of the Grajena Christian church was also built near the summit.

Panorama.

stream, roughly 3.8 kilometres away.

large parts of the city were abandoned in the some of the buildings were long and narrow,

troubled times of the first half of the 5th century.

composed of a series of small rooms connected Cemeteries spread among the ruinous houses until with a long corridor or porticus; they were

poetovio was finally abandoned in the middle of the

[i(ovi) o(ptimo) m(aximo)

workshops, stores and humble dwellings.

5th century.

pro salute

• Proposed reconstruction of the buildings on Panorama.

................. au]

View to the southeast.

g[[g]](ustorum) nostrorum

tabul(arii) vectigal(is) ill

yric(i) et vil(ici) stat(ionis) Po

etovionensis

tertius ser(vus) ex voto.

to Jupiter, best and Greatest,

terCius, slave oF tHe taX

adMinistration For illyriCuM

and ManaGer oF tHe taX oFFiCe

in poetovio, (set tHis up) in

aCCordanCe WitH His voW For

tHe WelFare oF ... our eMperors.

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CRAFTS

Poetovio was a major production and trade centre.

Archaeological evidence suggests the existence of casting, blacksmithing, glassmaking, stonemasonry and bone processing workshops.

The pottery workshops at Poetovio exploited the deposits of high-quality clay in the vicinity and met a sizable proportion of the local demand for pottery across four centuries. An extensive potters’ district has been recorded in the eastern part of Poetovio, at Rabelčja vas, where quality table and cooking wares were produced, as

• Bronze finger ring with the

well as oil lamps and bricks.

inscription L.VALL/ERIVS TA/GILVS

was found in a lavish building near

Poetovio’s pottery products had a market that mainly the summit of Panorama. It may have

• Roof tile ( tegula) with an incised

• Decorated wall stucco.

reached 40 to 60 kilometres outside the city. The navigable belonged to a member of the prominent

image of a horse. It was reused as the

Panorama.

Drava, flowing to the east and already used to export Poetovio family of Valerii. Second half of

cover of a Late Roman grave on the

the 2nd or first half of the 3rd century.

products of Pohorje marble, enabled the products to reach north slope of Panorama.

areas as far away as northern Serbia.

The textile industry was also well-developed.

Diocletian’s Edict of Maximum Prices from the beginning of the 4th century mentions a brooch-fastened garment, probably female, produced in Poetovio ( fibulatorium Petovionicum) with the price tag of 5000 denarii (which is the value of 200 daily payments of a farm worker).

These garments were apparently of such high quality and

•

their production so substantial, that they represented a Flute, half-worked horns, chisels, nails and a whetstone found in a workshop of bone and

merchandise of importance on an empire-wide scale.

horn products. Horn, iron, stone, Vičava,

• Silver finger ring from Panorama.

1st–3rd century.

Second half of the 3rd century.

• Fragments of wall paintings.

• Gold finger ring. Vičava,

Vičava, 2nd century.

late 3rd/4th century.

• Mortars with spouts in the shape of

a pig’s head were produced in Poetovio.

Panorama, 2nd–3rd century.

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PANORAMA –

RITuALS

THE CuLT CENTRE

In Roman times, it was imperative to publicly OF POETOVIO

participate in collective rituals and thus to identify oneself as a member of a community. The supreme Roman gods, the cult of the emperor, mythology and divine worship were as important as the interests of in addition to other functions, panorama was also one of poetovio’s cult centres. it the state and cults in the public interest were usually yielded stone monuments and their fragments dedicated to Greco-roman, oriental and state financed. Roman religion was inclusive and indigenous deities that tell us of the religious cults practised here. these took place in flexible, and incorporated numerous foreign religious small sanctuaries arranged in the interiors of commercial-residential buildings, there and magical practices, mainly Greek and Oriental, but was also a large sanctuary located at the summit, possibly as part of a religious complex.

also local – Celtic, which were particularly common it might have been dedicated to Jupiter depulsor (averter of evil and healer), originally in the Poetovio area. There were frequent instances a Celtic divinity who became one of the most revered roman gods in the south-eastern of syncretism, i.e. the amalgamation of different alpine area; poetovio was one of the centres of his cult.

cults. In such a colourful pantheon, each individual could find his or her own way of practising religion and a personal relationship with the gods he or she supplicated.

