339:
27:
354:, altars, or statues according to their social status. The construction was offered by the entire community according to the Neo-Punic dedication found. The main center of cult life was the courtyard, which also contained the earliest statues. The site's arrangement and the statues' placement during the Punic period, when the two shrines were built, remains uncertain. One hypothesis suggests that the site was globally arranged in one phase, while another proposes that the statues were placed progressively according to the generosity of the worshippers.
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578:, Rossignoli proposed an original sanctuary with a three-portico courtyard, with two chapels at the rear and access from the south. The inscription recalls the construction of the chapels that are after her analysis. Dridi and Sebaï adopted a similar configuration, though they offered critiques of Rossignoli's analysis regarding the later renovation of the chapels. These elements were constructed as highlighted by the preserved text.
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200:. This characteristic presents a significant challenge to the interpretation of the site, with one of the most challenging tasks being to interpret the site's history and its successive developments. The site has significantly contributed to the debate on the original characteristics of North African and Semitic worship places.
939:
Punic sanctuary maintained the same role during the Roman era. The "cultic and ritual activity was significant throughout the Roman period without any real break with the Punic sphere." In addition to the continuity of the sanctuary's use, there was also a "concern to protect probably ancient cult statues."
526:
No. 4. The entrance corridor on the southern part of the courtyard yielded votive stelae. The materials found were sparse, although a coin dated to the reign of
Justinian provides some dating elements. No statues were found here. The space was utilized as a depository for stelae during the Roman period.
942:
However, there were modifications to the existing structures, an expansion of the pantheon, and the relocation of cult statues within the complex. The widespread dispersion of statues indicates a desire for staging, which can be described as a true "scenography" with an east-west circulation. This is
573:
vases, and an external coating. These initial constructions were the two shrines of courtyard No. 4, with the coating recognized by the archaeologist. The shrines were later modified. The benches served to store cult objects. Merlin's proposed evolution of the sanctuary is at odds with archaeological
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The most striking discoveries at the site are undoubtedly the terracotta statues, which are notable for their sheer number and size. Some of the statues reach a height of 1.40 meters. However, numerous fragments could not be incorporated into the restoration process, suggesting that the total number
525:
Similarly, Courtyard No. 5 also had porticos, although the remains of these are less impressive. A ruined shrine occupied the middle of the courtyard, the portico gallery was approximately two meters wide, and the pillars were placed three meters apart. The space was initially united with
Courtyard
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Three Latin inscriptions were uncovered during the excavations. Only the dedication of the cistern, dated to the 2nd century, explicitly references the cult of Saturn, the heir of Ba'al Hammon. It reads, "To Saturn
Augustus, dedication: Lucius Pompeius Honoratus of the Arnensis tribe built, at his
581:
According to Dridi and Sebaï, the first sanctuary comprised a porticoed courtyard uniting Nos. 4 and 5, with a shrine containing the cult statues. The inscription would recall the relocation of the statues to two better-built shrines. The original large Punic building would have been replaced by a
534:
to a period between the 1st century BC and the 1st century AD. It is believed that this space was added to the cult complex no later than the end of the 1st century BC. Lipinski and Lancel consider this space to be a "field of sacrificial urns", a view shared by
Cecilia Rossignoli, who believes it
328:
The Punic sanctuary underwent significant remodeling between the 1st century BC and the 1st century AD, with the expansion of existing structures and the integration of new deities into the local pantheon. The site's elements underwent substantial remodeling, particularly the two shrines, with one
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The first topic has been the focus of researchers' attention since the early 20th century. The site demonstrates the absence of a break in cult activities between the Punic and Roman periods. The male deity seated on a throne continued to be worshipped under the Roman Empire, and the heart of the
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was found on a pedestal, as well as a significant Punic inscription. A fragmented seated female statue was found south of this shrine. The same courtyard yielded the remains of at least two other leontocéphale female statues. Sacrifices and associated rites took place in this space, including the
724:
The female statues may be interpreted as representing the omnipotent Tanit. The forms of the goddess's representation exhibit diverse influences. The leontocéphale type reflects the
African cultural substratum, the pose on a lion is an oriental influence as it is the sacred animal of the goddess
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The sanctuary consisted of a series of courtyards, with a main sanctuary at the center of the largest courtyard. To the west of the main sanctuary, three courtyards were situated in succession. The eastern section of the main sanctuary was defined by a courtyard with porticos. The southeastern
407:
elements. Additionally, three Latin inscriptions were uncovered, one from the 2nd century, which pertained to the dedication of a cistern to Saturn. In his report, Captain
Cassaigne meticulously recorded the locations of the discovered terracotta statues, a practice that diverged from the more
521:
A later cistern, as identified by Merlin, was situated to the south of this extensive courtyard (No. 6 on his floor plan). During the process of clearing the collapsed vault, he discovered Roman ceramics, Christian-themed oil lamps, and inscription fragments. The high-quality construction, as
222:
In the early 20th century, the military conducted excavations, and the site appears to have been destroyed, as noted by the
Director of Antiquities of Tunisia as early as 1960. However, the details recorded during the early excavations, which were highly exceptional at the time, allow for a
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The site is notable for its potential to facilitate the study of Punic religious continuities and to address the controversial topic of
African temples of Semitic tradition. According to Slim, the Thinissut sanctuary is "a holy place between the Tophet and the proper African temple."
