ЗБОРНИК НАРОДНОГ МУЗЕЈА СРБИЈЕ RECUEIL DU MUSÉE NATIONAL DE SERBIE XXVI -1 АРХЕОЛОГИЈА ARCHÉOLOGIE THE TRADITIONAL MODEL IN THE EARLY CHRISTIAN CONTEXT: THE JONAH SARCOPHAGUS FROM SINGIDUNUM ТРАДИЦИОНАЛНИ МОДЕЛ У РАНОХРИШЋАНСКОМ КОНТЕКСТУ: ЈОНИН САРКОФАГ ИЗ СИНГИДУНУМА НАРОДНИ МУЗЕЈ СРБИЈЕ

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ORIGINAL RESEARCH ARTICLE
UDC 904:726.829"652"(497.11)
902.2(497.11)
DOI https://doi.org/10.18485/znms_arh.2023.26.1.12
Received: March 31, 2023
Accepted: May 15, 2023
e-mail:
sanjapil@gmail.com
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НАРОДНИ
МУЗЕЈ
СРБИЈЕ
ЗБОРНИК НАРОДНОГ МУЗЕЈА СРБИЈЕ XXVI–1/2023. Археологија
Sanja M. PILIPOVIĆ
Institute of Archaeology, Belgrade
Ljubomir V. MILANOVIĆ
Institute for Byzantine Studies SASA
THE TRADITIONAL MODEL IN THE EARLY CHRISTIAN CONTEXT:
THE JONAH SARCOPHAGUS FROM SINGIDUNUM
*1
Abstract: The Jonah sarcophagus from Singidunum belongs to a group of Budakalász
travertine sarcophagi. These types of sarcophagi were produced in Budakalász quar-
ry(ies) and in Aquincum workshops and then exported via the Danube, before being
finished in local workshops. This paper uses the Jonah sarcophagus as a case study to
examine the integration of traditional tombstones into Early Christian cultural and so-
cial contexts.
eywords: sarcophagus, Budakalász travertine, Singidunum, Aquincum, Early Chris-
tian art
This paper proposes a new perspective on a theme already covered in the study The
Jonah Sarcophagus from Singidunum: A Contribution to the Study od Early Christian
Art in the Balkans, published in 2016. (Pilipović and Milanović 2016: 219–245). In the
2016 study, the unique iconography of this sarcophagus (fig. 1) was researched, point-
ing out its connection with Norico-Pannonian production. The sarcophagus was exam-
ined in the context of the early growing Christian community in and around Singidu-
num. In addition, the closest analogies in early Christian art that might have influenced
the creation of the iconographic program of this sarcophagus were pointed out.
* We would like to thank in particular to Professor emeritus Bojan Djurić, University of Ljubljana, Faculty of Arts,
for his precious suggestions and the data of the stone material from which the sarcophagi in question are made. We
would also thank to our dear friend Dr. Allan Doyle, Assistant Professor at Parsons School of Design and The New
School, New York City, for his reading of the text, helpful suggestions, and corrections.

