Pot v neznano 2015 by s.kolibri

POT PATH V NEZNANO BEYOND

POT V NEZNANO PATH BEYOND

Grobišča rimske Petovione Cemeteries of Roman Poetovio Ptuj 2015

CIP - Kataložni zapis o publikaciji Univerzitetna knjižnica Maribor 902/908(497.4Ptuj) VOMER-Gojkovič, Mojca Pot v neznano : grobišča rimske Petovione = Path beyond : cemeteries of roman Poetovio / [besedila Mojca Vomer Gojkovič in Ivan Žižek ; prevod besedila Tanja Ostrman Renault]. - Ptuj : Pokrajinski muzej Ptuj-Ormož, 2015 ISBN 978-961-6438-57-5 1. Vzp. stv. nasl. 2. Žižek, Ivan COBISS.SI-ID 85054465

POT V NEZNANO / PATH BEYOND Grobišča rimske Petovione Cemeteries OF Roman Poetovio Besedila / Texts: Mojca Vomer Gojkovič in Ivan Žižek Uredila / Editor: Mojca Vomer Gojkovič Jezikovni pregled / Language Editing: mag. Darja Gabrovšek Homšak Prevod besedila / Text Translation: Tanja Ostrman Renault

Fotografije / Photographs: Fotoarhiv Pokrajinskega muzeja Ptuj - Ormož / Photo archive of the Ptuj - Ormož Regional Museum, Boris Farič Risbe / Drawings: Barbara Jurkovšek, Nejka Uršič Oblikovanje razstave in kataloga/ Exhibition and Catalogue Design: s.kolibri Tisk panojev / Panel Printing: Aleksander Kelnerič Tisk / Print: Uprint d.o.o. Naklada / First Edition: 500 izvodov / 500 copies

© 2015 Pokrajinski muzej Ptuj - Ormož / Regional Museum Ptuj - Ormož Zanj / For: Andrej Brence, v. d. direktorja / director Razstavo in tisk publikacije so omogočili / The exhibition was made possible by the: Ministrstvo za kulturo / Ministry of Culture Mestna občina Ptuj / City Municipality of Ptuj Pokrajinski muzej Ptuj - Ormož / Ptuj - Ormož Regional Museum

VSE BINA CONTENT

6 Ptujska rimska grobišča 7 Roman Cemeteries in Poetovio 10 Verovanje Beliefs 12 Grobišča rimske Petovione Cemeteries of Roman Poetovio 27 Pogrebni običaji Funerary rituals 32 Usoda: preslica, vreteno, nit in tkanje Fate: Distaff, Spindle, Thread and Weaving 35 BOGOVI SPODNJEGA SVETA GODS OF THE UNDERWORLD 40 Orfejev spomenik Orpheus Monument

44 Grško-rimski bogovi IN božanstva smrti in onostranstva Greek-Roman Gods and Deities of Death and the World Beyond 50 KATALOG CATALOGUE

Ptujska rimska grobišča Raziskovanje rimskih grobišč Petovione ima več kot 150-letno tradicijo. Če imamo v mislih prva raziskovanja, predvsem zahodnega grobišča, so bila smiselno vezana na pridobivanje arheološkega gradiva, sámo dokumentiranje pa je bilo zgolj shematično skiciranje terena s pripadajočim oštevilčevanjem grobov. Gradivo s teh izkopavanj je bogatilo pristojni muzej Joanneum v Gradcu ali zasebne zbirke. Prav zaradi takšnega odnosa do bogate arheološke dediščine so se zavedni Ptujčani v devetdesetih letih 19. stoletja odločili, da ustanovijo muzejsko društvo in na ta način onemogočijo odnašanje premičnih arheoloških spomenikov v druge kraje. Kar hitro so raziskovalci glede na lego grobišč opredelili tudi topografska poimenovanja. Za vse lokacije je značilno, da so se razprostirale ob cestah, ki so vodile v Petoviono, in po tem se Ptuj ne razlikuje od nobenega drugega rimskega mesta v cesarstvu. V desetletjih vse do danes se je oblika arheološkega raziskovanja dodobra spremenila. Raziskovanje grobišč ni več vezano na sámo pridobivanje gradiva. Dodane so nove dimenzije, kot so sociološko stanje nekdanje družbe, na podlagi osteoloških ostankov spolna in starostna struktura nekdanje skupnosti, vloga vsakega posameznika v družbi itd. Kaj pa nam danes lahko povedo nemi ostanki grobov iz preteklosti? Odnos do mrtvih v rimski skupnosti Petovione nam kaže na visoke moralne standarde. Prav vsak je imel pravico do dostojnega pokopa in to so tudi spoštovali. Smrt je pomenila samo prehod v onostranstvo – v večnost. Za odhod so poskrbeli živi, ki so vsakemu omogočili tudi nemoten prehod. Pokojnemu so v ta namen pridali v grob vse tisto, kar je za to pot potreboval: hrano, svetlobo – oljenko in novec, da je plačal brodnino čez reko smrti. Ko je dosegel večnost, je delal družbo bogovom. Ker so pokojnim v grobove prilagali predmete iz vsakdanjega življenja, kot nošnjo tudi take iz žlahtnih kovin, so grobove plenili že tedaj. Prav zaradi tega so jih varovali nagrobniki, na katerih so bili upodobljeni levi ali meduze, da so vsakega, ki je h grobu pristopil s slabim namenom, prestrašili in onemogočili.

Roman Cemeteries in Poetovio Excavations of Roman cemeteries in Poetovio boast more than 150 years of tradition. The main purpose of first excavations, carried out particularly in the western cemetery, was to gather archaeological evidence, while the documenting was limited to schematic drawings of the researched area and the numbering of graves pertaining to it. Finds uncovered during the first excavations were either collected by Joanneum museum in Graz, Austria, or by private collectors. Such attitude towards the rich archaeological heritage incited Ptuj citizens harbouring patriotic feelings to establish a museum society in the 90s of the 19th century, thus preventing the transfer of movable archaeological monuments out of the country. Quite soon, the researchers came up with topographic names which were related to the position of cemeteries. However, all sites had a common feature â&#x20AC;&#x201C; they were positioned along the roads leading to Poetovio, and in this regard Poetovio did not differ from any other Roman town. Through centuries, archaeological research has changed a lot. To research cemeteries nowadays does not comprise the mere acquisition of evidence. New dimensions have been added to it, such as sociological view of the then society, gender and age distribution of the then society based on osteological remains, importance of each individual in the society, and much more. And what can the speechless remains of ancient cemeteries tell us today? The attitude towards the deceased indicates high moral standards in vogue among the Roman community in Poetovio. Everybody had the right to a decent funeral, and this right was respected. Death only meant a passage to the world beyond â&#x20AC;&#x201C; to eternity. And it belonged to the living to assure a safe passage for everybody. For this purpose, the deceased was given everything that was needed for the journey: food, light (oil lamp), and a coin to pay for the passage of the River of Death. Once the eternity had been reached, the deceased was admitted into the company of gods. Grave goods related to everyday life were added to the remains of the deceased into the grave, and among them were valuables; therefore, many graves were robbed and spoiled even back in those times. To protect the graves, monumental stones â&#x20AC;&#x201C; tombstones were erected on them, and in order to scare away from the grave and neutralise all evil-thinking, lions and Medusa were depicted on them.

Verovanje Beliefs Tako Grki kot Rimljani so verovali, da so bogovi podobni ljudem, le da so lepši, plemenitejši in običajno nenavadno veliki; razporejeni so po dostojanstvu in vlogi kakor v ureditvi države. Čeprav vladajo naravi in ljudem, potrebujejo hrano, pijačo in spanje; hranijo se z ambrozijo in pijejo nektar, nebeško pijačo nesmrtnosti. Bogovi so vsevedni in vsemogočni, vendar imajo svoje skrbi in težave, pa tudi strasti in slabosti. Najvišji bog sklicuje druge bogove na posvet kakor v človeški družbi kralj svoje plemiče, kneze ali poglavarje, vendar z njim ne soglašajo vedno vsi člani nebeškega posvetovalnega zbora. Toda prav vsi bogovi se morajo podrediti moči Usode in se ravnati po redu v kozmosu.

Both, Greeks and Romans believed that gods resembled humans, although they were more beautiful, nobler and usually uncommonly tall. They were ranked according to their title, position and political system. Although they ruled over nature and people, they had to eat, drink and sleep; they ate ambrosia and drank nectar, the divine drink of immortality. Gods were omniscient and omnipotent; however, they also had their worries and troubles, as well as passions and weaknesses. The god having the highest divine authority over others summoned them to confer, just as a king of humans would call his noblemen, counts or leaders. But not all members of the celestial consulting body agreed with their leader. However, all gods had to subordinate to the power of Fate and followed the cosmic rules.

Rimljani so kmalu prevzeli grške bogove namesto svojih italskih, le nekaj so jih ohranili, na primer Janusa, boga hišnega praga in leta, vladarja vojne in miru. Imel je dve glavi in je z enim obrazom gledal v preteklost, z drugim v prihodnost. Posebnost rimskih božanstev so lari, varuhi domačega ognjišča, in penati, hišni in družinski bogovi.

Quite early, the Romans adopted Greek gods who thus supplanted the ancient Italic ones of which just a few were kept: Janus, god of threshold and year, ruler of war and peace. He had two heads and thus with one face he watched the past and with the other the future. The particularity in Roman deities are Lares, guardians of hearth, and Penates, household and family deities.

Rimljani so verovali v posmrtno življenje ljudi. Ker so mislili, da se duša pokojnega zadržuje v bližini njegovega groba, so mrtvim v grob dajali posode z jedmi in pijačo, dragocen nakit, kose pohištva, orožje in obleko, da po smrti ne bi pogrešali ničesar od tistega, kar jim je bilo v življenju v veselje.

The Romans believed in afterlife. They believed that the soul of the deceased lingered near the grave and therefore they put into graves vessels with foodstuffs and drinks, rich jewellery, pieces of furniture, weapons, clothes, in order not to miss anything that was dear to the dead when they were still alive.

Duše mrtvih so si predstavljali kot prazne sence; duša pokojnega pride najprej v poseben kraj, na travnik, kjer raste mrtvaška roža Asfodelos. Pravo podzemlje je šele Erebos, temna pokrajina, skozi katero tečejo podzemeljske reke. Duše v smrti izgubijo zavest in vsak spomin na zemeljsko veselje. Tudi na spodnjem svetu opravljajo dela, kot so jih opravljali kot živi na zemlji, in za morebitne prekrške so celo kaznovani.

Souls of the dead were imagined as hollow shadows. They first arrived to a special place, on a meadow where a flower of dead, Asphodelos, grew. The true underworld was Erebos, a dark country through which flew underworld rivers. In death, souls lost their consciousness and every memory about worldly joys. They performed the same tasks in the underworld as they had done in the world of living. In case of any rule-breaking, they received punishment.

Cipresa

Cypress

Cipresa je sveto drevo. Zaradi dolgega veka in zimzelenosti ji pravijo tudi drevo življenja (klek, tuja). Pri Grkih in Rimljanih je povezana z božanstvi podzemnih predelov in s kultom Plutona, boga spodnjega sveta, zato tudi krasi pokopališča. Je pogrebno oziroma pokopališko drevo v vsem sredozemskem bazenu, in sicer zaradi splošne simbolike iglavcev, ki s svojo nepokvarljivo smolo in vedno zelenimi iglicami predstavljajo nesmrtnost in vstajenje.

Cypress was a holy tree also called the tree of life because of its long life span and evergreen needles. Greeks and Romans associated it with gods of the underworld; it is also linked to the cult of Pluto, god of the underworld, and as such it keeps adorning cemeteries. It is considered as a cemetery or burial tree in the entire Mediterranean basin, which is also due to the general symbol of coniferous trees representing immortality and resurrection due to their natural resin and evergreen needles.

Delfin

Dolphin

Grki so delfine častili kot bogove. Ta sveta žival je nedvomno igrala vlogo v pogrebnih obredih, v katerih je prikazana kot psihopomp, spremljevalec mrtvih v onostranstvo. Verovali so, da se mrtvi umaknejo na otoke blaženosti na koncu sveta in da jih v onostransko prebivališče prenašajo delfini. V grški umetnosti je človek pogosto prikazan kot jezdec na delfinovem hrbtu.

Dolphins were worshipped by the Greeks as gods. This sacred animal undoubtedly played an important role during burying rites when it was represented as Psychopomp. It was believed that the mortals once dead moved to the islands of happiness situated at the end of the world, and they were taken to the other world by dolphins. In Greek art men are often depicted riding dolphins.

Simbolika delfina je povezana s simboliko voda in preobrazb. Delfin je simbol obnovitve, preporoda, tudi simbol prerokovanja, modrosti, previdnosti.

The symbol of dolphins is associated also with the symbol of waters and transformations; a dolphin is the symbol of restoration, resurrection, of prophecy, wisdom and prudence.

Smrt

Death

Smrt označuje absolutni konec. Pravica do življenja in s tem pravica do smrti pripada bogovom. Božanstva, ki za Zevsom (Jupiter) o njej odločajo, so Atena (Minerva), Apolon, Artemida (Diana), Ares (Mars), Had (Pluton), Hekata in Perzefona (Prozerpina). Smrt pooseblja črnokrili Tanatos (rimski Mors), sin noči in brat spanja; je divji, neobčutljiv, neusmiljen. Na antičnih upodobitvah so smrt prikazovali z grobom, osebo s koso, božanstvom s človekom v čeljusti, krilatim genijem, jezdecem, kačo ali katero koli živaljo psihopompom (konjem, psom itd.).

Death means an ultimate end. The right to live and thus the right to die belong to gods. Deities responsible for it besides Zeus (Jupiter) are Athena (Minerva), Apollo, Artemis (Diana), Ares (Mars), Hades (Pluto), Hecate and Persephone (Proserpina). Death is personified by a black-winged Thanatos (Roman Mors), son of night and brother of sleep: wild, insensible, implacable. Antique representations of death contained a grave, a person carrying a scythe, a deity with a human in its mouth, a winged genius, a rider, a snake or any other animal with Psychopomp (horse, dog, etc).

Larentalije

Larentalia

so Rimljani proslavljali 23. decembra. Posvečene so bile božanstvu Acca Larentia ali Larentina, stari boginji Zemlje in čuvajki mrtvecev (zato jo imenujejo tudi Mater Larum ali Mania). Je boginja, ki čuva posevke in mrtvece. Na ta dan so žrtvovali mrtvim. Acca Larentia je bila tudi žena pastirja, ki je našel Romula in Rema; njeno vlogo je prevzela grška Perzefona (rimska Prozerpina). Larentijin grob (pod Palatinom, eden od sedmih rimskih gričev) je postal žrtvenik mrtvim.

The Romans celebrated it on 23rd December, and was dedicated to Acca Larentia or Larentina, an ancient goddess of Earth and guardian of the dead; that is why she was also named Mater Larum or Mania. The goddess guarded crops and dead. That was also the day when the Romans would sacrifice to the dead. Acca Larentia was wife of a shepherd who found Romulus and Remus; this role was taken over by Persephone (Roman Proserpina). Her tomb, situated under the Palatine Hill, one of the seven Roman hills, became the offering altar for the dead.

Grobišča rimske Petovione Cemeteries of Roman Poetovio Cemeteries of Roman Poetovio contain several cremation and inhumation graves in various grave constructions or without them. Some groups of graves are delimited by foundations or fences and thus represent individual family cemeteries. Such burial grounds or grave plots were based on stone foundations made of river cobbles; some only had a central stone plate bearing the data of the deceased, his or her kin, job, donors or heirs of the gravestone. The position of the corpse clearly indicated the financial and social status of the deceased. The Romans also practiced natural burials. Or they could bury the ashes of the deceased together with grave goods in a stone chest – ossuary which was then covered with a flat stone plate or a roof-like stone plate; the body, together with grave goods, could be placed in a stone chest – sarcophagus, covered with a stone plate or a roof-like stone plate equipped with corner acroteria. Quite often, geniuses representing seasons were depicted in relief. Ossuaries as well as sarcophagi were sealed with metal rivets and lead. A frame on the front side of the chest bore the engraved name and age of the deceased, the functions he held during his life time, the family members, donors and/or heirs, and recommended the deceased to the divine Manes or gods of the other world D(is) M(anibus). Quite often on each side of the framed inscription was a relief of the Genius of Death and of the deceased. The burial in stone chests – ossuaries or sarcophagi was really practiced from the 2nd century on.

V grobiščih rimske Petovione so posamezni žgani in skeletni pokopi v različnih grobnih konstrukcijah ali brez njih. Tu so še skupine grobov, ki so omejene z zidanim temeljem ali ograjo in predstavljajo mala družinska pokopališča. Pri teh grobnicah ali grobnih parcelah so bile kamnite osnove ali temelji, na katerih je stala grobnica, sestavljeni iz rečnih oblic ali pa so imeli samo osrednjo nagrobno ploščo s podatki o pokojniku, sorodstvu, službi, donatorjih ali dedovanju nagrobnika. Oblika pokopa nam lahko govori tudi o gmotnem in družbenem položaju pokojnika. Pokojnika so lahko pokopali prosto v jamo. Njegov pepel so lahko skupaj s pridatki in žganino položili v kamnito skrinjo – pepelnico, ki so jo pokrili z ravno kamnito ploščo ali kamnito ploščo v obliki strehe, pokojnikovo truplo s pridatki pa v kamnito skrinjo – sarkofag; tega so pokrili s kamnito ploščo ali ploščo v obliki strehe z vogalnimi akroteriji. Na njih so pogosto v reliefu upodobljeni geniji letnih časov. Pepelnice in tudi sarkofage so zapečatili s kovinskimi zakovicami in zalili s svincem. Na prednjo, čelno stran skrinje so v srednji, uokvirjen del vklesali ime in starost pokojnika, njegove funkcije v življenju, morebitne sorodnike, darovalce ali dediče ter ga priporočili božanskim manom ali bogovom onostranstva D(is) M(anibus). Na vsaki strani uokvirjenega napisa je bil pogosto relief genija smrti in tudi pokojnika ali pokojnice. Pokopavanje pokojnikov v kamnite skrinje – pepelnice ali sarkofage – se je uveljavilo od 2. stoletja naprej. Na petovionskih grobiščih se je zelo dolgo ohranila oblika žganega pokopa, kar kaže na močno staroselsko izročilo. To je mogoče ugotoviti po priimkih na nagrobnikih in po reliefih, ki upodabljajo značilno keltsko nošo, nakit in pričeske. Po vsej verjetnosti je ta oblika pokopa trajala še v 3. stoletje, saj se še v drugi polovici 2. stoletja na grobiščih mešajo žgani in skeletni grobovi. Žgani grobovi iz 3. stoletja kažejo, da so Rimljani tudi še v tem obdobju pokopavali na območjih večjih grobišč ob poteh proti severu in južno od brega Drave, manj pa ob vzhodni vpadnici v mesto. Skeletni grobovi iz 4. stoletja so ležali predvsem na zapuščenih obrtniških predelih v Rabelčji vasi, na Panorami in na Vičavi

