Fitz Jenő (szerk.): Religions and Cults in Pannonia. Exhibiton an Székesfehérvár, Csók István Gallery 15 May - 30 September 1996 – Szent István Király Múzeum közleményei: A. sorozat 33. (1998)

statuette of Minerva with an ornamented pedestal from Grbavac near Grubisno Polje. The goddess is depicted in a long robe with characteristic military equipment. The statuette dates from the 1st century and is stored in the Zagreb Archaeological Museum (Fig. 7). Other high ranking official gods also to appear are Venus, but just as a sculpture in the round. Twelve such sculptures have been found. Mercurius, also just in the form of a sculpture in the round and more often in bronze than in stone - a total of eleven representations. At least five altars are dedicated to Fortuna, but on the basis of insights into museum collections, such as the one in Varazdinske Toplice, we deduce that there are many more. The bronze statuette of Fortuna from Vinkovci, dating from the second half of 1st century and stored in the Zagreb Archaeological Museum, is one of the best examples of bronze plastic art in southern Pannónia. It shows Fortuna dressed in a robe with a cornucopia which has been preserved only partially (Fig. 8). Apart from this bronze statuette, two more have recently been found at Scitarjevo (Andautonia) near Zagreb. Neptunus' name is mentioned in two inscriptions and a stone statue depicting him was found at Vinkovci. Victoria appears once in an inscription and six times in figurai plastic art, in bronze and in stone respectively. Six bronze statuettes and appliques confirm the existence of the Apollo cult. Furthermore, five monuments are dedicated to Mars, some of them carrying inscriptions. One of them carries the inscription Mars Marmogius.5 Some monuments are in relief form, others are in bronze full sculpture. It seems that only one inscription dedicated to Diana has been found on the altar from Varazdinske Toplice where she appears in the company of nymphs. Diana appears three times in figurai form, often in various syncretistic interpretations. Of other members of the Roman pantheon, one also comes across figurai representations of Amor- sixteen examples, Satyr - four figurai representations, Silenus - three figurai representations, Menada - four figurai representations, the Dioscuri - two representations, Rome - one bronze statuette, Priapus - two figurai representations, as well as one representation of Lar, Atlas, Centaur, Autumnus, Vertumnus, Pan (Fig. 9), Ganymede, Perseus and Hilaritas. Heads of the Medusa also appear - four independent bronze representations, the Seasons - one relief, one of the Muses, Erato -one sculpture, the mythical flyer Icarus - three sculptures, and Asclepius andHygieia- one relief with an inscription. Very popular in Pannónia was Hercules who was worshipped in southern parts of Pannónia since early times and served to promote the emperor's cult in the circles of high-ranking magistrates and the army.6 His prestigious role is confirmed in the numerous affirmations of his cult - six inscriptions and thirteen figurai representations of which two are reliefs and eleven are stone and bronze sculptures in the round. The best and most representative amongst them is the well-known bronze statue of naked Hercules on a rectangular pedestal, decorated with floral ornamentation. Hercules is shown holding the Hesperides' apples and a club of which only a small piece has been preserved. The statuette dates from the 1st century A.D., and originates from Sisak. It is now in the Zagreb Archaeological Museum. Also of good quality is another Hercules bronze statuette found at Murscak near Gorican, not far from Cakovec, and dates from the second half of 2nd century AD, now in the Museum of Medimurje in Cakovec. Hercules is shown with an animal skin thrown over his shoulder and holding Hesperides' apples in his left hand (Fig. 10-ll).1 Together with these gods and demigods, many local numina were worshipped. One of them was Genius {Genius loci), who appears only twice in a figurai representation, but is more frequently mentioned on inscriptions, sometimes with Iuppiter or other gods. The name Genius probably stands for the old indigenous gods, such as various silvanae and nymphae. On the basis of their names one can discern that the silvanae were patrons of woodland areas and nature in general.8 In this way they were also connected to thermal springs, which are usually found in picturesque landscapes. The nymphae, on the other hand, appear with various appellations, depending on the multifarious aspects of their cult. They are at times defined as: Salutares, Augustae, Iasae (Fig. 3). They were especially important figures for both Iasaean thermal spas, Aquae Iasae, and Aquae Balissae.The most representative nymph monument is the famous Nymphaeum discovered long ago at Varazdinske Toplice.9 As noted on the inscription, it was erected in honour of the Nymphae Augustae by the municipality of Ptuj (res publica Poetoviensium) in 2nd century A.D. The Nymphaeum was elaborately decorated with various mythological scenes: Amphitrite on a sea griffon, Europa riding a bull, Eros on a hippocampus, etc. As already mentioned, the inscription on one of the Iasaean altars mentions Diana as well as the nymphs. It is therefore fairly obvious that in such a combination the nymphs are directly connected to the Silvanus' Illyrico-Pannonian cult family.10 The second inscription is dedicated specifically to the Iasaean nymphs as specific 5 CIL III 10844; Brunsmid 1904-19911, 134-135, n. 236; AU 542. The inscription reads: Marti Mar \ mogio Aug(usto) sig \ пит cum stib[adio] | Iun(ius) Philocra[tes] \ cum Iul(io) Cripsi [no] \ coma \g(istro) v(otum) s(olvit) l(ibens) m(erito)]. 6 Brunsmid 1899-1900, 31; Pinterovic 1978, 132-133; J. Fitz assumed that a great number of Hercules' monuments in Mursa resulted from the renovation of his sanctuary during the supposed stay of Septimius Severus in the town in 202. Fitz 1959, 248, note 91. 7Tomicic 1982. 8Dorcey 1992, 74: the author believes that the occassionally presence of the female numina presented with Silvanus is the only iconographie difference between Pannonian and Italian Silvanus. 9Gorenc 1971, 15 sqq; Gorenc-Vikic 1973, 13-16; Gorenc 1981, 197 sqq, fig. 1-4. 10 Rendic-Miocevic 1980, 109-110. 8