(106 - 271 CE)
The
existence of the Dacian's state, with its ecomical and social system, with
military intervention of the forces of Rome, with Marcus Ulpius Traianus in
fromt of them, ended suddenly. From
the summer of 106, almost all the Dacians lands became parts of the Roman's
province Dacia, a part of the big state of Caesars.
Although
the Dacian state organisation ended, as the archaeological investigations prove
that the Dacians stayed there, on there lands.
In the new economical context, the Dacians had continued to live and
bring their material contribution on the development of the young province from
the north of the Danube.
On the
glass cases from the 5th hall, a lot of earth pots and pieces of ceramics, with
Dacian forms and ornaments, stand for the existence of the Dacians in cities and
villages fromthe Roman epoch, the Dacians that never gave up of their
traditions.
In the
military Roman camp from Micia, in Cincis, in the Roman village from Deva and in
"villa rustica" fro Strei, the Dacian's ceramic, discovered on the
fulllevel of living from the 2nd - 3rd century CE, confirms the presence of the
Dacian's elements in the investigated places.
In the
long succesion of glass cases, a lot of archaeological materials (Dacian cups in
a conical form, food pots with alveolar rows and lines arranged to look like a
wave) illustrated the presence of the people in Micia, dated from the Roman
epoch. Parts of recipients made from a paste not as soft as the Roman's
recipients wre, most of them made by hand, pulled out from the graves from
Cincis, a pot with a bag form, a piece of Dacian spot, pieces of vessels
embellished with an alveolar belt, pulled out in the annexe buildings of a big
agricultural Roman complex from deva and some parts from a cup - a Dacian fruit
pot - just discovered at a "villa rustica" from Strei are unchallenged
proofs of the Dacian's existence inthe Roman province.
The
main factor in the submission of hte populations and the main support of the
order in Dacia procince, the Roman army is recognised with the help of the
bricks with stamps fromt he XIII th legion Gemina and the IV th legion Flavia
Felix, proofs found at Ulpia Traiana Sarmizegetusa and at Micia.
As a
preamble at this great and complex presentation in the halls from the ground
floor of "Magna Curia" of the antiquities fromthe Roman epoch, on the
passage and on the stairs are exposed a lot of scultural pieces which are
disinguished by their various thematic and their artistic qualities.
In the
niche, on the left going out from the 5th hall, on four panels put on the wall,
reliefs and plttings of the gods "Hecate" and "Diana", made
of marble, conjure up the plenty of gods in Dacia, a normal result of the
massive colonisation of the province from north of the Danube.
On another three panels on the same passage, we find a relief of the
goddess of luck (Nemesis), two plates dedicated to the hero rider, beloved
especially by the balcanic population, god named "Cavalerul Trac", and
also a relief, a big one, where is represented "Liber", god of wine
and parties (later: "Bachus").
The
Roman epoch is well represented starting with the 10th hall, from the ground
floor.
On the
central panel, put first on the going in, a succinct text, where are being
mentioned the main elements of those 165 years, the period of time when there
was a Roman colonisation, and a coloured map of the Dacian province, gives to
the visitor a general frame where the Romans vestiges from the villages and
cities from hunedoara have an important place.
The
exibits from that hall, well tied witht he agriculture - the iron plough found
in "villa rustica" at Hobita, a big scythe found at Micia, the highest
part of a grinder (catillus), mortaria made of marble and burnt clay, coming
from the Roman settings from the valley of Mures - confirms the importance of
these occupation in the economic life of the province.
A
coloured picture presents the plan of an agricultural farm from the 2nd century,
a farm just discovered to the south east of Deva.
The order of the buildings (warehouses, workshops, stables), as "villaea
rusticae" from Hobita, it is somehow a specific agricultural complexes,
well build, placed on places with fertile soils on the ground Hunedaora from
nowadays.
In the
next hall, the 9th, six glass cases with a common space of exposition, keeping
mining tools, discovered with the mining exploitation around Brad city, a set of
joining tools, ceramic used in house and smooth vessels (terra sigillata).
