Irene Bald Romano, Moshe L. Fischer Roman Marble and Limestone Sculpture from Beth Shean, Israel | Résumé : Cet article présente une synthèse de la sculpture romaine en marbre et en calcaire trouvée à Beth Shean (Nysa Scythopolis), en Israël. Les auteurs se concentrent sur les sculptures (et leurs parallèles) découvertes par le Musée d’ Archéologie et d’ Anthropologie de l’ Université de Pennsylvanie pendant dix saisons entre 1921 et 1933, aussi bien que sur certaines sculptures trouvées dans les fouilles israéliennes des dernières décades. Scythopolis est parmi les quelques centres de la Palestine romaine où l’ on trouve une grande quantité de blocs architecturaux et de sculptures en marbre importé. Les sculptures en calcaire fabriquées localement, incluent des chapiteaux corinthiens avec têtes anthropomorphes et des bustes funéraires. Beth Shean is the ancient city of Nysa Scythopolis on the southern bank of the river Nahal Harod, a few miles west of the River Jordan in the northern part of ancient Palestine (fig. 1)1. The site lies at an important strategic point at the main road into the fertile Beth Shean Valley, connecting Israel’ s northern coastal plain with Transjordan. Beth Shean has a long history with almost continuous occupation from the Late Neolithic to the Early Islamic periods and times of great prosperity in the Late Bronze Age, and Roman and Byzantine periods 2. The Hellenistic and Roman city of Nysa Scythopolis was named, in part, after the nymph Nysa to whom Zeus gave the baby Dionysos to rear in the sacred grove at the site or, in another more recent theory, after Nysa, the eldest daughter of the Seleucid king Antiochus IV3. Roman Scythopolis was a thriving cosmopolitan commercial center, the largest in a league of ten cities, the Decapolis4, and the only one of these cities on the western bank of the River Jordan. It was famous in the Roman period for its manufacture of high quality linen5. In the Roman and Byzantine city at the foot of the tell, recent 1. We thank the following individuals and organizations for assistance with this paper : Maude DeSchauensee ; Virginia Greene ; Institute of Archaeology, Hebrew University of Jerusalem ; Israel Dept. of Antiquities and Museums ; The Israel Museum, Jerusalem ; Scott Pike ; Stable Isotopic Laboratory at the University of Georgia’s Department of Geology ; Yoram Tsafrir ; University of Pennsylvania Museum of Archaeology and Anthropology ; Rachel Feig Vishnia ; Shannon White ; and Richard Zettler. We are very grateful to the organizers of the colloquium, especially Vassiliki Gaggadis-Robin, Antoine Hermary, Michel Reddé, and Claude Sintes for their collegiality and hospitality at the Musée de l’Arles and the Centre Camille Jullian. Dr. Romano would like to thank the Samuel H. Kress Foundation and Jeremy A. Sabloff, past Director of the UPM, for their financial support to attend this conference. 2. For a summary of the excavations, history, and monuments of the site see Mazar, Foerster, Tzori 1993 ; Tsafrir, Foerster 1997. 3. Rigsby 1980, p. 238-242. See also Tsafrir, Foerster 1997, p. 86, n° 7, 87 for a discussion of both names of the city, and Fuks 1976, p. 59-73 for a discussion of its Hellenistic founding. 4. Josephus, The Jewish War III, ix, 7. See also Bietenhard 1977. 5. Rowe 1930, p. 4-5 ; Fuks 1976, p. 167-71 ; Tsafrir, Foerster 1997, p. 114, notes 127-128. actes du xe colloque international sur l’art provincial romain, p. 391 à p. 400 I. Bald Romano, M. L. Fischer • Roman Marble and Limestone Sculpture from Beth Shean, Israël Ο Fig. 1. Beth Shean. View of tell at the end of 1928 season, taken from south with Northern Cemetery to far left. Photograph by Fadil Saba, courtesy of the Archives of the UPM. excavations have revealed a large theater, a hippodrome later converted to an amphitheater, colonnaded streets and stoas, baths, a basilica, an odeion or bouleuterion, a nymphaeum, and a prostyle podium temple with a circular naos, possibly dedicated to Dionysos/Bacchus6. The site seems to have undergone a major transformation in the periods of Antoninus Pius (138-161 CE) and Marcus Aurelius (161-180 CE) during the peak of the Pax Romana in the East. An expansion also took place during the Severan period at the end of the 2nd century and first third of the 3rd century CE. A well-documented earthquake on May 19, 363 CE partially destroyed the site and ushered in renovations of the early Byzantine period7. The sculptural corpus from ancient Beth Shean