BULLETIN OF THE NATIONAL ARCHAEOLOGICAL INSTITUTE, XLIV, 2018 Proceedings of the First International Roman and Late Antique Conference “Cities, Territories and Identities” (, 3rd – 7th October 2016)

The Ancient Theatre of (Plovdiv, )

Maya MARTINOVA-KYUTOVA / Nicolay SHARANKOV

Abstract: This article gives a short presentation of the results of the archaeological surveys of the theatre in Philippopolis as well as an outline of the information revealed from the epigraphic material found there. Built in its present form in the late 1st – early 2nd c. AD, the theatre was reconstructed several times and functioned until the end of the 4th c. AD. The rich epigraphic material consists of nine honorific inscriptions on statue-bases from two different periods – the late 1st to the early 2nd c., and the first half of the 3rd c.; at least four building inscriptions from the 2nd – 4th centuries; numerous inscriptions denoting seats for eminent citizens or groups of persons; builders’ marks, graffiti, etc.

Key words: Roman Thrace, Philippopolis, Roman theatre, public spectacles.

The building1 The theatre of Philippopolis was surveyed in 1968-1978 by Liliya Botusharova. The northern entry was unearthed in 1982-1984. Additional archaeological surveys have been made by Maya Martinova-Kyutova in 2008-2009. The restoration of the theatre was carried out between 1979 and 1981 by a team headed by the architect Vera Kolarova. The huge open-air theatre of Philippopolis (fig. 1) was built on the southern slope of the Three Hills, where it encompasses the whole area between the two southern hills, Dzhambaz tepe and Taxim tepe. The theatron has a semi-circular, tiered form. It takes advantage of the natural stone slope, turned to the south-east. The layout is larger than a semicircle and the outer diameter reaches 82 m. The cavea consists of 28 concentric rows of seats, divided by a middle passage (diazoma) into two tiers. The two tiers are cut across by narrow radial stairways, which divide the cavea into wedge-shaped sectors (cunei). Ima cavea is divided into 6 cunei by seven stairways, three of which lead to the orchestra, while media cavea consisted of 12 cunei. The cavea is flanked by analemmata made of quadrae, with foundations on the bedrock of the sloping hillside. The rocky terrain constitutes the natural substructure of the theatron, the seats step on the rocks, which in places are chiselled or filled in with levelling cours- es (Коларова 2006, 87). The orchestra has the shape of a horseshoe. The diameter of its semi-circular part measures 26.64 metres. The floor is of white mortar laid on the flattened rock. The stage building (scaena) is an elongated three-level structure, with parascaenia to the east and to the west, having once held stair- 1 By M. Martinova-Kyutova. cases, abutting the cavea. The stage floor (proscaenium) is 3.16 m high 68 Maya MARTINOVA-KYUTOVA / Nicolay SHARANKOV and is decorated with an embedded Ionic colonnade. Three symmet- rically positioned doors connect the hyposcaenium to the orchestra. The facades of the parascaenia, overlooking the cavea, consist of two two-storey, four-column porticos, treated in keeping with the Roman Ionic order and crowned with triangular pediments. Scaenae frons is constituted of two three-column porticos, of two levels, with the first level treated in the Roman Ionic order, and the second – in the Roman Corinthian order. The facade has three door openings, the middle door (porta regia) being the largest in size (Коларова 2006, 87-89). The side entrances (parodoi) to the orchestra, initially not covered and vaulted later, connect the cavea to the skene building. In the centre of the orchestra, a steep underground passage starts, equipped with a vertical aperture (dimensions 4.90 х 3.50 m), vaulted when under the stage building and leading away from the building. This facility had draining functions as well as usage linked to the theatre performances and gladiatorial combats (Ботушарова 1980). The entry from the north to the theatre is a stairway, connected to the diazoma. In the middle of it starts a vaulted underground passage, leading to the north uphill. The loggia for the dignitaries was built above the vault (Коларова 2006, 89). Based on certain elements of the theatre of Philippopolis, it may be inferred that it was the venue for part of the munera et venationes (gladi- atorial spectacles and wild beast hunts). The three stairways which reach the orchestra show traces of closing metal grids. The upper surface of the platform near the orchestra bears traces of built security equipment for the audience. After the two entries (πάροδοι) were vaulted, they were also secured (Bouley 1996, 114-115; Вагалински 2009, 76-78). The last significant reconstructions of the theatre took place in the beginning of the 4th c. In the course of the archaeological sur- veys, carried in the area of the northern exit, masonry structures were unearthed (fig. 1/1), evidencing the construction of additional rows of seats resting on radial walls (summa cavea), enlarging the ca- vea (Мартинова-Кютова 2009). Near the eastern parascaenium and vaulted entry (πάροδος), there is a stairway (fig. 1/3) built of statue bases and architectural elements (Sharankov 2005b, 55; Кесякова 2006, 146; Мартинова-Кютова / Шаранков 2017). The latest build- ing inscription from AD 305-311 (see below # 9) attests a reconstruc- tion of the theatre, possibly including the architectural ornamentation of the stage building. It was probably out of security considerations that, in the beginning of the 4th c., a high wall has been erected to the east of the stage building, closing the eastern stairway and limiting the access to the building from the south (fig. 1/5). The wall is in the opus mixtum technique and it reaches up to the high bedrock and bears the character of period wall masonry of Philippopolis. th The building functioned until the end of the 4 c. AD, when it was 2 By N. Sharankov. destroyed, probably by an earthquake. 3 E.g., Ботушарова / Коларова 1971; Ботушарова 1980; Коларова 1980; 2 Inscriptions Botoucharova / Kesjakova 1980, 131; Since the results of the excavations remain unpublished, except for Bouley 1996; Кесякова 1999, 61-65; some short notes and preliminary reports3, our knowledge about the Коларова 2006; Вагалински 2009, 76- 79; Мартинова-Кютова 2009; Topalilov building depends largely upon the numerous Greek inscriptions found 2012, 391-398, # IV/3.2; Топалилов there. They are of different types – honorific inscriptions on statue- 2012, 131-137; Боспачиева / Коларова bases, building inscriptions from different parts of the theatre, inscrip- 2014, 173-180. The Ancient Theatre of Philippopolis (Plovdiv, Bulgaria) 69

