To understand abandonment processes and secondary uses of public buildings is a key‐challenge to recognize the scope of the urban transformations in Roman cities during Late Antiquity. In this sense, administrative and religious public spaces such as the fora underwent a great variety of transformations resulting in the genesis of a complex stratigraphy of anthropogenic and natural deposits. Baelo Claudia is a well‐known Roman city located in the Atlantic coast of southern Spain. Recent excavations in the forum have provided new data that elucidate Late Roman urban transformations. In this study, we use archaeological soil micromorphology, physico‐chemical analyses and geochemistry to investigate site formation processes and to document nontraditional forms of occupation not visible in the macroscopic archaeological record. This methodology allowed for the distinction of several anthropogenic activities such as glass recycling, reflooring practices, plundering of ornamental marbles, middening of organic and penning residues, together with the progressive decay of earth‐based constructions. The complex superposition of site formation processes seen at Baelo Claudia underlines the role of micromorphology in the identification of behavioral signatures and its relevance in deciphering urban transformation in Late Antiquity.

Segnius irritant animos demissa per aurem quam quae sunt oculis subiecta fidelibus et quaeipse sibi tradit spectator 1 [Horacio, Ars Poetica,[180][181][182] Resumen: El excepcional ejemplo de las figuras pintadas en el interior de la cámara funeraria emeritense de los Voconios, identificadas como las de los propios difuntos y representadas a modo de esculturas, sirve de punto de partida para reflexionar, a través también de algunos escasos ejemplos, sobre diferentes aspectos relacionados con el empleo de las imágenes, por parte de privados, como instrumento de autorepresentación. Ello parece vincularse, en buena medida, con el logro de un cierto ascenso social y la creciente participación en la vida ciudadana que permitió la extensión de los esquemas administrativos romanos al ámbito provincial. Palabras clave: autorepresentación, retratos, escultura honorífica, vida municipal, Voconios Abstract:The unusual example of the painted figures from the chamber of the funerary building of the Voconios' family from Merida is used as starting point of some reflections about the self-representation of private citizens in imperial Roman society. The family members -not in an accidental way-are depicted as sculptures of themselves, feature which is common to a veryfew group of known examples. Behind this particular choice it is maybe possible to read the increasing social promotion of the privates and their participation in the local life. It became more and more frequent thanks to the extension of the Roman administrative patterns to the provinces.

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Gutiérrez García-M., A. y Rouillard, P. (eds.) (2018): Lapidum natura restat. Canteras antiguas de la Península ibérica en su contexto (cronología, técnicas y organización de la explotación), Institut Català d’Arqueologia Clàssica / Casa de Velázquez, Tarragona / Madrid, Serie Documenta, ISBN 978-84-946298-3-9 / 978-84-9096-170-4.

NUEVAS INTERVENCIONES EN EL TEATRO ROMANO DE (1999). Éstas, motivadas por trabajos de saneamiento, han tenido como escenario sus accesos a la orchestra: los itinera. En ellos se ha podido comprobar una dinámica y a la vez compleja evolución constructiva paralela a la que ya ha sido apuntada por las recientes investigaciones llevadas a cabo en otras áreas del edificio o el análisis estilístico de sus elementos arquitectónicos. Algunos de los datos más novedosos proceden del extremo meridional del iter sur, donde la construcción de una potente estructura en opus caementicium, ajena al teatro, obligó, a pesar de ello, a llevar a cabo importantes reformas en algunos sectores del edificio.ABSTRACT In the following paper we present the results obtained from the last archaeological excavations carried out on the Roman Theatre of Italica (1999). The intervention has been made at the itinera, the lateral entrances to the orchestra, despite of their necessary drainage. We have obtained new interesting information about the building development which joins in this way to the known facts got through the recent research on the theatre and the analysis of its architectural items. The most novel information comes from the south edge of the aditus maximus, where the building of a huge opus caementicium structure, out of the theatre, forced to make important reforms in some areas of the building.