has not been completely studied or published. This paper is a synthesis of the sculptural material excavated by the Palestine Expedition of The University Museum of the University of Pennsylvania (UPM) in ten field seasons from 1921 to 1933, given to that museum as a part of the division of the finds from the excavations, and the published sculptural finds from recent excavations conducted by the Israel Department of Antiquities and Museums and the Hebrew University in the lower city. Architectural Sculpture Scythopolis is one of the few centers of Roman Palestine where much of the architectural ornament and sculpture was of imported marble. The materials for the buildings themselves were the local basalt and limestone originating 6. 7. Mazar, Foerster, Tzori 1993, p. 223-30. Tsafrir, Foerster 1997, p. 108 ; Russell 1980. 392 Les ateliers de sculpture régionaux : techniques, styles et iconographie Ο Fig. 2. Block with “peopled” scrolls from scaenae frons of theater, Beth Shean. Photograph by Moshe Fischer. in the quarries of Mount Gilboa (ca. 10 kms to the west)8. There is also evidence for architectural ornament carved of the local limestone imitating the imported marble decoration. As far as we are aware, basalt was not used for any sculpture found at Beth Shean, unlike other regions such as the Upper Galilee and the Golan area where both the architecture and sculpture were produced almost exclusively of the local basalt9. One of the main features of the late 2nd or early 3rd century10 decoration of the theater scaenae frons is the horizontal marble friezes carved with so-called “peopled” scrolls (fig. 2)11. In Israel, at sites other than Beth Shean, such horizontal friezes are found in theaters, synagogues, gateways and other buildings of the Roman and Byzantine periods,12 but such a large number of carved marble blocks with “peopled” scrolls such as those at Beth Shean is exceptional in Roman Israel. The theme of Dionysos and his entourage is a popular one in “peopled” scroll decoration generally, especially in theaters where the god has a special role. In the theater of Scythopolis there are a few blocks surviving with badly damaged, possibly intentionally mutilated, heads or busts of Dionysos13 ; a tragic mask is carved on one coffer block14. In the theater decoration the dominant themes amidst the leafy scrolls are local animals and fantastic animals, like griffins, as well as Erotes as humorous warrior-hunters confronting animals. Though the frieze is fragmentary and badly destroyed and the entire composition has not yet been reconstructed, it seems to be a narrative of animals “attacking” or confronting a neighboring animal, with each animal or putto figure isolated 8. For the use of Mt. Gilboa limestone in the late 1st or 2nd century CE see Tsafrir, Foerster 1997, p. 89. 9. Basalt is used extensively at Beth Shean for building foundations, the core of walls, the rear of monuments, and in the construction of private houses and shops (Tsafrir, Foerster 1997, p. 90). 10. Ovadiah, Turnheim 1994, p. 125 for a date in the Severan period, yet soundings indicate a possible earlier date, ca. 180 CE for the theater (p. 21). 11. See Ovadiah, Turnheim 1994 for a discussion of the “peopled” scrolls of the Beth Shean theater and the comparable evidence in Israel. 12. Ovadiah, Turnheim 1994, p. 133-148. 13. E.g., Ovadiah, Turnheim 1994, p. 37-38, block 7, ills. 53-54. 14. Ovadiah, Turnheim 1994, p. 98, ills. 228-29. 393 I. Bald Romano, M. L. Fischer • Roman Marble and Limestone Sculpture from Beth Shean, Israël Ο Fig. 3. Limestone figured capital with head of Bacchus, from Beth Shean. Photograph by Moshe Fischer. Ο Fig. 4. Fragmentary head of Bacchus, possibly from figured capital, from Beth Shean. UPM Acc. No. 29-107-919. Photograph courtesy of the UPM. 394 Les ateliers de sculpture régionaux : techniques, styles et iconographie within a scroll. There are many different styles betraying various hands at work on the carving of both the animals and the vegetal decoration. It seems that the decorative marble “peopled” scrolls of this theater were ordered from the quarry site or, more likely, from a central marble market or workshop since the marble may be both Proconnesian and the greyish marble from the Dokimeion quarries15. The composition was possibly chosen from pattern books16, and the carving roughed out in advance. The blocks were then transported, probably through the port of Caesarea (where there are no examples