This book explains why Roman portrait statues, famed for their individuality, repeatedly employed the same body forms.

The Danubian provinces represent one of the largest macro-units within the Roman Empire, with a large and rich heritage of Roman material evidence. Although the notion itself is a modern 18th-century creation, this region represents a unique area, where the dominant, pre-Roman cultures (Celtic, Illyrian, Hellenistic, Thracian) are interconnected within the new administrative, economic and cultural units of Roman cities, provinces and extra-provincial networks. This book presents the material evidence of Roman religion in the Danubian provinces through a new, paradigmatic methodology, focusing not only on the traditional urban and provincial units of the Roman Empire, but on a new space taxonomy. Roman religion and its sacralized places are presented in macro-, meso- and micro-spaces of a dynamic empire, which shaped Roman religion in the 1st-3rd centuries AD and created a large number of religious glocalizations and appropriations in Raetia, Noricum, Pannonia Superior, Pannonia Inferior, Moesia Superior, Moesia Inferior and Dacia. Combining the methodological approaches of Roman provincial archaeology and religious studies, this work intends to provoke a dialogue between disciplines rarely used together in central-east Europe and beyond. The material evidence of Roman religion is interpreted here as a dynamic agent in religious communication, shaped by macro-spaces, extra-provincial routes, commercial networks, but also by the formation and constant dynamics of small group religions interconnected within this region through human and material mobilities. The book will also present for the first time a comprehensive list of sacralized spaces and divinities in the Danubian provinces.

The Roman Empire had a rich and multifaceted visual culture, which was often variegated due to the sprawling geography of its provinces. In this remarkable work of scholarship, a group of international scholars has come together to find alternative ways to discuss the nature and development of the art and archaeology of the Roman provinces. The result is a collection of nineteen compelling essays—accompanied by carefully curated visual documentation, seven detailed maps, and an extensive bibliography—organized around the four major themes of provincial contexts, tradition and innovation, networks and movements, and local accents in an imperial context. Easy assumptions about provincial dependence on metropolitian models give way to more complicated stories. Similarities and divergences in local and regional responses to Rome appear, but not always in predictable places and in far from predictable patterns. The authors dismiss entrenched barriers between art and archaeology, center and provinces, even “good art” and “bad art,” extending their observations well beyond the empire’s boundaries, and examining phenomena, sites, and monuments not often found in books about Roman art history or archaeology. The book thus functions to encourage continued critical engagement with how scholars study the material past of the Roman Empire and, indeed, of imperial systems in general.

The two volumes will publish 32 articles based upon sessions at the Roman Archaeology Conference (Birmingham 2005), the European Association of Archaeologists (Lyon 2004), and the Sixth Workshop of the Fontes Epigraphici Religionis Celticae Antiquae (London 2005). The 16 articles in volume 1 fall within sections on Britain, Gaul and Germany; Spain and Gallia Narbonensis; Central Europe and the Balkans; Artefacts and dedications; and The survival and location of sacred places. A highlight is the first full report on the Senuna treasure and shrine at Ashwell by R. Jackson and G. Burleigh.