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Sanja M. PILIPOVIĆ and Ljubomir V. MILANOVIĆ
Interdisciplinary scientific research conducted in recent years has highlighted the
importance of materials used in the production of funereal monuments. The most
important quarries and workshops were identified, as well as the distribution of mon-
uments created in them (Đurić 2005: 75‒82; Đurić 2008: 159–165; Đurić and Müller
2009: 111–127; Pochmarski2012: 29–36; Đurić 2016: 176; Đurić, Kele and Rižnar
2018; Đurić 2019, with previous literature). The importance of Eastern-Alpine quar-
ries was highlighted, especially by Gummern and Pohorje, as well as that of Pan-
nonian Budakalász. The Jonah sarcophagus was made from travertine originating
in the Budakalász quarry (Đurić, Kele and Rižnar 2018: 478; Djuric 2019: fig. 5C).
Travertine monuments from these Pannonian quarries and in the Aquincum work-
shops, were then transported along the Danube, before most likely being finally
completed in local workshops. Bearing in mind these findings, the Jonah sarcopha-
gus once again demands our attention, in order to better understand the production
process, and thus the use of early Christian motifs on the traditional sarcophagus.
After the publication of the 2016 Jonah study about Jonah, interest in this re-
markable sarcophagus within the scientific community grew. In her excellent cata-
logue of funereal monuments from the National Museum’s Lapidarium, Veselinka
Ninković presented the Jonah sarcophagus in detail (Нинковић 2019: cat. 129, T.
40/129). From the example of the Jonah sarcophagus, Gordana Jeremić and Olivera
Ilić have highlighted the importance of early Christian monuments in the Danube
Limes (Jeremić and Ilić 2018: 229–230). Ivana Popović also gave careful considera-
tion to the Jonah sarcophagus within the context of late Antique monuments with
Biblical motifs from Serbia (Поповић 2019: 276–278, fig. 6). An exceptional study
on the Christianization of late Antique Singidunum by Olga Spehar also gives due
attention to the sarcophagus (Špehar 2022: 27–64, especially 49, fig. 7). However,
the typology and production process of this remarkable object is not considered in
Fig. 1 Jonah Sarcophagus from Singidunum
(Documentation of the National Museum of Serbia)
Сл. 1 Јонин саркофаг из Сингидунума
(документација Народног музеја Србије)

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THE TRADITIONAL MODEL IN THE EARLY CHRISTIAN CONTEXT: THE JONAH SARCOPHAGUS FROM ...
these works, and the adaptation of early Christian motifs to traditional sarcophagus
forms has yet to be examined.
An increase in the production of sarcophagi, a type of monument that was espe-
cially attractive to Christians at the beginning of the 2nd century AD in the Roman
Empire, was a consequence of the transition from cremation to inhumation (Koch
2000: 1–6). Sarcophagi were not only important visual elements of the presenta-
tion of funerary memoria, but also indicated he economic status of a certain social
stratum of the population. It was precisely the “wealth” of the patron or purchaser
that determined the quality of the sarcophagus (Eichner 2002: 73–79). As Ben Rus-
sell points out, “sarcophagi were not only functional coffins for the dead, they were
monuments more like tombs than coffins (Russell 2011: 140)”. A sarcophagus could
possess various qualities, and the material from which it was made was of high im-
portance. In determining the quality of the sarcophagus itself, the key factors were
the technique and sculptural quality of the decoration. These qualitative elements
in the production of the sarcophagus varied during different periods. Likewise, they
could also vary among sarcophagi produced around the same time.
At first sight, the variety of iconographic solutions in the production of sar-
cophagi may seem limited, but the number of different scenes and the freedom
with which they were selected and combined were very significant. The iconogra-
phy of Christian sarcophagi is characterized by both continuity and change. Just as
themes of death and resurrection lay at the center of Christian belief, so the shape
and decoration of the sarcophagus were subordinated to the theme of the afterlife:
the grave served as a starting point for the heavenly life. Typically, iconography thus
expressed not only the early Christian theology of triumph over death, but also tri-
umph through sacrificial death (O’Connor 2013: 40–45).
The clients themselves could play an important role in the creation of icono-
graphic models. Although many were recent converts, their familiarity with the new
religion could have been sufficient to justify their participation in the selection of
the decorative program (Couzin 2013: 213). It is assumed that they were also fa-
miliar with the current fashion in sarcophagus decoration. Sarcophagi with biblical
themes, such as that of the Jonah sarcophagus from Singidunum, appeared in the
late 3rd century AD, but they became more numerous after the Edict of Milan in 313
AD (Koch 2000: 1–6).
The application of Christian motifs to the traditional form of the sarcophagus
is understandable in light of the social and cultural circumstances of that time. The
practice of reusing or recycling sarcophagi was not a novelty among the inhabit-
ants of the Roman Empire, but with the appearance of Christians, this practice be-
came much more frequent. Christians not only reused “pagan” sarcophagi, with or
without modifications, but they also included pagan motifs in the decoration of
sarcophagi, giving them new, Christian, meaning, e.g. the Good Shepherd, the Or-
ans (Studer-Karlen 2012: 59–170). Increased reuse of sarcophagi among Christians
could have been for practical reasons. Most pagan beliefs, which did not cause anx-
iety for Christians, indicated that the soul of the deceased whose tomb had been
defaced would return to torment the newly buried body of its Christian occupant
(Raynaud 2006: 137–156). Obviously, from a religious point of view, Christians