Poetovio cemeteries reveal that the cremation type of burial had been practiced for a long time which bears witness to antique tradition of the first settlers, the fact that can be deduced from the study of family names written on gravestones bearing also relief depictions of typical Celtic dress, jewellery and hairstyle. Most probably, this type of burials lasted until the 3rd century, as in the second half of the 2nd century cremation and inhumation graves still overlap. Cremation graves dating to the 3rd century clearly show that even in that period the Romans used large cemeteries spreading along roads leading to the north and south of

ter tudi na območju propadajočih reprezentančnih mestnih četrti na Zgornjem in predvsem Spodnjem Bregu, kar je smiselno povezano tudi z zgodnjekrščanskimi bazilikami. Nekateri poznorimski grobovi sodijo po pridatkih še na začetek 5. stoletja. V 1. stoletju se je širilo grobišče predvsem ob zahodni vpadnici v mesto, na kar je vplival tudi predvidoma na tem mestu postavljeni vojaški tabor legij VIII. Avguste in XIII. Dvojne, in še na jug proti Dravinji. Nekaj grobov iz flavijskega časa v Rabelčji vasi dokazuje, da je ob koncu 1. stoletja nastalo grobišče tudi ob vzhodni vpadnici v mesto. K temu prehodu k Slovenskim goricam lahko dodamo še grobove z območja ob potoku Grajena, v Rabelčji vasi – zahod in na območju vzhodnega Ptuja pri gasilskem domu. V 2. stoletju se omenjena grobišča niso veliko spremenila, le zgostila so se in morebiti nekoliko povečala. Po najdbah veličastnih nagrobnikov lahko sklepamo, da so bili današnje mestno središče (t. i. Orfejev spomenik), Vičava - Orešje (pepelnica), Panorama (nagrobnik Iuliae Cupitae) in prostor severno od nekdanjega toka Drave ter mostu čeznjo tedaj namenjeni pomembnim rimskim mestnim patricijskim družinam. Razen v poznorimski dobi, iz katere poznamo grobove na Panorami, v Rabelčji vasi in na Zgornjem in Spodnjem Bregu, se grobišča v 3. stoletju niso veliko spreminjala. Jasno pa je, da so si domačini v nemirnih časih konca 3. in v 4. stoletju poiskali zatočišča na desnem bregu Drave, ki je postala naravna obramba pred nevarnostjo z vzhoda, prostor na njenem levem bregu pa je ostal zapuščen. Obrtniške dejavnosti s stavbami vred na območju Rabelčje vasi so počasi zamirale, isto pa je bilo značilno tudi za sosednji Panoramo in Vičavo. Mesto je izgubljalo značaj provincialnega središča Panonije, opuščeni prostor je bil uporaben le še za kratkotrajne obrtniške dejavnosti in pokopališča. Iz 4. stoletja poznamo skeletne grobove, v katerih so pokojniki položeni v preprosto izdelane sarkofage iz rumenega peščenca ali pa so grobne jame obdane s poškodovanimi starejšimi napisnimi kamni ali z reliefnimi oltarnimi ploščami (ženski grob na Panorami, obložen z reliefnimi marmornimi ploščami Nutrices Avgustae, posvečenimi dojiljam).

the River Drava, and much less those along the eastern road. In the 4th century, inhumation graves were mostly situated in the abandoned craft quarters in Rabelčja Vas, on Panorama Hill, and in Vičava, as well as in once representative but then declining Zgornji and Spodnji Breg quarters, which can be linked to the emergence of early Christian basilicas. Some late Roman graves belong already to the 5th century as per grave goods. During the 1st century expanded the cemetery close to the western town road which was partly due to the military camp of Legions VIII Augusta and XIII Gemina supposed to have been erected in the vicinity; the same cemetery spread also to the south toward the Dravinja river. A few graves in Rabelčja Vas district dating to the Flavian period bear witness that by the end of the 1st century existed a cemetery next to the eastern road to town. Close to the above mentioned district and geographically situated amidst Slovenske Gorice hills, there are cemeteries to be found also next to the Grajena Brook, Rabelčja Vas west, and the eastern part of Ptuj near the firefighters’ station. In the 2nd century, these cemeteries did not change much, only they became more densely populated and slightly larger. Due to some exceptionally impressive tombstones it can be assumed that the modern town centre (i.e. the Orpheus monument), Vičava-Orešje district (ossuary), Panorama hill (Iuliae Cupitae tombstone), and the area north of the previous Drava river bed and the bridge spanning it, were occupied at that time by important Roman patrician families. Cemeteries did not change much during the 3rd century, with the exception of the late Roman period from which have been preserved the cemeteries on the Panorama hill, in Rabelčja Vas district and in Zgornji and Spodnji Breg quarters. It is an established fact that during the turmoil of the 3rd and 4th centuries, inhabitants sought refuge on the right bank of the Drava river, which had thus become a natural defence against threats coming from the east, while its left bank was abandoned. Craft activities and premises connected with them started to die away in the district of Rabelčja Vas; the same was true of the Panorama hill and Vičava district. The town was gradually losing its status of a provincial centre of Pannonia, and the abandoned areas only sustained short-term craft and funerary activities. In the 4th and 5th centuries, the prevailing funerary practice was inhumation, when the corpses were laid in simple sarcophagi made of yellow sandstone. Sometimes the grave pits were simply bounded by older and damaged inscription stones or altar plates with reliefs (a woman’s grave on the Panorama hill was filled with marble plates showing reliefs dedicated to Nutrices Avgustae – divine wet-nurses).

Ti grobovi so v manjših skupinah na prejšnjih pokopališčih (Rabelčja vas) in tudi med gradbenimi ostalinami vil v nekdaj bogatih rimskih mestnih četrtih na Vičavi ter na Zgornjem in Spodnjem Bregu.

Smaller groups of similar graves were also found in older cemeteries (Rabelčja Vas), and among building remains of villas once standing in wealthy Roman town quarters in Vičava and Zgornji and Spodnji Breg.

Obzidane grobne parcele

Bounded burial plots

Tip obzidanih grobnih parcel poznamo iz mnogih rimskih nekropol: Pompeji, Rim - Vatikan, Ostija, predvsem pa iz nam najbližje Akvileje. Ta način pokopa so Rimljani prenesli tudi k nam; poznamo jih iz severne emonske nekropole, iz Šempetra, iz Kolacione (Colatio, Stari trg pri Slovenj Gradcu). V petovionskih grobiščih se grobne parcele pojavljajo dokaj pogosto: na zahodnem petovionskem grobišču na Hajdini in tudi v Rabelčji vasi. Tako sta bili v grobišču pri dijaškem domu na Ptuju odkriti kar dve obzidani grobni parceli, zgrajeni najverjetneje v 2. stoletju. Mala grobna parcela, ki je merila 3,5 m × 4,5 m, se je na zahodni strani zaključevala v kamnit plato, sestavljen iz rečnih oblic v dveh do treh vrstah. Med oblicami, pod njimi in na vogalih so bili zloženi večji rumeni peščenci. Zid okoli parcele je bil zidan z oblicami in velikimi kamni iz peščenca, med katerimi je bila opeka; na severni strani je bil prekinjen za vhod. Na tej grobni parceli so bili štirje grobovi, en žgani in poznejši skeletni. Velika grobna parcela je merila 10,5 m × 14 m; omejena je bila z zidom iz oblic z odprtino na vzhodni strani – vhod h grobovom. V notranjosti te velike grobne parcele je bilo devet grobov: dva žgana (eden je bil pokrit z opeko), šest prosto vkopanih in en zidan z opeko. Vzporedno z zahodno stranico velike grobne parcele so bili štirje kamniti platoji, zidani iz oblic. Zunaj grobne parcele sta bila tudi edini grob (grob 7) z nagrobno ploščo, posvečeno vojaku legije XIII. Dvojne, nad njim in sarkofag iz rumenega peščenca s strehastim pokrovom z akroteriji na vogalih (grob 63). Žal je bil grob izropan, vendar ostanki zlatih niti, ki so bile verjetno všite v tkanino, kažejo na to, da je pokojnik spadal v višji družbeni sloj.

Burial plots surrounded by boundaries can be seen in many Roman necropolises, such as Pompeii, Rome – Vatican, Ostia, and mostly Aquileia which is closest to Slovenia. This type of funerary practice is known also on the territory of modern Slovenia: northern Emona necropolis, Šempeter, Colatio. Poetovio cemeteries are also rather rich in burial plots, especially the western cemeteries in Hajdina and in Rabelčja Vas. The cemetery discovered near Dijaški Dom in Ptuj contained two bounded burial plots most probably constructed in the 2nd century. There is a small burial plot measuring 3.5 x 4.5 m, ending on the west side with a stone plate composed of river cobbles arranged in two to three rows. Between cobbles, beneath them and at the corners are large yellow sandstone slabs. The wall surrounding it was built with cobbles and big sandstone slabs mixed with bricks; the north part had an opening for the entrance. Within the walls, there were four graves of both types: cremation and inhumation. A rather large burial plot measured 10.5 x 14 m, and it was bounded by a cobble wall and an opening to the east – entrance to the graves. On the plot, there were nine graves: two cremation graves (one covered by bricks), six show natural burial, and one was constructed with bricks. Parallel to the western side of the large burial plot were four flat stone constructions built with cobbles. Outside of the burial plot were also the only grave (grave No. 7) with a tombstone dedicated to a legionnaire of Legion XIII Gemina, and a sarcophagus of yellow sandstone with a roof-like lid and corner acroterion (grave No. 63). Unfortunately, the grave had been robbed; nevertheless, the remains of gold threads probably sown in the fabric show that the deceased belonged to the upper social class.

Grobišča Petovione

Cemeteries of Poetovio

Grobišča rimske Petovione nam na prvi pogled dajejo vtis neurejenosti, vendar so bila po svoji razprostranjenosti kar smiselna. Jasno razpoznavni sta zahodno in vzhodno grobišče. Razprostirali sta se ob glavni

At first glance, burial sites in Roman Poetovio seem to have been determined at random, but after a while their organisation appears quite sensible. The western and eastern cemeteries are clearly demarked as they spread along the main road connect-

1 2 1. Zahodno grobišče / Western cemetery

3. Zgornji Breg, Mariborska cesta

2. Spodnja Hajdina

4. Spodnji Breg, Rogaška cesta

državni cesti, ki je povezovala Podonavje z Italijo in sledila prazgodovinski jantarni poti. Sama začetka grobišč zunaj mestnega urbanega dela nista povsem jasna, saj se delno prekrivata z rimsko arhitekturo, ki se je v vzhodnem delu mesta širila v obrtniško četrt. Podobna situacija se pojavlja tudi na zahodnem grobišču, kjer se delno prekriva z arhitekturo Vicus Fortunae na Spodnji Hajdini. Preostala grobišča izražajo bolj

ing the Danube region to Italy and following the ancient amber road. The origin of cemeteries set outside the urban town area is not absolutely clear as they are partly covered by the Roman architecture spreading from the eastern part of the town into the crafts quarter. Similar situation can be found at the western cemetery which is partly covered by buildings belonging to the town quarter Vicus Fortunae in Spodnja Hajdina. Other cemeteries are organised in clusters and are situated in town quarters

5. Vzhodno grobišče / Eastern cemetery

18. Turnirski prostor / Tournament Field

6. Rabelčja vas

19. Ptuj, dominikanski samostan / Ptuj – Dominican Monastery

7. Panorama

10. Ptuj, Prešernova cesta / Ptuj – Prešernova Street

gručasto razporeditev; take so lokacije Rabelčja vas, Vičava, Panorama, Zgornji Breg na več mestih. Kar nekoliko nejasna je slika grobišča, ki se razprostira na območju severno od Prešernove ceste, kjer stoji srednjeveški Ptuj. Prav posebej izstopa poznorimsko grobišče na Zgornjem Bregu. V zelo pozen čas sodijo tudi grobovi na Turnirskem prostoru.

known as Rabelčja Vas, Vičava, Panorama, and at several spots in Zgornji Breg. A bit more confusing is the layout of the cemetery located in the very medieval town core of Ptuj, north of Prešernova Street. A late Roman cemetery in Zgornji Breg is rather exceptional. Cemeteries on the Tournament Field at the castle are also quite old.

Pri naštevanju lokacij grobov moramo vsaj nekoliko natančneje opredeliti razvoj grobiščnih kompleksov in njihovo časovno določitev.

While enumerating the locations of cemeteries, it is necessary to better define the development of burial sites and their time frame.

1. Zahodno grobišče

1. Western cemetery

Razprostira se vse od Spodnje Hajdine ob cesti proti Šikolam. Do danes je bilo arheološko najbolje raziskano, saj so najdbe iz tega dela rimske Petovione bogatila muzejske zbirke v Gradcu, Mariboru in na Ptuju. Grobišče so uporabljali od 1. pa vse do 5. stoletja.

It spreads from Spodnja Hajdina along the road leading to Šikole. This cemetery is the most thoroughly researched, and the findings from this particular part of Roman Poetovio were exhibited in museums in Graz, Maribor and Ptuj. The cemetery was used from the 1st to the 5th centuries.

Na parceli št. 435/4 je bila skupina skeletnih grobov iz pozne antike, v katerih ni bilo pridatkov.

On the plot No. 435/4, a group of inhumation graves with no grave goods was found dating to late antiquity.

Sama razprostranjenost grobišča na obeh straneh rimske ceste nam kaže na način pokopov. Vzporedno s cesto potekajo podolgovati temelji, na katere se navezujejo pravokotni krajši temelji, ki omejujejo grobne parcele. Na njih je po več grobov, kar nakazuje na družinske grobne parcele. Na enem delu je utrjen plato, narejen iz prodnikov. Na njem je stal podstavek, v katerega so postavili nagrobnik, namenjen enemu ali več pokojnikom. Podobne grobne parcele smo zasledili tudi na nekaterih drugih petovionskih grobiščih. S tega grobišča imamo ohranjene najstarejše nagrobnike iz prve polovice 1. stoletja. Iz tega časa bi lahko bile tudi v preteklosti še vidne gomile, ki pa so danes zaradi intenzivnega poljedelstva zravnane.

The cemetery lies on both sides of the Roman road showing different ways of burial rites. Parallel to the road are rectangular foundations to which are linked square and shorter foundations of the cemetery boundaries within which are several graves most probably of the same family. On one end there is a reinforced flat part made of cobbles on which was placed a base and a gravestone dedicated to one or several deceased. Similar burial grounds were found also on some other Poetovio cemeteries. This particular cemetery yielded some of the oldest gravestones dating to the first half of the 1st century. To the same period date also tumuli which used to be visible still some time ago, but have been levelled due to the intensive agricultural activities.

2. Spodnja Hajdina

Posamezni grobovi, ki so bili raziskani severozahodno od svetiščnega kompleksa na parceli št. 1070/1, so iz poznoantičnega obdobja in jih lahko datiramo v 4. stoletje. Verjetno se je grobišče razprostiralo okoli objekta, ki ga je Walter Schmid opredelil kot zgodnjekrščansko cerkev.

The researched graves lying north-west of the sanctuary complex area, on plot No. 1070/1, belong to late antiquity dating back to the 4th century. Most probably the cemetery was spreading around a building defined as an early Christian church by Walter Schmid.

3. Zgornji Breg, Mariborska cesta

3. Zgornji Breg – Mariborska cesta

Grobišče se razprostira na večjem območju ob stranskih cestah, ki potekajo od dravskega mostu proti cerkvici sv. Roka. Tukaj gre za prekrivanje zgodnejših pokopov z obsežnim poznoantičnim grobiščem iz 4. in 5. stoletja.

The cemetery covers an area crossed by several by-passes running from the bridge on the Drava River to the church of St. Rok. Two different periods overlap here as the early burials are partly covered by a much larger late antiquity cemetery from the 4th and 5th centuries.

4. Spodnji Breg, Rogaška cesta

4. Spodnji Breg – Rogaška cesta

Gre za nadaljevanje grobišča ob Mariborski cesti. Zadnja raziskovanja na lokaciji OŠ Breg nam kažejo preplet žganih in skeletnih pokopov. Datacija grobov je okvirna in jo lahko postavimo v čas od 2. do 4. stoletja.

This cemetery is a prolongation of the one along Mariborska Street. The latest research works of the area around Breg elementary school yielded the whole network of cremation and inhumation graves dating roughly from the 2nd to the 4th centuries.

5. Vzhodno grobišče

5. Eastern cemetery

Vzhodno grobišče se je razprostiralo ob državni cesti Poetovio–Savaria na vzhodnem delu rimskega mesta, od bloka 7 na Rimski ploščadi pa vse do novega pokopališča v Rogoznici. Različne oblike pokopov ter pripadajoče gradivo nam postavijo čas od druge polovice 1. stoletja pa vse do konca 4. stoletja. Danes najbolje raziskana sta dva kompleksa tega grobišča. V drugi polovici sedemdesetih let 20. stoletja je bilo raziskanih veliko grobov pri gradnji bloka B 7. Temu delu so pripadali tudi grobovi, raziskani ob gradnji porodnišnice v začetku devetdesetih. Najlepšo sliko nam dajejo raziskovanja ob gradnji prizidka OŠ Ljudski vrt in telovadnice. Pri gradnji telo-vadnice smo raziskali 614 grobov. Zasledili smo pokope v gomilah, ki jih je v drugi polovici 2. stoletja ali v začetku 3. stoletja prekrila naplavina in so ostali nedotaknjeni vse do današnjih dni. Prav tako smo na tem delu grobišča odkrili grobne parcele, ki so bile omejene s kamnitimi temelji, in pravokotne vkope, ki bi nam lahko podali drugačno obliko omejevanja grobne parcele.

Eastern cemetery spread along the main road PoetovioSavaria situated at the eastern part of the Roman town, i.e. from the modern block of flats no. 7 at Rimska Ploščad to the cemetery in Rogoznica town quarter. Different types of burial practices with pertaining evidence testify to the time span from the second half of the 1st century to the end of the 4th century. Two groups of graves of the entire cemetery complex have been thoroughly researched; first of all in the second half of the 70s of the last century during the building of the block of flats B 7, the area to which can be added graves found on the site of today’s maternity at the beginning of the 90s. But the best yields come from the graves discovered during the construction of the annex to Ljudski Vrt elementary school and the gym hall. No less than 614 tumuli graves were found there covered by river deposits in the second half of the 2nd century or at the beginning of the 3rd century, and had miraculously been left unchanged since. There were burial grounds delimited with stone foundations, and there were rectangular diggings which could offer a different insight into how the cemetery grounds were marked.

Na tem mestu moramo omeniti vsaj nekaj grobov, ki prav posebej izstopajo. Najprej je treba omeniti prosto vkopan žgani grob, v sredini katerega je bila žara. Vanjo sta bila vstavljena dva vertikalna imbreksa – strešna slemenjaka, ki sta lahko simbolično pomenila povezavo tega sveta z onostranstvom. Naslednji je grob, ki je imel napravljeno opečno skrinjo prekrito s horizontalnimi ploščami. Ko smo grob odprli, je bila grobna skrinja razdeljena v dva dela. V eni je bil nož v okrašeni nožnici. Omeniti je treba še žgani grob, katerega opečna konstrukcija je ponazarjala posteljo. Od pridatkov v grobovih izstopajo keramične posode najrazličnejših oblik. Eden od vrčev ima lepo okrašeno površino z glaziranjem ter dodatno apliciranimi človeškimi obrazi, manjša posodica pa prikazujejo stilizirano ptico. Od steklenih predmetov moramo omeniti dve lasnici, ki se na vrhu zaključujeta z lepo oblikovanima račkama.

