2. Cilt - Kültür ve Turizm Bakanlığı

in the Aphrodisias series appeared: L. Brody, Aphrodisias III: The cult statue ofAphrodite of Aphrodisias (Mainz 2007).Marble sampling. Samples were taken from eleven sculptures at the site,made from typical Aphrodisian medium-coarse grained marble, from a muchfiner-grained white marble, from coarse grey marble, and from the fine-grainedcombined white and grey marble. The purpose is to test the provenance of thevery fine-grained white and grey marbles used for the very best Aphrodisiansculptures at the site and to trace the possible use of the same marble sourcefor some important high-quality Aphrodisian-connected sculptures found inRome and central Italy. This work is being conducted in collaboration with Prof.Donato Attanasio from Rome (CNR), who will make the chemical analyses.4. Epigraphic Research (Figs. 10-11)New inscriptions from the site and the territory were recorded by AngelosChaniotis and Andrej Petrovic. In addition to texts inscribed on sarcophagimentioned above (section 3), the most important new epigraphic finds included:(1) a late Hellenistic funerary altar with an elevated grave epigram for a youthcalled Epikrates, found in the east city wall (07-32 = I-07-22) (Fig. 10); (2) astele of the third century A.D., brought in by the Aphrodisias Museum fromAtaeymir, inscribed with a brief epigram for a skilled builder (oikodomos sophos),one Hermolaos and his wife Meltine, recording his making of their tomb whichthe stele marked (I-07-19). The cleaning of the east city wall revealed a significantnumber of previously published inscriptions which were also recorded, as wellas some interesting new phallos grafitti inscribed on a block in the outer face ofthe wall (Fig. 11).5. Sculpture Conservation: Sebasteion ReliefsIn preparation for the installation of the Sebasteion reliefs in the new museumbuilding, which was under construction and due to be completed by the end of2007, sculpture conservation was again focused primarily on the reliefs fromthe Sebasteion. The work was carried out under the supervision of NicholasBarnfield, Kate Bertenshaw, Adrian Powell, and Trevor Proudfoot of ClivedenConservation, UK. A further series of c. 20 reliefs was conserved in 2007. The oldrestorations were removed, the reliefs dismantled, and the pieces re-assembled331