Performing sacrifice was the central act of any cult practice. It began with the music of a flute or lyre and

• Fragment of a relief slab showing men offering proceeded according to the rules pertaining to the sacrifice, dressed in a toga that ritually veils the head. They are sprinkling incense or pouring worship of a particular divinity. Incense, libations, libation on a decorated altar. The priests – public plants or specific animals were offered on the altar.

officials – were tasked with performing public Sacrifice took place in the open, at the altar located rituals, sacrificing to the Lares that watched over the community, or to the Genius of the Emperor in front of a sanctuary and in front of the assembled who protected the ruler. Marble, Vičava,

community. The ritual was performed by figures of 2nd–3rd century.

authority, dressed in a toga worn so as to expose the hands and cover the head.

Within the private sphere of a family, it was the father who performed the rituals, while members of the family assisted him. Sacrifices on household altars were offered to the Lares, Penates, ancestors and the Genius of the family.

• Ritual vessel with three handles, with

• Proposed reconstruction of the large

snakes slithering up the handles. Pottery,

sanctuary that stood on top of the Panorama

Panorama, 2nd–3rd century.

hill, 2nd–3rd century.

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VOTIVE OFFERINGS

SACREd SPACES

NuTRICES

Votive offerings have a long history, from

Panorama revealed a large building with

Nutrices were the protectors of

prehistory to modern times. People made offer-rooms in two rows and a corridor on either side, families and the health of children.

ings to gods either as an act or reinforcement part of which was excavated in 1911. Two of the In Roman times, the mortality

of their supplication or in exchange for a certain rooms, with wall paintings, contained numerous rate in early childhood is known

favour they had been granted. In Antiquity,

fragments of marble relief slabs, some with

to have been high across all social

vo tive offerings were often deposited in

inscriptions, and marble statues. There were also classes, and it was not unusual

sanctuaries or other sacred places.

three plain marble slabs positioned vertically in for individuals of very different

The lead votive statuettes from Panorama

a manner to suggest they enclosed a water spring standings to turn to them for

are made in low relief in a two-piece mould.

or a fountain. Different deities were venerated in help, from the city’s elite to the

Their manufacture was quick, simple and cheap.

these sacred spaces in the 2nd and 3rd centuries: slaves, from Roman citizens to

Some are fitted onto a pedestal and stand on Nutrices, Domna and Domnus, Liber, Silvanus, indigenous inhabitants, locals to

their own, others are depicted inside a frame that Salus and Aesculapius, Bacchus and Venus.

immigrants. The large number of

represents a shrine ( aedicula) and were probably The highly fragmented stone slabs with cult

stone monuments dedicated to

hung from or attached to an object. The statuette images and stone altars reveal a violent end of them at Poetovio is evidence of

fragments have been found in the area of the the old gods. This may have occurred after the their popularity in the area. In fact,

large sanctuary on Panorama and represent

end of the 4th century, when Christianity became the Nutrices were worshipped in

female divinities symbolising fertility, fortune the only tolerated religion in the Roman Empire.

this manner only in the Poetovio

and abundance.

area, suggesting it is a cult with

indigenous roots. A sanctuary

dedicated to the Nutrices also stood

on Panorama.

Their veneration was very popular in

the 2nd century. It gradually stopped

in the second half of the 3rd century

and was later banned, together

with all other pagan cults, and the

sanctuaries destroyed. The marble

slabs dedicated to the Nutrices

originally stood in a sanctuary and

were reused in the Late Roman

period, in the 4th century, as lining

for grave pits. However, a deep-

seated belief in mother goddesses

survived the ages and can be found

in the popular tradition, while the

Virgin Mary took over their role

in Christianity.

• Three goddesses (possibly nymphs or Parcae) within a

• Sacred rooms in which different deities were once frame. Lead, Panorama, large sanctuary, 2nd–3rd century.

venerated. Excavations on Panorama in 1911 (adapted from Jahreshefte des Österreichischen archäologischen Institutes

• Statuette of a Nutrix breastfeeding a child.

in Wien 17, Beiblatt, 1914, Fig. 68).

Marble, 2nd–3rd century.

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nutricibus aug(ustis) sacr(um) t(itus) Cassius nutricibus aug(ustis)

verinus, dec(urio) col(oniae) Poet(ovionensium), sacr(um) P(ublius) mi+[ ---].

praef(ectus) fabr(um), praef(ectus)

pro ii vir(is) et Donnia maximilla con(iunx) TO THE AUGUST NUTRICES, PUBLIUS MI[ ---]

CONSECRATED (THIS MONUMENT).

pro salute t(iti) Cassi Severi fili.