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Sanja M. PILIPOVIĆ and Ljubomir V. MILANOVIĆ
were less disturbed by the idea of reusing a sarcophagus, so it is not surprising that
they reused sarcophagi more often (Rebillard 2009: 28). It seems that the reuse of
sarcophagi was more common among people with important positions or for those
who had a special status, such as saints. One of the best examples of the reuse of a
sarcophagus is that of Saint Euphemia (fig 2). According to legend, the saint per-
ished in the time of Diocletian but her body was kept and buried in the time of Con-
stantine the Great in a stone sarcophagus in Constantinople. During a storm in 800
AD, the arcophagus mysteriously disappeared and reappeared on the sea coast at
Rovinj in Croatia, where it is today preserved in the church of Saint Euphemia. This
sarcophagus is made of Proconnesian marble and belongs to the type 2a of sarcoph-
agi, most likely originating in Aquileia at the end of the 3rd century AD (Ubaldini
1987: 29–35; Ubaldini 1985: 65–73).
Fig. 2 Sarcophagus of St. Euphemia from the church of St Euphemia in Rovinj
(photo: Lj. Milanović)
Сл. 2 Саркофаг Св. Еуфемије из цркве Свете Еуфемије у Ровињу (фото: Љ. Милановић)
As can be seen from the above, the reuse and redecoration of sarcophagi in the
early Christian period was a widespread practice. Guntrum Koch identified around
fifty early Christian sarcophagi from various regions, which, in his opinion, had
been made by recarving or redecorating (Koch 2000: 7–14). This was likely the
fate of the Jonah sarcophagus from Singidunum after it was transported from the
Pannonian workshops.
The Jonah sarcophagus from Singidunum is made of travertine and belongs to the
group of travertine sarcophagi that were provided from the Budakalász quarry(ies)

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THE TRADITIONAL MODEL IN THE EARLY CHRISTIAN CONTEXT: THE JONAH SARCOPHAGUS FROM ...
and Aquincum workshops (Đurić, Kele and Rižnar 2018: 476sqq, fig. 9; Djuric 2019:
fig. 5C and fig. 19: map of distribution of travertine production along the Danube).
Travertine sarcophagi made in these workshops appear in centers along the Danube
all the way to Viminacium, which indicates their popularity and prestige (Đurić, Kele
and Rižnar 2018: 476). They actually competed in regional markets with those of
Eastern Alpine marble. The prevailing general shape of the sarcophagus was the same
in both groups, those made of travertine and those made of marble.
Like most travertine examples, the Jonah sarcophagus is characterized by its tra-
ditional form (fig. 1). Traditional sarcophagi had a tripartite front panel with a pro-
filed central field intended for an inscription; only a small number of these sarcoph-
agi have a flat front panel. Such a general form could then acquire a more specific
character by showing various decorative motifs of the central field, the Norico-Pan-
nonian volute or pelta-type decoration (Đurić, Kele and Rižnar 2018: 476).
According to the classification of volutes by Erwin Pochmarski, the type of vo-
lute on the Jonah sarcophagus is one of the most frequent on Norico-Pannonian
monuments and is defined as type 3a (Pochmarski 2014: 415, fig. 9; Đurić, Kele and
Rižnar 2018: 476 sqq). This type of volute was very popular and is found on many
Noric-Pannonian monuments, notably: altars (Lupa 4843, 4898, 8856), honorary
inscriptions, and on 2nd century steles (Lupa 641, 2756, 3066, 3283, 3429, 3544,
12782) (Pilipović 2022: 37, fut. 177–179); however, it is especially characteristic of
Lower Pannonian sarcophagi and those from Aquincum. In his exceptional study
of sarcophagi, Erwin Pochmarski points out that the type 3a volute is characteristic
for those originating in Aquincum, while type 3 is more characteristic of the pro-
duction of Brigetio, and then also of Aquincum (Pochmarski 2011: 257, T. 1; Poch-
marski and Pochmarski-Nagele 2013: 9, T. 7; Pochmarski 2014: 415, T. 9). There are
twenty four sarcophagi from Aquincum that have the Norico-Pannonian volute as
the only ornamental element decorating their inscription field, and eleven sarcoph-
agi that have additional, typical sculptural decorations in the niches on the sides of
the inscription (Pochmarski 2011: 255 sqq; Pochmarski 2014: 412sqq). Unfortu-
nately, the dating of these travertine sarcophagi, both on the basis of epigraphic as
well as on iconographic data, is very complex. The appointment of the Legio X Fre-
tensis, stationed in Aquincum during the Marcommanic wars, provides terminus
ad quem for sarcophagi bearing the name of this legion. The mention of the gentile
name (nomen gentilicium) Septimius or Iulius on sarcophagus relates to the end of
the 2nd century, and that of Aurelius or Aurelia probably sets the time frame to the
beginning of the Caracalla era. The appearance of the name of the colony of Aquin-
cum on sarcophagus dates it to the time of Septimius Severus. No iconographic
forms, such as the form of naked Eros, those with figures of children or youths, or
their different body positions, assist much in the precise dating of these Pannoni-
an sarcophagi. Unfortunately, there are also no conditions for precise dating of the
travertine sarcophagi from Upper Moeisan Limes; rather, they are orientated to-
wards a broader period from the end of the 2nd century to the beginning of the 3rd
century, or the 3rd century.
There are two travertine sarcophagi from Viminacium with the identical type 3a
decoration as the Jonah Sarcophagus from Upper Moesian Limes. They are marked