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The internal functioning of the sanctuary in the Roman period is more challenging to comprehend, given the redeployment and complexity of cults. The dating of the construction of spaces Nos. 1 to 3 is a significant challenge. However, the presence of vault tubes used from the early
910:, mentions the erection of sanctuaries to Ba'al Hammon and Tanit, with Libyan names hinting at the presence of the Libyan substrate in society. The inscription also mentions the magistrates, as well as those responsible for the construction and decoration of the sanctuary.
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considered the first two rooms would be the "last phase of the building's construction". The third room is considered to be of a later date by Merlin and yielded materials for a closed space, including a two-spouted lamp and a suspension element, along with Punic coins.
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Enclosure No. 7, measuring approximately 14 meters by 8.20 meters, yielded the base of a statue placed in an outdoor setting. Additionally, the enclosure contained approximately thirty votive stelae with inscriptions in Punic, Neo-Punic, and Latin, which were dated by
977:. As posited by Lancel and Lipinski, the juxtaposition of different deities in these statues suggests "the persistence of pre-Roman religious traditions in rural areas." The "composite" forms of these statues, in turn, reveal local influences as well as those from
455:
The sanctuary's layout is derived from the field notes taken by
Captain Cassaigne, who identified seven spaces in the last state of the site and utilized a numbering system for convenience, as cited in the most recent works and due to the lack of new excavations.
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It was used for an extended period, as evidenced by the discovery of coins from the 2nd and 4th centuries. It underwent expansion and transformation over its long history. No evidence of a cult before that of Ba'al and Tanit was uncovered during the excavations.
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symbolizes the "motherhood of infinite sweetness" and is dated to the 3rd century BC. According to Fantar, this representation of a kourotrophos goddess, a "mother-goddess who offers her breast to an infant," is one of the most beautiful images in this series.
317:, is believed to have been constructed before the fall of Carthage in 146 BC. In the mid-2nd century BC, a renovation project, commemorated by a notable Punic inscription, resulted in the reduction of the courtyard's area and the construction of two shrines.
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996:." While Bullo dates the work to the 3rd century BC, Dridi and Sebaï propose the second half of the 1st century BC based on their study of the sanctuary's arrangement. The female statues found on the site resemble models that were widespread in the
271:. There is still a debate about the accurate location of the city, especially since there was another ancient city named Siagu less than two kilometers away. The Roman presence on the site is attested from the early 1st century, although it was a
693:, are of particular significance. One room yielded at least four identical leontocéphale statues. The costume of these statues consists of birds and is inspired, according to Lancel and Lipinski, by the iconography of the Egyptian goddess
495:, Roman oil lamps, and fragmented leontocéphale statues discovered nearby. The second, larger shrine was divided into two unequal spaces. The larger space contained the statue of Ba'al Hammon on his throne, a female statue wearing a
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The archaeological excavations of the rural sanctuary yielded a plethora of artifacts of "extraordinary richness and variety." Of particular note are the terracotta elements, which were "the most unexpected and remarkable finds."
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intended to house statues and the other, the smaller one, becoming an altar. The addition of two rooms allowed for the isolation of the sacred heart of the Punic sanctuary, the most sacred space, which then contained the
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composed of plants and feathers, and his long tunic follows the oriental tradition. The work is dated to the 2nd century. However, it remains consistent in some aspects with Punic iconographic tradition, according to
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own expense and as an act of munificence, a cistern which he also dedicated." The inscription was offered by
Italian merchants who had settled in the area to gain the favor of the deities who were locally honored.
646:' excavations and is noted as probably lost by Lancel. Although the work is dated to the latest period, it may nevertheless be considered an archetype that can be traced back to the 7th century BC in the fields of
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Merlin proposes dating the inscription to the mid-2nd century BC, a dating accepted by Slim, Dridi, and Sebaï. The inscription, featuring Punic and Neopunic characters similar to those on some stelae from the
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Dridi and Sebaï posit that the ancient statues’ discovery is an "act of piety intended to safeguard the ancestral deities of Tanesmat." The inhabitants of Thinissut adapted their tutelary deities to the
1011:, particularly the preeminence of Saturn and Tanit-Cælestis. Inscriptions identify Saturn, while Cælestis or Ceres is also present. The female deities are relevant, even if not identified by epigraphy.