TO THE AUGUST NUTRICES, TITUS CASSIUS VERINUS, MEMBER OF

• Fragment of a votive relief slab with part of the inscription. The woman POETOVIO’S CITy COUNCIL, OFFICIAL IN CHARGE OF THE GUILD OF

on the left has a platter with loaves of bread or pastry on her head, holding CRAFTSMEN, ACTING MAyOR, AND HIS WIFE DONNIA MAxIMILLA it with both hands. The woman next to her is holding a nude child above CONSECRATED (THIS MONUMENT) FOR THE WELFARE OF THEIR SON

the altar. The altar and the Nutrix standing to the right are missing. Middle TITUS CASSIUS SEVERUS.

or second half of the 2nd c.

• Damaged votive relief slab with an inscription. The woman on the left is holding a lamp or a bucket in her right hand. The central figure holds an infant over the altar, turning the infant towards the Nutrix. The goddess is depicted sitting on the right, breastfeeding a naked infant. Middle or second half of the 2nd c.

nutricibus aug(ustis) sacrum. L(ucius) fusc(inius)

• Fragment of a votive relief slab with a missing inscription. The woman exsuperatus, aug(ustalis) col(oniae)

on the far left is holding a lamp in her lowered right hand and with her left hand holds a basket with fruit or pastry on her head. Standing next to her Poet(ovionensium) et

is a woman with a swaddled infant. The woman on the right side is holding

[ae?]lia honorata pro salute

a naked infant over the altar, turning the child towards the missing Nutrix who would have been depicted on the far right. 2nd c.

[. f]uscini honorati fil(ii) v(otum) s(olverunt).

TO THE AUGUST NUTRICES, LUCIUS FUSCINIUS ExSUPERATUS, PRIEST

OF THE IMPERIAL CULT AT POETOVIO (AUGUSTALIS), AND AELIA HONORATA CONSECRATED (THIS MONUMENT) FOR THE WELFARE OF

THEIR SON FUSCINIUS HONORATUS.

• Damaged votive relief slab with an inscription. The woman on the left is balancing a basket on her head with the help of a ribbon or strap on each side.

The central figure is holding a naked infant over the altar, turning the infant towards the Nutrix on the right who is sitting and breastfeeding a swaddled

• Damaged votive relief slab with an inscription. The woman on the left infant. Mid-2nd c.

is holding a basket with fruit or pastry on her head. The central figure is also holding a basket with fruit or pastry in her left hand, offering sacrifice on the altar. On the right is a sitting Nutrix breastfeeding a naked infant.

nutricibus aug(ustis) sacr(um)

Panorama, middle or second half of the 2nd c.

vitalis et vi[n]tumila coniugi pro

maximilla f(ilia)

[nutricib(us)] aug(ustis) aelia vera

v(otum) s(olverunt) l(ibentes) m(erito).

[pro salute ? --- ]iar() antoniae f(iliae)?

TO THE AUGUST NUTRICES, VITALIS AND HIS WIFE VINTUMILA CONSECRATED

[--- anto]ni fili v(otum) s(olvit)

(THIS MONUMENT) FOR THEIR DAUGHTER MAxIMILLA, WILLINGLy AND

DESERVEDLy FULFILLING THEIR VOW.

l(ibens) m(erito).

• Votive relief slab with an inscription. Sitting at either end of the relief is a Nutrix, breastfeeding a swaddled infant. Between them is a woman, possibly a mother, who is TO THE AUGUST NUTRICES, AELIA VERA WILLINGLy AND DESERVEDLy FULFILLED HER

holding a votive vessel in her right hand and offering sacrifice on the altar, and with her VOW FOR THE WELFARE (?) OF HER DAUGHTERS (?) ANTONIA AND … AND (?) SON …

left hand holding the hand of a girl. Late 2nd–first half of the 3rd c.

XXX





LIBER PATER

Liber Pater and Libera are ancient Italic gods of fertility and vegetation associated with arable farming. Liber was identified with Dionysus/Bacchus. Both gods are connected with wine and viticulture, which has been practised at Ptuj from the Roman period onwards.

Lib(ero) p(atri) a[---]

vital[is v(otum) s(olvit) l(ibens) m(erito)]

TO LIBER PATER, A[---]

VITALIS WILLINGLy AND DESERVEDLy FULFILLED HIS VOW.

• Fragment of a votive relief slab with an inscription. The surviving relief shows a recumbent panther and below it the inscription in two lines.

