Meyer, Mullen, and Vanhala analysed the inscription SECVNDINVS CACOR accompanying the carving of a phallus on a stone excavated at Vindolanda and explained CACOR as the present passive of the verb cacare ‘to shit out’. I suggest that CACOR may have been intended in abbreviation of CACORVM, the neuter genitive plural of the adjective cacus, a transliteration of the Greek κακός ‘evil’, and that the phallus is depicted ejaculating over this word to symbolise its apotropaic power over evil.

The locally made colour-coated ware vessel known as the Colchester Vase is argued to be a commissioned piece recording a performance in the town. The inscription on the vessel, cut pre-firing, names individual arena performers depicted en barbotine. One name, Memnon, is argued to be a ‘stage name’ taken from a protagonist in the Trojan war. The connection of another combatant, Valentinus, to the 30th legion is re-considered as evidence for gladiators linked to the Roman army. The Vase's final use was as a cremation urn. Osteological and isotopic analysis reveals the cremated remains to be those of a non-local male of 40+ years; unlikely to be one of the performers, he may nevertheless have been closely connected to the event.

The arch of Gordian III at Mustis (Al Karib, Tunisia) has been the subject of scholarly work since the eighteenth century, and its dedicatory inscription has drawn the attention of antiquarians and archaeologists since the early nineteenth century. The transcription and reconstruction of its text were proposed by the editors of the eighth volume of the Corpus Inscriptionum Latinarum in numbers 1577 and 15572. This version has prevailed in scientific literature ever since, even though Beschaouch announced in a short note in 1969 the discovery of a fourth block that substantially alters the information it contains. However, a comprehensive study of the complete inscription was never published due to the lack of graphic material. Thanks to the drawing by J. Vérité, the architect in charge of the monument's restoration, we can analyse the inscription as a whole. We conclude that the proposal by the CIL editors is incorrect, we provide the complete transcription of the epigraph, and we propose a new date for the dedication of the arch, in 240 AD.

The Secundinus stone, with its combination of carved phallus and text, was found in 2022 in excavations within the stone fort at Vindolanda. We consider comparanda for the imagery from Vindolanda, Britannia and further afield, and textual parallels particularly from Pompeii. We offer several possible interpretations of the object and prefer an analysis which takes the text, SECVNDINVS CACOR, as it is carved. This interpretation would add an otherwise unattested verbal form to the Latin scato-sexual vocabulary.

‘Visual turn’ scholarship in International Relations (IR) acknowledges the importance of new information and communication technology for the production and circulation of images but lacks sustained engagement with the technologies themselves and how they interact with humans in the visual production of security. This article brings the visual turn into conversation with Science and Technology Studies (STS) and mobilises Latour and Woolgar’s notion of inscription to show how the production of visual artefacts and their security effects are conditioned by human/device interaction. It advances the argument that the representational force of a visual artefact is dependent not only on the content and quality of the artefact itself, but also on the specific human/device relations that condition its production. To illustrate this, the article theorises the smartphone as an inscription device and the selfie as an inscription practice and analyses the case of Zelensky’s selfie videos from the first few days after Russia’s invasion of Ukraine. Selfies inscribe meaning to security issues by mobilising the photographic affordances of indexicality, composition, and reflection in unique ways. Specifically, they focus images on the communicative acts of their producers and play on the relationship between human and device to invoke feelings of immediacy, authenticity, and intimacy.

During the excavations of the team of the University of Chieti in the area of Ain Hofra, in the East necropolis of Cyrene, several interesting sculptures were found in tombs A and C, also called the Tomb of the Sarcophagi and the Tomb of the Sculptures. In this paper a specific find from Tomb A is presented, as it is a rare example of a Mithraic relief from a private funerary context. The find has only previously been published for the translation and presentation of the inscription; however, an analysis and interpretation of the relief together with the inscription has never been tackled. The very fragmentary lid is made of white marble, presenting a very lively iconographic sequence of Mithraic schemata, in combination with a metrical inscription within a central tabula ansata. The find context is particularly monumental and is characterized by two Temple Tombs built in ashlar masonry located on the plateau of Ain Hofra overlooking the wadi (canyon) and the fertile terraces below. This multidisciplinary article looks at the iconographic elements, the epigraphic implications and the monumental context of the Mithraic reliefs.

The Neo-Assyrian Empire of the early first millennium BC ruled over the ancient Near East. South-eastern Anatolia was controlled through vassal city-states and provincial structures. Assyrian governors and local elites expressed their power through elements of Assyrian courtly style. Here, the authors report a rare processional panel recently discovered at Başbük in south-eastern Turkey. Incised on the rock wall of a subterranean complex, the panel features eight deities, three with associated Aramaic inscriptions. The iconographic details and Syro-Anatolian religious themes illustrate the adaptation of Neo-Assyrian art in a provincial context. The panel, which appears to have been left unfinished, is the earliest-known regional attestation of Atargatis, the principal goddess of Syria c. 300 BC–AD 200.

Between 2008 and 2018 a significant number of inscriptions and manuscripts from early China were discovered or published. These sources include hundreds of new oracle bone and bronze inscriptions; more than thirty scientifically excavated literary manuscripts; thousands of private and official scientifically excavated documents; and more than seventy literary texts acquired from the antiquities market. This review article, focusing mainly on artifacts with archaeological provenance, offers a global overview of these new materials that have already renewed, or will certainly soon renew, the field of early China studies.

This paper publishes four inscriptions recently discovered by chance in the Cyrenaican countryside. Nos 1, 2 and 3 are in Greek. No. 1, from a tomb near Mgarnes, is a funerary stele inscribed in verse for a woman whose family was of some importance in the city of Cyrene. No. 2, from the same tomb, is an anthropomorphic stele for another woman, which is discussed on the basis of the dead person's name and the vicinity of the stone to the preceding stele. No. 3, from the middle plateau below Cyrene, is a marble panel with the epitaph of two women named Cornelia, increasing our knowledge of the Cornelii family in Cyrenaica. No. 4, from near Khawlan in the south-east, is a boundary stele in Latin mentioning the boundaries of the province; combining this with the evidence from another such stone from el-Khweimat, close to Gerdes el-Gerrari towards the south-east, also mentioning the provincial boundaries, we are now able to outline the Roman limes in the central part of Djebel Akhdar.