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Lieux de cultes : aires votives, temples, églises, mosquées : IXe colloque international sur l'histoire et l'archéologie de l'Afrique du Nord antique et médiévale, Tripoli, 19-25 février 2005
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As early as 1910, Merlin identified the "considerable value for the religious history of ancient Africa." He included the Thinissut sanctuary among the sanctuaries of oriental tradition, while
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Space No. 4 on the floor plan, the "core of the sanctuary", was a large courtyard paved with brick and equipped with a portico, possibly vaulted in the Roman period. It had a compartment with
709:. The statues were positioned at the temple entrance as formidable guardians, albeit with a human appearance. At the base of their necks was a disk. In 1998, Rossignoli proposed an
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The site is approximately sixty kilometers southeast of Tunis, two kilometers northeast of Bir Bouregba, and one kilometer northeast of Siagu. The archaeological site overlooks the
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Statuette of Baal-Hammon from the sanctuary, emblematic work found during excavations at the Thinissut sanctuary. terracotta, Bardo National Museum, 38.5 × 23.5 × 22 cm.
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and arranged the sanctuary while respecting the Punic-era sanctuary to integrate into a broader sphere, as evidenced by the adoption of Hellenistic-style cult statues.
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The Punic inscription indicates that the initial construction included two chapels dedicated to Ba'al and Tanit, equipped with necessary liturgical elements,
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and Meriem Sebaï, the second space of this aedicula was dedicated to statuettes and cult objects. Outside, low walls were subsequently constructed, where a
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The terracotta statues attest to the religious vitality and openness to external influences of the period, and they are a testament to the beginning of
513:, suggests continued cult use during the Roman period, as evidenced by the presence of Roman oil lamps discovered nearby. A very fragmentary standing
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evidence. Lézine subsequently revised this evolution, proposing that the primitive porticoed courtyard was later reduced and saw additions. In
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evidenced by a guardian statue at each threshold of the spaces dedicated to different deities and a "progression towards the holy of holies."
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from the end of the 1st century BC or the 1st century AD, Punic inscription found in 1908 and preserved in the Nabeul Museum, 0.21 m x 0.30 m.
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902:. This seven-line dedicatory inscription is of particular relevance for understanding the site, having been found intact in courtyard No. 4.
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sanctuary. A deposit of sacrificial urns was discovered in Room No. 1. These urns, aligned in a row, contained the ashes of small animals.
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Dridi, Hédi; Sebaï, Meriem (2008). "De Tanesmat à Thinissut : nouvelles observations sur l'aménagement d'un lieu de culte africain".
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places of worship. The site demonstrates continuity in worship sites up to the Roman era, including the late period, and illustrates the
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invites dating significant works to this period. Dridi and Sebaï propose the 1st century for the construction of space No. 1.
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was used to bury sacrificial remains. However, Dridi and Sebaï challenge this interpretation, proposing that it was instead a
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smaller sanctuary with new chapels. The abandoned part would have served as storage, as indicated by the presence of stelae.
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with a Latin inscription. The room decor was dated to the end of the 1st century BC. The second room had a pavement of brick
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The site continued to be used as a place of worship until the full Christian era, as evidenced by the discovery of a coin of
415:, where they were later exhibited. This museum, in turn, showcased "thirteen of the most intriguing terracotta statues", as
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1030:. Nevertheless, Dridi and Sebaï contend that the pursuit of such a model based on an "ideological postulate" is futile.
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219:. The collection of discovered terracottas is unparalleled in the Phoenician-Punic sphere in the 21st century.
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No researcher has returned to the site since, with the Director of Antiquities of Tunisia stating as early as
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that field research was futile. Attempts to find the remains of the cult complex and the city have failed.
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The uncovered building is a highly complex structure used for a considerable period, from the Punic era to
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work. The Punic inscription was initially placed in the Bardo Museum but subsequently transferred to the
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196:. As a result, the site presents itself as an extra-urban sanctuary with a succession of courtyards and
2440:(in French). Paris: Direction des antiquités et des arts. Archived from the original on January 2, 2022
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deposition of animal bones, the use of lamps on the altar, and the use of water from a nearby cistern.
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viewed it as a type of Syro-Oriental sanctuary imported before the fall of Carthage at the end of the
396:, which suggested the presence of an ancient site in a mountainous region northeast of Bir Bouregba.
