actes du xe colloque international sur l’art provincial romain, p. 741 à p. 751

Gordana Milošević

Funerary sculpture from the Brestovik tomb

Résumé : Le tombeau de Brestovik se trouvait à 25 km à l’ est de | Singidunum et avait été

construit sur l’ exploitation d’ un citoyen (villa rustica). De plan complexe, il comprend trois salles

de forme et de fonction différentes. Son intérieur était orné d’ une riche décoration de fresques

complétée de sculptures. Parmi celles-ci, ressort tout particulièrement la sculpture d’ homme adulte et

qui est vraisemblablement le propriétaire du tombeau. Elle a été réalisée sur le modèle des portraits

impériaux de la fin du IIIe et du début du IVe siècle.

The tomb of elaborate ground plan and of monumental size has been discovered by accident in the vicinity of the village cemetery at Brestovik in 1895 (fig. 1). It was archaeologically investigated in September 1896 and published in detail in Starinar 1. The revisionary investigations have been conducted in the middle of the 20th century 2 and works on conservation of architecture and fresco paintings have been undertaken in the beginning of 1970s 3.

The tomb is of elongated plan, oriented west-east and consists of three rooms (1-3) of various shape and function (fig. 2). In the western section of the building is located a rectangular room (1), with three masonry burial places arranged along the south, west and north wall of the room. The room has a barrel vault made of bricks. The tombs are shaped as the sarcophagi of various dimensions built of brick and with horizontal cover. Rather small semicircular niche is in the west wall of the room above the grave. The entrance to the room was made of roughly dressed sandstone. Two arched narrow windows made completely of stone were one to the north and the other to the south of the entrance. The floor of room 1 is of lime mortar and powdered bricks (opus signinum) 4.

The central room (2) is of rectangular shape with conchs in the north and south wall (fig. 3). The total span between the conchs is 6.30 m. Along the east wall of the central room (2), on either side of the entrance were discovered two banks and two stone steps of various size. The frontal sides of the steps and the threshold were plastered and fresco painted. The floor of the room was made of hexagonal bricks.

The entrance area, vestibule (3), is in the east section of the structure. The floor of the vestibule is about 1 meter higher than the floor of the central room (2). Four molded stone bases for the pillars were discovered at the

1. Valtrović 1895, p. 131-132 ; Valtrović 1906, p. 128-138 ; Vasić 1906, p. 138-140.2. Stričević 1957, p. 411-413 ; Stričević 1964, p. 399-415.3. Vujačić-Vulović 1967, p. 85-92.4. Valtrović 1906, p. 128-138 ; Stričević 1957, p. 411-413 ; Milošević 1993, p. 181-183,

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location of the eastern entrance. The pillars, 0.40 m in diameter, were made of bricks, plastered and painted (?). Some bricks had the stamps of the workshops of the legion IV Flavia (IIIIFF) and legion VII Claudia (IICL). The approaching corridor – dromos, extending 4.00 meters eastward of the vestibule was cut into the hill slope and had 0.48 thick walls made of pebbles and brick 5.

The structure was lavishly decorated with wall paintings and sculptural ornaments. In room 1 painted decoration begins above the graves and covers the entire vault area. Geometric composition imitating the wall facing of variegated stone slabs was painted on the flat sections of the wall above the graves. The vault is painted in such a way to resemble the coffered ceiling The fringes of a dress of yellow and reddish color could be recognized on the west wall of the room 1 to the north of the niche. The traces of white or light yellow color and portion of a string of white pearls (?) are preserved in the niche itself framed with red paint. The lower zones of the conchs and the west wall of central room 2 are also decorated with geometric motifs, which resemble the wall facing of variegated stone. The vaults of the conchs were not painted. It is assumed that walls and pillars in the vestibule were also painted in a way to imitate the facing of white or motley marble 6.

Fragments of sculptures including a statue of an adult person with broken off head, two genii of death, two sculptures of reclining lions, rather small torso of a soldier and part of the back of human head were discovered in

5. Valtrović 1906, p. 128-132, p. 138.6. Valtrović 1906, p. 133-136.

Fig Ο . 1. Central Balkan Provinces and Location of Late Roman Tomb in Brestovik (G. Milošević).

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the central room (2) in the course of the initial investigations in 1896. Except the detailed description of some of the sculptures the photographs or drawings of the discovered sculptures have not been published (fig. 2) 7.

Particularly significant is the description of sculpture depicting strong and robust adult person resting on his right leg. The head is missing. The remaining part of the sculpture of the total height of 1.42 m consists of two unequal parts. The base on which the statue is standing is 0.12 m high so the total preserved height of the sculpture with the base is 1.54 m. According to M. Valtrović the figure was dressed in short chiton and long chlamys falling down his back to the ankles. The chiton is gathered and girded with broad belt consisting of square and narrow rectangular panels. The chlamys ending in a tassel is fastened with a fibula and partially covers the left arm. In the right arm extended along the body is some cylindrical object (scroll ?). The person was shod in closed footwear tightened with narrow shoelace and with buckle under the ankle. The sculpture was made of a single piece of white marble. It was in fact carved from an architrave beam with frieze from some earlier building. On the backside is

7. Valtrović 1906, p. 133-136.

Fig Ο . 2. Tomb in Brestovik, plan, longitudinal and transversal section and view to the entrance of burial chamber (after Valtrović 1985, fig. 1).

