Epigrafia

RESUMEN: Este estudio se centra en la figura de Acilia Plecusa, una esclava que fue manumitida y contrajo un matrimonio legítimo con su propietario, Manius Acilius Fronto. Ellos eran originarios de la ciudad de Singilia Barba (Baetica) y formaron parte de una importante familia hispana del siglo II d. C. Los testimonios epigráficos nos muestran el destacado ascenso social de esta liberta que se encargó de costear inscripciones para homenajear tanto a sus familiares como a sus amigos más cercanos e influyentes.

ABSTRACT: This paper focuses on the figura of a freedwoman, Acilia Plecusa. She was a slave, but she was manumitted and got married to her owner, Manius Acilius Fronto. They were from Singilia Barba (Baetica) and belonged to an important family of the Second Century A. D. Inscriptions show us the outstanding social climbing of this freed woman, who took charge of financing the registrations to honour, not only her relatives, but also her closest and most influential friends.

Tesi del Corso di laurea Magistrale in Archeologia Orientale, Sapienza, Roma.
The temple investigated is that of the goddess in the city of Mari during the second millennium BC. greater confirmation and careful research are taken into consideration objects of material culture, such as vases containing perfumed oils necessary for rituals, statues, seals and reliefs. The edible assets have been documented through epigraphic and paleobotanical research. In addition to this information, it is important to note the figure of the goddess Ištar and her perception in the context mentioned above. All these elements have provided fertile ground on which to carry out a complete research; what allowed to interpret the relationship between men and gods, moderated by the donation of food offerings.

Se presenta una inscripción funeraria procedente del distrito minero de Almadén, con un nuevo cognomen greco-latino (Atota de Ἀτώτας) y perteneciente seguramente a una liberta. La adopción de nombres griegos para esclavos y libertos se trata de un fenómeno bien extendido por todo el Imperio. Las últimas investigaciones tienden a relativizar dicho fenómeno como prueba del origen real del personaje, de ahí que algunos no sean gentilicios reales y sean en realidad una simple moda de la época, especialmente a partir del último cuarto del siglo II d.C., por parte de los propietarios.

El presente artículo resume los objetivos y principales resultados de la investigación que desarrollamos en nuestra tesis doctoral, Estudio de la mujer a través de los epitafios. Rituales y honores funerarios en la Colonia Tárraco. En ella nos propusimos hacer una revisión de las inscripciones funerarias que recibieron las mujeres de la Tarragona
romana y el "ager tarraconensis", ofreciendo un detallado análisis del patrón de conmemoración fúnebre en el ámbito femenino.

One of four known ancient Maya books, the Grolier Codex depicts different manifestations of Venus; the column of glyphs on the left of each panel records days in a 104-year Venus almanac. These plaster-coated bark-paper pages, carbon-dated to the 13th century, represent only half of the 20-page original. This article is an excerpt of pages 98-99 from the March 1990 National Geographic Magazine article "America's Ancient Skywatchers" by John B. Carlson with a numbered photographic arrangement of the Grolier Codex depicting the author's discovery that Codex pages 10 and 11 are actually two parts of the same "page 10".  Carlson clarifies the identities of Venus deities depicted in the Grolier Codex from a comparison of images from the Cacaxtla murals and links the images of the Grolier Codex with ancient Maya astronomically timed ritual warfare and sacrifice. (Grolier Codex photographs: Enrico Ferorelli; Mural photograph: Bob Sacha)

This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.

Continuamos la serie iniciada en un número anterior de esta revista [“Inscripciones inéditas andaluzas-I” (1974) vid. ahora https://www.academia.edu/39792867/Inscripciones_ineditas_andaluzas-_I_1974_con_fotos_ ] con catorce nuevas inscripciones. Hemos de hacer la salvedad de que nuestro propósito al publicar estos epígrafes es dejar constancia de su existencia, especialmente con vistas a la cada vez más necesaria puesta al día del CIL II. De varias de ellas no podemos reseñar sus medidas u otras circunstancias, pues son fotografías que nos han sido facilitadas, en algunos casos, de piezas que después fueron vendidas o simplemente desaparecieron. Creemos de utilidad publicarlas, aunque no podamos dar de ellas todos los datos que serían necesarios y que en algunos casos resultan ya casi imposibles de conocer.