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was installed on the site in the 2nd century by L. Pompeius Honoratus, inscribed in the Carthaginian
139:, whose excavation started in the early 20th century. It is situated in the present-day locality of
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De Tanesmat à Thinissut : nouvelles observations sur l'aménagement d'un lieu de culte africain
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Additionally, various objects, including fragments of stelae and ceramics, were found outside the
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The site of Bir Bouregba was occupied by the Punic city of Tanesmat, also known as Tnsmt in the
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966:. This exceptional technique has been considered for economic reasons, but the richness of the
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head on the chest served a similar protective function to that of the leontocéphale goddesses.
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remains in its northwest corner. Two shrines of unequal preservation were noted. The first had
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215:. The pieces found in scattered fragments have mostly been restored and testify to the art of
186:
148:
1072:= ILAfr 00309 = ILPBardo 00192 = D 09291 = Saturne-01, p 99 = LBIRNA 00366 = AE 1911, +00084.
346:(illustration), discovered during the excavation of the site, indicates a long period of use.
294:. The type of extra-urban sanctuary marked a boundary. Although primarily dated to the early
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city and the details of municipal life are difficult to ascertain without a precise location.
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function for this representation, while Dridi and Sebaï saw it as a sentinel function. For
501:, a larger sphinx, and an inscription naming a certain L. Pompeius Honoratus. According to
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The subsequent excavations uncovered a Neo-Punic inscription mentioning the institution of
242:, and the establishment of a sanctuary here is likely linked to the exceptional landscape.
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floor with a scale pattern and was preceded by a terrace with a leontocéphale statue on a
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The technique of terracotta statues testifies to the considerable artistic talent of the
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The sanctuary's confusing layout is the result of changes made "over several centuries."
392:, Captain Cassaigne excavated the site after the fortuitous discovery of Roman lamps and
320:
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was uncovered in the main chapel of the central sanctuary. The god is crowned with a
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467:. Other fragmented statues were uncovered, including a female statue standing on a
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Early plan of the sanctuary, surveyed during excavations in the early 20th century.
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The initial architectural design, comprising a vast courtyard with porticoes and a
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reexamination of the site in light of recent analyses and new research directions.
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159:
2329:
La Carthage punique : étude urbaine, la ville, ses fonctions, son rayonnement
634:. In particular, it shares a representation of the same deity on a stela from the
1124:(in German). Vol. II: Kommentare. Wiesbaden: Harrassowitz. pp. 136–137.
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2278:(in French) (200 « La Tunisie, carrefour du monde antique »): 6–17.
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female statue was discovered. This statue, dated by Lorenza Bullo to the late
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In addition to these discoveries, a statue of Baal seated between two winged
96:
83:
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2129:
Slim, Hédi; Mahjoubi, Ammar; Belkhodja, Khaled; Ennabli, Abdelmajid (2003).
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The representation of Ba'al Hammon aligns with the pantheon significance in
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The representation of the leontocéphale goddess is the result of "a complex
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deposits in the region and the material virtues have also been highlighted.
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or a room dedicated to a cult. A statue base was discovered in this place.
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religious movement at work. It was originally dedicated to the worship of
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Votive altars discovered at Thinissut and preserved in the Nabeul Museum.
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The first area contained three rooms in a row. The first one had a white
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in a place of worship known as the "Carton Chapel" and preserved in the
263:, which was founded in the 5th century BC. The city was governed by two
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267:, a well-established feature in Punic institutions, including those of
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summary approach commonly employed in early 20th-century excavations.
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2133:(in French). Vol. I: L'Antiquité. Paris: Maisonneuve et Larose.
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One such discovery is a Neopunic stela carved from local gray-white
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The Sanctuary of Thinissut is an extra-urban sanctuary dedicated to
2272:
Fantar, M'hamed Hassine (1995). "Architecture punique en Tunisie".
701:
postulates that the costume representation resembles to the female
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section was occupied by a closed courtyard serving as an urnfield.
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to be "one of the most representative examples of Punic religion."
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Faouara by twenty to thirty meters on its left bank, on a hillock.
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next to the heart of the sanctuary and the presence of Christian
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Sznycer, Maurice (2001). "Carthage et la civilisation punique".
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2152:(in French). Paris: Association française d'action artistique.
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unearthed in the so-called Sainte-Monique necropolis at the
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Although the excavated site is primarily dated to the early
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The excavations also revealed the presence of a statue of
930:, one of the iconic pieces in the Bardo National Museum.