Some outstanding graves need to be mentioned in particular. First of all, there is a natural burial cremation grave with an urn in the middle. There were two pieces of imbrices – roof coverings which symbolically represented the connection between the world of living and the world of dead. Another grave contained a brick box recovered with horizontally placed plates. The box was divided into two parts of which one harboured a knife safely placed in a decorated sheath. The brick construction of another cremation grave resembled a bed and was particularly rich in grave goods such as pottery items of various shapes and forms. One of the jugs is glazed and nicely decorated with profiled human faces; there is a rather small bowl on which is depicted a stylised bird. Among glassware are worth mentioning two hairpins ending on the top with nicely shaped ducks.

Grobovi, ki so bili raziskani vzhodno od potoka Grajene do bloka 4 ob Volkmerjevi cesti, lahko predstavljajo samostojno skupino grobov.

Graves discovered east of Grajena Brook all the way to the block of flats 4, Volkmerjeva Street, represent a separate group of graves.

Prav tako ni povsem jasna velikost skupine grobov nad Potrčevo cesto jugozahodno od bolnišnice v bližini stavbe Platana.

The size of a group of graves situated above Potrčeva Street, south-west of the hospital and near the building complex Platana, has not been determined yet.

6. Rabelčja vas

Grobišče se razprostira severno od rimske ceste proti Savariji proti Mestnemu Vrhu. Posamezne skupine ne podajajo enotne slike, saj gre na tem delu za preplet arhitekture in grobiščnih kompleksov. Na tem delu izstopajo naslednje skupine: dijaški dom, stanovanjski bloki Rabelčja vas, naselje individualnih hiš ob Grajeni v mestni četrti Bratje Reš. Grobove lahko datiramo od 2. do 5. stoletja.

The cemetery is located north of the Roman road to Savaria and towards Mestni Vrh district. Individual groups of graves have failed until now to offer one-sided explanation as the layers of architectural remains and grave sites overlap. However, there are some distinctive groups: Dijaški Dom, residential buildings Rabelčja Vas, the residential quarter of individual houses along the Grajena Brook, Reš Brothers town quarter. The graves can be dated from the 2nd to the 5th centuries.

7. Panorama

Skeletni pokopi na tem delu rimskega mesta so bili ali v zidanih grobnicah ali obloženi z marmornatimi ploščami. Časovno jih lahko postavimo v poznoantični čas.

Inhumation graves in this part of the town can be found either in built sepulchres or covered by marble plates. They can be dated to late antiquity.

8. Turnirski prostor

8. Tournament Field

Pri sanaciji žitnice je bilo zaradi gradnje drenaže na severni strani Turnirskega prostora raziskanih nekaj skeletnih grobov, ki so bili usmerjeni od severa proti jugu. Po pridatkih jih lahko postavimo v pozno antiko ali že v čas preseljevanja ljudstev.

During the restoration works at the castle granary and the construction of the drainage system, the northern part of Tournament Field was excavated and a few inhumation graves oriented north-south were researched. Due to their grave goods they can be dated to late antiquity or even to the Migration Period.

9. Ptuj, dominikanski samostan

9. Ptuj – Dominican Monastery

V 4. stoletju je bilo grobišče tudi na območju dominikanskega samostana.

In the 4th century, there was a cemetery around the Dominican Monastery.

10. Ptuj, Prešernova cesta

10. Ptuj – Prešernova Street

Obseg tega grobišča nam zaradi gradnje srednjeveškega mesta ne bo nikdar povsem jasen. Po vsej verjetnosti se je širilo od mestne četrti pa vse do nekdanje struge potoka Grajena. Del grobišča je bil raziskan ob obnovi malega gradu, posamezni grobovi pa vzdolž Prešernove ceste. Izstopa t. i. Orfejev spomenik na Slovenskem trgu. Nagrobnik je bil postavljen za mestnega župana v sredini 2. stoletja.

The overlapping of the medieval city and the antique cemetery will never allow for a clear delimitation of the latter. Most probably it started at the town quarter and ended at Grajena Brook. A part of the cemetery, as well as some graves along Prešernova Street, was researched during the renovation works at the Small Castle (Mali grad). The Orpheus Monument placed on Slovenski Square is an exceptional monument, a tombstone erected in honour of the town mayor in the mid-2nd century.

Sam pregled, ki še ni popoln, saj je veliko najdiščnih arhivov o izkopavanjih v zadnjih štiridesetih letih še neobdelan, nam daje vpogled v topografijo rimskih grobišč Petovione. Lokacije, namenjene pokopavanju, so bile izbrane zavestno in so odražale funkcijo prostora v celotnem obdobju rimske nadvlade v tem delu cesarstva.

While waiting for a thorough study, which is being prepared due to the large amount of findings, a simple glimpse into the archives having piled up during the last forty years offers a fair insight into the topography of Roman cemeteries in the area of Poetovio. Places designated as burial sites were chosen deliberately and reflected the functionality of place throughout the Roman rule in this part of the empire.

Oblike pokopov v teh grobiščih so različne.

Burial practices are quite different in these cemeteries.

Older, cremation graves are the most numerous except in Zgornji Breg where inhumation graves prevail. The presence of both types clearly set their time frame – from the 2nd to the 4th centuries.

Starejši žgani grobovi izstopajo po številu v večini grobišč, razen na Zgornjem Bregu, kjer prevladujejo skeletni grobovi. Zastopanost obeh vrst grobov na grobiščih nam daje vpogled v časovni razpon, največ grobov je iz časa od 2. do konca 4. stoletja.

Funerary practices

Oblike pokopov

Cremation graves

Žgani grobovi

There are several types. The simplest one is in a grave pit containing an urn with bones and ashes of the deceased. In general, there is an oil lamp and a coin as grave goods.

Pri žganih grobovih so bili načini pokopov različni. Najpreprostejši je pokop v grobni jami, v kateri je praviloma žara s kostmi in pepelom pokojnika. Od pridatkov sta praviloma priložena oljenka in novec.

Other graves mostly distinguish themselves by their construction generally made of brick plates or bricks. These types of constructions are normally square or triangular and either covered with horizontal plates or built in the form of a roof. The grave itself contains in general constructions some grave goods. Construction of bricks can be replaced by stone chests or ossuaries made of marble or sandstone.

Od preostalih je zastopana grobna konstrukcija, ki je praviloma narejena iz opečnih plošč ali zidakov. Takšne grobne konstrukcije, skrinje, so po obliki pravokotne ali kvadratne. Večinoma so prekrite s horizontalnimi ploščami ali ploščami v obliki strehe. V samem grobu se nato ponovi inventar, kot so pridatki in nošnja. Opečno konstrukcijo lahko nadomestijo kamnite skrinje – pepelnice, ki so bile narejene iz marmorja ali peščenca.

Burnt edges of grave pits c le a rl y i nd ic a t e i f t he deceased was burnt on a funeral pile set up above the grave pit or within the boundaries of the cemetery on a precisely determined spot.

Po ožganih robovih grobnih jam lahko ugotovimo, ali so pokojnika sežgali na grmadi, ki je bila narejena nad grobno jamo, ali pa na za to določenem prostoru na grobišču.

Skeletni pokopi

Inhumation burials

Pri skeletnih pokopih so oblike prav tako različne. Nekatere pokojne so zavili v mrtvaški prt in jih takšne položili v grobno jamo ali pa so zanje izdelali lesene krste. V teh grobovih najdemo železne žeblje. Manj skeletnih pokopov je v kamnitih skrinjah – sarkofagih, narejenih iz marmorja ali peščenca. V Petovioni so prava redkost svinčene krste.

There are several possible ways: either the deceased were wrapped in a shroud and then put in grave pits or they were put into wooden coffins. This kind of graves contain iron nails. There are much less inhumations in stone chests – sarcophagi made of marble or sandstone, while lead coffins are extremely rare in Poetovio.

Zaščitno arheološko izkopavanje pri OŠ Ljudski vrt

Rescue excavations at Ljudski Vrt elementary school

Lokacija predvidene gradnje nove telovadnice pri OŠ Ljudski vrt je severno od rimske ceste, ki je povezovala rimsko Petoviono (Ptuj) s Savarijo (Szombathely) in leži znotraj že znane vzhodne ptujske nekropole.

The construction of a new gym hall next to Ljudski Vrt elementary school was foreseen north of the Roman road connecting Poetovio (Ptuj) and Savaria (Szombathely), and is situated within the boundaries of eastern Poetovio necropolis.

Izkopavanja so se začela konec maja 2009. Delo je s prekinitvami trajalo vse do decembra, zaradi širitve ponikovalnih polj pa smo z deli zaključili leta 2010.

The excavations started end May 2009 and lasted until December with some interruptions. Due to the widely spread underground sewerage system, the works finished in 2010.

Rezultati so presegli vsa pričakovanja arheologov. Do danes smo raziskali 615 rimskih žganih in skeletnih grobov.

The discovery surpassed expectations of archaeologists. Until now, some 615 Roman cremation and inhumation graves have been researched.

Večina skeletnih grobov je imela lesene krste, ki so bile zbite z železnimi žeblji.

The majority of inhumation graves contained wooden coffins fixed with iron nails.

Pri žganih grobovih so oblike pokopov različne. Najenostavnejši pokopi so bili tisti, pri katerih je bila skopana jama, vanjo pa so bile prosto položene žgane kosti pokojnika, s

Cremation graves differ though. The simplest way of funerary practice was to dig a hole in the ground into which calcined bones of the deceased were laid with or without grave goods. Similar is the burial in a grave pit, but the bones of the deceased were put in a ceramic urn. The majority

pridatki ali brez. Podoben je pokop v grobno jamo, vendar so bile kosti pokojnika shranjene v keramičnih žarah. Največ grobov je imelo opečno konstrukcijo. Razlikujemo več različnih vrst teh konstrukcij. Te so: opečna konstrukcija v obliki kocke ali kvadra, z enojno strehasto konstrukcijo, redkeje pa z dvojno ali celo trojno strehasto opečno konstrukcijo. Trikotna opečna konstrukcija je zastopana samo v enem primeru, prav tako tudi opečna zidana grobnica. V enem primeru je zastopan tudi poškodovan sarkofag, narejen iz marmorja, s pokrovom iz istega materiala.

of graves had a brick construction. There are several types of brick constructions: brick construction in the form of a die or a square, with a single roof-like construction; much scarcer are double or even triple roof-like constructions. A triangle brick construction is found only once, and so is a brick sepulchre. There is also one sarcophagus which is damaged, made of marble and the lid is of the same material. Among grave goods, ceramic vessels of various forms and shapes prevail, followed by glassware. Metal evidence includes mirrors, some belt clasps and pins for fastening garments.

Med pridatki v grobovih prevladujejo keramične posode različnih oblik, njim pa sledijo steklene.

The jewellery comprises some rings, earrings and bracelets. Among outstanding finds should be mentioned spindles made of amber, and two glass hairpins ending in the form of geese at the top.

Med kovinskim materialom so zastopana ogledala, nekaj pa je pasnih spon in sponk za spenjanje oblek. Od nakita je bilo najdenih nekaj prstanov, uhanov in zapestnic. Izstopajo preslice iz jantarja in dve stekleni lasnici, ki se na vrhu zaključujeta z račkama.

This part of the cemetery contains some tumuli which are quite rare, although these are the earliest burials in this part of the Roman cemetery.

Novost na tem delu grobišča so gomilni pokopi, ki so tudi najzgodnejši pokopi na tem delu rimskega grobišča.

With regard to the first analyses of the gathered evidence the cemetery can be dated from the 1st to the beginning of the 5th centuries.

Po prvih analizah gradiva lahko grobišče časovno opredelimo od 1. pa vse do začetka 5. stoletja.

D A

2dm

V S Ljudski vrt, grob 257 / Grave 257

Grobišče pri OŠ Breg ob Rogaški cesti

Cemetery near Breg elementary school, Rogaška Street

Na desnem bregu Drave v naselju Spodnji Breg ob Rogaški cesti na Ptuju so leta 2011 potekala izkopavanja pri Osnovni šoli Breg. Odkritih je bilo 28 grobov, ki so bili vkopani na globini 0,80 do 1,20 m v prodnato plast.

In 2011, on the right Drava river bank, in Spodnji Breg district along Rogaška Street in Ptuj, were carried out excavation works near Breg elementary school unearthing 28 graves. The graves were dug some 0.80 to 1.20 m deep into the gravel layer.

Pod rušo je bila plast ornice, ki je bila debela do 0,40 m, pod njo pa gramozna plast, pomešana s temnorjavo zemljo. V tej plasti so se pojavili posamezni fragmenti keramike in rimskih opek. V naslednjih plasteh so bili najdeni posamezni fragmenti keramike, brona, železa, stekla in novci.

Under the surface, there was a layer of arable land about 0.40 m thick, and beneath it a layer of gravel mixed with dark-brown soil. Few fragments of ceramics and Roman bricks were found there. Other layers revealed fragments of ceramics, bronze, iron, glass and some coins.

Žgani grobovi so bili nepravilne do ovalne oblike. Žare so največkrat okrašene z metličastim ornamentom, pojavljajo pa se še krožniki in vrči ter oljenke. Med drobnimi predmeti so bronaste fibule, nekaj je tudi železnih žebljičkov in novcev. V večini skeletnih grobov ni bilo predmetov, nekaj pa vendarle. Med pomembnejše sodita pasna spona in fibula srčaste oblike, obe izdelani v predrti tehniki.

Cremation graves were in general of oval or irregular shape. The urns were mostly decorated with combed ornamentation. Besides these, there were also plates, jugs and oil lamps. Among fine goods there were fibulae made of bronze, a few iron nails and coins. The majority of inhumation graves were devoid of any grave goods. One of the few was a belt bucket and fibula in the shape of a heart, both decorated with incision technique.

Grobišče je datirano v čas od 2. do 4. stoletja.

The cemetery is dated to the period between the 2nd and 4th centuries.

V grob so bili pokojniku pridani različni predmeti: nakit, oljenka, posode, jantarne preslice in steklo.

In the grave there were various grave objects: jewellery, oil lamp, pottery, amber distaffs and glass.

Oljenke so bile v rimskih grobovih pogost pridatek. V Petovioni je bilo do danes najdenih največ oljenk tipa Loeschcke X ali Buchi X. Kakovost izdelkov je zelo različna. Oljenke tipa Buchi Xb so srednje kakovosti, imajo rdeč premaz, redko je siv. Zelo malo je oljenk brez premaza. Proizvodnja oljenk te vrste se je v Petovioni začela že v prvi tretjini 2. stoletja, večina pa je bila izdelana v drugi polovici 2. stoletja in v prvi polovici 3. stoletja. Večina oljenk iz te skupine, izdelanih na tem območju, je bila povzeta po italskih vzorih. O tem, da so bile takšne oljenke izdelane v Petovioni, nam govorijo najdeni kalupi lončarjev CRESCES in VRSVLI.

Oil lamps were often added as grave goods to Roman graves. The majority of oil lamps found in Poetovio belong either to Loeschcke type X or to Buchi type X. The quality of these lamps varies. The oil lamps of Buchi type Xb are of average quality with a red, rarely grey coating. There are only a few oil lamps without coating. The production of this type of oil lamps in Poetovio started already in the first third of the 2nd century; the majority was produced in the second half of the 2nd century and in the first half of the 3rd century following the models of Italic masters. Discovered moulds of potters CRESCES and VRSVLI prove that the oil lamps of this type were produced in Poetovio. Poetov io ra nges a mong t he m ajor Roman sites rich in goods from amber added into the graves or found next to them; some amber goods belong to casual findings. In general, there were several amber goods found in the graves of Roman Poetovio, such as: rings, shells, boxes and the like. The graves dating back to the 1 st and 2 nd centuries often contain a distaff made of amber beads which were threaded onto a bronze wire.

Med večja rimska najdišča s predmeti iz jantarja lahko prištevamo prav Petoviono, kjer je bil jantar najden predvsem kot pridatek v grobovih ali ob njih, nekaj pa je tudi naključnih najdb. V grobovih rimske Petovione je bilo največkrat pridanih več jantarnih predmetov: prstani, školjke, škatlice in drugo. V grobovih iz 1. in 2. stoletja so najpogostejše preslice iz jantarnih jagod, nanizanih na bronasto iglo.

Pogrebni običaji Funerary rituals In the world of Romans death and funeral were inseparably related to a great number of rather elaborated rituals. When a person was about to die, relatives and friends gathered around the bed, and one of the closest relatives had to catch the last breath with a kiss. The oldest son closed the eyes of the dead and started to call his or her name (conclamatio). Then the body was laid on the bare floor, washed and anointed with fragrance oils, and finally dressed in ceremonial clothes. Only a true Roman citizen had the right to be wrapped in a toga. A wreath was placed on the head of the body, and it was put on the dead bed with feet facing the door. The bed was placed on a high podium in atrium and was covered with flowers. Torches were lit and placed around the bed: two at the head, two at the feet, and close to the torches were lamp posts for oil lamps. The room was decorated with wreaths of flowers which symbolised the voyage of the soul into the underworld.

Za Rimljane sta bila smrt in pokop neločljivo povezana z mnogimi zelo zapletenimi običaji. Ko je človek začel umirati, so se okoli njegove postelje zbrali sorodniki in prijatelji; eden od njegovih najbližjih je s poljubom ujel še njegov zadnji dih. Najstarejši sin mu je zaprl oči in ga klical po imenu (conclamatio). Nato so ga položili na gola tla, ga umili, namazali z dišavnimi olji in odeli v slavnostna oblačila; samo pravi rimski državljan je smel biti odet v togo. Pod jezik so mu položili kovanec za plačilo bajeslovnemu brodarju Haronu, ki je umrle prevažal čez reko Stiks. Na glavo so mu položili venec. Pokojnika so nato z nogami proti vratom položili na mrtvaško posteljo, ki je stala na visokem podiju v atriju, ter nanj položili cvetje. Ob posteljo so postavili bakle, dve ob glavo in dve ob vznožje, ob njih so stala stojala z oljenkami. V prostoru so viseli cvetni venci, ki ponazarjajo potovanje duše v spodnji svet. Nad vhod so pripeli cipresine vejice kot znamenje smrti ter prižgali oljenke in bakle. Domače ženske so se menjavale ob mrliču, da bi ga objokovale. V dneh žalovanja se niso česale. Ta obredna žalovanja so bila nekakšno plačilo za dolg smrti.

Cypress branches were hung above the entrance door as a token of death, and oil lamps and torches were lit. Women of the household would watch over the body in shifts and mourn. During the mourning period women did not comb their hair. These expressions of mourning represented a kind of debt payment to death.

