Kisné Cseh Julianna (szerk.): Annales Tataienses III. Régészeti adatok Tata történetéhez 1. (A Tatán 1999-ben megtartott tudományos ülésszakon elhangzott előadások anyaga). Mecénás Közalapítvány, Tata, 2003.
Bíró Endre: Brigetio katonavárosi falfestmény régészeti renkonstrukciója
Archaeological reconstruction of a wall painting from Brigetio, Military Town Endre Bíró The archaeological reconstruction of the 2 nd century wall painting uncovered in the canabae (Military Town) of Brigetio is worthy of attention since it a so far unique achievement where an interior, including the ceiling, could so completely be reconstructed from thousands of fragments that it became suitable for a museum exhibition. The building perished during the Marcomann wars that started in 167. The rescue excavations were limited because of the surrounding buildings and the nearby road. About 7000-8000 wall painting fragments, some with figurai depictions, were uncovered from the 2 nd century, but we could not unearth the building where it had come from. At first sight, the mixed fragments could be divided into 6 groups: 1. Mythological scenes in a yellow and red field 2. Figurai scenes against a black background 3. Floral motives against a black background 4. Large figurai scenes 5. A network pattern suggesting an arched ceiling 6. Stylistic ornaments indicating a ceiling The entire material was first spread on a table in the Hungarian National Museum in 1961, which gave me the idea that the majority of the fragments could belong to a single room. This was implied by the uniform composition of the plaster and the fact that Amphitrite's sea procession came from a frieze. Since a large wall surface had to be filled in under the frieze, it seemed highly probable that the mythological scenes in the red and yellow fields occupied the space under the frieze. The quantity of the fragments showed that more than a single scene could be reconstructed. After the separation of the material (fragments from the walls and the ceiling), I first tried to determine the coherent elements of the wall. I separated the fragments of the red and yellow fields, the figurai fragments of the mythological scenes linked with them were gathered into a separate group, and yet another group contained the elements of the footing with a marble pattern. This is how the figurai depictions on a back background could be distinguished. It turned out during the selection of the stucco fragments that some of the painted fragments were also arched. As a part of the ceiling was certainly a barrel vault, we were faced with the lucky situation that the room could be reconstructed together with the ceiling, which is a very rare opportunity in the case of provincial Roman wall paintings. 144
