At Dura-Europos, homes were architecturally adapted across the late 2nd and 3rd c. CE by different religious groups to serve the needs of their communities. Although the Synagogue, Mithraeum, and Christian Building all began as domestic structures and share a similar architectural development, the origins of the latter have received unique attention through its classification as a domus ecclesiae or house church. This (hyper)focus on the structure's past use as a house does not do full justice to the archaeology of the building. Through an analysis of architectural adaptations, including before-and-after 3D reconstructions and daylight simulations, the authors show how the renovations significantly differentiated the Christian Building from its domestic antecedent and from Dura's houses more broadly. This approach is meant to shift attention away from more generalized, translocal, evolutionary models of Christian architectural development to micro-level archaeological analysis that situates structures within the spatial vernacular of their local contexts.
The production and distribution of ceramic building materials (CBM) in the Roman period have long attracted the attention of archaeologists, as they provide clues to aspects of trade, identity, and technological and architectural traditions. However, there has been a notable scarcity of studies focusing on plain CBM in the southern Levant, particularly in the Mediterranean coastal region. This study concentrates on CBM (bricks, tubuli, drainage pipes, and roof tiles) from a Roman-period wealthy farmstead (Khirbat Khaur el-Bak) near the city of Ashqelon/Ascalon, apparently owned by a serving member of the military or a veteran. The petrographic analyses indicate that apart from the locally produced drainage pipes, the CBM were imported from overseas, namely Cilicia and Beirut. The results shed light on CBM trade in the Eastern Mediterranean, and on the complex nature of the population and material life in and around Roman Ashqelon, which included local and foreign elements.
This article traces a statue, which Zenon of Aphrodisias carved, from Syracuse to its discovery at the Palace of Cogolludo in 2007. The study of this statue of the Muse Euterpe broadly demonstrates the appreciation for a figure from the classical world to Early Modern Europe and focuses attention on two understudied moments in the history of sculpture. It shows that Zenon carved the figure in the 4th c. CE, and its story reveals new connections between sculptors of Aphrodisias and specific patrons of the period. The statue's subsequent history attests to the high regard for ancient art and epigraphy in the Iberian Peninsula in 1500–1700. Since the statue probably belonged to Luis de la Cerda, ninth Duke of Medinaceli, it draws attention to a remarkable patron and a neglected aspect of Spanish cultural history.
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