Funerary Monuments

The article deals with the results of a study conducted as part of the DFG research project "Römische Grabdenkmäler aus Augusta Treverorum im überregionalen Vergleich". The aim is to provide an answer to the question of which chronological, iconographic, and typological criteria distinguish funeral altars from the Treveri region from examples in Rome and Northern Italy. This article examines altars with decoration of sea creatures, which were re-used as spolia in a Roman castle in Neumagen. The results of the study show that the monument form not only appears in the Moselle region later than in Rome and Northern Italy, but also that characteristic forms are developed here not only in formal terms, but also in the choice, combination, and design of the pictorial elements. This pictorial language, created in the provincial area, is characterized both thematically and visually by a special differentiation.

Cette intervention porte sur le phénomène de l'apparition de l'épigraphie funéraire en Grèce archaïque. Après avoir fait le point sur la vision dominante actuelle sur les funéraires (1), et tenté de convaincre que cette lecture (ou ces lectures) est, au mieux, partielle, et, de toutes manières, insatisfaisante du point de vue historique, il a été proposé d'opérer d’abord un retour à la documentation (2). Puis une autre vision de celle-ci (4) est suggérée, non sans faire un détour par quelques cas d’étude hors de Grèce, et hors de l’Antiquité (3) avec quelques cas d'études comme les stèles basques (époque moderne), les stèles juives (époque médiévale) et armoricaines (VIe-Ve av. n.è.) ou encore certains épisodes de la Genèse.

Analysis o f the iconographical programmes fhat appear in the panfheons and mausoleums of'the cemenfary in fhe city oJHellin. The modernisf panfheon of'the Navarro,family and fhegothic one o f fhe Izquierdo,family are amongsf fhe mosf notable examples. In fhe,former fhere are allusions lo classical myfhology and in fhe latter fhejigures of fhe Virtudes. In [he paper lhere is un analysis o f lwo cenofaphs Ni fhe counfryside arottnd Hellin, the one in Navas de Leza is inferesiing jor ifs archifecfure as well as,for its inscripfions.

This paper looks at the monument in Chelsea Old Church to Lady Jane Cheyne, first wife of Charles Cheyne. The monument is unusual in that there survives extensive correspondence between the patron and his agent in Italy. The overall style of the monument is discussed along with its place within English commemorative sculpture. The paper then goes on to consider three similarly posed monuments of the 1670s by John Bushnell and the possible influence the Cheyne monument had on the design of these other three. The contribution of the design of these three monuments to the Wider styles of commemorative art of the period is also considered.

This study addresses the issue raised by a funerary monument accidentally discovered in the area defined by archaeologists as the “eastern necropolis” of Colonia Aurelia Apulensis, component of the Apulum conurbation, the most significant city in the imperial province of Dacia. The monument was excavated under unfortunate conditions, somewhere in the years 2002–2003, during the connection of a private household to the city’s water network. Due to the lack of specialized supervision by archaeologists, the monument was brutally removed from its original context (in situ) by an excavator, which struck and partially damaged a portion of the figurative scene depicted on the funerary
monument. The current holder of the cultural property, a collector from
Alba Iulia, was informed about this situation. He is the one who recovered the monument, restored it, and exhibited it within his collection at his residence. To conclude, the study also addresses the legal aspects regarding the ownership regime of such cultural goods, namely the legality of private collections of antiquities in cities that are overlapping archaeological sites, emphasizing the lack of involvement of public institutions in managing the evolution of these
phenomena.