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A small room was added later, and in the final phase, a
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region, approximately five kilometers from the town of
2112:
La Tunisie antique : de Hannibal à saint Augustin
2093:
Dictionnaire de la civilisation phénicienne et punique
1987:
Dictionnaire de la civilisation phénicienne et punique
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La Tunisie antique : de Hannibal à saint Augustin
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The numbering of the rooms follows the publication by
2425:. Études d'antiquités africaines (in French). Paris:
2318:(in French). Vol. 2: Genèse d'un empire. Paris:
2045:
Collectif (1995a). "Carthage, capitale de l'Africa".
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observed by Dridi and Sebaï, suggests a late build.
891:discoveries that present interpretive challenges.
697:; they are also identified with the goddess Tanit.
203:The excavations yielded a remarkable collection of
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112:
75:
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2384:"Nouveaux aménagements au musée du Bardo, à Tunis"
618:of exhibited statues must have been considerable.
765:. Excavations also yielded several versions of a
2458:: CS1 maint: bot: original URL status unknown (
2150:Carthage : l'histoire, sa trace et son écho
2072:/Archéologie (in French). Vol. 172. Paris:
773:. These statues are currently on display at the
2437:Le sanctuaire de Baal et de Tanit près de Siagu
1676:Le sanctuaire de Baal et de Tanit près de Siagu
717:, the goddess has a mission of "protecting the
642:. This stela from Sousse was discovered during
151:and sixty kilometers southeast of the capital,
2427:French National Centre for Scientific Research
49:
1122:Kanaanäische und aramäische Inschriften (KAI)
181:. However, the later honored deities include
8:
759:, tunic, and headdress may be identified as
19:
2236:Carthage : approche d'une civilisation
1755:Carthage : approche d'une civilisation
411:The items were promptly transported to the
2316:Rome et la conquête du monde méditerranéen
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1134:For the full text of the inscription, see
1120:Donner, Herbert; Röllig, Wolfgang (1973).
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1106:For the full text of the inscription, see
785:Terracotta statues discovered at Thinissut
755:A statue representing a goddess wearing a
721:of the temple and the cultic expression."
685:statues, identified as representations of
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744:shield was also uncovered. The standing
742:Athena Nike with a helmet and the Medusa
2331:(in French). Paris: Adrien-Maisonneuve.
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1195:
2487:Buildings and structures in Tunisia
1732:Inscription trouvée à Bir-Bou-Rekba
2408:from the original on June 17, 2024
350:Worshippers offered the sanctuary
14:
2482:Archaeological museums in Tunisia
887:The site has yielded significant
282:Satellite image of Hammamet Gulf.
189:, and other Hellenistic deities.
2320:Presses Universitaires de France
2253:Fantar, M'hamed Hassine (2007).
2234:Fantar, M'hamed Hassine (1998).
2180:Presses Universitaires de France
2178:(in French). 978-2-13-053962-9:
846:
831:
817:
803:
789:
612:Female statue with a polo crown.
48:
41:
2255:Carthage : la cité punique
2131:Histoire générale de la Tunisie
1841:Architecture punique en Tunisie
928:Ba'al Hammon seated on a throne
867:Thinissut sanctuary inscription
1146:Carthage, capitale de l'Africa
898:, currently on display at the
854:Sphinx with prominent breasts.
550:Confusion due to prolonged use
16:Archaeological site in Tunisia
1:
2327:Tlatli, Salah-Eddine (1978).
2095:(in French). Paris: Brépols.
767:Sphinx with prominent breasts
2213:Carthage et le monde punique
2168:Literature on Punic Carthage
2114:(in French). Paris: Mengès.
2064:Beschaouch, Azedine (2001).
1864:Carthage et le monde punique
707:Carthage archaeological site
438:Description of the sanctuary
2257:(in French). Tunis: Cérès.
384:Rediscovery and excavations
207:statues, now housed in the
2513:
2238:(in French). Tunis: Alif.
864:
335:of the Roman arrangement.
2492:Museums of ancient Greece
2091:Lipinski, Edward (1992).
2051:(in French) (69): 28–47.
121:1st century - 2nd century
36:
24:
2202:: CS1 maint: location (
956:Carthage National Museum
839:Demeter nursing Demophon
825:Leontocephalous goddess.
797:Leontocephalous goddess.
677:, 150 × 46 × 36.50 cm.
2497:Museums of ancient Rome
2434:Merlin, Alfred (1910).
2382:Merlin, Alfred (1909).
2363:10.3406/crai.1911.72771
2343:Merlin, Alfred (1911).
2174:Amadasi, Maria (2007).
950:Head discovered by Dr.
675:Leontocephalous goddess
238:The site overlooks the
2291:Lancel, Serge (1992).