They illustrate some of the main occupations of the inhabitatants belonging to
the Hunedoara region during the Roman period.
The
commercial relationships of a remarkable intensity, are outstanding by means of
an inscription dedicated to Mercury (M.A.S.) the protector god of commerce.
Set on another tall stand, an inscription from Ulpia Traiana
Sarmizegetusa, brings the proof of the existance of a scales on this settlement,
a public scales (statera publica) which was in the care of a man operating it (ponderator)
and this function wa fulfilled by a chosen person among the public free people
(men). The weighing stones provided with holting rings represent a proof of the
existence of a special service in the field of measurements and weighing
standards in the metropolis of the Dacian province, which are exhibited in the
left-side window in show room 11. The
bronze and silver coins, belonging to the imperial epoch, the lead weights for
the scales, the amphore torches and a bronze device for writing on slates (styllus)
bring into evidence the interesting and at some time, the complex trade
relationships of the Dacian, urban and rural settlements. ther two glass cases,
having a heterogeneous content, comprise bronze torches, adornment objects
(floral appliques, buckles, bracelets, buttons, rings, a bronze mirror and glass
containers) a lot of which reached Dacia by means of commerce.
The
craft of stone processing, generally speaking, and especially that of marble,
which reached the level of real art, is confirmed by the numerous lace-like
bass-reliefs and the votice plaques, exhibited in the three glass cases in the
middle of the 11th hall. In the
tall glass case the lace-like bass-relief of the divine couple Liber and Libera,
opens the series of the marble statuettes from Ulpia Traiana, the head of Bachus
(wearing vine leaf) a little bust of the God of Commerce (Mercury) a head and a
bust of Godess Isis (a divinitiy initially adored in Egypt) reveal to the
visitor's eye, sequences of beauty belonging to the 2nd - 3rd century CE
sculptural craft. The votive
plaques dedicated to Diana,placed (set) in the third glass case in the centre of
the hall, is remarkable through the effort of the anonymous artist, to implement
an original nte, evident in the movement expression and the character grouping
in the respective scenes. The
practising of Godess Diana's cult on a large scale in the Roman Dacia, finds an
explanation by the presence of the feminine divinity Beudis, within the
religious representations of the Dacs, whose attributions were similar to those
of Diana.
The
bass-relief of an unusual dimension, executed in the massive marble slate, set
on a stand onthe left side of the door which opens to hall nr. 10, is regarded
as a precious. Witness belonging to
the provincial scultural art in Dacia. The
bas-relief represents the sacrifice of the bull by Mithras, the God of the Sun
(Sun God) of Persian origin.
The
former greatness and splendour of the Dacian Province (COLONIA ULPIA TRAIANA
SARMIZEGETUSA) set up under the rule (order) of Traianus in the South-extremity
o the present-day low-lands of Hateg, are represented by the exhibits in the
12th room and those in the northern half of the 13th room.
The
mosaic fragments, manufatured of multicoloured stones (among which the head ofa
wild animal cna be percieved) places the edifices of the Dacian residence,
through their attractive aspect, side by side (on the same range) with the
beautiful public and civil buildings in the great urban centres inthe west of
the Roman Empire. To the same supposition lead us the two ornamental superiour
parts of the columns in the composite style, placed on tall stands.
Six windows with different elements of architectural finishing (stone
slabs, mosaics, plasters with traces of paint on them) and sewage pipes, all of
them bring material proof about the degree of comfort in the newest edifices at
Ulpia Traiana Sarmizegetusa revealed to us (brought to light) through searching
and digging.
The
spiritual and cultural rold of Ulpia Traiana in the life of the whole Roman
Dacia can be also deduced by the great number of sculptural bronze pieces,
produced mainly in the workshops of the metropolis. Three central glass cases contain a head coming from a statue
whose dimensions exceed the usual (normal) height of a man, a Genius, very
attentively finished Aphrodite, Mars and some more statuettes, representing
Diana. It is a remarkable fact that
the figurine representing the God of War is completely coated in gold. As a
complimentary material three pictures and seven slides render the present-day
image of the Roman amphitheater from Sarmizegetusa a detail from the inside of
this imposing monument are of the drinking-water pools belonging to the
Augustine palace etc.