Marble, Panorama, 2nd–3rd century.

• A small sanctuary, set up in two rooms within the large building on the Panorama hill, revealed several relief slabs of the cult of Domna

• Damaged statue

and Domnus. One of them bears the central depiction of the goddess flanked by snakes and the heroic mounted twins trampling (presumably) of Silvanus as a young

human figures. Above them, in the celestial sphere, are Sol (Sun) and Luna (Moon). A narrow frieze below, depicting a lion, a vessel and a fish, man, wearing a cloak

separates the central from the bottom scene that shows initiation and sacrifice. 2nd–3rd century.

over his shoulder. He

holds a pruning knife in

his left and a branch in

his right hand. Marble,

Panorama, 2nd–3rd

century.

dOMNA ANd dOMNuS

SILVANuS

Traces of the cult of the divine couple – sun god objects. The goddess occupies the central place in Silvanus was an Italic divinity whose name ties and earth goddess – have mainly come to light in the the cult’s iconography, suggesting that He was likely him to the forest. He was the protector of forests and Roman provinces along the Danube. Their sacred an exalted creator, while She was the divine mother, fields, also of livestock, and was mainly venerated in names are unpronounceable and shrouded in secrecy, provider and saviour, to whom followers turned with wooded and arable farming areas. Silvanus’ action was hence their worshippers referred to them simply their supplications. The mystery cult reached its peak in nature, outside the civilised world. His attributes, as Domna et Domnus, which roughly translates as in the 2nd and 3rd centuries. Similarly as Mithraism a pine branch and pruning knife, were symbols of the

‘Ma’am and Sir’. Hundreds of images in lead and and Christianity, it presumably promised a religious forest and of tree growing; he cultivated the wilderness stone show scenes and symbols of their cult that also experience, rebirth and salvation through discipline, and brought prosperity.

involves an array of assistants, sacred animals and sacrifice and purification.

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AESCuLAPIuS ANd SALuS

Aesculapius and Salus – the divine pair of father and daughter – are Roman gods of healing and welfare.

Their priests in numerous sanctuaries and health resorts healed and at the same time performed healing rituals. The gods’ typical attributes are snakes and fire, both associated with fertility and renewal, as well as the power over life and death. Because of its healing powers, the snake was and still is a symbol of pharmacy.

• Fragment of a relief slab. It depicts Salus to the left, with her head ritually veiled and with a snake coiling around her right arm. Bearded Aesculapius is shown on the right. Marble, Panorama, 2nd–3rd century.

PRIAPuS

SOL

The cult of Priapus, ancient god of fertility, mainly Sol (Sun) is at the centre of the universe and In Late Antiquity, his worship was increasingly developed in the pastoral and arable farming areas of rules over stars and planets. Every day, he drives his important. As Sol Invictus (Invincible Sun), he Greece, whence it came to Italy and into the Roman flaming chariot drawn by four wild horses across became a central deity and symbol of the emperor.

pantheon. Priapus protected and encouraged all kinds the firmament. The annual and daily cycle of the It is not unusual for the winter solstice, which is of procreation, including that of livestock and plants sun makes him an omnipresent deity who can see the birth of the sun in calendar fertility cycles, to be that grew abundant crop, particularly the vine. His everything from his chariot and is the universal considered the birthday of saviours, among them also images would often be placed in gardens and fields, as provider of vital energy. As such, he is associated with Mithras and Jesus, who actually borrowed numerous well as field boundaries.

other Oriental solar deities and mystery cult figures, characteristics from Sol.

such as Mithras, as well as Domna and Domnus.

• Fragment of a relief slab with an inscription. It depicts Priapus bearing fruits of nature. His large and erect penis was perceived as

• Fragment of a large relief slab. There is a marine creature, presumably hippocampus or snake, in each of the spandrels. Below them, Sol is effective protection against demons and magic spells. The inscription depicted under an arch, wearing a radiate crown with nine rays, a long-sleeved tunic and a cloak billowing out behind him. His right hand is T( erminus) Fel( ix) below the depiction shows that the slab served as raised with the palm towards the spectator. The part of the relief with a four-horse chariot is missing. Marble, Muzejski trg, 2nd–3rd century.

boundary protection. It may even have protected the boundary of the pomerium, the legally and ritually determined and marked sacred ground of any Roman city, in this case the pomerium of Poetovio.

Marble, Panorama, 2nd–3rd century.