Насилне промене друштвеног уређења, посебно атентати на државне поглаваре, жртвама осигуравају својеврсну митску димензију, довољно потентну да заобиђе цензуре и ограничења политички мотивисаног заборава. На том фону, трагика драматичног краја који су искусили кнез Михаило Обреновић, односно краљ Александар и краљица Драга, намеће се као кључан фактор њиховог постхумног меморисања. Она их је обесмртила на позоришној бини, на целулоидној траци и пред телевизијским камерама, док су у литерарној сфери остајали актуелни у ширем распону од „канонизоване” књижевности, преко мемоаристике и историјских романа, до популарних „љубића” и крими прича. Жртве два кобна 29. маја, 1868. и 1903. године, довођене су и у контексте Шекспирових трагедија, при чему су нарочито успеле паралеле прављене са Магбетом. Од свих Бардових драма, Магбет, иако најкраћа, најподробније третира мотив регицида, представљеног не само као оглушење о државне законе, већ и o божански устројен поредак који је монарсима вековима прибављао ауру сакралности. Услед изостанка људске реакције, у Магбету природа подиже свој глас посредством злокобних знамења и привиђења која и данас распаљују машту писаца и уметника. На наликујућ начин, и мучна, готово фантазмагорична атмосфера ишчекивања крвавог пира у београдском Кошутњаку и Старом конаку оголила је известан магбетовски квалитет који су препознали савременици кнеза Михаила и последњих Обреновића, у првом реду Ђорђе Малетић, Пера Тодоровић, Драгиша Васић, као и Ана Војка Луњевица, најмлађа сестра убијене српске краљице. Рад анализира на који начин су ови аутори посегли за предоченом аналогијом, успевши да, у извесном смислу, у својим делима избришу границу између историјске истине, на једној, и књижевности и друштвене имагинације, на другој страни.


Summary
Violent socio-political upheavals, especially the assassinations of state sovereigns, bestow victims with a mythical dimension potent enough to bypass censorship and the constraints of politically motivated forgetting. In this context, the death agony of Prince Mihailo Obrenović and the royal couple, King Aleksandar and Queen Draga, emerges as a pivotal factor in shaping their posthumous image. It immortalized them on the theatre stage and on the big screen, whereas in the literary sphere, their enduring impact has spanned from ”canonized” literature through memoirs and historical novels to trivial literature, including crime and spy fiction. The victims of the two bloody assassinations in 1868 and 1903, both occurring on the 29th of May, have also been placed within the framework of Shakespeare’s tragedies, with parallels to Macbeth being particularly noteworthy. Of all Bard’s plays, Macbeth, although the shortest, delves most extensively into the theme of regicide, presented not only as a violation of state laws but also as a defiance of the divinely established order that conferred an aura of sacredness upon monarchs for centuries. In the absence of human reaction, the natural order is rather apt to express its condemnation, raising its voice of somber warning through ominous signs and apparitions that continue to captivate the imagination of writers and artists. Similarly, the eerie and almost phantasmagorical atmosphere preceding the horrific events in Belgrade’s Košutnjak forest and, 35 years later, in the Old Palace (known as Old Konak), unveils a certain Macbethian quality recognized by the contemporaries of Prince Mihailo and the last royal couple of the line of Obrenović. The reality created by, as Jan Kott puts it, the ”great and true murder, with which history begins”, in reference to modern Serbian history is examined in this paper from the perspective of four genre-diverse works. These include the dramatic apotheosis Posmrtna slava kneza Mijaila M. Obrenovića (The Posthumous Glory of Prince Mihailo M. Obrenović) by Đorđe Maletić, the roman-feuilleton Smrt kneza Mihaila (The Death of Prince Mihailo) by Pera Todorović, Dragiša Vasić’s monograph Devetsto treća on the 1903 military coup d’état, and the memoirs of Ana Vojka Milićević Lunjevica, Queen Draga’s youngest sister, published under the title Moja sestra kraljica Draga (My Sister Queen Draga). The authors of these works were not only brought closer to Macbeth and the great Bard by this or that literary procedure or the appropriation of certain motifs and ”special effects”, but also by the historical circumstances and fate of the ruling figures they addressed, tailored to the measure of Shakespearean plotlines. In employing the presented analogy, they, to some extent, succeeded in blurring the boundary between historical truth on the one hand and literature and social imagination on the other.