The
presentation of the vestiges belonging to the Roman Dacia, metropolis, also
continues in the 13th room. In the
four glass cases, placed in the left wall, there are a series of ceramic objects
brought to the light (discovered) within the area of Ulpia Traiana.
The most frequent types of dishes are the flat plates, bowls stand-cups
and jugs of different sizes. The
earth torches adorned with figurines and two little statuettes made of enamelled
terra-cotta representing the Goddess Venus, are objects from abroad, produced in
the meridional zones of the empire. The three double statuettes render the busts
difficult to identify, of some gods and confirm the supposition that on a local
plan can be also spoken,evenin Ulpia Traiana itself, about the manufactured
burnt-earth statues. Framed between
the wall glass cases, the two little votive columns - made of marble - and the
statuette representing the legend of the God of the Sun (Sun God) Mithras birth
from a rock, all of them underline the cult of this divinity who had numerous
worshippers among hte Roman population, especially those of oriental origin,
from Ulpia Traiana. The bas-relief set on a stand on the right side of hte door
in room 12 represents one of the funeral monuments, specific to Dacia Superior,
monument whose origins can be found in Noricum.
The exhibited sample renders the buts of the deceased disposed in a
shell-like round opening.
It is
remarkable by the carefulness in which the faces and clothing of those chracters
were accomplished. Belonging to the
same category of funeral monuments the human - heights statue of a woman in
clothes specific for the third century CE) dominates the room.
Preserved in its initial form, a rare thing when speaking about antique
statues, the scultural achievement ofthe gifted stone-cutter craftsman, is the
most beautiful piece in the collection at the Museum in Deva (Deva Museum).
As the
latest archaeological diggings proved, in the area of Hunedoara county, the
second settlement in the Roman epoch, concerning its economic, commercial and of
course military importance, was Micia.
Around
the middle of the 3rd century CE, the civil settlement, surrounding the military
fortification placed on the present-day area ofthe village Vetel became a
flourishing urban centre.
The
public constructions and the private ones of considerable dimensions, thehigh
level (degree) of comfort similar to that of Ulpia Traiana Sarmizegetusa stand
as witness for hte prosperity of this settlement on the left shore ofthe Mures.
The group of five ovens for the ceramic object manufacturing by fire, a
genuine workshop of mass-production, the public baths which occupy an area of
12,000 m2, and an amphitheater, ranges this centre amonghte urban
settlements.
The
most significant archaeological materials are exhibited in room 14.
In the first glass case, startingiwth the left side of the entrance,
there are a number of objects discovered in the arena of the amphitheater:
iron knives, spears and iron arrows.
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PAGE
37 - 38
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I)n
spat'iul rezervat tribunelor pentru spectatori, din sect,iunile trasat, s-au
scos la iveala( obiecte de podoaba( din bronz s,i sticla( (aplici, fibule,
nasturi s,i ma(rgele), actualmente expuse i^n aceeas,i vitrina( cu piesele
ga(site i^n interiorul arenei i^n care aveau loc luptele dintre gladiatori s,i
fiare.
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Next,
in a hole <niche> from the west wall of the hall, is exposed the monetary
treasure composed about over 2000 silver imperial denari, remembering about the
economic prosperity of some natives from Micia, from the second half of the
third century CE, since, the most recent pieces of the treasure are existing.
The
receptacles made of burnt clay, standing in those windows in front of the glass
case, with their special form which is different from others, from outher
situations of Dacia Superior; are proved to be local works, made in the great
pottery work-shops, which used five furnaces identified and examined on the bank
on the Mures river, in the north-east extremity of the old situation.
The
bronze and iron keys, the knives, the applications, the bronze and silver forms
(from which, remarkable is a form of horse), have been made, most of them, in
local work-shops. The little
receptables for the metals foundry, a special iron "spoon" and a
bronze thaler, exposed next to the window without glass, are also local works.