Reveže so pokopali še istega dne, veljake pa so objokovali tudi po teden dni. V začetku so pogrebne svečanosti potekale ponoči (da sonce ne bi potemnelo ob pogledu na mrtvega), kmalu pa so jih premaknili na dan in samo otroke, umrle v najzgodnejšem otroštvu, so še pokopavali ob soju sveč. Pogreb je bil priložnost za razkošno svečanost. Na dan pokopa se je oblikovala povorka, ki je pokojnika nosila skozi mesto vse do prostora, kjer so mrtvega sežgali ali pokopali. Povorko so organizirali libitinarii, ki so se ukvarjali s pogrebnimi svečanostmi. Na čelu povorke so šli godbeniki: prvi so pihali v piščali, tisti za njimi v flavte, rogove in trobente. Za njimi so šli baklonosci in žalovalke z razpuščenimi lasmi, ki so med seboj tekmovali v žalovanju. Mrtvi je ležal na nosilih odkrit, vsem na očeh, v spremstvu črno oblečenih liktorjev s simbolično povezanimi snopi šibja in sekirico kot znamenji oblasti, imenovanimi fasces cum securim. Sledili so igralci in pokojnikovi varovanci; obraz so si pokrivali z voščenimi posmrtnimi maskami, ki so predstavljale poteze prednikov. Nosili so tudi njihovo obleko in orožje, kar je dajalo vtis, da so stanovalci onega sveta vstali, da bi pričakali prišleka. V sprevodu so deklami-

The poor people were buried immediately, while the wealthy ones were sometimes mourned during the whole week. At the beginning, funerary rituals took place during the night (otherwise the sun would turn dark upon seeing the body); however, soon the rituals were moved to the day time, and only children who died in the very early childhood were buried at candlelight. A funeral was always the occasion for a feast. The day of the burial, an entire procession was formed to take the body through the town before arriving to the spot where the corpse was either cremated or inhumed. The procession was organised by libitinarii who were in charge of funeral practices. The procession was preceded by musicians: the first two rows played different types of flutes, and were followed by horns and trumpets. After the music came torch-bearers and mourners – women with loose hair and competing with each other in wailing. The dead body was laid on a stretcher uncovered for everybody to see, and accompanied by lictors dressed in black and carrying bound bundles of rods with an axe in the middle as

rali naeniae, pesmi, ki so poveličevale vrline in dogodke iz življenja pokojnika. Nosila z mrtvim so nesli najbližji. Družina umrlega je bila v žalni črnini, ženske brez vsakega nakita in s spuščenimi lasmi. Sestra, žena in mati so bile odete v rjavo štolo. Tako so pokojnika nosili do mesta sežiga ali pokopa – to je moralo biti po strogih rimskih predpisih zunaj naselbine – in ga položili na grmado. Truplo, posuto z dišavami, je počasi gorelo. Sorodniki so morali ostati ob grmadi, dokler ni popolnoma zgorela. Sežgane kosti so zbrali, oprali v vinu in položili v žaro. Poznali so tudi skeletni pokop, pri katerem so truplo, zavito v mrtvaški prt, položili neposredno v skopano jamo, v leseno krsto ali v kamnit sarkofag. Po končanem obredu se je družina ločila od pokojnika z obrednim pozdravom, použili so slovesen obed in izlili pitno daritev bogovom (libatio), nato pa obredno razbili posodje in ga zmetali v grobno jamo. Toda tudi še po smrti svojci niso pozabili na pokojnika. Na različne spominske dneve so se zbrali na grobu, mu prinesli cvetje in darila, njegov spomin pa so počastili s slovesnim obedom. Takrat so porinili v grobno jamo cevko in po njej mrtvemu spuščali pijačo in jedačo. Obred je bil zagotovo povezan s strahospoštovanjem do pokojnika, ki bi se sicer od vseh pozabljen utegnil maščevati nehvaležnemu sorodstvu. Grob so označili s kamnitim spomenikom. Napis na njem je pričal o pokojnikovem delu, zapis pa neredko o tem, kdo mu je spomenik postavil. Grob so ogradili s cipresami in ga okrasili. Pokopališča so bila nedotakljiva in pod strogo kaznijo zavarovana. Pripadala so tako rekoč duhovom umrlih. Grobovi in nagrobniki so bili običajno zavarovani z ograjo.

tokens of power ( fasces cum securim). Then followed actors and the deceased’s wards concealing their faces behind wax masks which represented the facial features of the deceased, and they wore the dead person’s clothes and weapons thus creating an illusion that the dwellers of the world of dead had risen to welcome the newcomer. During the procession, they would recite naeniae, elegies praising the values and events from the life of the deceased. The stretcher with the body was carried by the closest members of the family. They were dressed in black, women were without any jewellery and with loose hair. Mothers, sisters and wifes were wrapped in brown stoles. And thus, the deceased was carried to the place of the burial or cremation which was, according to the strict Roman laws, outside of any settlement; there the body was put on a pyre. Sprinkled with scents it would burn slowly, and the relatives had to stay close to the pyre until the body was completely consumed. Charred bones were then collected, washed in wine and put into an urn. The Romans also knew inhumation type of burials where a body wrapped in a death shroud was directly placed in a grave, a wooden coffin or in a stone sarcophagus. Once the ritual had been accomplished, the family parted from the deceased with a ritual greeting, consumed a ceremonial meal, offered a drink to the gods (libatio) which was followed by the ritual breaking of vessels by throwing them into the grave pit. But even in death, the deceased was not forgotten by his relatives who would gather at the tomb on various memorial days bringing flowers and presents. They would have a ceremonial meal in memory of the deceased. On such occasions, they would insert a tube into the grave through which they would offer food and drink to the deceased. The ritual was performed with awe and respect for the deceased who could otherwise revenge on the ungrateful kin. The grave was marked with a stone monument containing an inscription about the dead’s deeds, and very often also the name of the donor of the monument. The grave was bounded by cypresses and decorated. Cemeteries were inviolable and guarded, as they belonged to the ghosts of the deceased. Graves and gravestones were normally protected with a fence.

Usoda: preslica, vreteno, nit in tkanje Fate: Distaff, Spindle, Thread and Weaving Blago, nit, statve, priprave za predenje in tkanje (vreteno, preslica) so simboli usode. Opredeljujejo vse, kar vodi našo usodo ali se vmešava vanjo. Mojre, Parke oziroma Fate so tkalke ali predice, odločajo o usodi, so lunarne boginje. Tkati pomeni ustvarjati nove oblike.

Fabrics, thread, loom, spinning and weaving (distaff and spindle) are symbols of fate. They define everything which guides our destiny and interferes with it. Moirae, Parcae or Fatae were weavers or spinners, the ones who decided on a destiny, lunar goddesses. To weave was to shape new forms.

Vreteno se enakomerno vrti in nakazuje večno vračanje. Boginje usode Parke (Mojre, Fate) prepevajo s sirenami in sučejo vreteno: Decima – Laheza (preteklost), Nona – Kloto (sedanjost) in Morta – Atropa (prihodnost); življenje vsakega bitja urejajo z nitjo, ki jo ena prede, druga navija in tretja reže (rojstvo, življenjska usoda, smrt). Ta simbolika označuje neogibni značaj usode: Parke brez usmiljenja tkejo in navijajo čas in življenje. Vreteno, orodje in atribut Park, simbolizira smrt.

The regularly turning spinning wheel indicates the eternal return. Goddesses of fate, Parcae (Moirae, Fatae) sing along with the Sirens while spinning the wheel: Decima – Lachesis (past), Nona – Clotho (present), and Morta – Atropos (future). The life of every creature is managed by a thread spread by one of them, spun by the other, and cut by the last (birth, life destiny, death). With this symbolic, the unavoidable feature of destiny is described: merciless Parcae continue weaving and spinning the time and everyone’s life. The spinning wheel, a tool and attribute of Parcae, symbolises death.

Tako kot vreteno tudi preslica v povezavi s Parkami simbolizira odvijanje, potekanje dni, nit življenja, ki se bo nehala presti, ko bo preslica prazna. Čas se šteje in neogibno mineva. Preslica, ki je bila sprva le kratka trstika, simbolizira začetek dneva.

As the spinning wheel, the distaff in connection with Parcae also symbolises the unfolding, the passing of days and the thread which one day will stop when the distaff is empty. The time is being counted and it is passing by inevitably. The distaff, which at the beginning was only a tiny reed symbolises the beginning of the day.

Nit simbolično povezuje ta svet z drugim svetom in z vsemi bitji ter pomeni povezanost z vrnitvijo k svetlobi, na ta svet. Osnovna nit povezuje svetove in stanja, votkovna pa predstavlja pogojen, posveten razvoj. Razvijanje samo votkovne niti simbolizirajo Parke, pomeni predenje časa ali usode.

Symbolically, the thread connects the world of living with the world of dead and with all other creatures and signifies the return to the light, to the world of living. The mother thread links different worlds and states, while the weft thread means a conditional and worldly growth. Parcae, spinning only the weft thread, symbolise the weaving of time and destiny.

Tkanje je ustvarjalno delo, simbolizira življenje od rojstva do smrti. Ko je blago narejeno, tkalka poreže niti in tako ta proces konča. Gibanje tkalskega čolnička simbolizira dih: stanje življenja in stanje smrti. Podnevi dokončano in ponoči razdrto tkanje je uporabljeno kot simbol življenjskega ritma, neskončnega menjavanja dihanja, pa tudi dneva in noči.

To weave is to create, and it symbolises life from birth to death. Once the fabrics is finished, the weaver cuts all threads and thus ends the procedure. The movement of weaver’s

Številne male in velike boginje imajo v rokah preslico ali vreteno in bedijo ne le nad rojstvom, marveč tudi poteka-

njem dni in zaporedjem dejanj. Te boginje obvladujejo čas, človeški vek, včasih so trde in neusmiljene kot zakoni, ki urejajo nenehno in splošno spreminjanje. Mehka tkanina sveta se reže na ozadju človeškega trpljenja. Tkalke in predice brez konca in kraja odpirajo in zapirajo individualne, zgodovinske in kozmične cikluse.

bobbins symbolises a breath: the condition of life and the condition of death. The weaving completed during the day and destroyed during the night is the symbol of life rhythm, of endless inspiration and expiration, of night and day shifts. Numerous more or less important goddesses were represented with a distaff or a spinning wheel, and they do not watch solely over birth, but also over the succession of days and deeds. These goddesses manage the time, the human era; sometimes they are hard and merciless as are the laws which govern the general and endless changing. The soft tissue of the world is cut on the human suffering. Weavers and spinners discontinuously open and close cycles of individuals, history and cosmos.

Steklene paličice

Twisted glass rods

Paličici iz zelenkastega prozornega stekla sta poševno zaviti in se proti koncu rahlo zožujeta. Na enem koncu imata zaključek v obliki zelo poenostavljene podobe ptice. Stilizirana ptica ima nakazana krila, ploščat rep je obrnjen navzgor. Kljub poenostavitvi so nekatere značilne lastnosti zlahka prepoznavne: širok in zaokrožen kljun in kratka krila kažejo na lastnosti vodne ptice. Spodnji del steklene paličice je gladek in koničast.

Long rods, made of greenish translucent glass are twisted, and narrow slightly at the end. On one side, they end in the form of a simplified figure of a bird. The stylised bird is shown with wings, and its flat tail is turned upwards. In spite of the simplification, certain characteristic features are easily recognisable: a wide and rounded beak and short wings which are typical of water bird. The lower part of the rods is smooth and pointed.

Funkcija teh paličic ni jasna. Verjetno so jih uporabljali za mešanje majhnih količin sestavin za kozmetične ali medicinske pripravke. Pogosto so povezane s kozmetičnimi steklenicami v grobovih, običajno žensk. Po drugi strani pa je na osnovi velikosti, oblike in morda celo okrasa najbolj verjetno, da so jih uporabljali kot preslice v eni od domačih dejavnosti pokojnice (predenje). V našem primeru se zdi, da so lasnice. Steklene mešalne palice so datirane v glavnem v 1. in 2. stoletje.

The function of these rods is uncertain. Probably they were used for mixing small quantities of cosmetic or medicinal preparations; they were often associated with toilet bottles found in graves, usually women’s. On the other hand, their size, shape and even ornaments suggest that most likely they were used as distaff for spinning. In this particular case it seems that the rods are in fact hairpins. Glass stirring rods are mainly dated back to the 1st and 2nd centuries.

Preslice

Distaffs

Jantarne preslice, najdene v petovionskih grobovih, imajo verjetno simbolični pomen najpomembnejše ženske v družini, mater familias. Steklene tordirane preslice imajo lahko glavice v obliki živalskih podob (račka, petelin ali vodna ptica); pogostejše so steklene preslice, ki imajo zaključek v obliki zanke. Pojavljajo se v grobovih iz 1. do začetka 3. stoletja.

Amber distaffs found in Poetovio graves probably have a symbolic meaning having been added into the grave of the most important woman in the family – mater familias. Glass and twisted distaffs may have heads in the shape of animals (ducks, cocks, water birds), but more frequent are distaffs which end in the form of a loop. They were found in the graves dated to the 1st and to the beginning of the 3rd centuries.

BOGOVI SPODNJEGA SVETA GODS OF THE UNDERWORLD Človek je po svoji smrti prišel v Ork, Hadovo kraljestvo, ki naj bi ležalo globoko pod zemljo ali na skrajnem zahodu obljudenih dežel.

Once dead, everybody passed first of all to Orcus, the realm of Hades lying deep below the surface of the Earth, or perhaps at the utmost western part of the known land.

Had ali Pluton (Pluto, rimski Orkus) je Kronosov in Rejin sin, njegova brata sta bila Pozejdon (rimski Neptun) in Zevs (rimski Jupiter). Ko je slednji vrgel s prestola njihovega očeta Kronosa in ko so bratje premagali Titane, so si z žrebom razdelili svet in vlado nad njim. Zevs je dobil nebo, Pozejdonu so bile dodeljene vode, Hadu pa je pripadlo podzemlje – spodnji svet – Tartar, kjer v svoji palači gospoduje mrtvim. Zemljo in Olimp, goro bogov v Tesaliji, so si delili vsi trije.

Hades or Pluto (Roman Orcus) was son of Cronus and Rhea and brother of Poseidon (Roman Neptune) and Zeus (Roman Jupiter). When the latter overthrew their father from the throne, and once the brothers had defeated the Titans, they divided the universe in three by drawing lots. Zeus got the sky, Poseidon the waters, Hades the underworld – Tartarus, where he ruled the dead from his palace; Earth and Olympus, the mount of Gods in Thessaly, were ruled by the three.

Had (Hades, rimski Orkus) se imenuje tudi spodnji svet. V njegovih skrajnih globinah sta Tartar (Tartaros), bronasta ječa upornih Titanidov, in Erbos, podzemeljska tema. Strašen in skrivnosten kakor podzemlje samo ter neviden zaradi čarobne čelade je tudi njegov vladar, bog Had (Hades), ki ne pozna usmiljenja. Ker je gospodar vseh zemeljskih zakladov, se imenuje tudi Pluton – Bogatin. Ob njem je na prestolu njegova žena, neizprosna Perzefona (Persefone, rimska Prozerpina (Proserpina)).

Hades (Roman Orcus) was also the name of the underworld. In its deepest abyss were Tartaros, a bronze jail where the rebellious Titans were, and Erebus, the underground darkness. Terrific and mysterious as the underworld itself, and invisible because of his magic helmet, was the ruler of the underworld, god Hades, who knew no mercy. As he was also the guardian of all treasures, he was called Pluto – the Rich. Beside him on the throne was seated his merciless wife Persephone (Roman Proserpina).

V spodnji svet sme priti vsakdo, a iz njega nihče ne pride nikoli več. Ognjeniki in votline so vrata vanj, skoznje Hermes (rimski Merkur) vodi duše umrlih. Spodnji svet od gornjega ločujejo široke reke. Pri reki Stiks, ostudni reki grozote, so prisegali bogovi; Aheron je reka žalosti in bolečine; Piriflegeton je ognjena reka in Kokitos reka solza. Iz Lete, reke pozabe, pijejo mrtvi, da bi pozabili na gornji svet. Haron, voznik duš, prepelje mrtve v svojem čolnu čez Stiks, in Kerber (Kerberos, Cerber), pes s tremi glavami, pazi, da nihče več ne ubeži na gornji svet. Trije sodniki, Minos, Radamantis (pravičnost in modrost) in Ajak (Aiakos; pravičnost, pobožnost in dobrota), sodijo mrtve. Na nerodovitnih Persefoninih logih in bledih Asfodelovih travnikih mrtvi preživljajo svoje vedno enake dneve, kjer kot sence še naprej opravljajo svoje nekdanje delo. Tam niti ne trpijo niti niso srečni. V Eliziju (Elysion), na otoku blaženih, prebivajo heroji (polbogovi) in posebno zaslužni

He would accept in his realm everyone, but no one could get out of it. Volcanoes and caverns were doors to this world through which Hermes (Roman Mercury) led souls of the deceased. Wide rivers separated the underworld from the upper-world. Styx, a loathsome river of horrors where gods would make their pledge; Acheron, a river of sorrow and pain; Phlegethon, a river of fire; Cocytus, a river of tears; Lethe, a river of oblivion from which the dead drank to forget about the upper-world. Charon, the driver of dead souls took them in his boat across the Styx and Cerber, while a three-headed hound watched that no one fled back to the upper-world. Three judges Minos, Rhadamanthus (justice and wisdom), and Aeacus (justice, piety and kindness) judge the dead. On sterile lands of Groves of Persephone and pale Asphodel Meadows, the dead spend their days which are all the same, and, as shadows, they continue to fulfil their

ljudje, ki se tam sprehajajo kot sence. V Hadu prebivajo tudi črnokrili Thanatos (Smrt), božanstvo smrti, in njegov brat dvojček Hypnos (Spanec) ter Kero, boginja nasilne smrti. Božanstvo sanj predstavljata Morfeus in Fantasos.

past tasks. They do not suffer nor they are happy there. On Elysium, the island of blessed, live heroes (demi-gods), and the meritorious walking around as shadows. Hades is also populated by black-winged Thanatos (Death), the deity of death, its twin brother Hypnos (Sleep), and Ker, the goddess of violent death. Deities of dreams are Morfeus and Fantasos.

Boginja Hekate, ki so jo častili tudi kot boginjo Meseca, kot skrivnostno vladarico noči, varuhinjo vrat in zaščitnico cest, je tudi pošastno božanstvo, ki ponoči straši na razpotjih. Ko vzide luna, hodi okrog grobov in se pogovarja z duhovi umrlih in z raznimi pošastmi. Je vladarica nočnih duhov, čaranja in mešanja strupov; vsakemu, ki ga sreča, prinaša pogubo in je povzročiteljica mnogih bolezni. Krivce in pokvarjence kaznujejo v Tartaru Erinije in veliki zločinci tam trpijo posebne kazni. Erinije

Hecate was worshipped as the goddess of the Moon, as the mysterious mistress of the night, guardian of doors and protector of roads, but also as monstrous deity appearing at crossroads. When the moon rises, the deity walks around graves talking to spirits of the dead and to other monsters. She is the mistress of the night spirits, of witchcraft and poisonous mixtures; she brings bad luck to everyone she meets and causes a lot of different diseases. Bad and wicked people are punished in Tartarus by the Erinyes, and serious criminals

so boginje maščevanja, ženske s kačjimi lasmi, režeče se, prepasane s kačami, s plamenico in bičem v rokah; so v službi bogov spodnjega sveta in kaznujejo vsako krivdo tudi na Gornjem svetu. Da jih ne bi dražili, so jih klicali Evmenide (dobrohotne), včasih tudi hčere Noči; najbolj znane med njimi so tri: Alekto, Teisifone in Megaira. Rimljani so jih imenovali Furije, Dire, maščevalke.

get very special punishments. The Erinyes are goddesses of revenge, women with snake-like hair, grinning and girded with snakes, holding a torch or a whip in the service of the underworld gods, they punish every evil deed even those committed on Earth. In order not to tease them, people would address them with Eumenides (friendly), sometimes also as Daughters of the Night. The most well known among them are Alecto, Tisiphone and Megaera. The Romans called them also Furies or Dirae, avengers.