Кроз интердисциплинарни приступ који обједињује књижевноисторијска и музиколошка истраживања, у раду је осветљено питање присуства, улоге и значаја музике на двору Обреновића. Истраживање дела документарно-уметничке прозе, са акцентом на мемоарским сећањима, из пера владара, државника, културних делатника и уметника, која сведоче о другој половини 19. века, поткрепљено је анализом музичких, нотних и других архивских извора о уметности двора. Разнородном сабраном грађом оживљене су слике конкретних музичких догађаја-у највећем броју оних из Старог и Новог двора у Београду, делимично из виле у Смедереву-њихових актера, основног музичког садржаја и рецепције. Уједно су осветљена питања статуса музичке уметности и различитих музичких пракси у специфичној служби владарске репрезентације, у националном и иностраном контексту.

Cimiteri e musei instaurano da decenni un dialogo plurivalente e complesso. Sviluppando questa osservazione, e considerato il riconoscimento dei complessi cimiteriali storici come musei d’arte plastica all’aperto, è possibile interrogarsi sulle dinamiche sottese alla migrazione di monumenti funebri dai “propri” recinti memoriali agli spazi museali definiti tali in senso stretto. Quali sono le implicazioni derivate da lasciti testamentari, donazioni e acquisizioni in termini di conservazione, valorizzazione e ri-significazione di manufatti originariamente destinati al contesto sepolcrale? Sebbene la casistica nazionale – e internazionale – sia piuttosto articolata, il contributo focalizza l’attenzione sul gruppo bronzeo Vita Eterna, concepito nel 1905 da Hendrik Christian Andersen in memoria del fratello pittore Andreas, e l’erma marmorea Ironia, Satira, Dolore, scolpita nel 1919 da Adolfo Wildt per commemorare l’artista Aroldo Bonzagni. Se luoghi di sepoltura e patrimonio scultoreo rappresentano un’entità unica e peculiare, la rimozione di singoli elementi potrebbe alterare alcuni equilibri relazionali. Allo stesso tempo, lo statuto dell’opera “transitante” subisce una variazione semantica e funzionale. Le ricontestualizzazioni potrebbero offrire migliori condizioni conservative; garantiscono, allo stesso tempo, opportunità di fruizione ideali e un’inte(g)razione adeguata fra monumento e nuova cornice espositiva?

Depuis son inhumation dans le caveau royal de l’église Notre-Dame-de-Bonsecours à Nancy en 1766, la dépouille du roi Stanislas fut l’objet de nombreux rebondissements. Profanée durant la période révolutionnaire, elle fut de nouveau exhumée à deux reprises au XIXe siècle. Si elle se trouve toujours aujourd’hui en Lorraine, certains fragments auraient été emportés en Pologne.

La famille Callot et les Cordeliers Terrassé par une maladie d'estomac, Jacques Callot mourut dans sa maison nancéienne de la Rue Neuve, actuelle place de la Carrière, le 24 mars 1635, à l'âge de 43 ans. Quelques jours auparavant, le matin du 15 mars, il avait pu dicter ses dernières volontés au sujet de sa sépulture au tabellion royal Dominique Wuillaume : « J'eslis ma sépulture au Couvent des Pères de l'Observance S t François, vulgairement dicts des Cordelliers, de ceste ville de Nancy, et veux estre inhumé au devant de l'Autel qui est au cloistre dudict Couvent et sur lequel on repose le S t Sacrement pendant les processions Ce numéro du Pays Lorrain paraît au même moment que l'ouvrage sur l'église des Cordeliers édité par la Société d'histoire de la Lorraine et du Musée lorrain. La publication du livre sur l'église des Cordeliers, destiné à faire référence, nous donne l'occasion de revenir sur l'histoire d'un des monuments les plus célèbres du lieu : le monument à Jacques Callot. Comme dans l'ouvrage sur les Cordeliers, Pierre-Hippolyte Pénet étudie le monument pour la période d'Ancien Régime, tandis qu'Étienne Martin l'envisage durant l'époque contemporaine. n Jacques Callot, La Carrière, 1628, eau-forte, Nancy, palais des ducs de Lorraine-Musée lorrain. La maison du graveur se situait au premier plan à gauche.