2275:Dossiers d'archéologie
2066:La légende de Carthage
1912:La légende de Carthage
1666:Slim & Fauqué 2001
1649:Slim & Fauqué 2001
1632:Slim & Fauqué 2001
1611:Slim & Fauqué 2001
1599:Slim & Fauqué 2001
1587:Slim & Fauqué 2001
1568:Slim & Fauqué 2001
1549:Slim & Fauqué 2001
1523:Dridi & Sebaï 2008
1511:Dridi & Sebaï 2008
1499:Dridi & Sebaï 2008
1484:Dridi & Sebaï 2008
1472:Dridi & Sebaï 2008
1460:Dridi & Sebaï 2008
1445:Dridi & Sebaï 2008
1428:Dridi & Sebaï 2008
1403:Dridi & Sebaï 2008
1391:Dridi & Sebaï 2008
1372:Dridi & Sebaï 2008
1349:Dridi & Sebaï 2008
1320:Dridi & Sebaï 2008
1289:Dridi & Sebaï 2008
1260:Dridi & Sebaï 2008
1241:Dridi & Sebaï 2008
1229:Dridi & Sebaï 2008
1204:Dridi & Sebaï 2008
1136:Dridi & Sebaï 2008
1108:Dridi & Sebaï 2008
959:
931:
884:
715:M'hamed Hassine Fantar
678:
614:
559:
452:
347:
325:
298:, it is considered by
283:
129:Sanctuary of Thinissut
20:Sanctuary of Thinissut
2070:Découvertes Gallimard
2048:Connaissance des Arts
998:western Mediterranean
949:
925:
874:
775:Bardo National Museum
691:Genius Terrae Africae
673:
610:
557:
450:
341:
323:
281:
209:Bardo National Museum
97:36.43694°N 10.59694°E
2295:(in French). Paris:
2215:(in French). Paris:
2211:Dridi, Hédi (2006).
1017:interpretatio romana
594:Artistic discoveries
57:Shown within Tunisia
2429:. pp. 101–117.
2389:Journal des sçavans
2322:. pp. 545–593.
841:, 118 × 55 × 51 cm.
811:Fragmentary statue.
257:Phoenician language
133:archaeological site
93: /
21:
2477:Nabeul Governorate
2217:Les Belles Lettres
2148:Collectif (1995).
2074:Éditions Gallimard
2039:General literature
1833:, pp. 263–264
1668:, pp. 218–219
1601:, pp. 164–165
1525:, pp. 115–116
1513:, pp. 113–114
1486:, pp. 111–112
1474:, pp. 106–107
1405:, pp. 101–102
1243:, pp. 103–104
1138:, pp. 110–111
960:
932:
885:
679:
632:Azedine Beschaouch
615:
603:Terracotta statues
560:
453:
348:
326:
284:
102:36.43694; 10.59694
2264:978-9973-22-019-6
2189:978-2-13-053962-9
861:Other discoveries
259:and Thinissut in
125:
124:
2504:
2463:
2457:
2449:
2447:
2445:
2430:
2417:
2415:
2413:
2378:
2376:
2374:
2337:Related articles
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1040:Ancient Carthage
1024:Alexandre Lézine
850:
835:
821:
807:
793:
740:In addition, an
731:Demeter nursing
719:sacred enclosure
481:Alexandre Lézine
475:and yielded two
240:Gulf of Hammamet
108:
107:
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2370:
2357:(10): 836–839.
2342:
2339:
2326:
2313:
2307:
2290:
2271:
2265:
2252:
2246:
2233:
2227:
2210:
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2023:
1994:
1983:
1975:
1971:
1963:
1954:
1943:
1937:Beschaouch 2001
1935:
1931:
1925:Beschaouch 2001
1923:
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1287:
1266:
1258:
1247:
1239:
1235:
1227:
1210:
1202:
1193:
1182:
1176:Collectif 1995a
1174:
1165:
1159:Collectif 1995a
1157:
1153:
1142:
1133:
1129:
1119:
1118:
1114:
1105:
1101:
1092:
1088:
1080:
1076:
1064:
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1053:
1036:
1028:Third Punic War
920:
908:Carthage tophet
869:
863:
856:
851:
842:
836:
827:
822:
813:
808:
799:
794:
605:
596:
552:
445:
440:
386:
324:Sanctuary plan.
304:Edward Lipinski
253:
251:Ancient history
248:
229:
160:Imperial period
101:
99:
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87:
84:
82:
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61:
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17:
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11:
5:
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2499:
2494:
2489:
2484:
2479:
2469:
2468:
2465:
2464:
2431:
2418:
2396:(5): 230–231.