N.B.- (18 de julio de 2019). Como en el artículo anterior, las inscripciones las presenté ordenadas cronológicamente, por criterios formales, lo que, hace ya casi 50 años, fue el primer ensayo en este sentido, interés que años después me llevaría a comenzar el proyecto de un ÁLBUM DE LAS INSCRIPCIONES DATADAS DE HISPANIA, que tengo aún en desarrollo. Al final va un ‘addendum’ específico sobre la inscripción nº 13 (pp. 425-428 y lám. XLI c), de Astigi (Écija), en honor del procurator agens vicepraesidis de la Bética [...Ma]gnius Donatus (de mediados del siglo III d.C.), por una anécdota en 1978 con el venerado maestro Hans Georg Pflaum (1902-1979), que se interesó mucho por ella e hizo su propia propuesta, como allí se explica (cf. AE 1978, 415). En 1984 aparecieron nuevos fragmentos de la misma, que zanjarían nuestra pequeña discrepancia.

Agradezco cordialmente a D. Isaac Moreno Gallo la composición del presente pdf.

Da sempre considerato un imperatore sciocco, incapace e succube delle mogli e dei potentissimi liberti di corte, Claudio si può ritenere senza alcun dubbio una vittima della storiografia senatoria a lui ostile e, soprattutto, degli studi scientifici pubblicati a partire dalla fine dell’Ottocento. La sua fama di homo philologus e di storico è troppo riduttiva e deve essere necessariamente associata con l’immagine di un raffinato politico capace di comprendere a fondo le dinamiche di corte. Consapevole di dover costruire un solido consenso al suo potere, Claudio promuove la carriera dei suoi uomini più fidati e anche l’ascesa di alcune comunità provinciali come, per esempio, i Galli. I fenomeni di mobilità sociale e di integrazione sono, quindi, la cifra distintiva della politica del penultimo imperatore giulio-claudio e ci permettono di riconsegnare al pubblico l’immagine di quello che possiamo definire, forse ancor più di Caracalla, il “principe dell’integrazione”.

Resumen: El objetivo de este artículo es analizar las inscripciones viarias pertenecientes a Domiciano dentro de la provincia de Asia que, tras la muerte del Emperador, pierden el nombre y la titulatura del Princeps flavio y reciben los de su sucesor, el emperador Nerva, para entender cómo fue aplicada la damnatio memoriae. Asimismo, para valorar el alcance de la damnatio y contextualizar la actuación domicianea se realiza un breve análisis de las inscripciones asiáticas de Domiciano no modificadas por Nerva, así como de las actuaciones políticas de los antecesores del Emperador, su padre Vespasiano y su hermano Tito, en Asia Menor.

En las siguientes páginas se presenta un fragmento de inscripción procedente de Calagurri proponiendo que forme parte de un considerable monumento, quizá un conjunto estatuario, de más de cuatro metros de ancho. A modo de hipótesis se plantea que éste quizá pudo ser levantado por suscripción popular en honor de Marco Aurelio y Lucio Vero en el 161 d.C., celebrando su subida al trono y deseando una concordia duradera entre ambos. Con posterioridad, el ordo decurionum pudo haber concedido el lugar donde ubicarlo, tal vez en las cercanías del circo o incluso dentro del propio recinto, a juzgar por su lugar de procedencia.

The Callaico-lusitanian warriors statuary is a distinctive artistic manifestation of the Northwest of Iberian peninsula that has been attracting the interpretative efforts of archaeologists, historians and epigraphists with the aim of defining his chronological, functional, symbolic and cultural outline.
In the pre-Roman origin, the sculptures seem to be representative of heroicized native notables with significance in their communities, not only having a structuring dimension of the collective memory, but also of an apotropaic nature.
Nevertheless, the advent of Roman domination will have led to a process of symbolic requalification that reflects the new social order governed by the interests of a centralized power that finds in the autochthonous aristocratic elites a point of support. In this context, some of this statuary receives an eminently honorific meaning, well evident by the epigraphic contents, which is considered in connection with the recognition of certain notables who now hold large political capital in the relationship with Rome.

PT
A estatuária de guerreiros lusitano-galaicos é manifestação plástica característica do Noroeste Peninsular que tem concitado os esforços interpretativos de arqueólogos, historiadores e epigrafistas com vista ao seu enquadramento cronológico, funcional, simbólico e cultural.
Na origem pré-romana, as esculturas afiguram-se representativas de notáveis indígenas heroificados com significado nos respectivos colectivos populacionais, não só tendo dimensão estruturadora da memória colectiva, mas também revestindo natureza apotropaica.
Não obstante, o advento da dominação romana terá ocasionado processo de requalificação simbólica que reflecte a nova ordem social regida pelos interesses de um poder centralizado que encontra nas elites aristocráticas autóctones um ponto de apoio. Neste contexto, alguma desta estatuária recebe um sentido eminentemente honorífico, bem patente nos exemplares epigrafados, o qual se reputa ligado ao reconhecimento de determinados notáveis que passam a deter largo capital político na relação com Roma.