of “peopled“ scrolls recorded), overland at least 70 kms to Scythopolis, where the final finishing of the blocks and decorative details was done on site17. Many of the decorative elements of this frieze were left without a final finishing, unpolished and with chisel marks still visible18. These marble “peopled” scrolls seem to have inspired, to some limited degree, imitation in architectural decoration made of local stone19. Another important category of architectural decoration at Beth Shean is the figured Corinthian capitals with anthropomorphic heads carved at the center of the abacus in place of the flower. The examples at Beth Shean generally date to the Severan period and are made of local stone, as opposed to some, e.g., at Caesarea, that were manufactured in marble. At other sites in Israel figured capitals are popular in local limestone or basalt20. The heads on these capitals represent mostly Dionysos-Bacchus or his followers, such as Pan21 and satyrs, and emphasize the connection with locally venerated gods and the founding myth of Nysa Scythopolis. Two such figured limestone capitals, one with a theater mask and the other with a bust of Dionysos/Bacchus (fig. 3)22, are now erected at the western edge of Palladius Street at a propylon building. A limestone sculptural fragment in the UPM (29-107-919 ; fig. 4)23 may belong to such a capital. It represents a head of Dionysos or a satyr wearing a grape wreath. The style, with bulbous features, is compatible with that of the figures on the marble blocks with “peopled” scrolls from the theater, suggesting again a possible local imitation of the marble frieze. Freestanding Sculpture In the 1986-1988 excavations of the theater several statues were found, including one of a youthful nude male with a chlamys around his neck and forearm and a seated animal, possibly a sphinx, next to his right leg (H. 1,85 m)24, identified as a possible Hermes Psychopompos type or Apollo, but the youthful head with a satyr-like appearance could also be Dionysos. The head may be a work of the late Hellenistic period, added to a body of the late 2nd or 3rd 15. Ovadiah, Turnheim 1994, p. 112, 126. About 50-60% of the marble recorded from Israel comes from the Proconnesian quarries, especially architectural decoration and sarcophagi, yet, other than the “peopled” scroll frieze blocks, there is no other Proconnesian marble sculpture recorded from Beth Shean (Fischer 1998, p. 255-258). 16. Ovadiah, Turnheim 1994, p. 111-12. 17. Ovadiah, Turnheim 1994, p. 105-6, 121-22. 18. Ovadiah, Turnheim 1994, p. 109. 19. Ovadiah, Turnheim 1994, p. 122, 160, n° 22 : recent excavations in the lower city have uncovered cruder limestone blocks with “peopled” scroll friezes that are as yet unpublished. 20. See Fischer 1990, p. 64-65 and Fischer 1991 regarding figured capitals in Roman Palestine. 21. A limestone Corinthian capital with a head of Pan was found reused in the area of the Roman temple plaza (Tsafrir, Foerster 1989-1990, p. 122, fig. 110). 22. Foerster, Tsafrir 1992, p. 122, 134, fig. 11. 23. Romano 2006, p. 194-195, n° 94. 24. Applebaum 1963, fig. 9-11 ; Applebaum 1971 ; Applebaum 1978, p. 85 ; Fischer 1998, p. 160-161, n° 187. 395 I. Bald Romano, M. L. Fischer • Roman Marble and Limestone Sculpture from Beth Shean, Israël century. It seems clear that the statue was deliberately broken and buried, possibly in the first half of the 6th century25. Also from the theater is a statue of Tyche holding a cornucopia (0,90 m), with a close parallel from Caesarea26. It too seems to have been deliberately destroyed. Excavations in the 1990s of the Hebrew University in the Eastern Bathhouse have revealed a series of sculptures from a sealed layer datable to 515/516 CE, giving a terminus ante quem for the deposition of the finds. Among these was a nude life-sized (H. 1,90 m) statue of Aphrodite/Venus Pudica with an Eros on a dolphin as a support, remarkable for the excellent preservation of its painted surfaces27. The marble seems to be from Aphrodisias28. It was mutilated before it was dumped in the hypocaust when the baths were abandoned. Another headless Aphrodite statue, this one semi-nude, was also found in the same context and was converted at some point in its ancient history into a fountain piece29. A 2nd century helmeted head of Athena from a monumental statue (H. head 0,55 m ; reconstructed H. of statue ca. 2,45 m) was found at the northern edge of ancient Scythopolis (Tel Naharon) in a Byzantine