For future generations to gain insight into the invisible and utterly discarded lives of those who were often invisible and ignored by society such as maids, crofters, cottagers, innkeepers, lodgers or winemaker’s wives, their paths had to be crossed by a crime that has driven police investigators and judicial authorities to investigate the dilapidated
and abandoned details of their daily lives. However, it is very rare to come across any records of the lives of thousands of other women from the social fringes of inter-war Slovenian society who never compromised their anonymity by an excess of behaviour or an event. During the World Wars, the lives of farm workers could and often did end without any criminal record. The author of this article analysing the problem of great social stratification as the main social antagonism during the interwar period
concludes that even the most talented members of the peasant proletariat were unable to progress beyond the status of a worker, cook, washerwoman or maid due to social determinism. As a result, some of them sought to raise their social status by committing crimes.

Este artigo tem como objetivo analisar a construção da memória funerária da primeira dinastia portuguesa entre os séculos XII e XIV. Para tanto, investigamos a eleição dos lugares de sepultamento pelos monarcas da Casa de Borgonha, de D. Afonso Henriques (1143-1185), o Rei Fundador, ao último soberano da dinastia afonsina, D. Fernando (1367-1383), enfatizando a formação de panteões régios nos mosteiros de Santa Cruz de Coimbra e de Santa Maria de Alcobaça, para além da tentativa de se constituir mausoléus dinásticos no Mosteiro de Odivelas e na Sé de Lisboa. Em um primeiro momento, a partir da abordagem dos testamentos, analisamos as transformações das concepções sobre a morte no período e a sua relação com a escolha dos monumentos fúnebres pelos reis. Posteriormente, propomos problematizar quais os significados políticos dos lugares de sepultura da monarquia lusitana e as suas relações com a construção e evocação da memória real, e o seu uso na afirmação do poder monárquico no reino português durante a Baixa Idade Média.

Disponível em:
Dossiê: https://www.revista.ueg.br/index.php/revistahistoria/issue/view/749

Artigo:
https://www.revista.ueg.br/index.php/revistahistoria/article/view/14405

Abstract
The contribution deals with the cultural relations between Cyrenaica, Cyprus and Ancient Palestine in the Hellenistic-Roman period, focusing on the reflections in monumental contexts. The decisive initial phase of the long process of interactions, which will continue to have profound effects in the Roman era, hinged on the Lagid kingdom and its policy of influences, which were direct in the Ptolemaic possessions of the Eastern Mediterranean, with early outcomes even from the ideological aspect, and indirect and/or mediated in the other territories, but equally enduring and incisive. Among the various fields that well exemplify the monumental reflections of Alexandria’s relations with Cyrenaica, Cyprus and
Ancient Palestine, and of the three countries with each other, that of funerary architecture and particularly mausoleums is investigated. The topic is centered in the Kato Paphos Necropolis in Cyprus, where as early as 2014 the Italian Mission recognized ‘Tomb 8’ as the island’s first mausoleum, a grandiose three-storeys Ptolemaic monument, of which a great many architectural elements remain that were found during excavations in 1979-1982.