Orfejev spomenik Orpheus Monument Simbol rimskega in sodobnega mesta Ptuj ob Dravi je velika Orfejeva stela, srednjeveški »pranger« ter dokument moči in bogastva antične Petovione. To je zelo impresivna in reprezentativna nagrobna stela, ki ne zaostaja za šempetrskimi nagrobnimi kapelami. Zdi se, da je stela trajno ostala na svojem prvotnem mestu v skupini družinskih grobov ob cesti, ki je vodila skozi Petoviono proti severu in vzhodu. Danes že močno zabrisan latinski napis nam razkriva, da je bil nagrobnik postavljen Marku Valeriju Veru, ki je v 2. stoletju pripadal najpomembnejši rodbini v mestu.

The symbol of Roman and medieval town of Ptuj on the Drava River is undoubtedly a huge stela – the Orpheus stela, a medieval pillory, and the evidence of antique Poetovio’s power and wealth. This impressive and representative funerary stela is by all means comparable to funerary chapels in Šempeter. It would seem that the stela has forever remained on the spot where it had been put originally to indicate a family group of graves along the road leading through Poetovio toward north and east. The hardly visible Latin inscription reveals that the tombstone was erected in memory of Marcus Valerius Verus who belonged to the most prominent family in the town in the 2nd century.

Mark Valerij Ver si je po predlogah domačih klesarjev skrbno izbral prizore nagrobne stele. Na vrhu je levje ovršje, v vogalih sta zleknjena čuvarja groba, dva navzven obrnjena leva z živalskima glavama v šapah. Na sredini med njima je nameščena še bradata moška glava s plitvo okroglo posodo na temenu, verjetno Sarapis, božanstvo iz Orienta, ki so ga prevzeli tudi Rimljani. Sarapis je med drugim bog vedno znova obnavljajočega se življenja in tu izraža upanje na ponovno rojstvo. V timpanonu se na levico oprta sedeča gola ženska sklanja nad ležečo moško figuro. Prizor pripoveduje zgodbo o Seleni, boginji Lune, ki se je zaljubila v smrtnega mladeniča Endimiona. Selena se vsako noč znova sklanja nad svojega mrtvega ljubimca in ga poskuša s poljubi svojih žarkov obuditi iz večnega sna. Prizor spet izraža upanje na novo življenje, prav tako kot gola krilata genija z dvignjenima plamenicama v zaklinkih ob njem.

Marcus Valerius Verus carefully selected the scenes of the funerary stela based on designs of local stonecutters. The top is filled with the lion scene: in the corners lie two guardians of the tomb, two lions turned toward the outer edge holding an animal head in their paws. Between the lions is a bearded head of a man with a shallow round vessel on the crown of his head. Most probably it is the head of Serapis, an Oriental deity adopted by the Romans. Among other things, Serapis is a god of life that regenerates itself again and again thus expressing hope for rebirth. The tympanum depicts a nude woman leaning on her left arm and bending over a lying man’s figure. The scene, in fact, is the story of Selene, the goddess of the Moon, who is in love with mortal Endymion. Every night, Selene bends over her dead lover trying to awaken him from his eternal sleep with the kisses of her rays. The scene arouses hope for new life, and so do the nude winged geniuses with raised torches in the spandrels beside it.

Ozek friz z raznimi pticami je lahko že del glavnega prizora v glavnem polju, obdanem z dvema stebroma z luskasto površino in okrašenem z nekakšnimi stiliziranimi listi. Prizor je postavljen v nišo, ki ponazarja votlino; na sredini sedi na desno obrnjen Orfej. Oblečen je v orientalsko nošo, na glavi ima trakijsko-frigijsko kapo in igra na liro. Orfej, ki se v žalosti za izgubljeno Evridiko zateče k svoji liri, z žalostinko gane celo živali. Orfeja pozorno poslušajo živali: slon, jelen, bik, lev, panter, kamela, merjasec, krokodil. Na robu skalne votline se na levi plazi kača, prikazana je gos v letu in še neka manjša ptica, na desni opica in dve ptici. Živali so se zbrale in poslušajo velikega pevca. Ta prizor pod njim

A narrow frieze depicting various birds already belong to the main scene in the central part of the stela, and is flanked with two columns covered with scales and decorated with stylised leaf-like ornaments. The scene is placed in a niche representing a cave; in the middle, Orpheus is sitting and turning to the right. He is wearing oriental clothes and a Thraco-Phrygian cap, and is playing the lyre. Lamenting Orpheus, who in his sorrow for the lost Eurydice turns to his lyre, moves even the animals. There is an elephant, a deer, a bull, a lion, a panther, a camel, a wild boar, a crocodile. At the left edge of the cave is a snake, a flying goose and another smaller bird; on the right is a monkey and two birds. All these animals have gathered to listen to the great musician. The scene ends with a narrow frieze depicting

zaključuje ozek friz s prizori živali: na levi gazela, v sredini bik in medved, na desni onager – divji osel, ki ga zasleduje lev. Na napisnem polju, ki se na vrhu zaključuje z noriško-panonsko voluto, se je do danes ohranilo le nekaj slabo vidnih vrstic napisa: M(ARCO) ∙ VALERIO ∙ C(AI) ∙ F(ILIO) ∙ / PAP(IRIA) ∙ VERO ∙ DEC(URIONI) / C(OLONIAE) ∙ U(LPIAE) ∙ T(RAIANAE) ∙ P(OETOVIONENSIS) ∙ II ∙ VIR(O) ∙ I(URE) ∙ D(ICUNDO) ∙ – Marku Valeriju Veru, Gajevemu sinu, iz okrožja Papirija, članu mestnega sveta kolonije Ulpije Trajane Petovione, ki je bil eden izmed dveh županov s sodno pravico. Družina Valerijev je bila v Petovioni znana kot ugledna družina mestnih veljakov, ki so lahko postavljali take spomenike in ki so živeli tudi v takem socialnem in kulturnem svetu, da jih je Orfejev mit mogel pritegniti. Spodnji relief je danes uničen. Polje reliefa je bilo razdeljeno v glavno srednjo ploskev in v dve stranski ožji okrasni vertikalni ploskvi, v katerih sta bili po ena gola moška figura, verjetno genija. Prizor, vklesan v reliefu ob znožju nagrobnika, v srednjem polju, je danes žal močno zabrisan. Na desni strani je prikazana sedeča dvojica, Pluton in Prozerpina, za njima božji sel Merkur s koničasto kapo in palico s trakovi v desnici. Pred sedečo dvojico stoji Orfej z liro. Orfej s svojo pesmijo ni ganil le živali, temveč tudi bogove podzemlja, tako da so mu ljubljeno vrnili. Na levi so tri osebe, relief figure ob Orfeju je uničen, srednja oseba je vsekakor Evridika, za njo pa je morda Heraklej. Upodobitev je spet budila upanje na novo življenje, prav tako kot prizori na vmesnih frizih in stranskih ploskvah. Okrašeni sta tudi obe stranski ploskvi: v podolgovatih pravokotnih, zgoraj trikotno ali polkrožno zaključenih poljih so izmenično upodobljeni plešoči satiri in nimfe; med njimi je nekaj upodobitev živali v manjših kvadratnih okvirih.

animals: a gazelle, a bull and a bear in the middle, and to the right a wild ass or onager chased by a lion. The inscription field, ending on the top with a Noric-Pannonian volute bears only a few lines of hardly legible inscription: M(ARCO) ∙ VALERIO ∙ C(AI) ∙ F(ILIO) ∙ / PAP(IRIA) ∙ VERO ∙ DEC(URIONI) / C(OLONIAE) ∙ U(LPIAE) ∙ T(RAIANAE) ∙ P(OETOVIONENSIS) ∙ II ∙ VIR(O) ∙ I(URE) ∙ D(ICUNDO) ∙ - to Marcus Valerius Verus, son of Gaius, from the district of Papirius, a member of the town council of the colony of Ulpia Traiana Poetovio, who was the only one of the two mayors with the right to judge. Valerius family was well-known in Poetovio, the family of distinguished town dignitaries who were the only ones able to erect such impressive monuments, and who lived in a such social and cultural environment to be attracted by the Orpheus myth.

The bottom relief has been destroyed. It was divided into the main central part and two smaller, narrower, decorative, vertical fields one on each side containing a nude male figure each, probably two geniuses. The relief at the base of the tombstone is unfortunately hardly visible nowadays. There are two sitting figures of Pluto and Proserpina, and behind them is the divine messenger Mercury wearing a pointed cap and holding in his right hand a stick with ribbons. In front of the sitting couple is standing Orpheus holding his lyre. Not only the animals are moved by his song, but also the gods of the underworld who finally consent to return his beloved. On the left are three persons, the figure next to Orpheus has been destroyed, but the central figure is Eurydice; behind her is probably Heracles. The depiction again arouses hope for new life, and so do the scenes on the intermediate friezes and side surfaces. Both side surfaces are also decorated. Long, rectangular fields ending on the top with semicircles or triangles alternately show dancing Satyrs and Nymphs. Among them are few depictions of animals encircled with small square frames.

Orfej

Orpheus

Po grškem izročilu mojster v poeziji in petju je bil sin Kaliope, grške muze pripovedništva in pesništva. Od Apolona je v dar dobil liro, na katero je igral tako čudovito, da je očaral živali, drevesa in skale. Udeležil se je ekspedicije z argonavti in se po vrnitvi v Trakiji poročil z Evridiko. Ko je Evridika zaradi kačjega ugriza umrla, se je Orfej spustil za njo v spodnji svet in si z omamnim igranjem pridobil naklonjenost, ki je boga smrti pripravila celo do tega, da je potočil »železne solze«. Hadova žena Perzefona je privolila, da mu vrne Evridiko: iz podzemlja jo lahko odpelje pod pogojem, da se ne ozre nazaj vanjo, vse dokler ne prideta do gornjega sveta. A v trenutku zaskrbljenosti, ko se je želel prepričati, ali mu Evridika sledi, je Orfej pozabil na dogovor, prelomil obljubo in se ozrl nazaj na ženo. Evridika se je pri priči spremenila v prikazen in izginila; tako jo je za vedno izgubil. Ker se Orfej ni mogel vrniti v spodnji svet, je ves potrt taval po zemlji. Umrl je tako, da so ga raztrgale trakijske ženske, ki jih je razbesnela njegova trmasta ljubezen do žene. Nedotaknjeno so pustile le njegovo glavo in ta je še naprej neutolažljivo jokala za Evridiko, dokler je prebivalci Lezbosa niso pokopali.

In Greek mythology, Orpheus, the master of poetry and singing, was son of Calliope, the muse of eloquence and epic poetry. Apollo gave him a lyre which Orpheus played so well that he charmed animals, trees and rocks. He was in the expedition with the Argonauts, and upon his return to Thrace, he married Eurydice. She died of a snake bite and Orpheus followed her to the underworld. His music was so enticing that even the god of death shed “iron tears”, and the gods accorded him their favour. Persephone, Hades’ wife, allowed him to take back Eurydice but under the condition not to turn back upon leaving the underworld until they were safely back to the upper world. But in a moment of anguish, Orpheus wanted to make sure that Eurydice was behind him. He forgot about the promise, broke the oath, turned around and looked at his wife. The same instant Eurydice turned into a ghost and vanished, and so Orpheus lost her forever. Not being able to return to the underworld, Orpheus, in his grief, wandered around the world. He died ripped to shreds by Thracian women who were driven mad by his obstinate love for his wife. Only his head remained and the head continued inconsolably to weep for Eurydice, until the inhabitants of Lesbos buried it.

Evridika V grški mitologiji Orfejeva žena. Ko je zaradi kačjega ugriza umrla, jo je Orfej šel iskat v spodnji svet, v kraljestvo Hada, in obljubljeno mu je bilo, da jo bo lahko vzel nazaj v življenje na zemlji, če se bo zadržal in se ne bo oziral nazaj nanjo, medtem ko bosta hodila proti dnevni luči. Orfej pa se je spozabil in tako Evridiko za vekomaj zgubil.

Eurydice In Greek mythology, Eurydice is Orpheus’ wife. She died of a snake bite and Orpheus went after her into the underworld, the realm of Hades. He was promised to get her back as long as he refrained himself from looking back at her while walking toward the daylight. Orpheus forgot himself and thus lost Eurydice forever.

Heraklej

Heracles

Heraklej, Zevsov in Alkmenin sin, junak in ljubljenec bogov; pri Rimljanih se imenuje Herkul. Zaradi svojih številnih hrabrih del je postal nesmrten in največji junak grških mitov: z Argonavti se je odpravil na pohod, rešil Alkestido iz objema smrti, premagal velikana Antaja, pobil Kentavre, osvobodil Prometeja, rešil Tezeja iz podzemlja itd. Najslavnejših pa je njegovih dvanajst del, ki jih je opravil za Evristeja. Prikazovali so ga z levjo kožo in grčavo gorjačo.

Heracles, son of Zeus and Alcmene, a hero and the favourite of gods. The Romans named him Hercules. Due to his countless heroic deeds he became immortal and the greatest hero of Greek mythology. He joined the Argonauts in their quest, saved Alcestis from death, defeated the giant Antaeus, killed Centaurs, freed Prometheus, rescued Theseus from the underworld, and much more. But the most famous are the twelve labours he carried out for Euristheus. Normally, he was depicted with the lion skin and a knotted club.

Herkul je bil v Rimu bog dobička in trgovcev ter zaščitnik uteži in varuh denarja; bil je konkurent Merkurju. Trgovci so mu darovali deseti del od dohodka. Tudi desetina vojnega plena je veljala kot zahvala za materialni dobiček.

In Rome, Hercules was god of profit and merchants, protector of weights and money; he competed with Mercury. The merchants would offer him the tenth part of their income; the tenth part of war spoils was sacrificed to thank him for all material goods.

Alkestida Alkestida, Peliova hči in Admetova žena. Sklenila je, da umre namesto svojega moža, vendar jo je Heraklej rešil in vrnil možu.

Alcestis Alcestis, daughter of Pelius and Admetus’ wife. She decided to die instead of her husband, but Heracles saved her and returned her to her husband.

V Tesaliji je živel plemeniti kralj Admetos s svojo mlado in lepo ženo Alkestido. Ko so se Admetu iztekle ure njegovega življenja in mu je Usoda prisodila smrt, se je njegov prijatelj Apolon zanj zavzel pri sojenicah. Te so mu obljubile, da bo Admet ušel Hadu, če bo namesto njega hotel umreti drug smrtnik in iti v kraljestvo mrtvih. Nihče ni bil pripravljen stopiti na njegovo mesto, le Alkestida, ki je svojega moža zelo ljubila, je bila pripravljena odreči se zanj sončni luči. Med pripravami na pogreb je prišel Heraklej, ki ga je v svoji palači prijazno sprejel tudi Admet. Ko je Heraklej izvedel, kaj se je zgodilo, se je odpravil na Alkestidin grob. Tam je iz zasede zgrabil Tanatosa, vladarja mrtvih, ki je prišel po žrtvene darove, mu jo iztrgal ter jo živo vrnil Admetu.

In Thessaly lived a noble king Admetus and his beautiful young wife Alcestis. When Admetus’ time had come and the Fate decided he had to die, his friend Apollo took his case to the Fates who promised that Admetus could escape Hades if some other mortal was ready to die in his stead and descend to the realm of dead. Nobody was willing to step into his shoes except Alcestis who loved her husband so much that she was ready to renounce to daylight in order to save him. During the funerary preparations, Heracles arrived and was kindly welcomed by Admetus in his palace. When Heracles heard what had happened, he went to Alcestis’ grave, ambushed and seized Thanatos, the ruler of the dead, who came to collect offerings, pulled out of his grip Alcestis and returned her alive to her husband, Admetus.

Grško-rimski bogovi IN božanstva smrti in onostranstva Greek-Roman Gods and Deities of Death and the World Beyond Aheront. Ena izmed rek spodnjega sveta, prek katerih brodnik Haron prevaža duše umrlih. Imena rek podzemlja kažejo, kakšne muke čakajo obsojene: Aheron (bolečine), Flegeton (opekline), Kokit (žalostinke, tožbe), Stiks (grozote), Leta (pozabljenje).

Acheron: one of the rivers of the Underworld across which the ferryman Charon carried souls of the deceased. Names of the Underworld Rivers reflected the torments inflicted on those who were judged: Acheron (pain), Phlegethon (burns), Cocytus (wailing, mourning), Styx (horrors), Lethe (oblivion).

Ajak. Zevsov sin in Pelejev oče. Zaradi pravičnosti, pobožnosti in dobrote je po smrti skupaj z Minosom in Radamantisom postal sodnik v podzemlju.

Aeacus, son of Zeus and father of Peleus. Due to his sense of justice, piety and kindness, he became, after his death, one of the judges in the Underworld, together with Minos and Rhadamanthus.

Dis Pater. Rimski bog bogastva in podzemlja, kakor grški Had. Elizij. Domovanje srečnih in krepostnih iz grške in rimske mitologije, kamor se odpravijo pokojniki in uživajo v božanskih radostih večnega življenja. Na Elizijskih poljanah, sredi svetlobe in sreče, so prebivali izvoljeni, junaki, modreci. Po njem so dobile ime Elizejske poljane v Parizu. Ereb. Najtemnejši del spodnjega sveta, sin Kaosa in oče Noči (Niks). Erinije. Rimljani so jim rekli Furije ali Dire. So podzemeljske boginje maščevanja, Alekto, Tizifona in Megajra, in maščujejo vsako zlo dejanje, storjeno v napuhu ali zaslepljenosti. Rimljani so jih častili kot boginje pravice. Imele so podobo psov ali kač. Erinije so bile najprej čuvajke naravnih zakonov in reda med stvarmi, zato so kaznovale vsakogar, ki je prekoračil svoje pravice na škodo drugega, in to tako med bogovi kot med ljudmi. Šele pozneje so postale boginje, ki maščujejo zločin.

Dis Pater, Roman god of wealth and underworld, similar to the Greek god Hades. Elysium, in Greek and Roman mythology, the abode of the happy and virtuous, where the deceased enjoyed and lived a blessed and happy eternal life. The Elysian Fields were the place to which only the chosen ones, heroes and wise men were admitted to live amidst the eternal light and happiness. The avenue Champs Elysees in Paris was named after the Elysian Fields. Erebus: the darkest part of the Underworld; son of Chaos and father of Nyx (Night). Erinyes, called Furies or Dirae by the Romans, were the underworld goddesses of vengeance. Alecto, Tisiphone and Megaera avenged every evil deed committed out of vanity and blindness. The Romans honoured them as goddesses of justice. They assumed the appearance of dogs and snakes. At the beginning, the Erinyes were guardians of natural laws and rules governing the order of things, and as such they would punish everyone who transgressed their rights to the detriment of others, be it god or human. Only at a later stage, they became goddesses responsible for crime revenge.