context. Stable isotopic analysis has shown that it is of dolomitic marble from Thasos30. The goddess wears a Corinthian helmet of an unusual form. Use of a drill is strikingly evident in the rendering of the hair. The modeling of the face and hair, and the highly polished face versus roughened and painted hair suggest a possible affinity with works associated with a school of sculptors from Aphrodisias, but the oddly rendered helmet probably points to a local interpretation and workmanship31. A fragmentary and pieced head of a probable Aphrodite (H. 0,21 m) of Antonine date also came from the same context and was also made of Thasian marble32. The highly polished face and the unsmoothed hair, as well as the drill work, are similar to the technique of the Aphrodite head. Representations of Dionysos-Bacchus are very common in Roman Palestine, and there is a life-sized Antonine example of the youthful effeminate god wearing a diadem and a wreath of grape and ivy leaves found buried under the floor of the so-called Silvanus Hall33. The genitalia, eyes, nose and mouth are mutilated, like some other sculptures from the Eastern Bathhouse. Few imperial portrait statues survive from Scythopolis34, though statue bases with inscriptions are evidence that many were erected at this site. Most notable among them is an inscribed circular pedestal (D. 1,95 m) for a statue of Marcus Aurelius erected on the stairway of the temple in the city center with two small altars in front of it, 25. Tsafrir, Foerster 1997, p. 129. 26. Mazor, Bar-Nathan 1994, p. 124 ; Tsafrir, Foerster 1997, p. 129, n° 194 ; Fischer 1998, p. 161, n° 189. 27. Tsafrir, Foerster 1997, p. 129 and fig. 37 ; Foerster 2005. 28. Nissenbaum 2005. 29. Tsafrir, Foerster 1997, p. 129 and fig. 38. Foerster (2005, p. 5) also mentions a statue group depicting Leda and the swan originating in the Eastern Bath. Mazor, Bar-Nathan (1994, p. 128) refer to statues of Herakles wearing the Nemean lionskin and of Apollo/Hermes as the god of trade. 30. Vitto 1991, p. 33-45 ; Pearl, Magaritz 1991 ; Fischer 1998, p. 161, n° 191. Another statue of Athena was found in the Eastern Bath (Tsafrir, Foerster 1994, p. 101). 31. Vitto 1991, p. 40. 32. Vitto 1991 ; Pearl, Magaritz 1991 ; Fischer 1998, p. 161-162. 33. Foerster, Tsafrir 1990, p. 53 ; Mazar, Foerster, Tzori 1993, p. 229 ; Tsafrir, Foerster 1997, p. 129 and fig. 40 ; Fischer 1998, p. 161, n° 187. See Fuks 1983, p. 75-81 re. Dionysos at Scythopolis. 34. See Foerster 1986 and Gergel 1991 for a cuirassed bronze torso of Hadrian from nearby Tel Shalem. 396 Les ateliers de sculpture régionaux : techniques, styles et iconographie probably used for the imperial cult ; the inscription tells us that the statue was a dedication in honor of the emperor by the people of Nysa Scythopolis35. A very high quality, larger than life-sized, headless marble torso of a cuirassed emperor, reused as building stone, is one of the few and best-preserved imperial portrait sculptures in stone that survives from Scythopolis36. The cuirass decoration with a Medusa, griffins and eagle is defaced. This torso can be dated to the second half of the 2nd century CE and is closely comparable to one from Ascalon. In the UPM in Philadelphia are remnants of a possible cult image of a god or an emperor excavated on the tell at Beth Shean. These are highly polished marble finger and hand fragments (29-107-924 a-g ; fig. 5) of a colossal statue, possibly acrolithic with the flesh parts made of marble and the rest of the statue of a less expensive material or covered with sheeting37. Stable isotope analysis shows that the fine-grained white marble with grey veins is from Asia Minor, possibly from the quarries at Aphrodisias, emphasizing again the close connections of Beth Shean with Asia Minor quarries and sculptural workshops, especially Aphrodisias38. The scale of the fingers indicates a truly enormous statue, around ten times life-sized. The evidence from these fragments is not conclusive enough to identify whether the figure is male or female, though colossal images, as well as the acrolithic technique, are generally reserved in the Roman period for divinities and emperors. Ο Fig. 5. Colossal thumb and finger from Beth Shean. UPM Acc. No. 29107-924b. Photograph courtesy of the UPM. All these colossal fragments were found on the summit of the mound in secondary contexts, mostly in a large reservoir south of a monumental Roman temple that might be dated to the end of the 1st century CE39. Aside from this temple, the tell itself seems to have been largely unoccupied in the Roman period. It has recently been suggested on the basis of epigraphical evidence (inscribed altars) that the temple was dedicated to Zeus Akraios40. If the fragments of the colossal statue can be associated 35. Tsafrir, Foerster 1997, p. 90, note 22. 