The urban centre Apulum occupies a well deserved place in the votive, honorific or

funerary Roman sculpture fromDacia. The museum fromAlba Iulia hold extremely varied
sculptural material which by its structure and its variety may provide new information about
the attestations of some divinities but also of the iconographic types through which they are
presented, the portrait art, the processing worhshops or dating some artifacts throughout the
whole Roman domination.
The scientific valorization of the sculptural pieces fromthe old collections involved a
1
series of papers published by different authors starting with 2005. By this article I amtrying
to introduce in the scientific community information that should have been published a long
time ago, taking into consideration that the majority of the artefacts come fromthe period of
the first curator anddirector of the museumfromAlba Iulia, A. Cserni.
1. Portrait of a private person fromApulum, made fromlimestone, inventory number
R791 (h - 13 cm, l - 9 cm). It is not known for sure where the piece comes from. The Roman
Period Inventory Register of the museumshows that this comes fromApulum, without any
other notes or details. Well balanced from the point of view of the volumes, it has
approximately the same manner of hairdo execution as that of other two portraits from
2
Apulum, one facing Caracalla and the other, a private person . It is strongly deteriorated
because of time passing, especially in the area of the nose, the eye, the arch and the right cheek.
(Pl. 1A).
The character has lowforeheadandcurly hair, as well as the beardandmoustache. The
upper lip is covered with moustache, and the lower is sarcous. Ears are well reproduced and
placed fromanatomic point of view. Curly hair may be a reminiscence of the Severan period.
The pathetic raisedsight is specific for dolore di vita" of the portraits fromthe 3rdcentury A.D.,
ROMAN SCULPTURAL PIECES FROMTHE OLD COLLECTIONS
OF THE NATIONAL MUSEUMOF UNION FROMALBA IULIA AND
FROMTHE NEWRESEARCHES CARRIED OUT OVER THE
TERRITORY OF THE ACTUAL TOWN
Radu Ota
Keywords: sculptures, marble, portrait
1
DIACONESCU2005a, b; OTA2006 a, 231-237; OTA2006 b, 47-53; OTA2006 c, 53-59; OTA2007,
255-265.
2
DIACONESCU2005b, 74-76, no. 37, 39, pl. XV, 1, XX, 2.
EPHEMERIS NAPOCENSIS, XVIII, 2008, p. 185-196
3
especially those fromthe period of military anarchy . It may be dated starting with the second
quarter of the 3rd century A.D. It represents an individual fromthe urban centre Apulumand
most probably belongedto ronde-bosse statue.
2. Portrait of a private person from Apulum, made from limestone, inventory
number R820 (h - 13 cm, l - 9 cm). It is not known for sure where the piece comes from. The
Roman Period Inventory Register of the museum shows that this comes from Apulum,
without any other notes or details. It is made in high relief, having the ,Greek profile", by the
absence of the facial angle between nose and forehead, being similar from the point of
4
execution with another portrait in high relief fromApulum . The character has curly hair and
beard and the ears are well placed anatomically. The piece is strongly deteriorated, the eyes,
cheeks, mouth and a good part of the nose being broken or corroded. It represents an
individual fromthe urban centre Apulum(Pl. 1B).
As far as the dating is concerned, the curly hair is a reminiscence of the Severan period.
Unfortunatelly we cannot establish the features of the portrait's face because of the piece's
precarious state of conservation. Thus we cannot risk establishing an exact dating of the
artifact. This can be chronologically framed between the end of the 2nd century A.D. and the
first decades of the following.
3. Portrait of a child from Apulum, made from import marble, without inventory
number (h - 19 cm, l - 15 cm). It is not known for sure where the piece comes from. Well
balanced fromthe point of view of the volumes, it is preserved in an impeccable state. Better
said it is the portrait of a little girl in high relief, probably made in a Greek workshopfromAsia
Minor or in one fromthe Greek islands. The artist shows a special interest for rendering the
facial characteristics as correct as possibile: wide forehead, chubby faced, sarcous lips and
almound-shaped eyes. The eyelids are well contoured, compared to the iris and eye ball which
aren't sketchedin any way. It is possible they hadbeen paintedin Antiquity (Pl. 1C). The sight
is slightly sad. The flat hair, with middle parting, is short and clung to the skull, reproducedby
successive stiches with the pick, in the technique named a penna", just like a child's portrait
5
fromDrobeta, whichreplaces after A.D. 235 the type of hairdosculptedinoblogincisedlines .