2379:
2338:
2335:
2334:
2333:
2324:
2311:
2305:
2288:
2269:
2263:
2250:
2244:
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2188:
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2165:
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1969:
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1941:
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1208:
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1086:
1074:
1054:
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1049:
1048:
1047:
1042:
1035:
1032:
1002:4th century BC
919:
918:Interpretation
916:
875:Dedication to
862:
859:
858:
857:
852:
845:
843:
837:
830:
828:
823:
816:
814:
809:
802:
800:
795:
788:
786:
748:statue with a
604:
601:
595:
592:
551:
548:
511:3rd century BC
444:
441:
439:
436:
385:
382:
252:
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194:Late Antiquity
123:
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109:
77:
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67:
63:
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56:
47:
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40:
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34:
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15:
13:
10:
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6:
4:
3:
2:
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2474:
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2461:
2455:
2439:
2438:
2432:
2428:
2424:
2419:
2407:
2403:
2399:
2395:
2392:(in French).
2391:
2390:
2385:
2380:
2368:
2364:
2360:
2356:
2353:(in French).
2352:
2351:
2346:
2341:
2340:
2336:
2330:
2325:
2321:
2317:
2312:
2308:
2306:2-213-02838-9
2302:
2298:
2294:
2289:
2285:
2281:
2277:
2276:
2270:
2266:
2260:
2256:
2251:
2247:
2245:9973-22-019-6
2241:
2237:
2232:
2228:
2226:2-251-41033-3
2222:
2218:
2214:
2209:
2205:
2199:
2191:
2185:
2181:
2177:
2172:
2171:
2167:
2161:
2159:9973-22-026-9
2155:
2151:
2146:
2142:
2140:2-7068-1695-3
2136:
2132:
2127:
2123:
2121:2-85620-421-X
2117:
2113:
2108:
2104:
2102:2-503-50033-1
2098:
2094:
2089:
2085:
2083:2-07-053212-7
2079:
2075:
2071:
2067:
2062:
2058:
2054:
2050:
2049:
2043:
2042:
2038:
2033:
2027:, p. 451
2026:
2025:Lipinski 1992
2021:
2019:
2017:
2015:
2013:
2011:
2009:
2007:
2005:
2003:
2001:
1999:
1997:
1993:
1988:
1985:
1984:
1979:, p. 218
1978:
1973:
1970:
1967:, p. 219
1966:
1961:
1959:
1957:
1953:
1948:
1945:
1944:
1938:
1933:
1930:
1926:
1921:
1918:
1913:
1910:
1909:
1904:, p. 112
1903:
1898:
1896:
1894:
1892:
1890:
1888:
1886:
1882:
1879:, p. 186
1878:
1873:
1870:
1865:
1862:
1861:
1856:, p. 253
1855:
1850:
1847:
1842:
1839:
1838:
1832:
1827:
1824:
1821:, p. 264
1820:
1815:
1812:
1809:, p. 254
1808:
1803:
1800:
1797:, p. 259
1796:
1791:
1789:
1785:
1782:, p. 283
1781:
1776:
1773:
1769:
1764:
1761:
1756:
1753:
1752:
1747:, p. 837
1746:
1741:
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1733:
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1703:
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1662:
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1654:
1650:
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1643:
1641:
1637:
1634:, p. 166
1633:
1628:
1626:
1624:
1622:
1620:
1616:
1612:
1607:
1604:
1600:
1595:
1592:
1589:, p. 165
1588:
1583:
1581:
1579:
1577:
1573:
1570:, p. 164
1569:
1564:
1562:
1560:
1558:
1554:
1551:, p. 168
1550:
1545:
1543:
1539:
1534:
1531:
1530:
1524:
1519:
1516:
1512:
1507:
1504:
1501:, p. 102
1500:
1495:
1493:
1489:
1485:
1480:
1477:
1473:
1468:
1465:
1462:, p. 106
1461:
1456:
1454:
1450:
1447:, p. 108
1446:
1441:
1439:
1437:
1433:
1430:, p. 107
1429:
1424:
1422:
1420:
1418:
1416:
1414:
1412:
1408:
1404:
1399:
1396:
1393:, p. 111
1392:
1387:
1385:
1383:
1381:
1377:
1374:, p. 113
1373:
1368:
1366:
1364:
1362:
1360:
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1354:
1351:, p. 110
1350:
1345:
1343:
1341:
1339:
1337:
1335:
1333:
1331:
1329:
1325:
1322:, p. 114
1321:
1316:
1314:
1312:
1310:
1308:
1306:
1304:
1302:
1300:
1298:
1294:
1291:, p. 115
1290:
1285:
1283:
1281:
1279:
1277:
1275:
1273:
1271:
1269:
1265:
1262:, p. 116
1261:
1256:
1254:
1252:
1250:
1246:
1242:
1237:
1234:
1231:, p. 103
1230:
1225:
1223:
1221:
1219:
1217:
1215:
1213:
1209:
1206:, p. 104
1205:
1200:
1198:
1196:
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1187:
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1177:
1172:
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1168:
1164:
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1155:
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1147:
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1137:
1131:
1128:
1123:
1116:
1113:
1110:, p. 111
1109:
1103:
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1096:
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1087:
1084:, p. 230
1083:
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900:Nabeul Museum
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779:Nabeul Museum
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683:leontocéphale
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544:stricto sensu
540:
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532:paleographers
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428:
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425:Nabeul Museum
422:
419:noted in his
418:
417:Alfred Merlin
414:
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213:Nabeul Museum
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185:, Caelestis,
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2034:Bibliography
1986:
1972:
1946:
1939:, p. 81
1932:
1927:, p. 80
1920:
1911:
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1863:
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1840:
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1770:, p. 13
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1651:, p. 60
1613:, p. 74
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1398:
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1185:
1178:, p. 30
1161:, p. 33
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1145:
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1115:
1102:
1089:
1077:
1065:Inscription
1021:
1016:
1013:
1009:Roman Africa
1006:
991:
975:Romanization
972:
961:
952:Louis Carton
941:
937:
933:
927:
912:
904:
893:
886:
877:Ba'al Hammon
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652:goldsmithing
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342:Justinian's
330:
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300:Serge Lancel
296:Roman Empire
288:Ba'al Hammon
285:
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172:Ba'al Hammon
157:
141:Bir Bouregba
128:
126:
1977:Lancel 1992
1965:Lancel 1992
1854:Fantar 1998
1831:Fantar 1995
1819:Fantar 1995
1807:Fantar 1995
1795:Fantar 1995
1780:Fantar 1995
1768:Fantar 1995
1745:Merlin 1911
1724:, p. 7
1722:Merlin 1910
1712:, p. 5
1710:Merlin 1910
1700:, p. 6
1698:Merlin 1910
1095:Merlin 1910
1082:Merlin 1909
1070:1908, 00161
588:3rd century
489:sacrificial
217:coroplathes
135:located in
100: /
76:Coordinates
2471:Categories
1902:Dridi 2006
1877:Dridi 2006
1051:References
994:syncretism
964:coroplasts
926:Detail of
889:epigraphic
865:See also:
711:apotropaic
703:sarcophagi
503:Hédi Dridi
205:terracotta
88:10°35′49″E
85:36°26′13″N
2454:cite book
2402:0021-8103
2284:1141-7137
2198:cite book
2057:0293-9274
1045:Kerkouane
1000:from the
771:fertility
699:Hédi Slim
378:oil lamps
374:Justinian
273:peregrine
198:porticoes
168:syncretic
2444:June 17,
2406:Archived
2367:Archived
2293:Carthage
2176:Carthage
1947:Carthage
1034:See also
777:and the
733:Demophon
648:glyptics
623:sphinxes
477:sphinxes
473:concrete
465:pedestal
401:shophets
394:ceramics
269:Carthage
265:shophets
227:Location
211:and the
174:and his
149:Hammamet
66:Location
762:Demeter
727:Astarte
695:Sekhmet
537:favissa
507:nursing
359:cistern
344:solidus
246:History
176:consort
145:Cap Bon
143:in the
137:Tunisia
118:Periods
113:History
70:Tunisia
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987:Greece
985:, and
983:Orient
981:, the
896:marble
757:peplos
750:Medusa
746:Athena
687:Africa
640:Sousse
636:tophet
571:bronze
515:Athena
461:mosaic
405:Libyan
363:Saturn
352:steles
332:cellae
315:shrine
183:Saturn
131:is an
979:Egypt
881:Tanit
664:polos
659:Ceres
627:tiara
498:polos
493:steps
367:tribe
292:Tanit
261:Latin
187:Ceres
179:Tanit
164:Punic
153:Tunis
2460:link
2446:2024
2414:2020
2398:ISSN
2375:2020
2350:CRAI
2301:ISBN
2280:ISSN
2259:ISBN
2240:ISBN
2221:ISBN
2204:link
2184:ISBN
2154:ISBN
2135:ISBN
2116:ISBN
2097:ISBN
2078:ISBN
2053:ISSN
968:clay
879:and
681:The
650:and
576:1998
469:lion
432:1960
421:1910
403:and
390:1908
302:and
290:and
233:Oued
127:The
2359:doi
638:of
388:In
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