Fig. 1. Plan of the theatre in Philippopolis: 1 summa cavea; 2 parodoi; 3 fourth-century stairway; 4 entrances to the diazoma; 5 wall in opus mixtum (plan by М. Martinova-Kyutova and architect D. Mushtanova) tions denoting seats for eminent citizens or groups of persons, build- ers’ marks, graffiti, etc.4 Early honorific inscriptions (late first – early second century AD) The earliest building inscription from the theatre (see below) is dat- ed to the end of the rule of Emperor Trajan (AD 116-117); however, 4 Most of the honorific and building there is strong evidence that the building had existed at least a few inscriptions and part of the inscriptions decades before that date. Some remains of an earlier building with on the seats have been published: see, e.g., a larger orchestra have been found, but it was impossible to exam- IGBulg V 5410, 5412, 5468; Ботушарова ine them thoroughly without damaging the well-preserved Trajanic 1984; Шаранков 2004a, 151-154; 2004b, building5. There are also several honorific inscriptions on statue- 198-199, 206; Gerassimova-Tomova 2005, 282-283; Sharankov 2005a; 2005b, bases found in the theatre, which can be dated to the late first – early 55-64, 66-67; Шаранков 2006, 180- second century AD. 183, 186-189, 194, 200, 203; Sharankov 1. The statue-base for Ti. Claudius Sacerdos Iulianus (fig. 2/1) 2007a, 1348-1350; 2007b, 518-521, ## honours him as procurator Augusti (ἐπίτροπος Σεβαστοῦ) of Thrace, 1-2a, 524-525, # 6; Шаранков 2014. an equestrian office he must have held before his adlectio inter praeto- 5 Коларова 2006, 89; Боспачиева / Коларова 2014, 176; and also V. rios which took place ca. AD 96-98 (Sharankov 2005a, 235-237, # 1). Kolarova (personal communication to 2. Another honorific inscription from the AD 90s is for an im- N. Sharankov, June 2009). portant local magistrate – T. Flavius Cotys, son of [Rhescu?]poris 70 Maya MARTINOVA-KYUTOVA / Nicolay SHARANKOV

1 2

3 4 Fig. 2. Honorific inscriptions on statue-bases from the late first – early second century AD: 1 Ti. Claudius Sacerdos Iulianus; 2 T. Flavius Cotys; 3 Thracian Common Council; 4 Perinthian demos (photos: N. Sharankov)