According to Professor Al. Diaconescu, this type of portrait reminds us of those of
children made in the late classical and Hellenistic period, and this thing proves how intense
6
was the sculptural tradition of these times in the Greek workshops fromthe Roman period .
The high relief might have come froma piece with funerary character.
4. Right hand from the statue of a feminine deity, made from limestone, inventory
number R 845 (L - 11 cm, l - 7.5 cm). It is not known for sure where the piece comes from.
The Roman Period Inventory Register of the museumshows that this comes fromApulum,
withouth any other notes or details. It is preserved only fromthe joint. The deity holds in her
hand most probably a snake, fragmentary preserved, fact that determines us to consider that
we are dealing with Higya, the healing goddess. The Roman Period Inventory Register of the
museum shows that this comes from Apulum, without any other notes or details. The
3
DIACONESCU2005b, 76.
4
DIACONESCU2005b, 73, no. 36, pl. XX, 1.
5
DIACONESCU2005b, 95-96, no. 55, pl. XX.
6
DIACONESCU2005b, 95.
Radu Ota 186 2
dimensions of the piece determine us to assume that this is a part from a cult statue. The
artisan reproduced the phalanges with a certain delicacy, not being preoccupied with marking
the nails (Pl. 2A).
Higeia's cult is very spread in Apulum, being often adored next to Aesculapius', thing
7
proven by statuary art and the multitude of inscriptions which attest this cult . Further more,
in Apulum is also attested an asklepeion where medicine's gods were adored and a lot of
8
patients were treatedfromdifferent diseases .
5. Right hand fromthe statue of a masculine deity, made fromwhite-purple Bucova
marble, without inventory number (L - 16 cm, l - 9 cm). It is not known for sure where the
piece comes from. It is a fragment which is preserved only fromthe joint and which belonged
to a statue of a masculine deity of big dimensions, probably Liber Pater, because the object
held in the hand might be a libation horn. The lower part of phalanges with the nails isn't
preserved anymore. The piece is modestly made because the phalanges are summarily
sketched(Pl. 2B).
6. Right foot of a statue of medium dimensions representing a masculine deity or a
Roman emperor, made fromlimestone, inventory number R883 (L - 24 cm, l - 7.5 cm). It is
not known for sure where the piece comes from. The Roman Period Inventory Register of the
museumshows that this comes fromApulum, without any other notes or details. The knee, a
part of the tibia andthe femur are preserved(Pl. 2D).
7. Right hand froma colossal statue, made fromlimestone, inventory number R 853
(L - 17 cm, l - 11.5 cm). It is not known for sure where the piece comes from. The Roman
Period Inventory Register of the museumshows that this comes fromApulum, without any
other notes or details. The piece presents a supporting rod on the left side of the artefact,
making the connection with the thigh of the character or with the back of the throne. It was
usually present at the statues with deities seated on the throne. The vigurous constitution of
the hand which holds with the palm a globe upwards, assures us that it is a masculine
character. The artistic quality of execution is rudimentary. We notice an attempt of
individualising the phalanges and a primitive reproduction of the nails. The artefact belonged
most probably to a cult statue, thing proven by the pinia preserved in the palmof the hand,
attribute of eternal life (Pl. 2C).
8. Right foot, made fromBucova marble, inventory number R 785 (L - 16.5 cm, l -
14 cm). It is not known for sure where the piece comes from. The Roman Period Inventory
Register of the museumshows that this comes fromthe archaeological excavations carried out
by A. Cserni, the first custodian and director of the museumfromAlba Iulia, in the area of the
thermae and private buildings complex situated southeast from the Austrian fortress of
Vauban type, in 1890-1891. We do not dispose of details about the archaeological context in
which the piece was discovered. Taking into consideration that the ruins dug up by A. Cserni
may be dated starting with the Severan dynasty as there were bricks sealed with the stamp of
XIIIth Legion Gemina and the epithet of Antoniniana but also by the presence of divided bow
9
brooches or T shaped, framed between the end of the 2nd century and the first half of the 3rd
7
IGNA1935, 69; PISO 2001a, b.
8
CRISAN1971, 341-347; RUSU-PESCARU, ALICU2000, 123.
9
CSERNI 1891, 19.