Evmenide. Kot nasprotje Erinijam pomenijo razumevanje, odpuščanje, preseganje in notranje spreobrnjenje. Erinije simbolizirajo potlačeno krivdo, trpljenje zaradi slabe vesti; Evmenide predstavljajo isto krivdo, vendar priznano in vzvišeno, odrešilno kesanje. Erinije so neusmiljene, Evmenide so dobrohotne. Had – spodnji svet. Človek je po smrti prišel v Ork, Hadovo kraljestvo, ki naj bi ležalo globoko pod zemljo ali na skrajnem zahodu obljudenih dežel. Had, Kronosov in Rejin sin, njegova brata sta bila Pozejdon (rimski Neptun) in Zevs (rimski Jupiter). Ko je slednji vrgel s prestola njihovega očeta Kronosa, so trije bratje z žrebom razdelili stvarstvo na tri področja. Zevs je dobil nebo, Pozejdonu so bile dodeljene vode, Hadu pa je pripadlo podzemlje – spodnji svet – Tartar; Zemljo in Olimp, goro bogov v Tesaliji, so si delili vsi trije. Za stare Grke je bilo ime Had nesrečno, zato so boga mrtvih navadno klicali z drugimi imeni, med drugim Pluton (bogati), Polidegmon (gostoljubni) in Klimenos (znameniti). Rimljani so ga izvirno imenovali Pluton (nevidni) in tudi Ork – imeli so ga namreč za delivca bogastva, kar je bilo posledica podzemnih rudnin. Njegov atribut je žezlo, dvozoba ost, s katero je umirajočega obsodil na spodnji svet. Oblast si je delil z ženo Perzefono, ki je pol leta prebivala v podzemlju, pol pa na zemlji. Had nikdar ni veljal za hudobno ali krivično božanstvo, čeprav je bil mrkoben in neusmiljen; bil je strog in nepopustljiv, toda ne zloben.

Eumenides: as a direct contrast to the Erinyes, the Eumenides represented understanding, forgiveness, surpassing and inner change. If the Erninyes symbolised the suppressed guilt and torments of a guilty conscience, the Eumenides, although presenting the same guilt, symbolised the elevated and redemptive feeling of remorse. The Erinyes were merciless, the Eumenides were kind. Hades – the Underworld. Once dead, everybody passed first of all to Orcus, the realm of Hades lying deep below the surface of the Earth, or perhaps at the utmost western part of the known land. Hades: son of Cronus and Rhea, and brother of Poseidon (Roman Neptune) and Zeus (Roman Jupiter). When the latter overthrew his father from the throne, three brothers divided the universe in three by drawing lots. Zeus got the sky, Poseidon the waters, Hades the underworld – Tartarus, while the Earth and Olympus, the mount of Gods in Thessaly, were ruled by the three. Ancient Greeks considered the name of Hades as very unfortunate and therefore invented other names to designate the god of the dead, such as Pluto (wealthy), Polydegmon (hospitable), and Clymenus (renowned). The Romans called him Pluto (invisible), and Orcus, as they considered him as the main distributor of wealth which was probably due to the underground ore layers. His attribute is a sceptre, a bident, with which he condemned the dying to the underworld. He ruled together with his wife, Persephone, who spent half of the year underground, and the other half on the earth.Hades was never considered as mean or unjust despite his gloomy and merciless appearance. Although he was strict and uncompromising, he was not evil.

Haron. Sin Ereba, temačnega boga, in Noči (Niks). Nesmrtni starec je v svojem čolnu prevažal duše umrlih čez podzemne reke in za plačilo zahteval en obol (obolos) – kovanec v ustih mrtveca. Nepokopane mrtvece je zavrnil, zato so bile njihove duše obsojene na stoletno tavanje po obalah podzemnih rek.

Charon was a son of Erebus, a gloomy god, and of Nyx (Night). The immortal old man carried souls of the dead in his boat across the Underworld Rivers against one obolus – a coin to be put in the mouth of the dead. He would refuse those who were left unburied, and thus their souls were condemned to roam the shores of the Underworld Rivers for a hundred years.

Harpije. Hčere Tavmanta in Elektre. So hudobni duhovi, krilate pošasti s ptičjim telesom, žensko glavo, ostrimi kremplji in smrdeče; mučijo duše, saj jim z nenehnim nadlegovanjem ne dajo miru. Njihovo ime pomeni »roparice, ugrabiteljice«; ugrabljale so otroke in v podzemlje prinašale mrliče. Najpogosteje so tri, Viharna, Hitroleta in Mračna (Aelo, Okipeta in Kelajno); njihova imena spominjajo na mračne in hitre oblake nevihte. Prežene jih lahko le veter.

Harpies were daughters of Thaumas and Electre; they were evil spirits, winged monsters with a body of a bird and a head of a woman, sharp claws, and of foul smell. They were known to torment souls by molesting them and never leaving them in peace. Their name means “snatchers, kidnapers”, as they would abduct children and bring dead corpses to the Underworld. There are three of them that appear most frequently: Aello (storm swift), Ocypete (the swift wing), and Celaeno (the dark), and their names remind of swift stormy dark clouds that only the wind can chase away.

Hekata. Hekata pomeni »daljna«. Imela je oblast nad rodovitnostjo na zemlji in nad urami noči. Lahko je prinašala bogastvo, uspeh in srečo ter dajala modre nasvete in vodstvo, lahko pa se je prikazala ovešena s kačami, kot ključarka podzemlja. Hekata je boginja mrtvih, prikazujejo jo z baklami v rokah, v spremstvu kobil, psov in volkulj. Njena moč je grozotna zlasti ponoči. Pogosto so jo prikazovali kot žensko s tremi telesi ali kot tri ženske, naslonjene na steber. Njena podoba je stala na križiščih. Pozneje je Hekata postala boginja Lune; upodabljali so jo kot božanstvo s tremi glavami, levjo, konjsko in pasjo. Postala je Perzefonina zaupnica v Hadu in vplivna gospodarica demonov in nočnih prikazni – torej prvobitna čarovnica.

Hecate means “far reaching”. She held sway over fertility of the earth and of the hours of the night; she could bring fortune, success and happiness, good advice and leadership, or she would appear with snakes hanging from her, and holding the keys of the underworld. Hecate was the goddess of the dead, usually depicted with torches in her hands and accompanied by mares, dogs and she-wolves. Her power was horrific, especially at night. Quite often, Hecate is shown as triple-bodied or triple Hecate leaning on a column. Her representations were put at crossroads. Later on, Hecate became the goddess of the moon, having three heads – a lion’s, horse’s and dog’s. She was Persephone’s confident in Hades, and an influential mistress of demons and night ghosts – she was the first witch.

Hermes. Zevsov in Majin sin (rimski Merkur). Že od rojstva je spletkaril in uganjal zvijače: Apolonu je ukradel govedo, izumil je liro, kupčeval z Apolonom in si od Zevsa primešetaril prostor na Olimpu. Postal je božanski sel in spremljevalec duš, senc mrtvih, v spodnji svet. Bil je zaščitnik pastirjev, glasbe, telovadbe in bog popotnikov, trgovcev, pa tudi tatov in hazarderjev. Nosil je značilno popotno čepico – petaz in progasto oziroma s kačo ovito palico – kaducej.

Hermes: son of Zeus and Maia (Roman Mercury). Since his childhood, he had been known for his wits and cunningness, such as stealing cattle from Apollo, inventing the lyre, making deals with Apollo, and bargaining to get himself a place on the Olympus with none other but Zeus himself. He became a divine messenger and the escort of souls and shadows of the dead into the Underworld. He was a patron of shepherds, music, gymnastics, of travellers and merchants, but also of thieves and gamblers. He was depicted wearing a typical traveller’s round hat called petasus, and a caduceus – a staff wrapped with a snake.

Htonos. Zemlja. Tako se je imenovalo tudi prebivališče mrtvih in živih: spodaj, v nasprotju z zgoraj; Zemlja v svojem notranjem in temnem vidiku. Pridevek htoničen (htonski) imajo bajna (zmaji) ali resnična bitja (kače) podzemnega izvora, pogosto strašne narave, povezana z idejami in silami kaljenja in smrti. Simbolizirajo grozljivo plat, boj med življenjem in smrtjo, ki sta vedno tesno prepletena.

Chthonic, Earth. That was also the name where the dead and the living abode: beneath, opposite of upward; Earth in its inner and dark aspect. The adjective “chthonic” was attributed to mythological (dragons) and real (snakes) beings originating from the underground and of horrible appearance which were connected with the ideas and forces of germination and death. These forces symbolise the terrible side of life, the struggle between life and death which are always inextricably bound.

Janus. Rimski bog prehodov skozi vrata, vhoda in izhoda, v prenesenem pomenu začetka in konca. V rimskih legendah se Janus pojavlja kot eden najstarejših bogov. Upodabljali so ga kot boga z dvema glavama. Njemu so bili posvečeni novo leto in vsak prvi dan v mesecu; po njem se imenuje tudi mesec januar.

Janus, Roman god of transitions and passing through doors, of entrances and exits, of beginnings and ends. In Roman legends, Janus is one of the most ancient gods. He was depicted as a two-headed god. New Year and every first day in a month were dedicated to him; the month of January was named after him.

Kerber (tudi Cerber). Sin kače Ehidne in Tifona. Stražar pri vratih podzemlja. Navadno so ga upodabljali kot pošastnega psa s številnimi glavami (tremi, petdesetimi, stotimi), zmajskim ali kačjim repom in kačjimi glavami na hrbtu. Kerber je sprejemal mrtve v svet Hada, njegovo strašno zavijanje in zadah iz njegovih žrel pa sta prestrašila tiste pokojne, ki so skušali pobegniti nazaj na svet. Kerber je skrbel tudi za to, da v podzemlje niso mogli živi. S svojim strupom je okužil več zelišč, ki so jih nabirali čarodeji in iz njih delali napitke, s katerimi so klicali zle uroke.

Cerberus, the hound of Hades, son of Echidna and Typhon, usually described as a monster with numerous (three, fifty, hundred) dog-heads, a dragon or snake’s tail and snake’s heads at the back. Cerberus accompanied the dead to Hades, and his horrible howling and foul smell from his mouths scared those dead who tried to return to Earth. Another task Cerberus had to fulfil was to prevent the living to come to the underworld. Therefore, he contaminated with his poison several herbs collected by the magicians who brew various beverages with which they would cast evil spells.

Lari. Lares so duše pokojnih družinskih članov, ki so jih Rimljani častili po božje. Bili so zaščitniki rimske hiše, doma, varuhi domačega ognjišča in tudi družine ter poti; na križiščih (compita), kjer se je stikalo več posestev, so jim postavljali kapele. Rimljani so v hiši imeli poseben prostor, v katerem so stali kipci hišnih bogov ali pa je bil le poslikan z njihovimi podobami. Vsak dan so se jim zahvaljevali z darovi z mize, ob družinskih praznikih pa so jim žrtvovali. Lare so Rimljani običajno upodabljali kot mladeniče s kopji in psi, v plesnem koraku, z rogom izobilja, s pivskim rogom ali skodelico v roki.

Lares represented souls of the deceased family members who were worshiped by the Romans as gods. They were guardians of a Roman house, home, of a hearth and family, paths and crossroads (compita) where several estates converged and where a chapel would be erected to their honour. There was always a special place in a Roman house where statuettes of house gods were placed or their pictures painted. Every day people would thank them with offerings from the table, and during family feasts the family members would make a sacrifice to honour them. Lares were usually presented as young men bearing spears and accompanied by dogs, in a dancing move and holding a horn of plenty, a cup or a beer horn.

Larve. Larvae, strahovi, zlobni duhovi mrtvih.

Larvae, shades or evil spirits of the dead.

Lemuri. Lemures, pošastne in grozljive prikazni, duhovi mrtvih, družinski mani, ki živim ne dajo miru v spominih in sanjah. Zaradi svojih slabih dejanj na zemlji ne najdejo miru. Njim v čast so Rimljani obhajali praznik lemuria (9., 11., 13. maja) – z raznimi obredi so od svojih domov skušali odvrniti duhove mrtvih in strahove (lemures).

Lemures were monstrous and horrible apparitions, spirits of the deceased, family mani who would continue bothering the living in their memories and dreams; because of their own bad deeds they were unable to find peace on earth. To honour them, the Romans had a holiday named Lemuria (9th, 11th and 13th May), when they tried to avert the spirits of the dead and the Lemures from their homes by practicing various rites.

Lete. Reka pozabljenja, ena izmed rek v spodnjem svetu. Sence mrtvih, ki so se k njej prišle odžejat, na ta način pozabijo na življenje na zemlji.

Lethe: the river of oblivion and one of the rivers in the Underworld. Shadows of the deceased drinking from it would forget about the life on Earth.

Mani. Dobri duhovi umrlih, ki so jih Rimljani častili kot bogove. Od konca republike zasledimo na rimskih nagrobnikih pred imenom pokojnega ustaljen izraz Dis Manibus sacrum (bogovom mrtvih posvečeno).

Manes were souls of good people worshiped by the Romans as if they were gods. From the end of the Republic, Roman tombstones would bear a widely admitted inscription preceding the name of the deceased Dis Manibus sacrum (consecrated to Gods of the deceased).

Minos. Zevsov in Evropin sin, kretski kralj, oče Androgeja, Fajdre in Ariadne. Ker Pozejdonu ni hotel žrtvovati belega bika, se je bog razjezil nanj in začaral njegovo ženo Pazifao, da se je zaljubila v bika in rodila Minotavra. Atencem, ki so ubili njegovega sina, se je maščeval tako, da jim je napovedal vojno in od njih zahteval krvni davek sedmih mladeničev in sedmih mladenk, ki jih je dal požreti Minotavru. Po smrti – ubile so ga Kokalove hčere na Siciliji – je poleg Ajaka in Radamantisa postal sodnik v podzemlju. Mojre. Tri hčere Zevsa in Temide, ki so odločale o usodi posameznika. Njihovo ime pomeni »odmerjevalke«. V rimski mitologiji so bile Parke (Parcae) ali Fate (Fatae) in so personifikacije usode. Najverjetneje so se razvile iz skupine rojstnih duhov, božanstev, ki so bedela nad prihodnjim življenjem novorojencev. Njihova prvotna naloga je bila ob rojstvu odmeriti usodo slehernemu posamezniku. Bali so se jih celo bogovi. Zamišljali so si jih kot tri starke, ki kakor nit predejo človeško usodo. Kloto (Clotho) – Nona (predica) človeku prede življenjsko nit s preslico na svojem vretenu in je zavetnica devetih

Minos, son of Zeus and Europa, king of Crete, father of Androgeus, Phaedra and Ariadne. As he refused to sacrifice a white bull to Poseidon, the latter in his wrath bewitched Minos’ wife Pasiphae to fall in love with a bull and give birth to Minotaur. He took his revenge on the Athenians, who had killed his son, by declaring war on them and by demanding a blood tribute of seven young men and women to be devoured by Minotaur. After his death – he was killed by Cocalus’ daughters in Sicily – he became one of the judges in the Underworld together with Aeacus and Rhadamanthus. Moirai (Fates) were three daughters of Zeus and Themis, and they were the ones who decided on a fate of each individual. Their name means “apportioners”. In Roman mythology they were known as Parcae or Fatae as they personified destiny. Most probably they originated from a group of gods related to childbirth or to deities watching over the future life of newly born. Their primary task was to allot destiny to each individual at their birth. Even gods feared them. They were presented as three old women spinning a thread of human fate. Clotho – Nona (spinner) spun the thread of life on a distaff of her spindle and

mesecev nosečnosti, Laheza (Lachesis) – Decima (usoda) jo razpreda, je merilka dolžine življenja, Atropa (Atropos) – Morta (neizprosna, neizbežna), ki izbere čas in način smrti, pa jo prereže, da umre. V trenutku, ki so ga določile za čas smrti, so se prikazale kere, zlovešče hčere Noči. Ti trije ženski duhovi s koničastimi kremplji in v okrvavljenih plaščih so svoji žrtvi zadale smrtni udarec in jo odnesle v deželo senc.

protected the nine-month period of pregnancy. Lachesis – Decima (fate) spread the thread of life and measured it. Atropos – Morta (inexorable, inevitable) chose the time and manner of death by cutting the thread of life. At the appointed time of death, the Keres, ominous daughters of the Night (Nyx), would appear. These three women spirits with pointed claws and wearing blood-stained coats would strike the fatal blow at their victims and then take them to the world of shadows.

Orkus. Rimski bog smrti in podzemskega kraljestva in kraj, kjer umrle duše žive kot sence; pri Grkih Hades in Erebos, tudi Dis.

Orcus was a Roman god of death and of the underworld realm as well as the place where souls of the dead lived as shadows. Its Greek equivalent is Hades, Erebus and also Dis.

Perzefona. Zevsova in Demetrina hči, boginja podzemlja. Ugrabil jo je Had in jo kot svojo ženo odpeljal v podzemlje, to pa je njeno mater močno razžalostilo. Bogovi so zato sklenili, da mora deklica pol leta kot Kora preživeti pri materi, pol leta pa kot Perzefona pri Hadu v podzemlju. Rimljani so Perzefono častili kot Prozerpino.

Persephone, a daughter of Zeus and Demeter, goddess of the underworld. She was abducted by Hades who took her, as his wife, to the underworld which deeply affected her mother. Therefore, the gods decided that the girl was to spend half a year with her mother under the name of Kore, and the other half as Persephone with Hades in the underworld. Her Roman equivalent is Proserpina.

Pluton. Bog podzemlja, grški Hades.

Pluto - god of the underworld; Greek equivalent is Hades.

Radamantis. Zevsov in Evropin sin ter Minosov brat; zaradi pravičnosti in modrosti je ob Ajaku in Minosu postal sodnik v podzemlju.

Rhadamanthus, son of Zeus and Europa, Minos’ brother, was one of the judges in the underworld, together with Aeacus and Minos, due to his sense of justice and wisdom.

Stiks. Ena izmed Okeanid, Ostuda, hči Okeana in Tetide. Ker je pomagala Zevsu v vojni s Titani, jo je ta naredil za reko, ki je nekajkrat obkrožala podzemeljsko kraljestvo Hada in pri kateri so bogovi izgovarjali najslovesnejše in najtrdnejše prisege. Prek nje zlovoljni brodar Haron prevaža duše umrlih, od katerih zahteva brodnino, zato so mrtve pokopavali s kovancem, imenovanim obol (obolos), v ustih.

Styx: one of the Oceanids, Ostud, daughter of Oceanus and Tethys. As she helped Zeus in the Titan war, he transformed her into the river circling several times the underworld realm of Hades, and upon which all gods should swear their most solemn and faithful oaths. Gloomy Charon crossed it with souls of the deceased who had to pay for the passage; that is why the dead were buried with a coin (obolus) placed in their mouths

Tanatos. Bog smrti. Rimska Mors.

Thanatos, god of death; Roman Mors.

Tarpeja. Prvotno je bila verjetno neko božanstvo smrti, njen kultni sedež je bil ob Tarpejski pečini na zahodnem pobočju Kapitola, na kraju, ki so ga Rimljani imeli za grob izdajalke. S te pečine so v brezno pehali zločince, ki so se pregrešili z izdajstvom domovine.

Tarpeia was most probably some kind of death deity at the beginning, and the main location to worship her cult was the Tarpeian rock on the western slope of the Capitoline Hill, the spot the Romans considered being a tomb of a traitor. The Romans used the cliff to hurl off it criminals who betrayed their homeland.

Tartar. Najgloblji in najtemnejši del podzemlja, kamor so bili za kazen vrženi največji hudodelci: tisti, ki so se pregrešili zoper bogove in starše, prešuštniki, morilci, izdajalci in drugi.