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Sanja M. PILIPOVIĆ and Ljubomir V. MILANOVIĆ
by tripartite frontal panels and Norico-Pannonian volutes of the type 3a, as decora-
tive motifs in the central field. They lack decorated lateral fields. One of them (fig. 3)
is kept today in the Lapidarium of the National Museum in Belgrade (Нинковић
2019: no. 135; Đurić, Kele and Rižnar 2018: 476 sqq, fig. 9/2) and one in the Vimi-
nacium archaeological site.2 On another sarcophagus with type 3a decoration (fig. 4)
from Viminacium, both lateral fields have moulded frames which terminate above
in a volutes, and include standing figures: Amor and Psyche on one side, and a mar-
ried couple on the other (Пилиповић 2007: no. 7; Đurić, Kele and Rižnar 2018:
476 sqq, fig. 9/3). Type 3a volutes may also be found on two Viminacium steles, one
with three arcades made of limestone, and one made of travertine (Pilipović 2022:
cat. 12 and 13).
2 According to data obtained from archeologist Ilija Dankovski, this unpublished sarcophagus was discovered
in 2016 in the locality Burdelj (G-1 in the numeration for this location). It had been looted, with only a few
dislocated bones.
Fig. 3 Sarcophagus from Singidunum, type 3a
(Documentation of the National Museum of Serbia)
Сл. 3 Саркофаг из Сингидунума, тип 3а (документација Народног музеја Србије)
Fig. 4 Sarcophagus from Viminacium with Amor and Psyche, type 3a
(Documentation of the National Museum Požarevac)
Сл. 4 Саркофаг из Виминацијума с приказом Амора и Психе, тип 3a
(документација Народног музеја Пожаревaц)