Roman sculptural pieces from the old collections of the National Museum of Union from Alba Iulia 187 3
10
century A.D. . It comes from a monumental statue which faces a masculine divinity,
probably Jupiter or Aesculapius. The foot leaned against the ground with the whole sole. The
statue was placed on a pedestal (h - 9.5 cm). The artist respects the anatomic proportion,
manifestingspecial care for fingers' individualizationandelegant reproductionof nails (Pl. 2E).
9. Right foot put on a simple sandal, made from Bucova marble, inventory number
R770 (h - 17.5 cm, L - 23 cm, l - 13.5 cm, pedestal's h - 9 cm). It is not known for sure where
this comes from. The Roman PeriodInventory Register of the museumshows that the artefact
enteredthe museumby a donation made in 1950, being discoveredin Parto, the district from
Alba Iulia under which there is the first Roman city developed in this area, municipium
Aurelium Apulensis, which subsequently became colonia Aurelia Apulensis. Only a part from
the sole, put on a simple sandal (sandalium, solea), made fromtwo oblique straps which join
between the big toe and the next, is preserved. It comes froma monumental statue which faces
a masculine divinity, probably Jupiter or Aesculapius. The foot leanedagainst the groundwith
the whole sole. The artist respects the anatomic proportion, manifesting special care for
fingers' individualizationandelegant reproductionof nails (Pl. 2F). Abronze feet put ona simple
11
sandal comes fromUlpiaTraiana Sarmizegetusa, beingdiscoveredinunknowncircumstances .
10. Cult statue of a masculine divinity, made fromlimestone, with a circular pedestal,
without inventory number (h - 19.5 cm, pedestal's h - 6 cm, pedestal's d - 23.5 cm). It is not
known for sure where the piece comes from. Only the feet of the deity are still preserved. He
was dressed in a paenula which covers the feet, showing only the soles. The coat is reproduced
in oblique folds (Pl. 4A). We cannot make any other statement concerning the dating or
attribution of a certain divinity taking into account the lack of characteristics given by the
fragmentary conservation state of the scuplture.
11. Torso of a statue, made fromwhite import marble, inventory number R 860 (h -
31 cm, l - 12 cm). It is not known for sure where the piece comes from. The Roman Period
Inventory Register of the museum shows that this comes from Apulum, without any other
notes or details. Fromthe left feet of the statue (h - 16.5 cm, l - 5.5 cm), which is broken from
the body, it is preserved the knee and the shank. The torso reproduced naked, presents at the
back a joint that could be a strenghtening element for the statue's equilibrium and not
necessarily a means of connection to attest that it would have been part froma statuary group.
Also the genealogical line of the prototypes might indicate us an origin from Hellenistic or
Augustean period. Close analogies are given by the statue of Apollo from Alcoutim,
12 13
Lusitania , that fromVilla Hadriana fromTivoli, near Rome . Rules concerning volumes are
respected. The inguinal line is strongly embossed, marking the incontestable elegance of the
statue. As the left foot is bent, it is assumed that the effect of contraposto was encountered, in
which the character stepped forward with the right foot so that all body weight was fixed on it.
Presence of hair marks in the area of clavicles might indicate us a statue of Apollo.
Unfortunatelly, the absence of head or other attributes doesn't allow us to draw precise
conclusions concerning the attribution or not of a divinity (Pl. 3).
10
COCIS 2004, 136-137, no. 1643, 150-151, no. 2096-2098.
11
DIACONESCU2005b, 31, no. 36, pl. XII, 1.
12
MACIEL/PEIXOTO CABRAL, NUNES 2005-2006, 356-363.
13
MACIEL/PEIXOTO CABRAL, NUNES 2005-2006, 355, fig. 3.
Radu Ota 188 4
The piece is made fromthe same marble with that of the head attributed to Apollo or
Liber Pater discovered in Apulumand is dated in the end of Anthoninians' period. We refer to
14
the quarry fromAphyon, central Phrygia . It is not excluded the possibility that the statue to
had been made exactly in Dokimon in the same time and in the same workshop in which was
also sculptedthe marble head, above mentioned.
