This paper uses the Southern Necropolis of Cyrene as a source of information about Cyrenean society and its evolution through time. The vitality of the aristocratic class produced, already by the sixth century BC, a tradition of monumental tombs using both, conventional, or foreign models according to the identity that each Cyrenean wanted to show. Tombs defined land holdings and the Southern Necropolis is an optimal setting to study their relationships with sanctuaries, roads and quarries. The continuing prosperity of the city increased the number and elaboration of tombs, especially in Classical/Hellenistic times when the Archaic territorial divisions became invisible in a landscape overcrowded by sepulchres. A tradition particularly focused on external façades was developed, possibly underlying a focus on funerary rituals held outside the tombs. After the Ptolemaic and Roman conquests this tradition was challenged by external models and Cyreneans tried to adapt foreign customs into their ancient ritual systems, for example through portrait-busts. With time the foreign models prevailed and the tombs displayed elements shared with a wider Roman cultural elite, nevertheless, already from the third century AD onwards, the regional crises sign the end of the monumental necropolis' phenomenon.

The four cemeteries of Cyrene were a living archaeological landscape whose life continued far beyond antiquity. The habit of using monumental tombs was a long-lasting one in Cyrene, starting in the Archaic period and continuing until Roman times. The concept of ‘reuse’ is in itself a problematic one since, from a semantic point of view, it implies the presence of a clear-cut division between an original ‘phase of use’ and of a later ‘phase of reuse’. This approach could have sense when a clear hiatus is present, for example when speaking of modern reuse of ancient Greek tombs. However, the main problem is the use of the term ‘reuse’ when describing two ancient phases, such as a Hellenistic phase and a Roman phase of the same tomb, implying a clear hiatus between them even if one often lacks the elements for identifying the existence of such a hiatus. In particular, the Southern and Northern Necropolises have been analysed here to investigate this subject, basing the hypotheses on data coming from field research and previous studies. However, the topic of reuse for the tombs of Cyrene would need far more space than this paper, so this work should be considered an introduction to a matter that needs a far deeper and a far wider analysis. Given these limits, an ‘anthological’ approach is here proposed, with a sequence of various subjects connected to the ‘reuse’ topic and some new data coming from recent research (such as the surveys in the Northern and Southern Necropolises and the excavation of Tomb S1 by the Chieti University team, and of a tomb in the Northern Necropolis by a team of colleagues from the local Department of Antiquities).

This paper discusses the deep transformation of the monumental funerary culture of Cyrene during the Roman period. For the first time the problem is analysed in its complex entirety, identifying elements of Roman tombs and looking for possible dating clues. The quantitative data from a survey in the Southern Necropolis are used for a statistical analysis, looking for the relationship between portrait-busts/niches and other burial features. A chronological view of this period in the necropolis is attempted, together with a discussion of the evolution and the cultural significance of tomb-types. The picture is also contextualised within what we know of the socio-historical framework from other sources.

This tomb, recorded by Jean-Raimond Pacho in 1825 and partially excavated in 1848 by Vattier de Bourville, contained four decorated marble sarcophagi, three of them placed in large recesses, the fourth on the floor of the central hall. It was next mentioned in 1949 by Morgan, the Antiquities Officer, and recorded by Cassels in 1954. In 1958 Goodchild and Ward-Perkins partially cleared it, but left no known account of their findings. In 2000 James Thorn found that the interior walls were originally clad with marble veneer and the floor was mosaic, evidently a tomb of imperial grandeur.