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The paper looks at the anepigraphic material such as jewellery and cosmetic objects recovered from the province of Upper Moesia. The quality of the material used in their manufacture, their findspots and iconography, serve as a basis in an attempt to shed light on the origin and social status of Bacchic worshippers in that part of the Roman Empire.

The triad Zeus, Herakles and Dionysos has been attested in Upper Moesia by the relief from the village of Bukovo near Negotin, eastern Serbia. The Roman supreme god was frequently shown in association with other deities but the presence of Bacchus and Hercules in such associations is Greek rather than Roman in origin. The association of Liber and Hercules was promoted by the emperor Septimius Severus, a native of the city of Leptis Magna whose patron gods were concurrently Liber and Hercules. Septimius even granted the dii patrii a sort of official recognition as patrons of the dynasty he founded. The village of Bukovo where the relief was found had not been known as an archaeological site. There is no specific evidence for the worship of Jupiter in that area, while the worship of Herakles is attested on the sites of Rovine and Tamnic near Negotin. The relief is close to north-Macedonian reliefs in style, and reflects Hellenistic and Thracian influence in associating the cults of Dionysos and Herakles. The depicted deities are compatible and close to Septimius Severus’ official religion. The central position of the supreme god indicates his importance as well as the fact that the other two deities are associated to him, as his children patrons of nature and fertility in the underground and aboveground worlds. It is also important to note that the relief confirms Hellenistic religious influences in the area of the Upper Moesian limes.

The fragment of a marble relief from Roman Pincum (modern-day Veliko Gradiste, Serbia) showing Achilles and Hector inspires to explore the symbolic meaning of this mythological composition and to examine other relief's depicting heroic themes of the Trojan Cycle in the funerary art not only of Upper Moesia but also of other provinces of the Empire, notably Noricum and Pannonia. Based on the available data, a reconstruction of the original appearance of the funerary monument with the relief of Achilles and Hector from Pincum is attempted, and the inscription discovered along with it analyzed. Also, the importance of Pincum itself is shown, an archaeological site in the Upper Moesian Limes area which remains insufficiently investigated.

This paper will represent a votive relief built in the south wall of the refectory of St. Nikola's church in Barovo, to the south of Skopje. Iconographic analysis will show that it is the representation of Liber and Libera, or Dionysus and Ariadne. In addition, the significance of this relief will be considered in comparison with other monuments of this cult in the territory of the province of Upper Moesia.

The integral programme communicated by the so-called Jason Sarcophagus from Viminacium includes the depictions of Jason’s and Perseus’ heroic deeds on its front, and of a satyr and maenad in ecstasy on the sides. The significance of this funerary programme is examined on two levels: that of the symbolism of individual scenes, and that of their interrelationship and the whole they constitute as different expressions of triumph over death. The sarcophagus is viewed with respect to a related repertory of themes in the arts as well as to the time and place of its creation.