12. Votive statue of Diana, made fromlimestone, (h - 11.5 cm), without inventory
number. It is not known for sure where the piece comes from. Only a part of the torso is
preserved, better said, the thoracic area. The goddess is dressed with a chiton, and over it there
was a himation fastened upon the right shoulder with a brooch and tied with a belt under the
breasts slightly threw into relief. Clothing is reproduced in oblique folds, very natural
rendered. She wears at the back; the quiver clung to the body by two straps (Pl. 4B). The artist
imitated a Roman copy, made frommarble and known as Diana of Versailles, which imitates
15
at its turn a bronze statue of Leochares . The fragmentary state of the sculpture prevents us
fromestablishing an exact dating of the artefact. We incline to believe that we are dealing with
a sculpture fromthe 3rdcentury A.D.
13. Votive plate with the representation of Diana, made frommarble (L - 18 cm, l -
17.5 cm, g - 3.5 cm), without inventory number. It was discovered on May 2008 on
preventive archaeological excavation fromTraian Street, in the fourth square of the trench S3,
16
at depth of 0,9min a Roman layer affected by modern and contemporaneous interventions .
Next there have been discovered terracotta figurines with Venus' image, a lamp with the mark
C(aius,-ii) Dessi(us,-i), ceramic fragments and a tile sealed with the stamp of XIIIth Legion
Gemina and the anthroponimIuli(us, -i) Alexan(der). The area is aproximately 150 msouth
fromthe thermae complex, public and private buildings dug up by A. Cserni at the end of the
XIXth century and the beginning of the XXth century. The relief is framed by a structure 2 cm
wide at the base and 1 cmwide at the laterals. The goddess is reproduced running, inclined to
the right, wearing some sandals with high top and dressed with a chiton which falls till the
knees, and which is covered by a short himation tied with a belt under the breasts. Over these
falls a mantle longer than the chiton, with the ends brought over the shoulders and fastened
probably above the bust, with a brooch which cannot be distinguished anymore because of
the fragmentary state of the plate. One side of the mantle falls over the left forearm of the
goddess. Down to the right of the relief the deity is accompaniedby a dog (Pl. 4C).
It is a common type of representation which is encountered frequently in provincial
17
Roman art, known as Diana hunting" or Agrothera , in which the goddess rushes forward,
with the left foot in front, accompanied by a dog or stag. She holds in the left hand the bow
andwith the other draws out an arrowfromthe quiver.
Analogies close to the two types of representations above depicted are encountered
throughout the whole Roman world. We remember only a fewexamples made frommarble or
limestone, to imagine how spread was Diana's cult throughout the whole Roman Empire.
14
DIACONESCU2005b, 148-149, no. 17, pl. L, 2.
15
DAREMBERG/SAGLIO 1926, 145-146, fig. 2377.
16
The piece was put at my disposal to publishing by my colleague Ilie Lascu. I thank himfor that and also for
the information concerning the discovery archaeological context.
17
DAREMBERG/SAGLIO 1926, 145; KERNBACH 1989, 48.
Roman sculptural pieces from the old collections of the National Museum of Union from Alba Iulia 189 5
Thus in Dacia, the divinity is represented by statues and reliefs made from marble or
18 19 20
limestone discovered in Apulum , Napoca , Streisngeorgiu (near Aquae) , Ulpia Traiana
21 22
Sarmizegetusa and Jucul de Sus (Cluj County) . In Moesia Inferior we have two marble
23
statuettes discovered in Tomis and in Dobrogea . In Hispania, we have two white marble
24
statues, one near Barcelona , and the other, without a well stated discovery place, is preserved
25
in the Hispanic Society of America, NewYork . Probably fromGaul, we have a white marble
26
statuette held in the Hermann Bnermann Collection from Monaco . Another statue was
27
foundin Dalmatia, facing the goddess running next to a dog .
The archaeological context in which it was discovered but also the rough manner of
relief execution indicates a dating in the 3rdcentury A.D.
14. Votive statuette with the representation of Liber-Dionysos, made from import
marble (?), (h - 8.7 cm, dimensions of the pedestal: h - 1 cm, L - 9 cm, l - 5.5 cm), inventory
number R 835. The Roman Period Inventory Register of the museumshows that this comes
fromApulum, without any other notes or details. Only the feet are preserved, fromthe knee
downwards, a part of the staff held in the left hand (thyrsos), the panther's body whomthe god
pours wine with a kantharos in the open nozzle (Pl. 4D). The statuette is common body with
the rectangular pedestal. The centre of gravity is on the left foot of the divinity while the right
foot is slightly bent fromthe knee, being crossed over the left one. To the left of the god there's
a colonette. The marble the piece is made from might be the same with that from the head
attributed to Apollo or Liber Pater discovered in Apulum and dated in the end of
28
Anthoninias' period. We refer to the quarry from Aphyon, central Phrygia . Lack of
petrographic analyses on the sculpture fragment doesn't allow us to express opinions
concerning the origin of the workshop in which the piece was made. Also it is difficult to state
a precise dating of the artefact.