36. Mazar, Foerster, Tzori 1993, p. 229-230 ; Tsafrir, Foerster 1997, p. 129, n° 190 and fig. 39 ; Fischer 1998, p. 160-161, n° 188. See also a protome of a cuirassed emperor from the Eastern Bath in Tsafrir, Foerster 1994, p. 100. 37. See Romano 2006, p. 191-193, n° 93 for bibliography and discussion of these fragments. The slightly larger than life-sized Hellenistic head of Dionysos-Alexander found in the same context as many of these hand fragments (Rowe 1930, p. 44-45, pl. 55 ; Tsafrir, Foerster 1997, fig. 41) cannot belong to this colossal statue. 38. The marble is fine-grained (average max. grain size : 1 mm) and sparkly white with some grey veins. Testing with hydrochloric acid has shown that it is not dolomitic. Stable isotopic analysis of samples from three of these fragments by Dr. Scott Pike of Willamette U. using the Stable Isotopic Laboratory at the U. of Georgia’ s Dept. of Geology produced the following results : 29-107-924a : δ13C 2,14, δ18O -3,41 ; 29-107-924b : δ13C 2,02, δ18O -3,60 ; 29-107-924d : δ13C 2,09, δ18O -3,23. A least-squares statistical program used to show the likelihood of each sample coming from the quarries in the database indicates that several Asia Minor sources are possible. Visual analysis of the marble, combined with historical information about the quarries, suggests a possible identification of the marble as Aphrodisian. 39. In a personal communication with I. B. Romano (August 2006), Y. Tsafrir outlined the only evidence for the date of the temple on the tell : the use of the local limestone, probably from the early exploitation of the quarry at Mt. Gilboa, ca. 100 CE or a little earlier ; and the single Corinthian capital found on the top of the tell, a type that is typical of the 1st century CE in Jerusalem and Judea. See also Fischer 1990, no. 229. 40. Tsafrir, Foerster 1997, p. 98, n° 40 ; Tsafrir 1989. 397 I. Bald Romano, M. L. Fischer • Roman Marble and Limestone Sculpture from Beth Shean, Israël with this temple it should represent the god or emperor to whom the temple was dedicated, erected either inside the temple or just outside it. There is little stylistic or technical evidence to be definitive about a date for the statue, and it could belong to the first phase of the construction of the temple at the end of the 1st century or be a later addition in the 2nd or 3rd century CE41. Funerary Sculpture There are only a few fragments of marble sarcophagi found at Beth Shean, while there are large numbers represented elsewhere in Roman Palestine of the 2nd and 3rd century CE imported from Attica or Asia Minor42. This is in contrast to the many funerary sculptures in limestone from Beth Shean. University of Pennsylvania excavations in the 1920s in the Northern Cemetery uncovered more than 230 graves and tombs from the Middle Bronze Age to the Roman and Byzantine periods cut into an extensive travertine terrace43. Associated with the Roman tombs is a series of funerary busts made of local limestone and of unique local character dating to the 2nd and 3rd century CE44. Only a few were discovered in situ, the result of prior looting of the tombs. The disassociation of most examples from their specific tombs or their contents makes their dating dependent for the most part on stylistic and technical evidence. Mortar or stucco on the backs of some and the discovery of one set into the back wall of the tomb indicate their original use. Inscriptions in Greek script on some of the busts identify the deceased, and the variety of names of Greek or Semitic origins or with Latin roots provides evidence of the cosmopolitan nature of Roman Scythopolis. These locally manufactured funerary busts depend for their artistic inspiration on Imperial prototypes and trends from major sculptural centers, while at the same time betraying an assimilation of various foreign strains. Examples of funerary busts from Beth Shean in the UPM collection include one of a female wearing a hairdo reminiscent of one popular among Severan women (29-107-918)45. The rod and circular pendant earring also confirms an early 3rd century date. Another flat armless bust is of a female