In the Church of the Archangel Michael in Markušovce an exceptional collection of sepulchral monuments has been preserved. They are remarkable not just because there are so many of them, at a number never before seen elsewhere in village churches in the Spiš region, but also for the information that they offer us as researchers. The church dates from the second half of the 13th century and since its origin served not just as the parish church but also as the estate church of the Markušovský branch of the Mariáši family (Máriássy, Markušovskí), which derived its predicate from the village that
was in its possession for centuries. This family was one of the oldest and most prominent noble families in the Spiš region. The inscriptions on the sepulchral monuments were copied in the late 18th century by the Spiš historian Carolus Wagner and later by other researchers. Despite this, more in-depth research was never carried out and the study at hand is the first ever analysis and contextual evaluation. Epigraphic study helped to fill in some dynastic prosopographic information and identify who commissioned the sepulchral monuments and how they came into existence. The oldest surviving sepulchral monument was created before 1516, when Štefan VI Mariáši, who both commissioned and ultimately occupied it, died. Besides this, there are also seven surviving inscribed heraldic
tombs or epitaphs(?) and one tombstone with just the inscribed segment, part of which is still in its original location. The sepulchral monuments of Žigmund I, Pavel II, and František V Mariáši all suggest they were the work of a local,
domestic workshop. On top of this collection of surviving sepulchral monuments is knowledge of several no longer existing monuments that were used in burial rites and the related but today little known heraldic slabs that belonged to Lucie Čaholi, the wife of Štefan VI Mariáši, and the latter’s patrons Ján and Juraj Zápoľský and their mother Hedviga, a Tešín princess and the widow of the Palatine Štefan Zápoľski. A larger and more significant collection of sepulchral monuments in Spiš can be found in the town parish Church of St Jakub in Levoča and St Martin’s Cathedral in Spišská Kapitula, but these are different types of church artefacts used also for different functions as the Markušovský church.

Questa nuova edizione del Manuale di epigrafia latina, contiene numerosi emendamenti, aggiorna¬menti e ampliamenti, per lo più suggeriti da quanti nel corso di questi anni lo hanno impiegato sia come testo per i corsi universitari di Epigrafia latina, sia come opera di consultazione, sia come strumento per avvicinarsi all’affa-scinante mondo delle iscrizioni. L’apparato iconografico è stato migliorato e arricchito con l’inserimento di nuove illustrazioni, tutte accompagnate dalla trascrizione del testo del quale ora, grazie all’inserimento di un QR Code, è disponibile online una traduzione in lingua italiana. Sono state poi notevol¬mente ampliate le parti riguardanti le iscrizioni “false”, le tecniche di rilievo fotografico, i sussidi informatici per lo studio dell’epigrafia, in particolare le banche dati, e, soprattutto, l’instrumentum inscriptum. La bibliografia è stata integrata e aggiornata, mentre alle appendici è stato aggiunto l’elenco dei consoli, dal 2.98 a.C. al 476 d.C., disposti in ordine alfabetico per nome e per cognome.

Este estudio pone el foco de atención en las mujeres que aparecen en la epigrafía militar de Britannia. A través del análisis de estas inscripciones tratamos de acercarnos a cuestiones tales como la origo, el estatuto jurídico o el papel de la mujer en la esfera de relaciones de los militares romanos. No se debe pasar por alto la visibilización de la mujer en la Historia, agente histórico y sujeto de estudio junto con el varón.

The research intends to demonstrate its relevance to present a scientific historiography
of stelae where the ‘ibrîm appear as a social magnitude geographically located in
the ancient Mediterranean. The goal is to put in dialogue founding narratives of
ancient Israel and archaeological artifacts. Our hypothesis is that “Israel”, the people
of the XIII century B.C., had, in its process of ethnic composition, a kinship with
Mediterranean ethnic magnitudes, and both had been eventually enslaved by Egypt.