Liber Pater's cult is very well attested in Dacia province. We only remember a few
more important analogies for our sculpture. In Apulumhas been discovered on the occasion
of the archaeological excavations carried out in Liber Pater's sanctuary, in 1989, placed on the
north-western side of Colonia Aurelia Apulensis, a cult statue, of Liber Pater, of a great artistic
29
value made from Aphyon marble, Asia Minor . Other two marble statues belonging to the
30
same iconographical type have been discovered in the same sanctuary . A votive small plate
made fromwhite marble with the god in the same hypostasis, next to Pan and a panther was
18
DIACONESCU2001, 161-176.
19
BRBULESCU1971, 17-19, fig.1.
20
ANDRITOIU1969, 531-532.
21
ANDRITOIU, 532.
22
HORHAT1965, 431.
23
BORDENACHE 1969, 41, no. 64, tav. XXIX, 43-44, no. 68, tav. XXXI.
24
BALIL 1964, 136, no. 7, fig. 41.
25
GARCIAYBELLIDO 1960, 150, no. 11, pl. XLI.
26
BORDENACHE 1969, 41.
27
MOLTESEN2005, 42.
28
DIACONESCU2005b, 148-149, no. 17, pl. L, 2.
29
DIACONESCU2001, 161-176.
30
DIACONESCU2001, 175, fig. 22-23.
Radu Ota 190 6
31
also discovered on the territory of Colonia Aurelia . Awhite marble relief was found in Ulpia
32
Traiana Sarmizegetusa . In Moesia Inferior we have two votive plates discovered in Tomis,
33 34 35
Fgraul Nou and Oescus . Other analogies are met in Rome, Copenhaga , in Pio
36 37 38
Clementino Museum, in Chablais Collection andthe British Museum .
The scientific valorization of the Roman sculptural patrimony from Apulum is a
39
appropriate measure in the context in which discoveries of these types of artefacts are more
and more rare. Once more it is proven the typological and iconographical diversity of the
statuettes and votive and cult reliefs but also the activity of the local workshops of sculptors
which certainly functioned till the period of soldier emperors". There are also attested the
commercial exchanges with the provinces fromAsia Minor, through the presence of import
statues made frommarble that came fromthe quarries of these provinces.
Radu Ota
National Museum of Union
Alba Iulia
eractum@yahoo.com
ABBREVIATIONS AND BIBLIOGRAPHY
ANDRITOIU1969
I. ANDRITOIU, Un nou relief votiv reprezentndpe zei;a Diana, Rev. Muzeelor 6, 1969, 531-532.
BALIL 1964
A. BALIL, Colonia Iulia Augusta Paterna Faventia Barcino (Madrid1964)
BRBULESCU1971
M. BRBULESCU, Dou reprezentri inedite ale Dianei, Stud. Historia UBB, fasc. 1, 1971, 17-23.
BORDENACHE 1969
G. BORDENACHE, Sculture greche e romane del Museo Nazionale di Antichit di Bucarest. Statue e
rilievi di culto, elementi architettonici e decorativi, I (Bucarest 1969).
MOLTESEN2005
M. MOLTESEN, Catalogue imperial Rome III ny Carlsberg Glyptotek(Carlsberg 2005).
COCIS 2004
S. COCIS, Fibulele din Dacia roman (Cluj-Napoca 2004).
COVACEF 2002
Z. COVACEF, Arta sculptural n Dobrogea roman. Secolele I-III (Cluj-Napoca 2002).
CRISAN1971
I. H. CRISAN, Asklepeionul roman de la Apulum, Apulum9, 1971, 341-347.
CSERNI 1891
A. CSERNI, Apulumi maradvnyok, Als. Term. vknyve 4, 1891, 5-41.
31
POP 1967, 170, no. 1, fig. 1.
32
POP 1967, 174, no. 6, fig. 6.
33
COVACEF 2002, 129-130.
34
SHOPOVA1998, 268.