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THE TRADITIONAL MODEL IN THE EARLY CHRISTIAN CONTEXT: THE JONAH SARCOPHAGUS FROM ...
Alongside these examples, three more travertine sarcophagi with type 3 decora-
tion and moulded lateral fields with standing figures, are preserved, one only frag-
mentarily. They are the sarcophagus from Singidunum (fig. 5) with figures of Geni-
us (Нинковић 2019: no. 130), a sarcophagus from Viminacium (fig. 6) with Jason
and Perseus (Pilipović 2004: 65–78; Pilipović 2007: no. 11; Нинковић 2019: no.
134), and a fragment of one sarcophagus from Viminacium on which can be seen
part of the figure of Genius (Narodni muzej Požarevac, inv. 02_2686). Addition-
al examples of travertine sarcophagi with Norico-Pannonian volutes of type 7 or
pelta-type decoration from Singidunum (Нинковић 2019: no. 4) and Viminacium
have survived (National Museum Požarevac, inv. 02_2660, 02_2661, 02_2667 and
several unpublished sarcophagus from Viminacium).
Fig. 5 Sarcophagus with Genii from Singidunum
(Documentation of the National Museum of Serbia)
Сл. 5 Саркофаг с генијима из Сингидунума (документација Народног музеја Србије)
Fig. 6 Jason Sarcophagus from Viminacium
(Documentation of the National Museum of Serbia)
Сл. 6 Јасонов саркофаг из Виминацијума (документација Народног музеја Србије)

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Sanja M. PILIPOVIĆ and Ljubomir V. MILANOVIĆ
Although the distribution of Budakalász/Aquincum finished and semi-finished
sarcophagi closely follows the waterway transport routes, it is noticeable that im-
ports of these items are less common in places with significant local producers (fig. 7).
The Tašmajdan underground quarry of Badenian limestone in Singidunum was one
of the most important regional quarries. Beside the Tašmajdan, other important quar-
ries were the Mecsek Hills, which supplied Sopianae, or the Dardagani, which sup-
plied Sirmium (Đurić 2019: 23, based on the analyses of Igor Rižnar). Monuments of
this regional limestone from the Tašmajdan quarry are prevalent in Singidunum, with
about 93% being fashioned from it. This is the highest percentage of the use of local
stone in comparison to other locations along the Danube from Mursa. The percentage
for Cibalae is 72%, for Sirmium it is 53%, and for Viminacium it is 63% (Đurić, Kele
and Rižnar 2018: 474–475). Only 3% of the 61 analyzed monuments from Singidu-
num are made from travertine (Đurić, Kele and Rižnar 2018: 474). The significance of
local workshops in Singidunum is well demonstrated by this data.
Fig. 7 Occurrence of travertine, limestone, and marble in sarcophgi in the centres along the
Danube (after: Djurić, Kele and Rižnar 2018: 475, fig. 7)
Сл. 7 Појава травертина, кречњака и мермера на саркофазима у центрима дуж Дунава
(према: Djurić, Kele and Rižnar 2018: 475, fig. 7)
An important number of stone sarcophagi were found in Singidunum (Pop-Lazić
2002: 47–51; Нинковић 2019: nos. 1–4, 130–133). The travertine sarcophagus with
figures of Genius (Нинковић 2019: no. 130) has already been mentioned (fig. 5), as
well as one with Norico-Pannonian volutes type 7 (Нинковић 2019: no. 4). Other sar-
cophagi, with a flat front panel, or the tabula ansata type, were made of Badenian lim-
stone from the Tašmajdan quarry (Нинковић 2019: nos. 1–3, 131–133).
The uniformity of travertine Budakalász/Aquincum sarcophagi indicates that
they were traded as semi-finished and then finished in the next phase (Đurić, Kele
and Rižnar 2018: 478). This means that the basic form of these sarcophagi, includ-