Il contributo illustra alcuni aspetti dei rapporti culturali tra Cirenaica, Cipro e Antica Palestina in età ellenistico-romana, concentrando l’attenzione sui riflessi nei contesti monumentali. La determinante fase iniziale del lungo processo di interazioni, che continuerà a produrre effetti profondi in età romana, è imperniata nel regno lagide e nella sua politica di influenze,
che furono dirette nei possedimenti tolemaici del Mediterraneo orientale, con esiti precoci anche sotto l’aspetto ideologico, e indirette e/o mediate negli altri territori, ma ugualmente durature e incisive. Tra i vari campi che ben esemplificano i riflessi monumentali dei rapporti di Alessandria d’Egitto con la Cirenaica, Cipro e l’Antica Palestina, e dei tre paesi tra loro,
viene indagato quello dell’architettura funeraria e in particolare dei mausolei. L’argomento viene incentrato nella Necropoli di Kato Paphos a Cipro, dove già nel 2014 la Missione Archeologica Italiana a Cipro ha riconosciuto nella ‘Tomba 8’ il primo mausoleo dell’isola, un grandioso monumento tolemaico a tre piani, dei quali restano moltissimi elementi
architettonici ritrovati durante gli scavi del 1979-1982.

This contribution discloses the finding of two Doric Friezes, reused in the cemetery of Penna in Teverina (Terni) and in the medieval fortified village of Soprano di Todi (Perugia). Starting from these artefacts, first the paper proposes a collection and a new interpretation of the funerary Doric Friezes known in Umbria. Then the settlement and historical vicissitudes of the Ameria's and Tuder's agri are analysed.

This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published with the author's prior consent.

This chapter investigates the relationship between materiality and textuality in the Hellenistic period, by focusing on real and imagined tombs of poets. At a time not only of feverish activity when literary texts were being collected, copied, catalogued, canonized, and archived, but also when contemporary poetry was carefully situating itself in relation to an emerging library culture, and, what is more, when texts were being reframed and circulated in the context of anthologies, the tomb as inscribed marker of the poet's literal corpus o ered a rich analogy to the physical objects that sustained his or her surviving corpus of work.

The former Spanish Sahara is the last remaining colony in Africa. Most of the local people have been living in refugee camps in Algeria for the last 40 years and this situation has largely conditioned the archaeological research in the territory for a long time. In spite of the Saharawi Ministry of Culture in exile occasionally collaborating with European academic institutions for the study of its huge archaeological heritage, the training of local archaeologists or initiatives exclusively aimed at targeting the self-management of the Saharawi Archaeology are rarely carried out. This could be due to the difficulties in getting funds for long-term projects in this area, among other factors. However, today's technological revolution has come to the desert including mobile telephones, televisions, computers and even an incipient Internet connection. At the same time, current digital technology has encouraged the development of new methods of documenting rock paintings, which might be appropriate and more accessible for the Saharawi technicians. This paper discusses the successful and failed aspects, as well as future perspectives, of a training course in rock art documentation intended for empowering local archaeologists who are living in very unfavourable circumstances.

Funerary monuments are often described not just as the “final resting place” but also as “symbolic honorary” monuments for the privileged members of society. In this respect, the region of Pisidia (Southwest Anatolia) has a long tradition, in which many cultural influences blend. Funerary monuments surrounding the ancient city of Seleukeia Sidera will be introduced in this presentation and their different types will be discussed. They clearly served as landmarks in the local landscape, displaying notions of status. Moreover, we will also raise the question of “who was buried in these extramural graves?”. Obviously, their significance is also related to death and the separation it entailed, constituting a source of profound anguish in the life of individuals as well as the sentiments of society. Therefore, these monumental buildings have been constructed and manipulated as a medium of self-representation throughout the ages and within different cultural contexts, because of their strong impact on the audience. But how these funerary monuments also became a landmark, marking the territory of the settlement, will be one of the foci of attention in this presentation.

This essay interrogates the social, political and aesthetic reasons why so many different patrons chose to be commemorated with a memorial made from alabaster. A single answer or neat explanation is not the aim of this contribution, but rather to offer two different perspectives: first, the popularization of alabaster through patronal networks; second, the alignment of its aesthetic qualities with the changing character of funerary effigies in the later Middle Ages. Finally, this essay considers the fragility of alabaster (its softness and vulnerability to moisture), exploring how these apparent material disadvantages could also be employed in ways that enhanced the symbolic meaning of the monument.