Tartarus is the deepest and darkest part of the underworld where the worst criminals were taken in punishment, those who sinned against Gods and parents, adulterers, assassins, traitors and others.

Grobišča rimske Petovione Cemeteries of Roman Poetovio

okrajšave / abbreviations: vel. = velikost / size

gl. = globina / depth

pr. oboda / rim diameter

v. = višina / height

db. = debelina / thickness

stol. = stoletje / century

d. = dolžina / length

pr. = premer / diameter

lit. = literatura / literature

š. = širina / width

pr. ročaja / handle diameter

Grobišče pri Osnovni šoli Ljudski vrt na Ptuju Cemetery at Primary school Ljudski vrt in Ptuj GROB 15 / Grave 15

žgani pokop s konstrukcijo iz tegul / cremation burial with construction made of tegulae vel.: d. 70 cm, š. 140 cm, gl. 25 cm Oglata grobna jama je vkopana v rumeno ilovico. Zapolnjena je z rjavo glino in kamni, velikimi do 5 cm, ter z večjo koncentracijo žganine na jugu in jugozahodu groba. Rob groba, širok 3 do 5 cm, je ožgan.

Najdbe / Grave goods: uhan, zlato, smaragd / earring, gold, emerald ohr. dolžina 2,45 cm, ohr. širina 1,50 cm; inv. št. 11LV013/04 Uhan je izdelan iz zlate žice z dvema zankama, ki se prepletata. Nanjo je pritrjena pravokotna kaseta, velika 0,98 × 1,80 cm, s prečko v sredini, na katero je vpeta smaragdna jagoda. Stranice kasete so široke 0,21 cm in okrašene z vertikalnimi rebri. Na B uhan je z zanko pritrjen obesek paličaste oblike, ki je v zgornjem delu tordiran in S na vrhu zaključen v obliki bunčice, na spodnjem delu pa v obliki zanke. B

2dm

GROB 22 / Grave 22

skeletni pokop / skeleton burial vel.: d. 160 cm, š. 70 cm, gl. 40 cm Oglata grobna jama pod strukturo iz kamnov je vkopana v rumeno ilovico. Zapolnjena je z rjavo glino in kamni, predvsem peščenjaki, velikimi do 19 cm, ter z ogljem. Skelet je slabo ohranjen. Orientiran je v smeri severozahod–jugovzhod. Na vzhodni strani je obložen s kamni. 1.FAZA 2.FAZA

2dm

Najdbe / Grave goods: ploščica, gagat / plate, jet

jagoda, gagat / bead, jet

vel.: 1,6 × 1,1 × 0,6 cm; inv. št. 11LV016/01 Ploščica z dvema luknjicama je trikotne oblike in ima ovalen presek.

vel.: 2 × 2 × 1,2 cm; inv. št. 11LV016/02 Jagoda z dvema luknjama je ovalne oblike in ima nepravilen ovalen presek.

vel.: 2 × 1,9 × 1 cm; inv. št. 11LV016/03 Jagoda z dvema luknjama je ovalne oblike in ima nepravilen ovalen presek.

jagoda, gagat / bead, jet

ploščica, gagat / plate, jet

vel.: 2 × 2 × 1,2 cm; inv. št. 11LV016/04 Jagoda z dvema luknjama je ovalne oblike in ima nepravilen ovalen presek.

vel.: 2 × 1,9 × 1 cm; inv. št. 11LV016/05 Jagoda z dvema luknjama je ovalne oblike in ima nepravilen ovalen presek.

vel.: 2 × 1,1 × 0,7 cm, inv. št. 11LV016/06 Ploščica z dvema luknjicama je trikotne oblike in ima ovalen presek.

78 jagod, gagat / 78 beads, jet

287 jagod, gagat / 287 beads, jet

inv. št. 11LV016/07 24 jagod (a) je pravokotne oblike in imajo kvadraten presek; vel.: 1,2 × 0,4 × 0,4 cm; 54 jagod (b) je pravokotne oblike in imajo kvadraten presek; vel.: 0,5 × 0,4 × 0,3 cm.

inv. št. 11LV016/09 4 jagode (a) so pravokotne oblike in imajo okrogel presek; vel.: 0,8 × 0,4 × 0,4 cm; 67 jagod (b) je pravokotne oblike in imajo kvadraten presek; vel.: 0,6 × 0,4 × 0,3 cm; 184 jagod (c) je pravokotne oblike in imajo okrogel presek; vel.: 0,3 × 0,4 × 0,2 cm; 10 jagod (d) je ovalne oblike in imajo kvadraten presek; vel.: 1,3 × 0,3 × 0,3 cm; 20 jagod (e) je pravokotne oblike in imajo okrogel presek; vel.: 0,3 × 0,4 × 0,4 cm; 2 jagodi (f) sta pravokotne oblike in imata okrogel presek; vel.: 1,4 × 0,3 × 0,3 cm.

jagoda, gagat / bead, jet vel.: 2 × 1,1 × 0,4 cm; inv. št. 11LV016/08 Jagoda z dvema luknjama je ovalne oblike in ima nepravilen ovalen presek.

jagoda, gagat / bead, jet vel.: 2 × 1,9 × 1,1 cm; inv. št. 11LV016/10 Jagoda z dvema luknjama je ovalne oblike in ima nepravilen ovalen presek.

GROB 46 a / Grave 46 a

4.FAZA

1.FAZA

žgani pokop s konstrukcijo iz tegul / cremation burial with construction made of tegulae vel.: d. 82 cm, š. 67 cm, gl. 41 cm; vel. opečne skrinje: d. 72 cm, š. 35 cm Pravokotna grobna jama je vkopana v rumeno ilovico. Pod dvema horizontalnima tegulama sta dve vzporedni opečni plošči za tlak in prekrivata grob. Jama je zapolnjena z rumenosivo ilovico, žganino in kalciniranimi kostmi.

Najdbe / Grave goods:

2.FAZA

bodalo, železo / dagger, iron d. noža 28,7 cm, š. rezila 3,6 cm, rekonstruirana nožnica d. 27,4 cm, š. 9,8 cm; inv. št.: 09LV046A/03 B

5.FAZA 3.FAZA D

2dm

GROB 98 / Grave 98

žgani pokop s konstrukcijo iz tegul / cremation burial with construction made of tegulae vel.: d. 98 cm, š. 89 cm, gl. 25 cm Okrogla grobna jama je vkopana v rumeno ilovico in ima ožgane robove. Zapolnjena je z rumenosivo ilovico, žganino in fragmenti kalciniranih kosti.

Najdbe / Grave goods:

1.FAZA

lonec, keramika / pot, pottery

v. 19,6 cm, pr. ustja 14,6 cm, pr. dna 9,5 cm, najv. pr. 23,3 cm; inv. št. 09LV098/01 Trebušast lonec je narejen iz dobro prečiščene gline, rdeče žgan. Površina je glajena in rdeče barvana. Na ramenu so trije vzporedni pasovi okrasa, narejenega s koleščkom. Rame direktno preide v odebeljeno ustje.

pokrov, keramika / lid, pottery pr. 15,5 cm; inv. št. 09LV098/02 Pokrov z gumbastim zaključkom je narejen iz dobro prečiščene gline, rdeče žgan. Površina je glajena in rdeče barvana. Bil je v loncu.

3.FAZA

2.FAZA

2dm

GROB 105 / Grave 105

žgani pokop / cremation burial vel.: d. 116 cm, š. 66 cm, gl. 20 cm Ta grob je poškodoval grob 106. Ovalna grobna jama je vkopana v rumeno ilovico. Zapolnjena je z rumenosivo ilovico, žganino in kalciniranimi kostmi. Dva vertikalno postavljena slemenjaka, imbreksa, sta bila povezana z loncem – žaro. En zlat uhan je bil v imbreksu, drugi pa v žari.

Najdbe / Grave goods: vel.: 0,7 × 0,5 cm, d. 1,5 cm; inv. št. 09LV105/01 Uhana imata obliko stilizirane ptice. Na vsak uhan je pritrjen obesek paličaste oblike, ki je v obliki bisernega niza in spodaj zaključen z zanko.

par uhanov, zlato / pair of earrings, gold

2.FAZA

1.FAZA

3.FAZA

2dm

Grob 154 / Grave 154

žgani pokop / cremation burial vel.: d. 115 cm, š. 66 cm, gl. 41 cm Pravokotna grobna jama je vkopana v rumeno ilovico. Grob je imel opečno konstrukcijo, narejeno iz tegul, ki pa je uničena. Jama je zapolnjena z rumenosivo ilovico, na robovih je žganina in na dnu kalcinirane kosti.

Najdbe / Grave goods: zapestnica, zlato, smaragd, steklena pasta / bracetet, gold, emerald, glass paste

1.FAZA

d. 7,94 cm in 3,87 cm; inv. št. 09LV154/06 Otroška zapestnica iz dveh delov se zaključuje s S-zanko na eni in ušescem na drugi strani. Sestavljena je iz členov, na njih pa je sedem smaragdnih jagod in jagod iz steklene paste.

3.FAZA

2.FAZA

2dm

Grob 155 / Grave 155 3.FAZA

1.FAZA

žgani pokop s konstrukcijo iz tegul / cremation burial with construction made of tegulae vel.: d. 115 cm, š. 53 cm, gl. 40 cm Pravokotna grobna jama je vkopana v rumeno ilovico in ima ožgane robove. Grob ima opečno konstrukcijo, ki pa je poškodovana. Grob je bil uničen že v rimskem času. Zapolnjen je z rumenosivo ilovico, drobci ožgane ilovice, fragmenti opeke, žganino in kalciniranimi kostmi.

Najdbe / Grave goods: preslica, jantar / distaff, amber

2.FAZA

2dm

steklenička – gubanka, steklo / small bottle with four indents on the walls, glass v. 11,2 cm, pr. dna 2,1 cm, pr. ustja 2,2 cm, najv. pr. 3,3 cm; inv. št. 09LV155/02; 1. do 2. stol. Steklenička je narejena iz svetlozelenega stekla. Ima izvihano ustje ter stekleno spiralo na vratu in štiri gube na obodu.

d. 12,1 cm, pr. 1,1 cm, pr. največje jagode 1,4 cm; inv. št. 09LV155/01; 1. do 3. stol. Preslica je narejena iz 30 med seboj sprijetih jantarnih jagod.

4.FAZA

oljenka, keramika / oil lamp, pottery

dišavnica – balzamarij, steklo / unguent bottle – balsamarium, glass

v. 2,9 cm, š. 6,1 cm, d. 9,1 cm; inv. št. 09LV155/05; druga pol. 2. do prva pol. 3. stol. Oljenka tipa Loeschcke X je narejena iz prečiščene gline in je sivo žgana. Na ramenu so trije gumbi in luknjica v kanalu. Na dnu je žig URSUL.

v. 27 cm, pr. 8,7 cm; inv. št. 09LV155/08; 2., 3. stol. Poškodovana steklenička, večji balzamarij, je narejena iz svetlozelenega prozornega stekla.

steklena palica – lasnica, steklo / glass rod – needle – hairpin with a head in shape of a duck, glass d. 15,1 cm; inv. št. 09LV155/03; 2. stol. Steklena palica – lasnica je narejena iz zelenega prozornega stekla. Na vrhu jo zaključuje ptica – račka. Konično oblikovan trup lasnice je tordiran.

steklena palica – lasnica, steklo / glass rod – needle – hairpin with a head in shape of a duck, glass d. 15,8 cm; inv. št. 09LV155/04; 2. stol. Steklena palica – lasnica je narejena iz zelenega prozornega stekla; na vrhu jo zaključuje ptica – račka, konično oblikovan trup lasnice je tordiran. Lit.: M. Vomer Gojkovič, Glass Finds from Poetovio Grave at Ljudski vrt, Aihv Annales Du 19e Congrès, 2012, Koper 2015, 264–271.

Grob 160 / Grave 160

Najdbe / Grave goods:

žgani pokop s konstrukcijo iz tegul / cremation burial with construction made of tegulae vel.: d. 60 cm, š. 56 cm, gl. 50 cm Pravokotna grobna jama je vkopana v rumeno ilovico. Na severni strani zunaj konstrukcije je žganina z zdrobljenimi kalciniranimi kostmi. Na zahodnem delu je grob naslonjen na grob 110. Jama je zapolnjena z rumenosivo ilovico, žganino in kalciniranimi kostmi.

lonec, keramika / pot, pottery v. 28 cm, pr. ustja 15,2 cm, pr. dna 10 cm, najv. pr. 22,8 cm; inv. št. 09LV160/02 Jajčasto ovalen lonec ima ravno izvihano poudarjeno ustje z dvema kanelurama in ravno poudarjeno dno. Narejen je iz prečiščene gline, v kateri so rjavi delci. Je rjavo žgan, površina se otira; na površini je sled rdeče barve.

2dm

steklenička, steklo / small bottle, glass

33 jagod, steklo, pozlata / 33 beads, glass, gilding

vel.: v. 8,6 cm, pr. ustja 3,1 cm, trup 4,8 × 3,8 cm, ročaj: v. 3,2 cm, š. 1 cm, db. 0,4 cm; inv. št. 09LV160/03; konec 1. in 2. stol. Narejena je iz zelenega stekla, ohranjena je v celoti. Ima ravno izvihano ustje, konični vrat in pravokotno oblikovan trup. Dva trakasta ročaja sta aplicirana pod ustjem in se navezujeta na rame stekleničke. Na dnu je žig: v sredini krožec, na vogalih pa majhne bradavice, ki so bile aplicirane in so služile kot nogice.

pr. 0,4 cm; inv. št. 09LV160/04 Jagode so izdelane iz belega prozornega stekla, ki je pozlačeno.

krožnik, keramika / plate, pottery v. 3,4 cm, pr. ustja 18,4 cm, pr. dna 14,7 cm; inv. št. 09LV160/05 Narejen je iz prečiščene gline in rdeče žgan, na površini je sled rdeče barve. Verjetno je bila s krožnikom pokrita žara.

intaglio, poldragi kamen / intaglio, semiprecious stone vel. 1,32 × 0,98 cm; inv. št. 09LV160/08 V belo ovalno gemo je vrezana postava, ki v iztegnjeni desni roki drži neki predmet, v levi, pokrčeni, pa scepter.

Grob 182 / Grave 182

žgani pokop / cremation burial vel.: d. 80 cm, š. 72 cm, gl. 40 cm Kvadratna grobna jama je vkopana v rumeno ilovico. Zapolnjena je z rumenosivo ilovico, žganino, kalciniranimi kostmi in keramiko.

Najdbe / Grave goods: jagoda, keramika / bead, pottery v. 1,1 cm, pr. 1,2 cm; inv. št. 09LV182/04 Poškodovana melonasto narebrena jagoda je narejena iz temnordeče žgane gline. S

jagoda, steklena pasta / bead, glass paste vel.: 1,2 cm, pr. 1,1 cm; inv. št. 09LV182/07 Melonasto narebrena jagoda je narejena iz modrozelene steklene paste.

jagoda, steklo / bead, glass pr. 2,2 cm, v. 1,0 cm; inv. št. 09LV182/08 Jagoda, narejena iz zelenega prosojnega stekla, je nekoliko deformirana in ima narebreno stranico.

2dm

Grob 200 / Grave 200

skeletni pokop / skeleton burial vel.: d. 140 cm, š. 97, gl. 40 cm Pravokotna grobna jama je vkopana v rumeno ilovico in zapolnjena z rumenosivo ilovico. Na dnu se jasno kaže sled krste.

2dm

Najdbe / Grave goods: skledica, keramika / small bowl, pottery

askos, keramika / askos, pottery

v. 5,3 cm, pr. ustja 10,7 cm, pr. dna 4,7 cm; inv. št. 09LV200/02 Skledica ima poškodovano ustje, ravno dno. Narejena je iz prečiščene gline, v kateri so posamezni rjavi delci, in svetlorjavo žgana.

v. 7,3 cm, pr. dna 5,2 cm, š. 7 cm, d. 12,4 cm, ročaj: d. 4,9 cm, š. 1,3 cm, db. 0,5 cm; inv. št. 09LV200/03 Na kratkem vratu je delno ohranjeno izvihano ustje, trup je oblikovan v obliki ptice. Ima trakast ročaj in nizko prstanasto nogo. Narejen je iz prečiščene gline in rdeče žgan.

Grob 201 / Grave 201

žgani pokop / cremation burial vel.: d. 171 cm, š. 81 cm, gl. 12 cm Pravokotna grobna jama je vkopana v rumeno in sivo ilovico in ima ožgane robove. Zapolnjena je s sivorumeno ilovico, drobci ožgane ilovice, žganino, kalciniranimi kostmi in drobci opek.

Najdbe / Grave goods: jagoda, steklo / bead, glass v. 1,8 cm, pr. 1,8 cm; inv. št. 09LV201/13 Melonasto narebrena jagoda je narejena iz turkizne steklene paste.

2dm

oljenka, keramika / oil lamp, pottery v. 3,9 cm, š. 7,7 cm, d. 11,4 cm; inv. št. 09LV201/23 Oljenka tipa Loeschcke IX je narejena iz dobro prečiščene gline in rjavordeče žgana. Na ramenu ima tri ušesa za obešanje (dva sta ohranjena), na dnu pa pet koncentričnih kanelur.

jagoda, steklena pasta / bead, glass paste

v. 1 cm, pr. 0,8 cm; inv. št. 09LV201/26 Ci lindrična jagoda je na rejena i z temnomodre steklene paste, na površini ima vdelano belo nitko.

v. 1,2 cm, pr. 1,5 cm; inv. št. 09LV201/29 Melonasto narebrena jagoda je narejena iz modre steklene paste.

jagoda, steklena pasta / bead, glass paste v. 1,7 cm, pr. 1,9 cm; inv. št. 09LV201/31 Poškodovana jagoda je narejena iz zelene steklene paste. Površina je prevlečena z rumeno glazuro, v katero so vstavljene modro-rdeče steklene bunčice.

jagoda, steklena pasta / bead, glass paste v. 1,1 cm, pr. 1,1 cm; inv. št. 09LV201/30 Jagoda je narejena iz mlečno bele steklene paste. Na površini ima rdeče-rumene bunčice.

V žari: dišavnica – balzamarij, steklo / unguent bottle – balsamarium, glass v. 6 cm, pr. ustja 1,7 cm, v. vratu 2 cm, pr. dna 0,9 cm; inv. št. 09LV201/03 Narejena je iz modrega prozornega stekla in ima izvihano ustje, cilindričen vrat in kapljast trup.

dišavnica – balzamarij, steklo / unguent bottle – balsamarium, glass

v. 6,6 cm, pr. ustja 1,8 cm, v. vratu 1,5 cm, pr. dna 1 cm; inv. št. 09LV201/04 Narejena je iz modrega prozornega stekla in ima izvihano ustje, cilindričen vrat in kapljast trup.

v. 6,2 cm, pr. ustja 1,8 cm, v. vratu 2,4 cm, pr. dna 0,9 cm; inv. št. 09LV201/05 Narejena je iz modrega prozornega stekla in ima izvihano ustje, cilindričen vrat in kapljast trup.

dišavnica – balzamarij, steklo / unguent bottle – balsamarium, glass

jagoda, steklena pasta / bead, glass paste

v. 5,7 cm, pr. ustja 1,6 cm, v. vratu 1,8 cm, pr. dna 1 cm; inv. št. 09LV201/06 Narejena je iz modrega prozornega stekla in ima izvihano ustje, cilindričen vrat in kapljast trup.

vel.: pr. 1,6 cm, db. 0,7 cm; inv. št. 09LV201/07 Jagoda je narejena iz modrega prosojnega stekla in ima pravokoten presek.

prstan, srebro / ring, silver

skodelica, keramika / small cup, pottery

pr. 2,1 cm, db. 0,2 cm; inv. št. 09LV201/09 Srebrn prstan je sploščen in okrašen z bisernim nizom.

v. 5,1 cm, pr. ustja 8,8 cm, pr. dna 3,1 cm, najv. pr. 8,9 cm; inv. št. 09LV201/11 Skodelica, keramika tankih sten, je narejena iz dobro prečiščene gline, sivo žgana. Površina je glajena, črno barvana in okrašena s tremi horizontalnimi pasovi kratkih vrezov.