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THE TRADITIONAL MODEL IN THE EARLY CHRISTIAN CONTEXT: THE JONAH SARCOPHAGUS FROM ...
ing that of Jonah, were made in these Pannonian workshops, and then transported
to Singidunum as a half-finished product. The question that arises is where exactly
the decoration of the Jonah sarcophagus was executed; could it have been produced
in the workshops of Singidunum? As could be seen from the discussion above, the
Tašmajdan quarry was one of the most important regional quarries along this part
of Danube, and it could have been a possible place where the Jonah sarcophagus was
finished. It is difficult to comprehend how a sarcophagus with an unfinished relief
had been traded. The sculptural quality of the decoration indicates that it was prob-
ably created in a local workshop.
As already stated, clients could play a prominent role in the selection of a mo-
tif and the creation of the iconographic program. The significance of Singidunum
as an early Christian centre was already discussed in the previous article about the
Jonah sarcophagus published by Pilipović and Milanović in 2016 (Pilipović and
Milanović 2016: 225ssqq). More recently, Olga Spehar’s study on the Christianiza-
tion of Late Antique Singidunum appeared (Шпехар 2022: 27–64). Her research
researches the persecution of early Christian martyrs at the end of the 3rd and be-
ginning of the 4th century, when the presbyter Montanus and his wife Maxima es-
caped from Singidunum to Sirmium (AA.SS III, 615-7), one of four former capitals
of the Roman Empire (Pilipović and Milanović 2016, 225ssqq). Deacon Ermilus was
a martyr from early fourth century Singidunum, who had converted his jailer, Stra-
tonicus, to Christianity. Scholars disagree about the exact date of this event (Pilipov-
ić and Milanović 2016: 225ssqq). In the middle of the fourth century, Singidunum,
along with Sirmium, Margum, Viminacium, Horreum Margi, Naissus and Remesi-
ana, became an episcopal seat (Pilipović and Milanović 2016: 226ssqq). The bishop
of Singidunum, Ursacius (about 335–370 CE), played an important role at the time
in the strengthening of Arianism, together with Valens, bishop of Mursa. Although
Singidunum was a significant Christian centre in the fourth century (Pilipović and
Milanović 2016: 227ssqq) archaeological finds are not numerous (Ilić, 2005). It is
therefore important to mention that, in addition to Jonah, only one other Christian
sarcophagus has been identified as originating in Singidunum: a lead sarcophagus
discovered in the north-eastern necropolis, near the find site of the Jonah sarcopha-
gus (Црнобрња 2003: 314–315: fig. 2; Шпехар 2022: 50, fig. 8). This lead sarcopha-
gus bears four symbols on its lid, forming a cross whose arms each end in an arrow
shape. It can be dated to the first decade of the 4th century on the basis of these mo-
tifs alone. As we have seen, the Christian community and the cult of martyrs were
well developed in Singidunum by the fourth century. Apart from the Jonah sarcoph-
agus, however, there are no preserved funerary Christian stone monuments. The Jo-
nah sarcophagus is, therefore, important confirmation that a prominent Christian
lived in Singidunum, capable of ordering this notable sarcophagus, whose decora-
tion was likely made in a local workshop.
Sarcophagi in the traditional form of a coffin with a lid, with a tripartite front
panel, can be found in two completely different contexts: Roman, that is pagan, and
Christian. Examples of the assimilation of Christian motifs on traditional sarcoph-
agi are not frequent, but do exist, seen in Upper and Lower Pannonia. These exam-
ples demonstrate how traditional models were transposed into the early Christian,

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Sanja M. PILIPOVIĆ and Ljubomir V. MILANOVIĆ
or Christian context, and that the Jonah sarcophagus was not an isolated example in
these provinces. The same manner of transposing Christian motifs to the tradition-
al form of a sarcophagus can be seen in four typologically different Pannonian sar-
cophagi, of which one is only preserved fragmentarily. Here one finds confirmation
that the system of applying Christian motifs was independent of the typology of the
sarcophagus itself. It was a system that was adapted to various traditional models,
depending on the occasion.
A sarcophagus (fig. 8) dating to the 3rd century from Vinkovci (Cibalae) is es-
pecially significant since it was on this traditional form of sarcophagus that early
Christian motifs were applied. The sarcophagus has a tripartite front panel and is
made of local limestone (Migotti 1997: 42–43; Migotti, 2017: 507, no. 4, fig. 9). The
inscription field is in the form of tabula ansata, with two small trapezoid ansae in-
scribed with a rosette. A fish is carved to the right of the inscription field, while Chi
Rho, Christ’s monogram, is engraved to the left.
Fig. 8 Sarcophagus from Cibalae (Documentation of the Vinkovci Municipal Museum)
Сл. 8 Саркофаг из Цибала (документација Градског музеја Винковци)
The same manner of transposing the traditional form of sarcophagus into the
early Christian context can be seen on a sarcophagus from Sisak (Siscia), made from
local limestone in the tradition of Pannonian sarcophagi (fig. 9) (Vukelić 2006: fig.
7–8, CIL III 3996; Migotti 2017: 509, no. 6, fig. 13; Migotti, Šašel Kos and Livaja
2018: 30–31, cat. S II. 22, fig. 55–56). The sarcophagus is preserved together with a
lid and acroteria with pronounced relief plates. The inscription field is in the form
of tabula ansata, with two small trapezoid ansae on which Chi Rho is engraved. On
both sides of the inscription field there is a crater from which vines with leaves and
grape clusters emerge. The inscription reveals that the sarcophagus belongs to Ser-
villa, Christ’s female servant (XPI (famula Cristi) who was buried by her husband
Marcellianus. The sarcophagus may be dated to the beginning of the 4th century, af-