The funeral pottery (the receptacles made of burned clay and the fragments of
delicately pottery for importation (one of them having the inscription of the
great manufacturer of the receptacles CINAMUS), have been discovered inside of
the houses from the civic situation.
Very
commanding as aspect, the ship for procisions, exposed in a different place, for
its decorative motif, is representing a dacianic face. The belt in waves is
representing a decorative motif of local with, that had been taken from the
Roman pottery from Dacia; its presence till the third century CE is explained
only by some potters, manufacturers.
Near,
are exposed two receptacles of burned clay (in fact there are two halfs from the
ship with a sphere corps). All three receptacles had been used in te comercial
center of Micia.
In a
center glass case, two marble statuettes - representing the torso [back] of
Hercules and the goddess of hunting, Diana - certify a past of religious
worships of the people from Micia. In other neighbouring glass cases you can see
the only medical case discovered in Dacia: the bronze lancet, the surgery tongs,
silver tweezers and teaspoons, the balance, necesary for weighing the
substances. A lantern slide with these sequences is representing the most
commanding building from the civic settlement Micia, the public baths building,
which, also, are the biggest watering places from Roman Dacia.
Comming
back to hall 13, in the left of the door is the model of the round furnace for
burning delicately pottery, exhibit that closes the presentation of Micia.
Then
reduced as scope, the rustic places from Cinis, Strei and Deva, all of them
discovered through some archaeological hoeing, forms the exhibits group from
that five glass cases situated on that wall near to hall 10.
At
Strei, near the well known architectural monument from the place, were
identified the ruins of some buildings from Roman epoch.
From the living rooms were retrieved receptacles made of burned clay of
everyday use, fragments of glass, needle for hair making made of bones, knives
and keys of iron. The 1971's campain supplied the Roman pottery and fragments
of Dacianic recepticles. Thre
archaeological materials, discovered in "villa rustica" in the second
and third century CE, are exposed in the first glass case.
The
things that were discovered in the "villa rustica" and in Cincis (iron
things, pottery, iron ore) ar presented in other two windows from the left on
the entrance door through hall 10. The funeral rit from the Dacianic society
from the iron age, is not specific at all to the Roman collonists customs. The
practice of these habits after the transformation of the biggest part of
Dacianic lands in Roman province is a confirmation of the presence of people
from there living together with the Roman colonists.
More
than that, the ore pieces, which were found one by one, are suggesting although
the inhabistans ocupation that was no other but "miner", a natural
occupation in such place as Teliuc.
The
pottery for common use, delicately clay receptacles of superior quality and so
on, certify a completly bringing of members from Cincis in that way of material
and cultural living of Roman type.
The
traces from Roman epoch, which were found in the rustic place from Deva, are
exposed in the last two glass cases from the 8th hall.
The
most important piece is the statuette of a "lar" which remains the
only "lar"-child discovered in Dacia. This statuette, besides its
artisitic qualities, is remarkable through the fact that is the first Roman
bronze figurine discovered in a rustic place.
The
little goddess, protecting the home and the family, is surprised in a graceful
dance moving. The elegance shown by the whole outfit, the harmony of the body
and the outstanding transposal in bronze of the details are as many virtues of
the statuette which prove the skill and the talent of the anonimous artist.
The
pottery discovered in their place is of a great typological diversity. The
amphora fragments the daily receptacles the luxuriant recipiants (terra
sigillata) and fragments of glass exposed in the two glass cases mentioned
before are a concludent proof of the ecnomical life which throbbed centuries ago
in the villages near modern day Deva.
The
ancient materials for cities dating from the second and third centuries from all
over Hunedoara county, presented in the archaeolgoical exhibition in Deva's
museum shows in general the movement of the economical and social life which
took place and developed after the year 106.
The
blossoming cities and villlages organized after the Roman system, shortly after
the building of a Dacian province, were not different at all from the other
settlements all around the Roman Empire.
The
existence of the Roman traces, especially abundant along with the inhabitants
special materials, proves by far also the living together of the natives with
colonists, and the romanisation systematic process of the north Danube province.