RESUMEN. La mejor obra (circa 1512-1533) del arte plateresco español está a punto de cumplir su V centenario. A pesar de los numerosos estudios que se han dedicado a esta espectacular fachada, y de las muchas atribuciones que se han ido haciendo de ella a los principales artistas de la época, hasta ahora no se ha podido saber qué maestro dirigió la obra. A finales de 2011 la autora descubrió una inscripción de firma, original y nítida, escondida justo sobre el gran escudo del segundo cuerpo, el que preside la fachada. Según su lectura, el autor –o al menos el principal– es uno de los mejores arquitectos-escultores de la época, aunque nunca antes había sido sugerido, y tampoco se le había relacionado siquiera con Salamanca o con sus obras platerescas: Se trata de Juan de Talavera (fl. 1476-1531), antiguo discípulo y colaborador –incluso quizá sobrino– del gran Juan Guas pero, según veremos aquí, también yerno del muy influyente Egas de Bruselas. Talavera fue miembro de la insigne “escuela toledana” y uno de los arquitectos de Isabel la Católica. La fachada (probablemente hecha en dos o tres tiempos), es una oda gráfica, más que a los Reyes Católicos, a su hija Juana y a su nieto el rey-emperador Carlos V, y habría sido costeada por (o en nombre de) “la reyna Doña Iuana”, única y verdadera titular del trono castellano. Esto lo afirmó en 1666 un eminente catedrático salmantino, Francisco de Roys, sin que durante siglos la noticia haya sido ni muy conocida, ni aceptada. Este artículo es un avance del estudio de otras muchas inscripciones menores que contiene la fachada (casi todas ellas no vistas hasta ahora), y puede abrir un nuevo campo de investigación, pues la autora considera probable que otras grandes obras de esta dorada época, hasta ahora anónimas, contengan también firmas o señales ocultas de sus creadores.

ABSTRACT. The spectacular facade of the University of Salamanca (circa 1512-1533), the best piece of Spanish art work built in plateresque style, is due to celebrate its 500th anniversary. Despite numerous investigations devoted to its understanding, and the numerous suggestions about its authorship, to date the person who directed this masterwork has remained unknown. In 2011 the author of this paper found an original and very clear inscription hidden just above the large shield that dominates the facade towards her middle part. According to this true signature, the artist –or at least one of the main ones– is among the best architects and sculptors of the time: Juan of Talavera (fl. 1476-1531), a former student and collaborator of the great Juan Guas –perhaps even his nephew– and, as we shall see here, son in law of the influential Egas of Brussels. Surprisingly, he has never before been considered as a possible author of this facade, or even associated with Salamanca and its  plateresque works. Talavera was a member of the famous “Toledo School” and one of the architects of Queen Isabella I of Castile.  The facade (probably made in two or three stages) is a graphic ode, not to the Catholic Monarchs, but rather to their daughter Joanna and their grandson Charles V, Holy Roman Emperor. It was funded by (or on behalf of) “la reyna Doña Iuana” (the Queen Joanna I), the only and true owner of the Castilian throne, citing one of Salamanca’s more eminent scholars, Francisco de Roys in 1666. This paper will be continued by other to study other minor inscriptions the author has found within the same facade (most of them previously overlooked). It is hope that it will open a new line of research, as it is likely that other emblematic buildings of this Golden Era, hitherto of unknown authorship, also contain hidden signatures or hints from their authors.

En Eduardo Ferrer Albelda, Mercedes Oria Segura, Enrique García Vargas, Francisco José García Fernández y Ruth Pliego Vázquez (coords.). Arqueología y Numismática. Estudios en homenaje a la profesora Francisca Chaves Tristán. Sevilla: Universidad de Sevilla, pp. 777-790.