6 6 The upper right part of the inscrip- (fig. 2/2) , seemingly a descendant of the last kings of Thrace, who tion was published in 2005 (Sharankov held multiple offices in Philippopolis and the province: 2005b, 55-58, # 1 = AE 2005, 1380 = SEG Tὸν ̣ [ἀ]πὸ̣ ̣ προγόνων̣ πρῶτον | τῆς ἐπα[ρχεί]ας̣ καὶ ἐνάρε|τον 55, 753); the other part of the statue-base ἄνδρα, [ἀ]ρχιερέα̣ τε τρὶς τῆς | Θρᾳκῶν ἐπαρχείας καὶ τῶν ἐ|ν αὐτῇ was identified among the re-used stones in a Late antique staircase (Sharankov πόλεων ̣ καὶ ἔγδικον τῆς | μητροπόλεως καὶ̣ ἐργεπιστάτην | διά τε τοῦ 2005b, 57), but the inscribed surface was πρῶτον [ἄρ]ξαι̣ τόπον με|γάλοις ἔργοις τὴν πόλ[ιν̣ κε]κοσμηκότα,̣ | not visible, so it was not until the extrac- δημοφίλητον καὶ δι[ὰ̣ βί]ου ἱερ[έ]α Ἀσ|κληπιοῦ Τ(ίτον) Φλάουιον tion of the base from the staircase in 2016 (during excavations by M. Martinova- [Ρησκου?]|πορεως υἱὸν Κυρείνα Κοτ[υν], etc. Kyutova) when its text became available The statue was erected not by the city like the one for the procura- (Шаранков 2017, 779-780, # 2). The Ancient Theatre of Philippopolis (Plovdiv, Bulgaria) 71

tor, but by a private person whose name is partially lost – we see only his patronymic and signum – [ὁ δεῖνα] Σωστράτου ὁ καὶ Πολλίων.̣ The expression μεγάλοις ἔργοις τὴν πόλ[ιν̣ κε]κοσμηκότα,̣ ‘(during his of- fice as first archon) he adorned the city with magnificent buildings’, as already suggested (Sharankov 2005b, 57), could imply that one of these buildings was the theatre itself, and therefore its construction had started under Domitian. Both inscriptions already mention Philippopolis as metropolis – a title supposedly given to the city by Emperor Domitian and connected with its establishment as seat of κοινὸν Θρᾳκῶν, the Common Council of the province (Sharankov 2005a, 241-242). 3-4. Two other honorific inscriptions from the theatre, erect- ed simultaneously and with similar texts – the one for the Council of the province of Thrace, here called τὸ κοινοβούλιον τῆς Θρᾳκῶν ἐπαρχείας (fig. 2/3), and the other for the demos of (fig. 2/4) – belong to the same period (end of the first – beginning of the second century AD). Since the inscription for Perinthus mentions homonoia, it has been supposed that it marked the end of a conflict between the two cities, provoked by the foundation of the koinon and the emperor’s decision to grant the title of metropolis to Philippopolis and not to the provincial capital Perinthus (Sharankov 2005b, 58-62, # 2; 2007b, 519- 521, # 2, 2a; AE 2005, 1379, 1381; SEG 55, 754-755). 5. The inscription honouring L. Cassius Severus, prefect of cohors IV Thracum, procurator of Macedonia and Thrace and prefect of the Misene fleet (IGBulg V 5410 = AE 1993, 1382) has been dated to the time of Septimius Severus (Ботушарова 1985; Boteva 1993), but both the lettering and the text suggest that it is probably no later than the Trajanic or early Hadrianic period7. These honorific inscriptions reveal the theatre as an important – or even the most important – place of civic life in that period. 7 Note, e.g., the full name with filiation However, since there are no inscriptions which could be connected and tribe in the Latin manner: Λ(ούκιον) with a date earlier than ca. AD 85, we can safely conclude that – even Κάσσιον Λ(ουκίου) υ(ἱὸν) Κυρ(είνα) if an earlier building had existed there – the theatre of Philippopolis Σεουῆρον; or the service in cohors IV was built in its present form and appearance in the late first – early Thracum, which is not mentioned later second century AD. than the rule of Antoninus Pius (Spaul 2000, 378-379). The inscribed statue- Building inscriptions base – like the other ones from this early period – is made of the same pinkish Four building inscriptions dated to different periods have been found breccia which was used largely in the in the theatre8. construction of the theatre; a statue-base 6. The earliest building inscription is dated to the end of Trajan’s for emperor Trajan dated to AD 103-114 rule, AD 116-117 (Sharankov 2005a, 237-240, # 2 = AE 2005, 1375 = (IGBulg III.1 880) is made of the same type of stone. On the problems caused by SEG 55, 763). It was engraved on the three marble blocks of the Ionic the unusual career of L. Cassius Severus, architrave-frieze which is now built in the first range of the recon- especially if the inscription is assigned structed east parascaenium (fig. 3): to a late (Severan) date, cf. Demougin / Ὑ̣πὲρ τῆς αὐτοκρά̣[τορος Νέρουα Τρ]αιανοῦ Καίσαρος Loriot 2005, 231-232. Σεβαστοῦ [Γερμ]α̣νικο̣ῦ Δ̣α̣[κικοῦ Παρθικοῦ | Ἀ]ρίστου ὑγείας καὶ 8 According to V. Kolarova and V. Tankova, who participated in the exca- δ̣[ιαμονῆς καὶ Πλωτείνη]ς Σεβαστῆς καὶ τοῦ σύνπαντος α[ὐτῶν vations, there was seemingly one more οἴκου ἱερᾶς τε συγκλήτου] κ̣αὶ̣ | [δήμου ῾Ρωμαίων βουλῆς τε καὶ building inscription containing imperial δήμου Φιλιπποπολειτῶν, ἡ]γ̣ε̣μονεύοντος ἐπαρχείας Θρᾴκης Γν[αίου titulature (personal communication to Μινικίου Φαυστείνου (?) πρεσβευτοῦ | Σεβαστοῦ ἀντιστρατήγου, N. Sharankov, June 2009 and May 2011). ὁ πρῶτος ἄρχων (vel ὁ ἀρχιερεὺς) τ]ῆ̣ς Θρᾳκῶν μητροπόλεος Unfortunately, I was unable to find the stone or even a copy or photograph of (sic) Ταρσας Βασσου κα̣ὶ̣ [ἡ δεῖνα τοῦ δεῖνος ἡ γυνὴ (?) α]ὐτοῦ | the inscription. κατεσκέυασαν τὸν πύργον δηναρίων [-]. 72 Maya MARTINOVA-KYUTOVA / Nicolay SHARANKOV