Grob 258 / Grave 258

skeletni grob / skeleton burial vel.: d. 195 cm, š. 61 cm, gl. 7 cm Pravokotna grobna jama je vkopana v rumeno ilovico in zapolnjena z rumenosivo ilovico. Jasno je vidna sled krste.

2dm

jagoda, steklena pasta / bead, glass paste pr. 1,5 cm, db. 1,4 cm; inv. št. 09LV201/08 Melonasto narebrena jagoda je narejena iz modre steklene paste.

Najdbe / Grave goods: 44 jagod, gagat / 44 beads, jet d. 10,5 cm, pr. jagode 0,54 do 0,68 cm, db. jagode 0,1 do 0,35 cm; inv. št. 09LV258/01 Jagode so ploščate in imajo diskasto obliko.

Grob 290 / Grob 290

žgani pokop / cremation burial d. 166 cm, š. 130 cm, gl. 29 cm Ovalna grobna jama je vkopana v rumeno ilovico in ima ožgane robove. Zapolnjena je z rumenosivo ilovico, drobci ožgane ilovice, žganino in kalciniranimi kostmi. Na vzhodni, ožji stranici je del lesenega ožganega bruna, ki je ostanek lesa od grmade.

Najdbe / Grave goods: vrč, keramika / jug, pottery

2dm

v. 21,8 cm, pr. oboda 13,5 cm, pr. dna 6,3 cm; inv. št. 09LV290/01 Svetlorjavo žgan vrč bikonične oblike z visokim ozkim vratom in poudarjenim dnom, na katerem so štirje koncentrični krogi, je narejen iz dobro prečiščene gline, v kateri so rjavi delci in sljuda. Ustje in ročaj sta odbita. Ročaj se končuje z reliefno upodobitvijo obraza: na štirioglatem obrazu so vrezane oči, širok nos in kodrasti lasje. Na ramenu je okoli posode v višini obraza vrezan pas z rastlinskim ornamentom v obliki vitic in grozdov. Pod tem pasom so poševno vrezani žlebovi. Na površini so sledi inkrustacije in premaza. Lit.: M. Vomer Gojkovič, Obrazne posode iz Petovione, Histria Antiqua, 19/2010, 221–232.

Grob 336 / Grave 336

1.FAZA 3.FAZA

2.FAZA

Najdbe / Grave goods:

skeletni pokop / skeleton burial vel.: d. 139 cm, š. 61 cm, gl. 10 cm Pravokotna grobna jama je vkopana v sivo ilovico. Zapolnjena je z rumenosivo ilovico in posameznimi fragmenti žganine. Grob je presekal grob 335 in je usmerjen od severovzhoda proti jugozahodu.

kapalka, steklo / flask for pouring, glass v. 7,3 cm, š. 4,5 cm, d. 7,4 cm, pr. ustja 2,9 cm, pr. vratu 1,5 cm, v. vratu 2,8 cm; inv. št. 09LV336/01 Kapalka je narejena iz svetlo modrega prozornega stekla.

2dm

askos, keramika / askos, pottery v. 4,8 cm, š. 4,6 cm, d. 10,4 cm; inv. št. 09LV336/02 Posodica v obliki ptice je narejena iz prečiščene gline in je sivo žgana. Na prehodu med vratom in trupom ima ploščico s tremi luknjicami.

Grob 494 / Grave 494

žgani pokop / cremation burial vel.: d. 98 cm, š. 78 cm, gl. 26 cm Grob je ležal tik pod drevesnim panjem. Vkopan je bil v rumeno ilovico. Delno je imel ohranjeno opečno strehasto konstrukcijo, narejeno iz tegul.

lonec, keramika / pot, pottery v. 14,1 cm, pr. ustja 9,1 cm, najv. pr. 13,4 cm, pr. noge 5,8 cm; inv. št. 09LV494/01; konec 2. ali začetek 3. stol. Lonec z izvihanim ustjem in s prstanasto nogo iz terre sigillate ima površino okrašeno z vrezanim okrasom. Okras je bil na površino narejen pred žganjem. Na vratu lonca je plitek horizontalen žleb, pod njim so trije medaljoni, v katerih je rastlinski ornament v obliki lista vinske trte in vitici. Medaljone med seboj ločujejo vertikalni vrezi, katerih sredinski del je prekinjen. Podobne posode so bile izdelane v renskih delavnicah (verjetno Rheinzabern).

Najdbe / Grave goods:

2dm

Grob 607 / Grave 607

žgani pokop / cremation burial vel.: d. 96 cm, š. 40 cm, gl. 14 cm Pravokotna grobna jama je vkopana v rumeno ilovico. Zapolnjena je s sivorumeno ilovico, žganino, kalciniranimi kostmi, drobci opek in posameznimi prodniki. Grobna jama ima ožgane robove.

Najdbe / Grave goods: uhan, zlato / earring, gold

uhan, zlato / earring, gold

vel. obročka 1,27 × 1,23 cm, pr. ploščice 0,9 cm, d. 1,7 cm; inv. št. 10LV607/01 Na obročku iz zlate žice je pritrjena okrogla ploščica, ki jo obkroža biserni niz. Na uhan je z zanko pritrjen obesek paličaste oblike, ki ima na spodnjem delu obliko vozla.

vel. obročka 1,25 × 1,5 cm, pr. ploščice 0,9 cm, d. 1,67 cm; inv. št. 10LV607/02 Na obročku iz zlate žice je pritrjena okrogla ploščica, ki jo obkroža biserni niz. Na uhan je z zanko pritrjen obesek paličaste oblike, ki ima na spodnjem delu obliko vozla.

Grobišče pri Osnovni šoli Breg na Ptuju

Cemetery at Primary school Breg in Ptuj

Grob 2 / Grave 2

žgani pokop / cremation burial vel.: d. 55 cm, š. 50 cm; gl. 24 cm. Ovalna grobna jama je vkopana v gramozno plast, pomešano z ornico, in zemljeno plast, pomešano s temnorjavo zemljo. Zapolnjena je z drobnim kamenjem, mešanim s temnorjavo zemljo, žganino in kalciniranimi kostmi.

PN 20

PN 6

Najdbe / Grave goods: okrasna zaponka, bron / brooch, bronze ohr. d. 3 cm, v. 1,4 cm; inv. št. 11OB002/01; konec 1., 2. stol. Kolenčasta fibula je poškodovana; lok se konča s poudarjenim prehodom v ploščat ščit nad samostrelom. Konec igle je odlomljen.

2dm

Grob 4 / Grave 4

žgani pokop / cremation burial vel.: d. 70 cm; š. 55 cm Okrogla grobna jama je vkopana v gramozno podlago. Zapolnjena je z žganino, kalciniranimi kostmi in keramiko.

2dm

Najdbe / Grave goods: krožnik, keramika / plate, pottery pr. 18,9 cm, v. 3,8 cm, pr. dna 7,6 cm; inv. št. 11OB004/01 Krožnik s širokim robom je narejen iz prečiščene gline, rdeče žgan, na površini je sled rdeče barve.

Grob 7 / Grave 7 žgani pokop / cremation burial vel.: d. 91 cm; š. 97 cm Ovalna grobna jama je vkopana v prod. Zapolnjena je z gramozom, žganino in kalciniranimi kostmi.

Najdbe / Grave goods: oljenka, keramika / oil lamp, pottery

V B

A PN 15

2dm

d. 8,8 cm, š. 6,3 cm, v. 2,8 cm; inv. št. 11OB007/01; konec 1. stol. Narejena je iz dobro prečiščene gline in je rdeče žgana. Vidni so sledovi rdečega premaza. Na oljenki je relief z upodobitvijo golega mladeniča, ki je obrnjen v desno, desno nogo ima pomaknjeno naprej, v rokah pa drži glasbilo.

skodelica, keramika / small cup, pottery v. 5,4 cm (v. z ročajem 5,6 cm), pr. ustja 9,4 cm, najv. pr. 9,9 cm, pr. dna 3,1 cm; 11OB007/02 Narejena je iz dobro prečiščene gline in je sivo žgana. Bikonična skodelica ima širok, raven vrat, na katerem je med dvema žlebovoma, od katerih spodnji ločuje vrat od trupa, okras z navpičnimi skupinami kratkih vrezov. Enak okras je tudi na spodnjem delu skodelice. Ročaj, okrašen s podolžnimi žlebovi, je presegajoč in pritrjen na največji obod. Dno je poudarjeno.

vrček, keramika / jug, pottery ohr. v. 13,2 cm, pr. dna 7,2 cm, najv. pr. 10,7 cm; 11OB007/013 Poškodovan vrček je narejen iz prečiščene gline in je rdeče žgan.

Grob 9 / Grave 9

žgani pokop / cremation burial vel.: d. 57 cm; š. 47 cm; gl. 13 cm Ovalna grobna jama je vkopana v zemljeno plast z gramozom in tegulo. Zapolnjena je s črno mastno zemljo, mešano s keramiko in kostmi.

Najdbe / Grave goods: lonec, keramika / pot, pottery v. 11 cm, najv. pr. 9,4 cm, pr. dna 3,4 cm; inv. št. 11OB009/01 Jajčasto oblikovan lonec, žara, z izvihanim ustjem je narejen iz prečiščene gline, ki je sivo-rjavo žgana.

2dm

Grob 13 / Grave 13

žgani pokop / cremation burial vel.: d. 105 cm; š. 70 cm; gl. 13 cm Vkop seka sivkasto rjavo zemljeno plast z oksidi in gramozno plast, mešano s temnorjavo zemljo. Je nepravilne oblike in zapolnjen s temno do črno mastno zemljo, mešano s keramiko, kostmi, ogljem in koščki opeke.

GR 18

A B

Najdbe / Grave goods:

oljenka, keramika / oil lamp, pottery

d. 9 cm, š. 6,3 cm, v. 2,6 cm; inv. št. 11OB013/01 Pečatna oljenka tipa Loeschcke X je narejena iz dobro prečiščene gline in je rjavo žgana. Vidni so sledovi rdečega premaza. Na ramenu sta dva gumba in luknjica v kanalu. Na dnu je žig URSULI.

2dm

Grob 16/ Grave 16 žgani pokop / cremation burial vel.: d. 73 cm, š. 66 cm Ovalna grobna jama je vkopana v zemljeno plast z gramozom in tegulo. Zapolnjena je s črno mastno zemljo, mešano s keramiko in kostmi.

2dm

Najdbe / Grave goods: lonec, keramika / pot, pottery v. 23,1 cm, pr. ustja 18 cm, pr. dna 10,4 cm, najv. pr. 20,7 cm; inv. št. 11OB016/10 Jajčasto oblikovan lonec, žara, z izvihanim ustjem je narejen iz prečiščene gline, ki je sivo-rjavo žgana.

Grob 17 / Grave 17

skeletni pokop / skeleton burial vel.: d. 1,89 cm, š. 50 cm Pravokotna grobna jama je vkopana v gramozno plast, pomešano z ornico, in zemljeno plast. Zapolnjena je z drobnim peskom, mešanim s temnorjavo zemljo, in kamenjem.

2dm

Najdbe / Grave goods:

pasni okov, bron, železo / belt fitting, bronze, iron

okrasna zaponka, bron / brooch, bronze

d. 4,1 cm, š. 2,6 cm; inv. št. 11OB017/02 Pasni okov je izdelan v predrti tehniki. Ohranjen je le delno.

d. 4,2 cm, š. 2,6 cm; inv. št. 11OB017/01 Fibula v obli k i k ljuča je ok ra šena s stiliziranim rastlinskim okrasom.

Grob 18 / Grave 18

GR 13

GR 18

žgani pokop / cremation burial vel.: d. 48 cm, š. 43 cm Grobna jama nepravilno ovalne oblike je bila vkopana pod grobom 13. Zapolnjena je z drobnim kamenjem, žganino, in kalciniranimi kostmi.

A GR 13 GR 18

Najdbe / Grave goods: majolika, keramika / majolica, pottery v. 20,4 cm, najv. pr. 12,5 cm, pr. ustja 8,3 cm, pr. dna 7,3 cm, ročaj: v. 8,5 cm, š. 1,9 cm, db. 1,7 cm; inv. št. 11OB018/01 Vrč, majolika, je narejen iz dobro prečiščene gline in je rdeče žgan. Široko ustje ima oblikovano v izliv.

2dm

Grob 20/ Grave 20

žgani pokop / cremation burial vel.: d. 91 cm, š. 71 cm Ovalna grobna jama je vkopana v gramozno plast. Zapolnjena je z žganino, kalciniranimi kostmi in keramiko.

Najdbe / Grave goods: oljenka, keramika / oil lamp, pottery d. 8,7 cm, š. 6 cm, v. 2,6 cm; inv. št. 11OB020/01 Pečatna oljenka tipa Loeschcke X je narejena iz dobro prečiščene gline in je rjavo žgana. Na ramenu so trije gumbi in luknjica v kanalu. Na dnu je žig URSULI.

2dm

vrč, keramika / jug, pottery v. 21,8 cm, ohr. š. ustja 5,1 cm, najv. pr. 13,2 cm, pr. dna 5,6 cm, ročaj: v. 6,4 cm, š. 1,4 cm, db. 1,1 cm; inv. št. 11OB020/02 Enoročajni vrč je narejen iz dobro prečiščene gline in je rdeče žgan. Vidni so sledovi rdečega premaza. Vrč je jajčaste oblike, ustje je izvihano, pod njim pa je ročaj, ki se konča na ramenu.

Grob 24 / Grave 24

Najdbe / Grave goods: oljenka, keramika / oil lamp, pottery d. 9,7 cm, š. 6,9 cm, v. 3 cm; inv. št. 11OB024/001 Pečatna oljenka tipa Loeschcke X je narejena iz dobro prečiščene gline in je rjavo žgana. Vidni so sledovi rdečega premaza. Na ramenu so trije gumbi in luknjica v kanalu. Na dnu je žig URSULI.

2dm

žgani pokop / cremation burial vel.: d. 70 cm, š. 59 cm Okrogla grobna jama je vkopana v gramozno plast. Zapolnjena je z žganino, kalciniranimi kostmi in drobnim kamenjem.

Grob 25 / Grave 25

skeletni pokop / skeleton burial vel.: d. 102 cm, š. 56 cm Pravokotna grobna jama je ob severnem profilu vkopana v gramozno plast, pomešano z ornico, in zemljeno plast. Zapolnjena je z drobnim peskom, mešanim s temnorjavo zemljo, in kamenjem. Ob tem grobu je grob 27 z žganim pokopom.

A GR 27

2dm

Najdbe / Grave goods: pasna spona, bron / belt clasp, bronze d. 4,1 cm, š. 3,3 cm; inv. št. 11OB025/01 Pasna spona v predrti tehniki je okrašena s stiliziranim rastlinskim okrasom.

igla lasnica, kost / hairpin, bone d. 7 cm, pr. 0,45 cm do 0,8 cm; inv. št. 11OB025/02 Koščena igla lasnica je na zgornji strani okrašena z vrezi v obliki stilizirane makove glavice.

Predmeti, najdeni med grobovi okrasna zaponka, bron / brooch, bronze

okov za pas – črka T, bron / belt fitting – letter T, bronze

d. 4,1 cm, š. 2,5 cm; inv. št. 11OB031/01 Fibula v predrti tehniki ima srčasto obliko. Okrašena je s stiliziranim rastlinskim okrasom.

d. 2,7 cm, š. 2,7 cm; inv. št. 11OB031/03 Okov v obliki črke T je bil verjetno pritrjen na pas. Črka T je bila sestavni del napisa

UTERE FELIX.

oljenka, keramika / oil lamp, pottery d. 10,1 cm, š. 9,4 cm, ohr. v. 3,3 cm; inv. št. 11OB031/03 Oljenka s tremi gorišči je narejena iz dobro prečiščene gline in je rjavo žgana. Vidni so sledovi rdečega premaza. Okoli luknjice na disku je okrašena s tremi koncentričnimi rebri.

Priporočeno branje

B. AUBELJ, Antična imena po slovensko. Modrijan založba, Ljubljana 1997. B. AUBELJ, Slovar antične mitologije. Modrijan založba, Ljubljana 2010. I. MIKL-CURK, Prostorska ureditev grobišč rimskega Ptuja. Arheološki vestnik 41, 1990, 557–576. J. HORVAT, M. LOVENJAK, A. DOLENC VIČIČ, M. LUBŠINA-TUŠEK, M. TOMANIČ-JEVREMOV, Z. ŠUBIC, Poetovio, Development and Topography. In The Autonomous Towns of Noricum and Pannonia. Situla 41, 2003, 153–189. J. ISTENIČ, Poetovio, zahodna grobišča I / II. Katalogi in monografije 32/33. Ljubljana 1999/2000. H. W. JOHNSTON, The Private Life of the Romans. Foresman and Company (1903, 1932). Z. KUJUNDŽIĆ, Poetovijske nekropole. Katalogi in monografije 20, Ljubljana 1982. G. MEADOWS, Mali antični lekskon. Založba Mihelač, Ljubljana 1996. R. L. MORUS, Večni Zeus. Misli in vera starih Grkov v zgodovini sveta. Mladinska knjiga, Ljubljana 1962. G. SCHALK, Pripovedke o rimskih bogovih in junakih. Mladinska knjiga, Ljubljana 1964. G. SCHWAB, Najlepše antične pripovedke. Mladinska knjiga, Ljubljana 1987. J. M. C. TOYNBEE, Death and burial in the Roman world. London: Thames & Hudson, London 1971. I. TUŠEK, Rimsko grobišče na novi obvoznici ob Potrčevi cesti v Ptuju. Ptujski arheološki zbornik, Ptuj 1993, 385–448. M. VOMER GOJKOVIČ, Grobišče pri Dijaškem domu v Rabelčji vasi na Ptuju. Ptujski zbornik 6/1, Ptuj 1996, 229–312. M. VOMER GOJKOVIČ, N. KOLAR, Archaeologia Poetovionensis. Stara in nova arheološka spoznanja. Pokrajinski muzej Ptuj, Ptuj 1993. M. VOMER GOJKOVIČ, I. ŽIŽEK, Rimski vsakdan v Petovioni. Pokrajinski muzej Ptuj, Ptuj 2008. M. VOMER GOJKOVIČ, N. KOLAR, Od poganstva do krščanstva. Verovanje v Petovioni. Pokrajinski muzej Ptuj - Ormož, 2013. I. ŽIŽEK, Zahodna ptujska nekropola – Veronekova njiva (predstavitev). Ptujski zbornik 6/1, Ptuj 1993, 312–348.