On the territory of northern Spiš, an exceptional collection of stone sepulchralia has been maintained, which in its character
is related to the Polish ethnicity, intensively penetrating and acting on Spiš especially after 1412, when part of Spiš came into Polish pledge. Of the locally preserved sepulchralia, a group of epitaphs was naturally connected to that from the end of the 16th and first half of the 17th century, which was dedicated to deceased burghers or priests, coming from Poland or Silesia, during which time we all of these specified products only in the border areas, most affected by Polish reign. These works were preserved specifically in two established cities, Stará Ľubovňa and Podolínec and in the village Nižné Ružbachy. All of the presented sepulchralia
contain a scene with a kneeling and praying deceased – alone or in the company of their family – under the Crucifixion. An inscription is located in the lower part. The language accompanying the inscriptions corresponds to the complicated,
multi-ethnic composition of the populace in northern Spiš. Although precisely the depiction of the deceased before the crucifix was one of the most common scenes, taken in the Renaissance still from medieval sepulchralia, in Spiš (but also in the surrounding regions) this scene was not a central among our discussed group of northern Spiš sepulchralia in stone. Also the collection of sepulchralia from Stará Ľubovňa is valuable. The municipal archive was affected by several disasters and many written sources have been lost forever. The examined sepulchralia are hence another source, the analysis of which allows us to approach the forgotten populace of the town and region. Sepulchralia from the 1st half of the 17th century is moreover related to the Recatholization initiative, begun after the accession of Sebastián Lubomírski to the post of Spiš mayor. From that time, the territory of northern Spiš,
specifically the newly created deaconate of Lubovnianska, was administered in the first place by the Polish Catholic clergy, until then by the bishopric of Krakow.

Prendendo spunto dalla descrizione di un disegno finora sconosciuto, datato 14 maggio 1832 e raffigurante l'antica borgata di San Gavino, l'Autore analizza diversi aspetti inediti legati alla basilica romanica omonima ed alle architetture del compendio di Monte Agellu, all'epigrafia, alla storia ed all'abbigliamento tradizionale della città di Porto Torres (SS).

Il libro raccoglie sessantadue fra interventi, articoli e saggi storici pubblicati negli ultimi decenni sulla rivista cercese Millemetri, Il Bene Comune, ArcheoMolise e l’Almanacco del Molise. Completamente rivisti e aggiornati, essi raccontano la vita della comunità, del territorio e di alcuni suoi personaggi attraverso i secoli, dal periodo classico agli inizi del secondo millennio. La pubblicazione approfondisce anche diversi temi della storia molisana come ad esempio l’atto di donazione di Toro del 1090 pervenutoci in copia tardiva, la scoperta proprio a Cercemaggiore della più antica attestazione della legenda di Re Bove, la ricerca storica e le invenzioni moderne sulle vicende della brigantessa Maria Luisa Ruscitti, l'unica opera certa di Matteo Brunetti da Oratino e altro ancora.  Nel testo l’autore ha inoltre documentato diverse e recenti dispersioni e danni perpetrati contro il patrimonio storico artistico e architettonico locale, ma rimasti tutt'ora impuniti. Le pagine, illustrate a colori, sono corredate da numerose foto d’epoca e non, con disegni ricostruttivi realizzati dal medesimo studioso, restauratore di beni culturali dai molteplici interessi, che per quest’ultima impresa si è avvalso anche di una estesa ricerca archivistica fra Roma, Cercemaggiore, Campobasso, Benevento, Napoli e Lucera.

The following paper analyses the differences between pagan and Christian epigraphic funerary representation. The starting point is the third century AD, and particularly the Catacombs of San Callisto. The Christians - especially during the first three centuries of the history of Imperial Rome - did not have its own cemeteries and were buried or within their own land or in public cemeteries, with pagans. From the second half of the second century were built the first catacombs, which are to be understood not only as a "graveyard" but as a rich and precious container of information.
Reconstructing the history of this important underground cemetery is possible to carry out a comparison with the pagan funerary representation of the Augustan age.
It is very different from the Christian one, both from an iconographic and a content point. It is easily seen as a change of mentality perpetrated by the Christian religion is reflected both on epigraphic representation both on the visibility of epigraphic monuments. In fact, the pagan monuments were open and could reach more public and this would also explain the best pagan funerary art invoice. Inside the catacombs, the monuments are of lesser artistic invoice but of high historical and social content. The symbolism is very rich also because of the various persecutions which ceased only in 313 with the Edict of Milan by Constantine and Licinius.
The comparison between these two types of funerary representation should be understood to gather the change of mentality and sociality within that unicum that was Rome.

Storia e lettura dei cicli pittorici affrescati nella volta e sulle pareti della Cappella di S. Agnese e San Gregorio Magno realizzata nella chiesa di San Giorgio Martire a Campobasso fra la fine del XIV e gli inizi del XV per il nobile campobassano Cola Ferraguto.
Vannozzi Stefano, La cappella Ferraguto nella chiesa di San Giorgio Martire a Campobasso. Dai nove cieli del sistema aristotelico-tolemaico al Volto Santo di Lucca. Prima e seconda parte, in «Il Bene Comune. Arte, cultura e civiltà per il terzo millennio», a. XVI, n. 7, Campobasso, luglio 2016, pp. 12-17; «Il Bene Comune. Arte, cultura e civiltà per il terzo millennio», a. XVI, n. 7, Campobasso, agosto-settembre 2016, pp. 12-19. Copia digitale migliorata e integrata da Valentina Marino, settembre 2016.