Fig. 3. Middle part of the building inscription of AD 116-117 on the eastern parascaenium (photo: N. Minchev)

‘For the health and permanent existence of Imperator Nerva Traianus Caesar Augustus Germanicus Dacicus Parthicus Optimus, Plotina Augusta, and all their family, the Roman Senate and People, and the Council and Demos of Philippopolis, under the governor of the province of Thrace Gnaeus Minicius Faustinus (?), legatus Augusti pro praetore. Tarsas, son of Bassos, first archon (or archpriest) of the Thracian metropolis, and his wife (?) ... constructed this “tower” to the amount of ... denarii.’ The cognomen of Emperor Trajan Ἄριστος (Optimus) sets the date of the inscription after August-September AD 114; the space available to the end of the line allows us to restore also Parthicus, which provides even a more exact date between February 116 and August 117. On the basis of the placement of the inscription, it has been suggested that πύργος ‘tower’ here is to be understood as some part of the theatre, apparently the παρασκήνιον. 7. Two fragments of an architrave-frieze bearing the right end of an inscription (Sharankov 2005a, 240-241 = AE 2005, 1376; Шаранков 2014, 289, обр. 3a-b) have been found among the ruins of the west parascaenium; they are joining, but are now erroneously placed wide apart in the reconstructed parascaenium. The lettering is the same as that of the other inscription, and the text was apparently similar, although with somewhat different arrangement; therefore this inscription should be contemporaneous with the one of the east para- scaenium. Only two words are preserved, διαμονῆς in l. 1 and [ἡγεμ] ονεύοντος in l. 2. We could restore the beginning of this text as follows: [Ὑπὲρ τῆς αὐτοκράτορος Νέρουα Τραιανοῦ etc. ὑγείας καὶ] διαμονῆς | [καὶ Πλωτείνης Σεβαστῆς καὶ τοῦ σύνπαντος αὐτῶν οἴκου etc., ἡγεμ]ονεύοντος | [ἐπαρχείας Θρᾴκης τοῦ δεῖνος etc. - - -]. 8. One building inscription can be dated to the first half of the Fig. 4. Inscription mentioning the ‘Sacred gerousia’ and its trea- third century. It is engraved on the side of one of the marble blocks surer Aurelius Polygeros (photo: N. which constituted the railing above the central entrance to the diazoma Sharankov) The Ancient Theatre of Philippopolis (Plovdiv, Bulgaria) 73

