Alba Regia. Annales Musei Stephani Regis. – Alba Regia. A Szent István Király Múzeum Évkönyve. 32. 2002 – Szent István Király Múzeum közleményei: C sorozat (2003)

Tanulmányok – Abhandlungen - Harsányi Eszter–Kurovszky Zsófia: Theoretical reconstruction of a room from the 3rd century A.D., excavated in Tác/Gorsium, based on information gathered during the excavation and the restoring process of the wall-painting fragments (Preliinary report). p. 35–42.

candelabra panel, is too small for a recess. Thus location on the south wall can most probably be excluded. In conclusion the only possible location of this candelabra panel is the north end of the western wall. This way the painting of the longitudinal walls are closed symmetrically at north as well. In this case the white line at the bottom of the panel belongs to the yellow stripe separating the panel from the dado. On the assembled surface the backward bending of the left side can already be seen a few centimetres above the white line, so the recess of the wall starts approximately at 35 cm above floor level.

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' According to the results of the excavation up until now this is the external wall of the building; therefore this recess in the wall could also be a window. Candelabra panel with fruit (Plate VII., Fig. 18.) To this candelabra panel belong three different, not yet connected, assembled surfaces, which are together form a relatively large surface. The central axis painted in green that forms the stem, out of which different tones of green leaves and leafy branches grow in two directions. At their root, in groups of three, ball-shaped, plastically painted fruits grow. The method of the candelabra depiction, similarly to the candelabra with the sedge, differs entirely from the strongly stylised depictions typical for the eastern wall. At its right side the plaster bends curved backward, suggesting that in the wall beside it there was some kind of a recess as well. If the painting of the room follows the composition scheme learnt until know, then also a candelabra panel follows the south red field of the western wall. At present, the most probable is that the surfaces with the fruit are parts of the southern candelabra panel of the western wall. If the assumption is correct, and the candelabra panel with sedge was also on this wall, then there was not one, but two recesses, maybe windows, on the wall. Based on the observed composition scheme there were probably three candelabra panels on the western wall as well. It is possible that these surfaces belonged to the central candelabra panel. In this case then, if the wall closed with the candelabra panel decorated with sedge from the north, then the width of the wall recess between them would be 4 Roman feet. Considering the sight of the room, a niche of this size starting above the dado is more feasible than a window recess of the same size. The more so as the external opening of the latter was probably of insignificant size compared to the internal opening.

12 Due to the backward bending of the plaster the surfaces with the fruit could be placed only on the eastern part of It is possible that the backward bending starts immediately above the white line, but because of the incompleteness of the surface this cannot be stated. 12 It is also impossible that there were two windows, or two niches, or a window and a niche, since in this case the space of 4 Roman feet would not be enough. the southern wall, which is not likely, because in this case the scheme of the fields would break up. The same opposes its location on the northern wall. "Mauve" candelabra panel (Plate VII., Fig. 19.) At the right side of the candelabra panel composed primarily of mauve colour, decorated with stylised floral motifs, a wide red field follows. Fragments belonging to its left side have not been assembled yet, therefore it cannot be excluded that on this side there was a wallrecess.

13 Based on its motifs and colour, it is possible that this surface is part of the candelabra panel crowned with the bird on the eastern wall. On the other hand, it is also possible that it was in the middle of the western wall. DECORATION OF THE CEILING Similarly to the three walls described in detail, the composition scheme of the ceiling take shape as well. (Plate VI., Fig. 15.) It is based on a floral ornamental motif using a geometrical scheme and covering the whole surface (like wallpaper patterns), which is separated from the sidewalls ending in the cornice motif by an approximately 5-6 cm wide red stripe.

14 (Plate VIII., Fig. 20.) This stripe also appears at the side of the ceiling towards the lunettes, thus the ceiling composition is framed by a red stripe. (Plate VIII., Fig. 21.) In the corners half-length portraits of the personifications of the four Seasons can be seen, each in a medallion green inside and red outside. In the approximately 5 cm wide red stripe of the medallions there are black radiating lines. The inner side of the red stripe, which is the outer side of the 4 cm wide green stripe at the same time, is given by a circle with a 1 Roman foot radius. From the outer side it is encircled by a faint black line, with 12 small floral motifs. The centre of the flowers, painted in red and emphasized by a black dot, connects with the red stripe. The most fully assembled surface of the Season personifications is the surface of the Summer, depicted with a garland made of wheat ear and green leaves. (Plate VIII., Fig. 22.) Based on the place the fragments of the half-portrait dressed in green were found, it was originally located in the north-eastern corner of the room. 13 From the available fragments only a relatively small part could be assembled yet, but based on the amount of the selected fragments definitely belonging to this motif the surface can later be enlarged. 14 In case of sun dried clay brick buildings with a timber structure the beams are often emphasized with wide red stripes both in the external and the internal paintings of the walls. 45