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THE TRADITIONAL MODEL IN THE EARLY CHRISTIAN CONTEXT: THE JONAH SARCOPHAGUS FROM ...
ter 313 AD, both because of its bucolic motifs, and because of the inconspicuous
Monogram of Christ.
Fig. 9 Sarcophagus from Siscia (Documentation of the Archaeological Museum of Zagreb)
Сл. 9 Саркофаг из Сисције (документација Археолошког музеја у Загребу)
There is a fragment of another early Christian sarcophagus from Sisak made of
local Badenian sandstone (Migotti, Šašel Kos and Livaja 2018: 119, cat. (AB[t] II.2),
fig. 239). This was most likely a sarcophagus whose inscription field was in the form
of tabula ansata. The fragment preserved today formed the right front portion, on
which a geometric form of a fish was engraved next to a possible tabula ansata. This
fragment can be broadly dated to the 3rd or 4th century.
A different example of a traditional sarcophagus form with a Christian context
can be seen in a sarcophagus from Veliki Bastaji (Aqua Balissae), from Upper Pan-
nonia (fig. 10, 10a, 10b), which is made of Pohorje marble (Migotti 2017: 507–509,
n. 5, fig. 10–12; Migotti and Šašel Kos and Livaja 2018: 117–119, cat. (AB[t] II.1), fig.
235–238; Lupa 3811). This sarcophagus is a reveal of how the context of a find can
contribute to the Christian reading of iconography. The form of the sarcophagus
was traditional and most probably had a lid with acroteria, lost today. The tripartite
front panel has a blank central field and moulded lateral fields with standing figures.
The bucolic decoration on the lateral sides of the sarcophagus is especially signifi-
cant. On the left side there is an arabesque of a vine with leaves and grape clusters,
flanked by two trees. The right side features two panthers in a heraldic position with
bowed heads turned towards a cantharus on which they rest one paw. The canthar-
us contains fruit, and from it emerges a vine with leaves and grape clusters. Behind
each panther there is a tree. The new Christian meaning of the sarcophagus comes
from a tablet with a liturgical text inscribed in a hexameter form found in the tomb,

272
Sanja M. PILIPOVIĆ and Ljubomir V. MILANOVIĆ
Fig. 10, 10a, 10b Sarcophagus from Aquae Balissae
(Documentation of the Archaeological Museum of Zagreb)
Сл. 10, 10a, 10b Саркофаг из Aquae Balissae
(документација Археолошког музеја у Загребу)
10
10a
10b