Fig. 5. Right part of the latest building inscription of AD 305-311 (photo: N. Sharankov)

(fig. 4). It attests that something (seemingly the box above the entrance) was built or decorated ‘through the common funds of the “Sacred ger- ousia” of the city (ἐκ τῶν κοινῶν τῆς ἱερᾶς γερουσία<ς>), when its trea- surer was Aurelius Polygeros, son of Alexander’9 (Шаранков 2004b, 198-199, # 1 = AE 2005, 1385 = SEG 55, 765; Шаранков 2014, 277). 9. The latest building inscription – which is also the latest inscrip- tion found in the theatre – is dated to the period AD 305-311. It is on a group of architrave blocks from the upper part of the scaenae frons (fig. 5): Ἐπ[ὶ δεσπότου ἡμῶν Γαλερ(ίου) Οὐαλερ(ίου) Μαξιμιανοῦ Σεβ(αστοῦ)] τὸ̣ πᾶν ἔρ[γον ἀνενεώθη (?)], || ἡγεμονεύοντος ̣ [τῆ]ς ̣ Θρ[ᾴκης]̣ (vel Θρ[ᾳκῶν̣ ἐπαρχείας]) [- - -] Τηρου̣ τοῦ διασημοτάτου, | λογιστεύον(τος) Σατορνείνου. ‘In the time of [our Lord Galerius Valerius Maximianus Augustus], the entire building [was renewed], when - - - Teres, vir perfectissimus, was governor of (the province of) Thrace, and Saturninus was logistes (i.e. curator civitatis) .’ The governor of Thrace has been identified with Teres, mentioned in the life of the martyrs from Marcianopolis Maximus, Asclepiodota and Theodotus, who suffered during the persecution of emperor Galerius Maximianus (Шаранков 2014; AE 2015, 1269 bis)10. Honorific inscriptions from the first half of the third century AD 9 The name of the same person was recently found in a list of people (most A second group of honorific inscriptions is dated to the first half of probably the members of the gerou- the third century AD. It includes two inscriptions honouring ago- sia) inscribed on a large stele re-used nothetes of the Pythian games in Philippopolis – Publius Virdius in the Late antique episcopal Iulianus and - - - Sebazianus, one posthumous inscription for the (Шаранков 2018, 731-732, # 2, fig. 2). rhetor Publius Virdius Iulianus Junior (Sharankov 2005b, 62-64, 10 Here I present a slightly revised read- ## 3, 3a; 66-67, # 3c = IGBulg V 5468; AE 2005, 1382-1384; SEG 55, ing, due to the re-discovery of one of the blocks, which was known to me only 757-759), and one fragment containing the end of an inscription (un- from an unclear photograph at the time published). The statue-bases for the two agonothetes were found in when I first published the inscription. situ, on the orchestra, in front of the western door of the stage building. 74 Maya MARTINOVA-KYUTOVA / Nicolay SHARANKOV

Fig. 6. Right part of the inscription marking the place of φυλὴ Ὀρφεείς (sic), the phyle named after Orpheus, on row 4 of sector E, first half of the second century AD; traces of a previ- ously erased inscription are seen under- neath (photo: N. Sharankov)

1 2 3

Fig. 7. Builders’ marks on the stones of the theatre: 1 junction of two upright blocks on the front of the ima cavea facing the orchestra; 2 hole marked with the letter Θ; 3 one of the marks on the eastern analemma: two abbreviated words πα(ρ---?) πό(δες?) followed by the number B< = 2½ (photos: N. Sharankov)