35
DIACONESCU2001, 167, fig. 8-9.
36
REINACH 1916, 384, Pl. 688, no. 1617.
37
REINACH 1916, 384, Pl. 688, no. 1619.
38
REINACH 1908, 113, no. 2.
39
Part of these photographs have beentakenbyMrs. Lacrima Rdulescu, whomI want tothankonthis occasion.
Roman sculptural pieces from the old collections of the National Museum of Union from Alba Iulia 191 7
DAREMBERG, SAGLIO 1926
CH. DAREMBERG, E. SAGLIO (edits), Dictionnaire des antiquits grecques et romaines, tomII.1,
(Paris 1926).
DIACONESCU2001
AL. DIACONESCU, AStatue of Liber Pater fromApulum(Alba Iulia), Acta Mus. Napocensis 38/I, 2001,
161-176.
DIACONESCU2005a
AL. DIACONESCU, Statuaria major n Dacia roman, vol. 1 (Cluj-Napoca 2005).
DIACONESCU2005b
AL. DIACONESCU, Statuaria major n Dacia roman, 2 (Cluj-Napoca 2005).
BELLIDO 1960
G. YBELLIDO, Colonia Aelia Augusta Italica (Madrid1960).
HORHAT1965
M. HORHAT, Relief cu Diana, Rev. Muzeelor 2, 1965, 431.
IGNA1935
N. IGNA, Cultul lui Esculapi al Hygiei cu special privire la Dacia Superioar (Cluj-Napoca 1935).
MACIEL/PEIXOTO CABRAL/NUNES 2005-2006
M. I. MACIEL, J. M. PEIXOTO CABRAL, D. NUNES, A esttua de Apolo da villa do lamo
(Museu Nacional de Arqueologia), Arque. Portugus 23, 4, 2005-2006, 349-369.
OTA2006a
R. OTA, Ocopiealui ApollodinBelvederedescoperitlaApulum, Apulum43/12006, 231-237.
OTA2006b
R. OTA, O nou statuet a lui Hercules descoperit la Apulum, Patrim. Apulense 5-6, 2006, 47-53.
OTA2006c
R. OTA, Venus din Apulum, Patrim. Apulense 5-6, 2006, 53-59.
OTA2007
R. OTA, Iupiter fulminans n iconografia religioas apulens, Pontica 40, 2007, 255-265.
PISO 2001
I. PISO, Inscriptions d'Apulum(IDRIII/5), 1-2 (Paris 2001).
POP 1967
C. POP, Cteva reprezentri apar;inndcultului dionysiac nDacia, Apulum6, 1967, 169-181.
REINACH 1908
S. REINACH, Repertoire de la statuaire grecque et romaine, tomII.1, (Paris 1908).
REINACH 1916
S. REINACH, Repertoire de la statuaire grecque et romaine, tomI Paris 1916).
RUSU-PESCARU/ALICU2000
A. RUSU-PESCARU, D. ALICU, Templele romane din Dacia, I (Deva 2000).
SHOPOVA1998
I. SHOPOVA, The Thracian cult of Dionysos along the Bulgarian lower Danubian limes. In Studia
Danubiana. Pars romaniae. Series Symposia, vol. I. The Roman Frontier at the Lower Danube 4th -
6th centuries, The second International Symposium (Murighiol/Halmyris, 18-24 august 1996),
(Bucharest 1998), 267-270.
Radu Ota 192 8

Plate 1. Roman sculptural heads discovered at Apulum.

Roman sculptural pieces from the old collections of the National Museum of Union from Alba Iulia 193 9

Plate 2: A. Right hand of a goddess statue discovered at Apulum; B. Right hand of a god statue discovered at
Apulum; C. Right hand of a god statue discovered at Apulum; D. Right leg of a god or Roman emperor statue
discovered at Apulum; E: Right foot of a god statue discovered at Apulum; F. Right foot of a god statue
discoveredat Apulum.
Radu Ota 194 10
Plate 3. Torso of a cult statue of Apollo discovered at Apulum.
Roman sculptural pieces from the old collections of the National Museum of Union from Alba Iulia 195 11


Plate 4: A. Cult statue of a god discovered at Apulum; B. Votive statue of Diana discovered at Apulum; C. Votive
relief of Diana discoveredat Apulum. D. Votive statue of Liber-Dionysos discoveredat Apulum.
Radu Ota 196 12