The mausoleum of Gasr Doga in the Tarhuna area was a grand funerary monument erected, by a member of the local Libico-Punic élite, in a strategic position on the limits of the provincial territory. Its architectural articulation recalls the dynastic Numidian monuments, while its decoration shows elements of the local tradition combined with motifs imported from Italy. In Late Antiquity and the Islamic period the mausoleum was surrounded by a fortified village, almost entirely built of spolia coming from the mausoleum itself. In an attempted reconstruction, the elevation of the third storey is discussed alongside other problems concerning the original layout of the structure.

Situated on the westernmost corner of the Southern Necropolis, Tomb S181 is an important rock-cut monument, unlike any other thus far known in Cyrene. The presence of a Doric false peristyle running all around the chamber is unique in the context of the Cyrenean funerary culture, as it seems to elaborate and modify the model of the Internal Doric Frieze (seen in famous tombs of the near-by Western Necropolis) in a new, previously unpublished solution. Tomb S181 casts further light on the complicated relationship with the Alexandrian funerary world. This paper describes the tomb and considers it from multiple and different points of view: traditional art-historical comparisons are sought in order to cast light on the chronology but, on the other hand, the display strategies are also analyzed to reconstruct the importance of this monument for the Cyrenean monumental funerary tradition. Tomb S181 is certainly a hybrid entity, the product of a local culture accepting but also deeply modifying Alexandrian influences in terms of architecture and, possibly, also of funerary ritual behaviours. Tomb S181 clearly attests the vitality of rock-cut funerary architecture in Cyrene during the Hellenistic period.

This is a summary account, based on a detailed report first published in Libya Antiqua, of the so-called ‘Market Theatre’ complex. This complex comprises a number of closely linked structures situated near the heart of ancient Cyrene and was excavated by the late R. G. Goodchild in the 1950s. After his death, it was resurveyed for publication in 1971. The various component structures (the ‘Market’, the Stepped Street, the ‘Forehall’, the Valley Street frontage, the Propylon, the Building with the Windswept Capitals and the Theatre) are described in the context of three broad periods of construction observed in this area.

Goodchild's original interpretation of the main porticoed building as a market, rather than as a temple precinct is defended, as is his belief that the late Roman theatre exhibited only one period of construction. The single closely datable structure is the Severan propylon, but, from observed structural relationships and architectural similarities, some suggestions are made as to the chronology of development in this quarter of Cyrene.

Drawings made in 1958 of the Beida Sanctuary peristyle afford a basis for comment on characteristic architectural developments in Cyrenaica, seen as part of the Oriental Hellenistic world.

Since this complex is dated epigraphically to Hadrianic times it offers information on the chronological compass of forms and motifs which are well established at a much earlier period (3rd century BC). Notable features are the mixing of elements from different orders and the use of the cordiform angle pier often in association with the Rhodian-type peristyle.

The emergence of these devices can be seen in the Apollo Temple at Bassae, and they are subsequently formalised in the so-called Argolid School. This style was spread about the Hellenised Orient in the wake of Alexander's conquests. It can be seen particularly in Ptolemaic Alexandria, but owing to the destruction of almost all the free-standing building at Alexandria the bulk of the evidence comes from the Ptolemaic provinces, notably Cyrenaica, Cyprus and Southern Palestine/Arabia.

The details of the Balagrae peristyle also show the retention of some old established Cyrenaican regional manners (Doric Capital with moulded abacus, simplified Ionic Capital, etc) and the complete absence of any specifically Roman innovations either of design or construction.

This article investigates the development of urbanism and architecture at the site of Sala (Chellah), from the end of the first century BC to the latter half of the second century AD. By looking at the transformations in the town's civic centre from the Mauretanian to Roman imperial period, the aim is to assess how the layout and function of public spaces and buildings were reshaped to respond to new ideas of monumentality. A range of research methodologies are applied to address this question, including architectural, archival, and archaeological analyses, as well as the use of 3D digital modelling. The case study of Sala is of particular importance, as it shows how certain pre-Roman monuments were kept in use within new public contexts, and how imperial-style, urban and architectural features were introduced in the town as part of trends that can be recognized across North Africa and the Roman Empire more broadly.

This summary presents the main results of three seasons of survey and limited excavation work carried out by the Society at Ptolemais in Eastern Libya. The survey concentrated on two major town houses which had been partially excavated by Richard Goodchild (House G and House T), whilst excavation was carried out on the adjacent site known as the North-east Quadrant. All of the sites revealed complex structural histories and it is evident that in this quarter of Ptolemais, at least, life within the town continued well into the Islamic period.

Early Islamic religious architecture in North Africa displays a marked change from earlier Classical and Christian buildings in their general neglect of exteriors in favour of interior (i.e., courtyard) façades. This feature may be due partly to the nature of Islamic worship, as it was common to virtually all early mosques, yet builders in the central and eastern lands of Islam soon began to adopt such exteriorizing features as domes, towers, and colourful decoration. Maghribi builders, however, maintained their preference for modest exteriors for many centuries, mostly focusing decoration on interior façades and spaces, and differentiating it from much Islamic architecture elsewhere.