with a melon coiffure, wearing hoop earrings and two garments, including a tunic represented by a horizontal ridge at the neckline and a shawl or ampechonon with a rolled V at the front (29-107-921)46. Though most of these funerary busts from Beth Shean are very flat and frontal, the head of one female bust is turned to the left (29-107-923 ; fig. 6)47. Finally, two examples of male figures document very different styles. One is of a bearded male found in a robbed-out tomb, probably of Severan date (29-107-922)48, and the other is an armless male bust carved from much higher quality stone than many – a very hard pale crystalline limestone with pinkish hue that takes a good polish (29-107-980)49. The facial features are markedly asymmetrical, and he has a wig-like cap of hair and a deep cleft in his chin. The group to 41. According to Tsafrir, Foerster (1997, p. 109), the temple was probably destroyed around the second half of the 5th or early 6th century CE to clear the site for the construction of a Byzantine church. 42. Fischer 1998, p. 212. 43. FitzGerald 1933. 44. Skupinska-Løvset (1983) discusses over 160 busts from the site. 45. Romano 2006, p. 195-196, n° 95 ; Skupinska-Løvset 1983, p. 42, 183-184, 249, cat. n° 27, pl. XXX. 46. Romano 2006, p. 196-197, n° 96. 47. Romano 2006, p. 198, n° 97 ; Skupinska-Løvset 1983, p. 43, 195-98, cat. n° 28, pl. XLIV. 48. Romano 2006, p. 200, n° 99 ; Skupinska-Løvset 1983, p. 44, 203-205, cat. n° 30, pl. LII. 49. Romano 2006, p. 201-202, n° 100 ; Skupinska-Løvset 1983, p. 42, 161, 169-70, 173, cat. n° 26, pl. XX. 398 Les ateliers de sculpture régionaux : techniques, styles et iconographie which Skupinska-Løvset assigns the latter can be dated from the late Antonine period to the mid-3rd century CE50. Conclusions In spite of its location at the eastern edge of the province, far from the main importation harbor-cities along the Mediterranean, Scythopolis was one of the major centers of Roman Palestine using marble. Marble sculpture seems to have been imported to Scythopolis as finished or partly-finished items. Imported marble architectural decoration, including friezes with “peopled” scrolls, as well as monumental sculpture had a strong impact on the establishment of local workshops at Beth Shean. These workshops used primarily local stone for their production, like the funerary busts and figured capitals51, and developed the knowledge of and inspiration from imported marble sculpture into a local artistic Ο Fig. 6. Funerary Bust from Beth Shean. expression that combined classical principles with eastern taste. UPM Acc. No. 29-107-923. Photograph courtesy of the UPM. While at Beth Shean there is a range in the types, materials, styles, and iconography of the Roman sculpture, nearly everything discussed here that is dateable belongs to the 2nd or 3rd century CE when Scythopolis was being rebuilt as the primary city of the Decapolis and when a sense of self-importance and self-identity, a sort of “Lokalpatriotismus,” emerged in the artistic repertoire. The long history of Scythopolis after the Roman period and the iconoclastic practices of the Byzantine period may be factors contributing to a relatively limited amount of Roman sculpture from a site of such a size and such importance52. 50. Skupinska-Løvset 1983, p. 172-173, 249-253. 51. For another local Roman work in limestone, a waterbasin with a relief of Herakles and the Hydra, see Tsafrir and Foerster 1997, p. 91 and fig. 1. 52. The evidence for iconoclasm in the 6th century CE belies the other evidence in the 5th and 6th centuries for a lingering interest, at least among the upper classes, in the Greek heritage of the city (Tsafrir, Foerster 1997, p. 127). See Tsafrir, Foerster 1997, p. 108-116, 128 for a discussion of the impact of Christianity on the pagan cults and monuments at Scythopolis. 399 I. Bald Romano, M. L. Fischer • Roman Marble and Limestone Sculpture from Beth Shean, Israël BIBLIogRAPhIE Applebaum 1963 : Applebaum (S.), “Scythopolis,” Illustrated London News 2128, March 16, p. 380-381. Applebaum 1971 : Applebaum (S.), “A Greek Statue from Scythopolis”, Bulletin of the Museum Haaretz, 13, p. 14-17. Applebaum 1978 : Applebaum (S.), “The Roman Theater of Scythopolis,” Scripta Classica Israelica, 4, p. 77-105. Bietenhard 1977 : Bietenhard (H.), “Die syrische Dekapolis von Pompeius bis Trajan,” Aufstieg und Niedergang der Römischen Welt, 8, Tübingen, p. 220-261. 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