273
THE TRADITIONAL MODEL IN THE EARLY CHRISTIAN CONTEXT: THE JONAH SARCOPHAGUS FROM ...
which gives a Christian explanation of the lateral Dionysian motifs (Migotti, Šašel
Kos and Livaja 2018: 121–123, cat. (AB[t] VII.1), fig. 246–249; Lupa 26165). The li-
turgical text on the tablet was written in large, elegant, late Roman letters scriptura
actuaria or capitala actuaria. The sarcophagus dates to the turn of the 3rd or begin-
ning of the 4th century, while the inscribed tablet, made of local Badenian limestone,
dates from the 4th century.
These Pannonian sarcophagi from Vinkovci and Sisak, made of local stone, are
exceptional examples of the application of Christian motifs on the traditional sar-
cophagus form. The Jonah sarcophagus followed the same pattern. The application
of Christian motifs on sarcophagi of traditional form were not frequent in this part of
Roman Empire, and the Jonah sarcophagus is one of the most important examples.
•
The Jonah travertine sarcophagus was a product of the Budakalász/Aquin-
cum workshops, which were distributed along the Danube centers. This saropha-
gus, as was common for Pannonian sarcophgi, is marked by a tripartite front panel
and a moulded central field, intended for an inscription, decorated with the type 3a
Norico-Pannonian volute. Christian motifs were applied on this field intended for
inscription, probably in local Singidunum workshops. The application of Christian
motifs on sarcophagi of traditional form was not frequent in this part of Roman Em-
pire, and the Jonah sarcophagus is one of the most important surviving examples.
Translated by Esther Helajzen

274
Sanja M. PILIPOVIĆ and Ljubomir V. MILANOVIĆ
ABBREVIATION / 
CIL Corpus Inscriptionum Latinarum, Berlin 1962–.
Lupa Bilddatebank zu Steindenkmälern (http://lupa.at/)
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Sanja M. PILIPOVIĆ and Ljubomir V. MILANOVIĆ
 . 
Археолошки институт, Београд
 . 
Византолошки институт САНУ
    :
   
РЕЗИМЕ
У истраживању се предлаже нов поглед на већ обрађену тему у студији The Jonah
Sarcophagus from Singidunum: A Contribution to the Study of Early Christian Art in the
Balkans (Pilipović and Milanović 2016). Имајући у виду нова сазнања, учинило се неоп-
ходним да се поново посвети пажња Јонином саркофагу како би се боље разумео ток
његове израде, а самим тим и процес приписивања ранохришћанског контекста сар-
кофагу с традиционалном формом.
Јонин саркофаг из Сингидунума је начињен од травертина. Припада групи сарко-
фага који се везују за продукцију каменолома у Будакаласу (Budakalász) и радионица
из Аквинкума (Aquincum), а који су потом, као полузавршени производи, допремани
у градске центре на подунавском лимесу, све до Виминацијума. Ти саркофази се нај-
чешће одликују трипартитном поделом предње стране и имају натписно поље деко-
рисано пелтом или различитим типовима норичко-панонске волуте.
Као и највећи број травертинских примерака, Јонин саркофаг из Сингидунума
одликује традиционална форма, с троделном поделом предње стране. На њеном цен-
тралном делу је натписно поље уоквирено норичко-панонском волутом, док су поља с
обе стране необрађена. Према класификацији волута Ервина Похмарског, на Јонином
саркофагу је присутна волу та типа 3а, једна од најчешће приказиваних. Осим Јониног,
потврђена су још два саркофага типа 3а у Сингидунуму и Виминацијуму.
С обзиром на то да су саркофази допремани, колико се данас може претпоставити,
као грубо моделовани или абоцирани производи, остаје отворено питање где је на-
стала ранохришћанска декорација Јониног саркофага, сматра се у IV веку. Иако су са-
чувани примери травертинских саркофага, највећи број споменика у Сингидунуму је
начињен од камена из ташмајданског каменолома баденијског кречњака, који је имао
важан регионални значај. Да је управо у тим важним радионицама Сингидунума на-
стала и декорација Јониног саркофага може да показује чињеница да она није заврше-
на, као и њене стилске вредности.
Примери појаве хришћанских мотива на саркофазима традиционалне форме нису
били чести, али постоје и могу да се виде на четири панонска саркофага, на по једном
из Винковаца и Великих Бастаја и на два из Сиска. У питању су типолошки различи-
ти примерци, што управо пружа значајну потврду да су хришћански мотиви приме-
њивани на саркофаге различите типологије. Радило се о систему који се прилагођавао
различитим традиционалним моделима у зависности од прилике, а Јонин саркофаг
је свакако један од најзначајнијих примера у римским провинцијама на Балканском
полуострву.