This article uses the latest epigraphic techniques to read the full text of the epitaph inscribed on the granite cupa discovered in situ in 1972 in the calle Marquesa de Pinares, Mérida and now displayed in the Museo Nacional de Arte Romano (inv. 17240), which throws light on female sociability at the colony of Augusta Emerita in the early second century A.D.

Katoliška veroizpoved je ena izmed najštevilčnejših po številu pripadnikov, toda Cerkev se sooča s številnimi škandali, med drugim jo pretresajo obtožbe spolnih napadov. V sodobni družbi ji niso v prid niti konservativni pogledi glede pomembnih družbenih vprašanj. Kot vrhovni poglavar Katoliške cerkve je papež Frančišek lahko tisti, ki bi to poškodovano javno podobo lahko popravil in Cerkvi ponovno priskrbel pozitiven ugled. Vendar kljub številnim medijskim poročanjem, da gre za revolucionarnega papeža, ki naj bi reformiral Cerkev, njegove izjave in empirični podatki do sedaj kažejo drugače. Papeževa stališča glede tematik, kot so splav, istospolni, vloga žensk, ostajajo podobna njegovim predhodnikom in so v skladu s cerkvenimi nauki. V določenih situacijah so si ta mnenja celo kontradiktorna in ustvarjajo zmedo pri javnosti. Prav tako empirični podatki ne potrjujejo »učinka papeža Frančiška«, saj se odstotek katoličanov, ki obiskujejo verske obrede, ni opazno zvišal. Po drugi strani pa poskuša podobo popraviti s konkretnimi dejanji na področju spolnih zlorab in finančnih škandalov znotraj Cerkve. Kljub spremenjenemu diskurzu se dejanska stališča Katoliške cerkve niso spremenila in za zdaj še ne moremo govoriti o konkretnih reformah. Seveda je že sama sprememba retorike glede perečih družbenih vprašanj pozitivna in morda napoveduje dejanske spremembe v Katoliški cerkvi. Ključne besede: papež Frančišek, Katoliška cerkev, religija, ugled, obnova ugleda. Pope Francis and attempt to repair the image of the Catholic Church Catholicism is one of the largest religions regarding the number of members. The Church is facing numerous scandals, among which are allegations of sexual assaults. Conservative views on important social issues do not speak in its favour in contemporary society either. As a supreme head of the Catholic Church, Pope Francis could be the one who repairs this image and again provide a positive reputation. However, despite numerous media coverage, proclaiming a revolutionary pope, who would reform the Church, his statements and empirical data indicate otherwise. Pope's views on the topics, such as abortion, same-sex orientation, role of women, remain similar to its predecessors and are in accordance with the Church doctrine. In some cases his views seem contradictory and create confusion among the public. Also, empirical data does not support the »Pope Francis effect«, since the percentage of Catholics, who attend religious ceremonies, has not increased. On the other hand he is trying to repair the Church's image with actions regarding sexual abuse and financial scandals. Despite the different discourse, the actual position of the Catholic Church has not changed and for now we cannot talk about concrete reforms. Of course, the mere change of rhetoric about the critical social issues is positive and may predict the actual change in the Catholic Church.

Petracos también pretende ser una herramienta para favorecer la transparencia y eficacia de la investigación arqueológica desarrollada, transfiriendo a la sociedad el conocimiento generado con la mayor rigurosidad posible. Esta serie asegura la calidad de los estudios publicados mediante un riguroso proceso de revisión de los manuscritos remitidos y el aval de informes externos de especialistas relacionados con la materia, aunque no se identifica necesariamente con el contenido de los trabajos publicados.