En este artículo se realiza un análisis de las fuentes epigráficas disponibles para estudiar el papel de los esclavos públicos e imperiales como cultores en Hispania. A través de estas fuentes se analiza el estatus de los esclavos que en ellas aparecen y los medios y objetivos de su devoción, así como las divinidades aludidas. Por último, se estudian los testimonios de collegia de esclavos públicos hispanos, donde la faceta religiosa era un elemento fundamental.
This paper analyses epigraphic sources with the aim of studying the role of public and imperial slaves as worshippers in Hispania. Through these sources, the analysis bears on the status of slaves, the means and ends of their cult practices and their gods. Finally, the testimonies of the collegia of Spanish public slaves are studied, in the light of the essential religious side of these collegia.

¿LA ESCRITURA NACIÓ EN OCCIDENTE? Marcelino Sanz de Sautuola y la Cueva de Altamira. Ensayo sobre la Escritura Lineal Paleolítica. Las primeras escrituras lineales fonográficas de la historia, halladas en cuevas y artefactos paleolíticos de España, Portugal y Francia.

Autor: Georgeos Díaz-montexano.

La Cueva de Altamira, el mayor santuario mágico-religioso, astrológico, artístico y epigráfico de los tiempos paleolíticos que ha sido hallado hasta hoy, y otros grandes hallazgos…

Interesad@s en reservar su ejemplar, para ser de l@s primer@s en tenerlo, pueden contactarme a través del formulario de cualquiera de las páginas siguientes:

http://georgeosdiazmontexano.wordpress.com/enviar-un-mensaje/ http://www.facebook.com/messages/georgeos.diazmontexano

¡Ya está disponible en Amazon!

Versión en B/N: http://mybook.to/La-Escritura-Nacio-en-Occidente
Versión impresa a Todo Color: http://mybook.to/La-Escritura-Nacioen-Occidente

En dos versiones: a Todo Color y en B/N con un formato de 7,44″ x 9,69″, ampliamente ilustrado con numerosas fotos, dibujos, mapas y tablas comparativas, y una buena bibliografia de referencias y consultas.

[Selección de algunas páginas gratuitas. De la 1 a la 25 seguidas. Un capítulo de ejemplo, de la 239 a la 245 (La foto correspondiente al final del PDF, p. 404), por último, la bibliografía, 253 a la 262: http://georgeosdiazmontexano.files.wordpress.com/2014/10/la-escritura-nacio-en-occidente-25-10-2014-color-seleccion-gratuita.pdf ]

Álbum de fotos con muestras del libro y archivos pdf en: http://www.facebook.com/media/set/?set=a.340753939424731.1073741855.100004703832894&type=1&l=e641fac37b

Contributo di ricerca con scoperte fino a ora inedite, precisazioni e integrazioni utili allo studio dell'epigrafia romana nella valle del Tammaro fra Cercepiccola e Cercemaggiore nell'area orbitante nel municipio di Saepinum (oggi loc. Altilia, Sepino CB).

Vannozzi S., Epigrafi romane dall' Ager sepinate: Iscrizioni antiche e moderne, perdute, inedite o ritrovate fra Cercemaggiore e Cercepiccola, in ArcheoMolise, a. X, n. 31, marzo-agosto 2018.

Impaginazione e revisione grafica digitale per il web di Valentina Marino, settembre 2018.

La iglesia de San Pedro de la Nave es conocida por ser uno de los ejemplos paradigmáticos del arte de época visigoda. Sin embargo, su cronología ha sido recientemente cuestionada desde múltiples perspectivas. Este artículo se centra en definir el estado de la cuestión y el papel que ha tomado la epigrafía en este debate. Finalmente, se intentan dar nuevos argumentos en defensa de la datación de San Pedro de la Nave como iglesia del s. VII.
The church of San Pedro de la Nave is known as one of the paradigmatic examples of Visigothic era’s art. However, its chronology has been recently questioned from multiple perspectives. This article focuses on defining the state of the issue and the role that epigraphy has taken in it. Finally, it tries to give new arguments in defense of the chronology of San Pedro de la Nave as a church of VII century