Their placing there could be connected with a reconstruction of the theatre – probably the same which is attested by the building inscrip- tion from the box above the northern entrance (above # 8). Inscriptions on the seats There are numerous inscriptions on the seats denoting (honorary) places (fig. 6). For example, there are 17 inscriptions connected with the phylai of the city (Ботушарова 1984; IGBulg V 5412). It has been shown that they can be dated to two or three different periods with the number of the phylai increasing – from six in the early second century, allocated in the entire ima cavea, to ten in the third century, when each phyle had only one row of seats (apparently for its offi- cials) in sector A or F of the ima cavea (Шаранков 2004a, 153-154, # 4, 158, fig. 8). An inscription on the front of sector d in the second range designates it as place ‘of the philokaisares’ (φιλοκαισάρων), seemingly persons connected with the imperial cult, e.g. members of the gerousia (Шаранков 2004b, 199, 206, фиг. 1 = AE 2005, 1386 = SEG 55, 769). One inscription mentions a techne, i.e. a professional association (sector B, row 1; unpublished), and on the row above it (B2) we see another one, for the family of the Munatii (Μουνατίων: Шаранков 2006, 194, # ΙΙ.1). There are also inscriptions for individ- ual citizens like the phylarches Claudius Dorzinthes (E1, on the front; Шаранков 2004a, 151-152), the agoranomos (?) Theagenes (D1; Шаранков 2014, 279, note 10); Celer (E2; unpublished); Marcianus (B5; unpublished); Vi[- - -]nus (e3; unpublished); etc. Builders’ marks Numerous marks are seen on the stone blocks of the theatre. For example, the joining sides of the upright blocks on the front of the cavea facing the orchestra have identic letters of the Greek alphabet: AA, BB, ΓΓ, etc. (fig. 7/1); the holes on the upper surface of the front The Ancient Theatre of Philippopolis (Plovdiv, Bulgaria) 75

of the ima cavea – which apparently served for mounting movable railings when the theater was used for gladiatorial games and wild beast hunts – are marked with consecutive letters of the Greek alpha- bet: A, B, Γ, etc. (fig. 7/2); more complex marks, including fractional numbers, are found on the stone blocks of the analemmata (fig. 7/3), or on the plinths of the front of media cavea facing the diazoma. Conclusion The theatre of Philippopolis is one of the most significant public buildings of Roman Thrace, and its excellent state of preservation in- creases even more its importance for the study of architecture in the province. For three hundred years of existence, the theatre had un- dergone several renovations before its final destruction and abandon- ment at the end of the fourth century AD. Its numerous inscriptions present a rich source of information on the history and administration of Philippopolis and the province of Thrace from the Flavian period to the Tetrarchy. Bearing all this in mind, it is to be deeply regretted that the theatre, after having been excavated more than three decades ago, still awaits its proper publication. The present short notes can by no means compensate for this unfortunate fact, but it is hoped that they could at least provide some information and provoke interest in further and more thorough research of the theatre.

