SummaryThe representation of Dacian strong-points on Trajan's Column is compared with the structural evidence obtained by Rumanian archaeologists from recent excavations. There seems to be clear evidence for a specific ‘twin-fort’ plan, no doubt the result of enlargement to contain a larger garrison and bigger supplies caused by Trajan's advance into Dacia.

IT is common knowledge that in the reliefs on Trajan's Column the technical skill and achievements of the Roman Army received as much attention and space as did its military prowess and successes. It is clear that emphasis laid upon military engineering was felt to be one of the most effective means of conveying the triumphal concept attached to this marble volumen. Since both Trajan, to whom the reliefs were dedicated, and Apollodorus, his architect, who is likely to have drawn the cartoons for them, were inclined to regard craftsmanship and power as equivalent expressions of Roman glory, one would expect to find in the commemorative sculpture some allusion to specific technical achievements or, at least, to the most important of these.The above statement can be made without entering into a discussion about the actual significance of the marble scroll, which has been considered either as realistic history 1 or as idealized epic. 2 Such a question is beyond the scope of the present paper. Nevertheless, on examining in detail the military works represented 3 one receives the impression that they always exhibit realistic touches rather than an abstract translation of fonos into Virtus AugustiAIn accordance, however, with the general tendency of Roman commemorative art, symbolic, or semi-realistic, representations are also employed on the column. In this connection the coinage of Trajan may reasonably be referred to for comparison 5 since these reverse-types showing buildings and other forms of construction were freely struck, as being valuable means of commemoration and propaganda. Moreover, such coins indicate the figurative conventions officially adopted for representing different types of construction. In the case of buildings some realistic renderings were chosen, for instance the entrances to the Basilica Ulpia 6

stiffness and pulse wave velocity / Aorta and carotid arteries 137 (0.94 to 1.01) p = 0.096; Obesity OR = 0.47 (0.29 to 1.77) p = 0.003 and Diabetes OR = 2.41 (1.15 -5.05) p = 0.020. Conclusions: According to the results obtained, genetic polymorphisms variables were not in the multivariate analysis equation to determine the increase of the PWV, which can be explained either by being included in the selected variables such as hypertension, or on the other hand, they may not have enough strength to remain in the equation. So, according to this study, PWV has much more to do with behaviors and traditional risk factors than the genetic heritage.P883 Endothelial dysfunction, pulse wave velocity and augmentation index are correlated in subjects with systemic arterial hypertension?

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T H E official iconography of the Roman Empire, from great monuments to small coins, was designed to spread the message of imperial achievements and beliefs throughout the Roman world and beyond. It spoke a form of figurative'Esperanto', whose symbolic 'wording' and allegorical 'phraseology' were taken from the repertory of classical tradition as well as from topics of daily life. The clues to its meaning could, therefore, have been picked up by every member of the composite contemporary 'audience' anywhere in the empire.The central authority, moreover, aware of the great differences in receptivity to be found among a public ranging from cultured Romans and Romanized provincials to semi-barbarian peregrini, was very wise in its selection of appropriate symbols and conventions. Plain, straightforward clues easily and widely understood were often preferred, as on coins, destined for universal distribution and bearing legends which often could not be read or understood by those into whose hands they came. Symbolic and complex renderings of less obvious but deeper significance were adopted for important commemorative monuments.The artist's choice among the varied figurative versions of a given theme was ultimately dependent upon the space at his disposal and upon the type of subject that he had to treat. The restricted field of a coin reverse demanded simple emblematic renderings, whereas the long friezes and the series of metopes peculiar to Trajanic triumphal sculpture could exhibit a complete commemoration of events made up of allusive and documentary topics. In any case, the utmost care was dedicated to the reproduction of tell-tale conventional details, in as much as these particulars were the very alphabet of the official iconographic speech. Within these limits the master designers of the great art-workshops and of the imperial mints had enough freedom, power, and talent to do what they wanted 1 and produce their best.On the other hand, both the over-all theme of the 'message' and the individual figurative 'sentences' which composed its text were not left to the artist, but were determined by the government as a matter of centralized policy. The emperor in person, or through his highest officials, not only set out in writing the achievements to be celebrated but also dictated the individual topics to be emphasized in art, both literature and imagery thus intervening in the work of Rome's 'mass media'. Hence we get artistic craftmanship making its emotional impact on authoritative information. Today, only the emotional element survives, since the deeper meaning of the image often eludes us. However, aware as we are of the fact that this language always obeys general and specific rules of policy, which can be looked for and discovered by a co-ordinated investigation into different fields of classical knowledge, we must set out to read ideograms rather than to decipher