As part of the excavation campaigns in 2022/2023, percussion core drillings were conducted in the area of the governor’s seat in Carnuntum to investigate the geological and archaeological stratigraphy. The focus was on the camp of the governor’s guard, one of the few known military camps of its kind in the Roman Empire. Based on previous geophysical surveys, the drillings provided detailed insights into the depth of archaeological layers and revealed evidence of anthropogenic influences and possible building or settlement remains. The results show that the thickness of the archaeological layers varies between 1.6 and 3.9 m. The study emphasizes the necessity of combining geoarchaeological investigations with geophysical measurements and excavations to obtain a comprehensive understanding of historical processes and structures.

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This article presents the archaeological investigations conducted in 2022/2023 at the camp of the governor’s guard in Carnuntum, the third permanently occupied Roman military installation in the capital of Upper Pannonia. The excavations focused on the principia, the central administrative and cult building of the camp, providing valuable insights into the construction history and use of the complex. Of particular note is a section of a Roman building featuring wall paintings from an earlier construction period (Period A), which was later replaced by a six-post pit house (Period B) – the first of its kind in Pannonia, reflecting Germanic building techniques. The analysis of animal remains from the pit house filling shows a dominant presence of cattle and pig bones, suggesting food waste, while plant remains, including grains and legumes, provide insights into the agricultural practices and dietary habits of the inhabitants. Pottery, small finds, and coins enable the dating of the earliest phases of use to the second half of the 1st century AD. Notably, the well-appointed Roman-Mediterranean structure was superseded by a pit house, a development linked to the relocation of the legionary garrison and the consequent demographic shifts in the canabae during the 60s or 70s AD, prior to the resettlement of the resident population in AD 106 and the establishment of the governor’s seat.

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This study presents a detailed analysis of the zooarchaeological material from the area »Haus 2« in the civil city of Carnuntum, with a focus on the spatial distribution and taphonomic processes of animal remains. By examining the composition of the faunal assemblages, the research seeks to illuminate the economic, social, and cultural practices of Roman-period Carnuntum. The results underscore the pre-dominance of domesticated species, such as cattle, pigs, and sheep/goats, while also revealing distinct patterns of waste deposition linked to various activities. Additionally, the study explores the secondary use of animal by-products, including bones, within craft and production contexts, and provides critical taphonomic insights into the formation and preservation processes of the assemblages. Through an interdisciplinary approach that integrates both archaeological and zooarchaeological methods, this research offers a deeper understanding of daily life, economic practices, and consumption patterns in Carnuntum.

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The half-body bust was discovered in 2016 in the course of sewage works near the auxiliary camp at Carnuntum in a not more precisely defined archaeological context. As the head is missing and the arms have largely broken off, neither the gender nor the identity of the person depicted can be determined. No analogies can be cited for the clothing with the strikingly ornamented decorative stripe, but it does invite comparisons with Pannonian portraits of women from the late Imperial period on the one hand, and people from the imperial circle during Late Antiquity on the other. The decorative stripe could be a status symbol or the mark of a particular rank, indicating a high-ranking member of the social elite from the second half of the 3rd or the first half of the 4th century. Detailed analysis of the material shows that the marble comes from the quarries in the Pohorje Mountains and that it was carved in a workshop with skilled artisans.

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The article investigates the epigraphic evidence for the cult of Mithras in Roman Dalmatia. It represents the first systematic effort to distinguish between the inscriptions that can be securely attributed to Mithras (32 instances) and those that remain ambiguous (12 instances). Special attention is given to the latter group, bearing dedications to Invictus or Sol Invictus. The study also reevaluates dedications previously attributed to portorium agents, questioning the certainty of such associations. Finally, the article highlights the social profiles of local Mithraic worshippers.

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The primary aim of this study is to reconsider an official portrait of the Roman emperor Caracalla (198/212–217), originating from the collection of Count János Pálffy, housed in the SNM – Archaeologi-cal Museum in Bratislava, complemented by a summary of the pigment analysis and of the provenance analyses of the marble used. Although the earlier literature refers to Luna marble (Carrara, Italy), recent results, derived from modern scientific methods, suggest that the marble originates from the city quarries of Aphrodisias (Caria, Asia Minor, present-day Türkiye). This finding breaks slightly with the previously established predominance of Göktepe marbles (near Aphrodisias, Asia Minor, present-day Türkiye), but confirms the dominant role of Asiatic marbles during the Severan period. The medium-quality but well-preserved, over-life-size head can be assigned to the smaller group of the first "Alleinherrschertypus", which differs from the original archetype in the orientation to the right, potentially indicating a later date within Caracalla’s sole reign. The detailing is largely in keeping with the high-quality replicas of the type. However, the shaping of the undrilled locks with the engraved internal detailing appears more schematic, having a summary character and reflecting an individual taste. The combination of the portrait’s workmanship and the provenance of the marble used may provide further clues to its previously unknown origin.

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