XXXiV

XXXV





D(eo) i(nviCto) m(ithRae) a[---]

et aur(elius) v[---]

[-----?]

TO THE INVINCIBLE GOD MITHRAS, A[–] AND AURELIUS V[–]

(CONSECRATED THIS MONUMENT)

• Fragmented relief slab with

an inscription. It shows Sol in

the upper left corner. Below

MITHRAS

him is the head of Cautopates.

The arch to the right

presumably held the image of

Mithras and Sol are allies, their roles intertwining, and represent the male the bull-slaying Mithras, while

element and the highest divine power. As such, they stand for absolute power Luna would have been shown

and are also protectors of soldiers. Mithraism is a mystery religion based on to the left of the arch, opposite

Sol. The association of Sol and

the cycle of life and death, and the harmony of opposites, in the broadest sense Luna symbolised a day and

the harmony of good and bad, and on salvation. It also stands at the transition cyclic eternity. The slab formed

to monotheism. During its development, it incorporated the elements of part of the furnishings of a

mithraeum, as yet unidentified

Gnosticism, Christianity and other religions, and influenced them in turn.

and located in the area of

Panorama or Vičava. Marble,

Vičava, 2nd–3rd century.

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XXXVii





authors of teXts

jana horvat

aleksandra nestorović

ZRC SAZU, Institute of Archaeology

Ptuj – Ormož Regional Museum

Latin transLation and comments

archaeoLogicaL

pubLic reLations

(passage from tacitus, dipLoma)

maps

Metka sterGar

Milan lovenjak

vida bitenc

Ptuj – Ormož Regional Museum

University of Ljubljana, Faculty of Arts, Department of History

pLans for the reconstruction

museoLogicaL guideLines

of the buiLdings on panorama

verena vidrih Perko

information on the roman bridge

and its dating

branko Mušič

Museum of Gorenjska

andrej GasPari

photographs

University of Ljubljana, Faculty of Arts, teXt reVieWs

Department of Archaeology

boris farič

andrej Preložnik

Ptuj – Ormož Regional Museum

University of Primorska, Faculty of Humanities, support for eXhibit seLection

Department of Archaeology and Heritage

and preparation, eXhibit data

draWings

janka istenič

Marija lubšina tušek

nejka uršič

National Museum of Slovenia,

Maja janežič

Ptuj – Ormož Regional Museum

Department of Archaeology

both Institute for the Protection of Cultural Heritage, CPA taMara korošec

Marjeta šašel kos

ZRC SAZU, Institute of Archaeology

anja raGolič

support for eXhibit seLection

both ZRC SAZU, Institute of Archaeology

avGusta, d. o. o.

museum records

valerija lešnik

engLish transLation

Latin transLation

iva ciGlar

andreja Maver

(epigraphic monuments)

both Ptuj – Ormož Regional Museum

Marjeta šašel kos

cataLogue design

anja raGolič

eXhibit restoration

MiliMeter studio

both ZRC SAZU, Institute of Archaeology

saška colnarič

pubLished by

graphic interpretation of eXhibits

Institute for the Protection of Cultural Heritage, RC

the Ptuj – orMož

Petra žvab rožič

nina Mertik

reGional MuseuM

tanja nuša kočevar

danilo Goričan

helena Gabrijelčič toMc

both Ptuj – Ormož Regional Museum

aleksander lorenčič

all University of Ljubljana, Faculty of Natural Sciences dejan Pfeifer

director on its behalf

and Engineering, menthors

aleksandra nestorović mentor

support for restoring

eXhibition and pubLication

Large stone monuments

jerneja sotlar, jernej kapuš,

made possibLe by

špela košir, Maruša Možina,

eva ilec

Ministry of culture,

ferdi jajai, anja štamcar, lucija sotlar, Ptuj – Ormož Regional Museum

MuniciPality of Ptuj

anja škerjanc (collaboration in 3D printing), and Ptuj – orMož

nuša videc, špela vučak

pedagogicaL programs

reGional MuseuM

students of the Faculty of Natural Sciences Metka sterGar

and Engineering, Faculty of Arts,

renata čeh

both University of Ljubljana

both Ptuj – Ormož Regional Museum

ptuj, 2021

XXXViii

45

XXXiX





Študentski inovativni projekti za družbeno korist 2016–2020, 3D-rekonstrukcija mestne četrti antičnega mesta Petoviona.

The investment is co-funded by the Republic of Slovenia and the European Union from the European Social Fund.

XL