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• Kentauren in Noricum

  75–94

  Susanne Lamm

  Erwin Pochmarski

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  63

  The head of a centaur found in Virunum, which is a replica of the late-Hellenistic type of the Capitoline “older centaur”, deserves special mention as a depiction of a centaur from Noricum. The extremely high-quality and dynamic centaur frieze from St. Johann near Herberstein (Hartberg – Fürstenfeld district), which originates from a aedicula-tomb, can certainly be regarded as depicting centaurs, as does a relief fragment from Hartberg, which, however, does not come from the same tomb-building. On several reliefs, a sea centaur appears as an idiosyncratic hybrid between triton and centaur, carrying a nereid on its back. These include above all two reliefs from Schloss Seggau near Leibnitz. A single relief comes from Lauriacum in northern Noricum and shows a triton or sea centaur again with a nereid.

• Antulla’s tomb and Martial’s: poetic closure in book 1

  41–56

  Patricia Larash

  Views:

  59

  The final seven epigrams of Martial’s Book 1 form a subtle but important closural sequence (epigrams 1.112-1.118 inclusive). Despite their great variatio of topics, the seven epigrams are linked through concerns about the boundary between life and death, the integrity of a monument, and the theme of dignus legi, or what makes someone “worthy of being read.” Through a series of close readings, this article argues for the coherence of this sequence on formal, thematic, and verbal grounds. The sequence is centered on a pair of epigrams on the kepotaphion or tomb-garden of a young girl named Antulla (1.114 and 1.116). The function of this closural sequence is both formal, to bring closure to a disparate collection of epigrams, and thematic, to reprise themes from the mock-epitaph with which Martial opens book 1 (1.1).

• Epigrafía pública y defixiones: paradigmas (y paradojas) del Occidente Latino

  69–77

  Celia Sánchez Natalías

  Views:

  134

  This paper falls into two main sections. The first deals with the defixio and its traditional definition as an example of so-called private inscriptions. Unlike public epigraphs, which were monumental, crafted by professionals, intended for display, and had (mainly) a commemorative function, defixiones (whether written by magoi or amateurs) are usually considered to be among Antiquity’s most private texts. Nevertheless, curse tablets and public inscriptions share a very important feature: both contained messages meant to endure. This specific feature brings us to the second section of this article, which discusses the influence of public inscriptions on curse tablets: to what extent are defixiones a reflection of monumental epigraphy? Aspects such as the ordinatio of the text, the media employed or the way they were displayed (even inside a tomb) are analyzed in this regard. In an attempt to answer these questions, three publicly displayed curse tablets are discussed in depth.