Riassunto Il documento presenta l'epigramma dedicato dalla città di Atene ai caduti in guerra nella battaglia di Potidea. Ritrovata nel 1802 in prossimità del Ceramico, lungo il Demosion Sema, l'epigrafe doveva essere parte integrante di un monumento commemorativo (un polyandr(i)on). Il testo, sebbene frammentario, è databile con un buon margine di sicurezza al 432-431 a.C., dato confermato da un passo tucidideo che riporta della morte in battaglia di 150 Ateniesi e del generale Callia. L'iscrizione rappresenta un importante esemplare per la riflessione sulle pratiche rituali per i caduti in guerra e sul sentire greco riguardo a motivi escatologici.

We are publishing here two fragmentary funerary
monuments discovered during the archaeological monitoring for the
development works in and around the fortress of the Legion V
Macedonica at Potaissa in 2021. The two monuments discovered in
and near the fortress probably come from a necropolis located nearby
and document the existence of large funerary constructions in ancient
Potaissa. The first monument, a fragment of a rectangular coping,
belongs to the so-called "pilaster-type funerary constructions", while
the second, the pediment fragment, must be linked to the aediculatype funerary constructions. We have tried to identify other disparate
elements in the sculptural production of Potaissa that document the
existence of these types of monuments in order to complete the
picture of the architectural-sculptural production for funerary
purposes in this provincial city. The findspots of these monuments
indicate the distribution of the funerary areas on Fortress Hill near
the legionary fortress. Some large monuments that are found in situ,
indicate two funerary areas on Fortress Hill pertaining to the canabae
civilian settlement: the Szindivölgy-tető point and Fodor Domokos’
vineyard (on Rákos utca) in the Közep-mál area.

Od srčastega ščita do srčastih kamnov Prispevek k poznavanju šoštanjskega grba IZVLEČEK Na osnovi starih pečatov, prapora in opisov grba trga/mesta Šoštanj je sestavljen prikaz spreminjanja šoštanjskega grba od zgodnjega 17. stoletja do danes, s poudarkom na pojavu »srcelike« oblike kamnov in na spreminjanju barvne sheme. Na novo najdena upodobitev šoštanjskega grba je 130 let starejša od najstarejše do sedaj poznane.

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Outside of the Arsenal in Venice, Italy rests an astonishingly emotive sculpture: an over-life-size marble lion, seated on a pedestal, the face of which models an intensely aggrieved expression. Belonging to antiquity, the creature—which once resided in the Athenian harbor of Piraeus—dates to approximately 360 BCE. Over time, its flesh has been pocked with bullet holes and eroded by weathering. Among these forms of wear, however, are the unexpected remains of Scandinavian runes and ornament. Finding that they are eleventh-century additions, scholars have committed formidable labor to verifying their ages and translations, though complete textual readings cannot be derived from their remnants. What, then, is left to interpret? Moving beyond the inscriptions to consider the object in its entirety, this article argues that medieval Scandinavian beholders changed the Piraeus Lion’s implicit function by binding it to their own associative network. Situating the sculpture’s impressive features in conversation with other material trends from the Viking Age, it links the object’s manipulation with commemorative runestones, the Great Beast motif, and a cultural emphasis on cathartic acts of making to characterize it as an example of transmutation.

Dans le cadre des travaux d’élargissement de l’autoroute A75 entre Le Crest et Clermont-Ferrand, par la société APRR, le Service régional de l’Archéologie a prescrit la fouille d’une parcelle auparavant dévolue à l’agriculture, située sur la commune de VeyreMonton, au lieu-dit Le Douleix. La fouille, confiée à une équipe de l’Inrap, s’est déroulée sur sept mois en 2018-2019 et a révélé l’existence d’aménagements mégalithiques, dont les plus remarquables sont des alignements de menhirs datés du néolithiques, parmi lesquels une statue-menhir, seul exemplaire connu dans la région. Par la suite, plusieurs monuments funéraires et sépultures de l’âge du Bronze leur succèdent et s’intègrent aux aménagements mégalithiques encore visibles dans le paysage.