Guzmán, A. (eds.). XII congressus 7th c. In: Ivanov, R. (ed.). Roman cities in Bibliography internationalis epigraphiae Graecae et Bulgaria. Volume 1. Sofia. 363-437. Latinae. Provinciae imperii Romani Boteva, D. 1993. The province of inscriptionibus descriptae: Barcelona, Боспачиева, М. / Коларова, В. 2014. Macedonia and the Civil war A.D. 3-8 Septembris 2002 (= Monografies de Пловдив – град върху градовете. 193-197. – Ἀρχαία Μακεδονία 5, 245-249. la Secció Històrico-Arqueològica 10). Филипопол – Пулпудева – Пълдин. Barcelona. 1343-1350. София. Botoucharova, L. / Kesjakova, E. 1980. Sur la topographie de la ville de Philippopolis Sharankov, N. 2007b. The Thracian Ботушарова, Л. 1985. Почетният dans la provincia . In: Pulpudeva. κοινόν: new epigraphic evidence. In: надпис на Луций Касий Север от Semaines philippopolitaines de l’histoire Iakovidou, A. (ed.). Thrace in the Филипопол. – Археология 27/1, 13-23. et de la culture thrace, t. 3 (Plovdiv, 4-19 Graeco-Roman world. Proceedings of the octobre 1978). Sofia. 122-148. 10th International congress of Thracology, Ботушарова, Л. 1984. Нови Komotini – Alexandroupolis, 18-23 епиграфски данни за Филипопол. – Bouley, É. 1996. Le théâtre romain de October 2005. Athens. 518-538. Thracia 6, 28-29. Philippopolis en Thrace. – Ktema 21, 109-116. Sharankov, N. 2005a. Unknown governors Ботушарова, Л. 1980. Разкопките of provincia Thracia (late I – early II cen- на театъра на Филипопол. – Музеи Demougin, S. / Loriot, X. 2005. D’une tury AD). – Zeitschrift für Papyrologie и паметници на културата 1/1980, Chersonèse à l’autre. – Zeitschrift für und Epigraphik 151, 235-242. 11-13. Papyrologie und Epigraphik 151, 225-234. Sharankov, N. 2005b. Statue-bases with Ботушарова, Л. / Коларова, В. 1971. Gerassimova-Tomova, V. 2005. Zur honorific inscriptions from Philippopolis. Археологически проучвания на Untersuchung des thrakischen Koinon. – Archaeologia Bulgarica 9/2, 55-71. Джамбаз тепе в Пловдив през 1968 г. In: Beutler, F. / Hameter, W. (eds.). „Eine – Годишник на Народния археологи- ganz normale Inschrift“... und ähnliches Spaul, J. 2000. Cohors 2. The evidence чески музей Пловдив 7, 75-97. zum Geburtstag von Ekkehard Weber. for and a short history of the auxiliary Festschrift zum 30. April 2005. Wien. infantry units of the imperial Roman Вагалински, Л. 2009. Кръв и зрелища. 275-284. army (= British Archaeological Reports, Спортни и гладиаторски игри в ели- International series 841). Oxford. нистическа и римска Тракия. София. Sharankov, N. 2007a. Maximus of Apamea, loved by Thrace and the Topalilov, I. 2012. Philippopolis. The Кесякова, Е. 2006. За world. In: Mayer, M. / Baratta, G. / city from the 1st to the beginning of the раннохристиянската архитектура 76 Maya MARTINOVA-KYUTOVA / Nicolay SHARANKOV

на Филипопол. In: Spartacus II. Пловдив. Археологически проучва- открития и разкопки през 2016 г., 2075 години от въстанието на ния на обект „Античен театър – севе- 779-782. Спартак. Трако-римско наследство. рен вход“. – Археологически откри- 2000 години християнство тия и разкопки през 2008 г., 385-386. Шаранков, Н. 2014. Надпис за рекон- (Международен симпозиум, 1-4 струкция на филипополския театър. октомври 2002 година, Сандански). Мартинова-Кютова, М. / Шаранков, – Годишник на Регионален археоло- Велико Търново. 146-156. Н. 2017. Редовно археологическо гически музей – Пловдив 12, 276-292. проучване на обект „Античен театър“ Кесякова, Е. 1999. Philippopolis. в гр. Пловдив. – Археологически Шаранков, Н. 2006. Virdii, Munatii, Филипопол през римската епоха. открития и разкопки през 2016 г., Antii. Знатните римски родове във София. 328-330. Филипопол и провинция Тракия. – Societas Classica 1, 179-204. Коларова, В. 2006. Театърът на Топалилов, И. 2012. Римският Филипопол. In: Иванов, Р. (ed.). Филипопол. Т. 1: Топография, гра- Шаранков, Н. 2004a. Бележки и Археология на българските земи, II. доустройство и архитектура. Велико допълнения към няколко надпи- София. 86-89. Търново. са от Филипопол. – Годишник на Археологически музей Пловдив 9/2, Коларова, В. 1980. Консервация и Шаранков, Н. 2018. Епиграфски от- 146-159. адаптация на театъра на римския крития. – Археологически открития Филипопол. – Музеи и паметници на и разкопки през 2017 г., 731-734. Шаранков, Н. 2004b. Свещената геру- културата 1/1980, 13-18. сия във Филипопол. – Годишник на Шаранков, Н. 2017. Епиграфски от- департамент „Средиземноморски и из- Мартинова-Кютова, М. 2009. крития през 2016 г. – Археологически точни изследвания“ (НБУ) 2, 198-208.

Maya Martinova-Kyutova Regional Archaeological Museum Plovdiv 1 Saedinenie Sq. BG-4000 Plovdiv [email protected]

Nicolay Sharankov Department of Classics St. Kliment Ohridski University of Sofia 15 Tsar Osvoboditel Blvd. BG-1504 Sofia [email protected]