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preserved a frieze consisting of the garlands of leaves with small circular tablet. The sculpture has been found in the south section of the central room (2) (fig. 2) 8.

Fragments of other sculptures belonged to the statues depicting the genii of death and lions. Sculptures of the genii are preserved only in fragments. According to their position revealing that they were leaning onto the torch with the right or left upper arm M. Valtrović assumed that they were arranged symmetrically, on the north and south bank in the room (2). The sculptures of lions were carved with intention to be arranged symmetrically. They were lying, by all appearances, in front of the door leading to the room with graves (1) 9. The statue of ‘small soldier’ is roughly described as smaller torso of a person drawing the sword or returning it to the scabbard, without dimensions and more detailed description 10. M. Valtrović concluded at the end that it was a monumental tomb built by the skillful craftsmen. It has been dated in the 3rd century 11.

The revising excavations of the tomb in Brestovik in order to clarify the problems concerning the shape and structure of the central room (2) as well as the chronological relations between certain parts of the building have

8. Valtrović 1906, p. 137.9. Valtrović 1906, p. 137. 10. Valtrović 1906, p. 13611. Valtrović 1906, p. 136 ; Vasić 1906, p. 140.

Fig Ο . 3. Tomb in Brestovik, central room (2) and entrance to the burial chamber (1) photo documentation in the Archaeological institute of Belgrade.

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been undertaken in 1955 12. Despite considerably altered state of the structure, archaeological excavations confirmed to a great extent the assumptions of M. Valtrović. The trenches explored in the apses did not yield any finds and did not provide the data about possible burials in this part of the building. Other finds included one fibula, a coin, fragment (back of the head) of the marble sculpture and one brick with the stamp (LEG) V) II CL G(L) 13. In this short report Dj. Stričević raised certain questions concerning the origin and form of this tomb. General design of this tomb according to him has close parallels with the monuments in Syria dating from the beginning of the 5th century 14.

Since the time of first investigations in the end of the 19th century it has been assumed that finds from the Brestovik tomb are lost. However, a recently published sculpture found in one of the rooms at the Belgrade fortress (gunpowder magazine) in 1990 actualized the problem of the social status of the owner of Brestovik tomb. M. Tomović made very detailed analysis of the discovered sculpture and suggested dating of this monument into the period of Tetrarchy, i.e. in the end of 3rd and first decades of the 4th century (fig. 4a) 15. The sculpture was made in some of the Upper Moesia centers, most probably in Singidunum or possibly in Viminacium. 16 The incomplete volume of the sculpture indicates that it was leaning against the wall or was standing inside the niche. The main elements for dating and identification of the sculpture were based on similarities with the cruciform fibula on the porphyritic bust from Atribis (today in Cairo) 17 and on the similar fibula representation on the medallion with the image of Galerius from Thessalonica 18. Another significant element of clothing, the belt with precious stones (cingulum segmentatum) M. Tomović connected with portraits of Constantine’ s sons (Constantine II, Constantius and Constans) on one silver medallion. As the closest analogy for the sculpture he quoted the porphyritic sculpture from Alexandria 19. At the end of this treatise hi identified the sculpture but with certain doubts as the possible portrait of Maximinus Daia not challenging the initial idea that the sculpture represented some prominent military official 20. The explanation that it was the portrait of Maximinus Daia was also supported by A. Jovanović 21.

After comparing the descriptions in the work of M. Valtrović from the beginning of the 20th century and M. Tomović from the end of the 20th century the conclusion has been drawn that it is the same sculpture, i.e. the funerary sculpture belonging to the group of sculptures from the Brestovik tomb (fig. 4a-b) 22. This conclusion raised new questions concerning the person depicted in the sculpture but also concerning the funerary cult at the transition from the 3rd into the 4th century and in the first decades of the 4th century.

12. Stričević 1957, pp. 411-413.13. These finds have not been available for inspection.14. Stričević 1957, p. 413.15. Tomović 1996, p. 419-426.16. Tomović 1996, p. 419-426, p. 422 and note 25.17. Tomović 1996, p. 420-421. This fibula type is classified as Type I after Keller and it was widely used until AD 324.18. Tomović 1996, p. 421.19. Tomović 1996, p. 421. 20. Tomović 1996, p. 422.21. Jovanović 2006, p. 223-225.22. I wish to thank Veselinka Ninković, keeper in the National Museum in Belgrade, who drew my attention to this work and the resemblance of descriptions. Sculpture is today in the Gallery of the Office for Protection of Cultural Monuments of the City of Belgrade at Kalemegdan.

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Fig Ο . 4. Sculpture from Moesia Superior representing a Tetrarchic Emperor (?) after Tomović 1996, p. 425, fig. 1.

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After analyzing all available documentation and material we came to the conclusion that not all questions concerning the chronology of construction works, appearance of the tomb and the persons buried there have been answered. The former investigators claim that the earliest segment of the building is the burial chamber (1) stating as the main argument the fact that walls of present-day central room (2) are leaning on to the east wall of room 1 but they do not consider the time interval between the construction of this part of tomb and two remaining rooms.

According to M. Valtrović the burial chamber (1) had been built first and then room 2 and dromos were added. The central area of room (2) did not have the roof structure 23. The burial chamber (1) and the vaults of the conchs in room 2 were covered with earth. Dj. Stričević accepted this explanation for the organization and construction of the Brestovik tomb and concluded that the earliest segment of the structure is burial chamber (1) 24. When the construction of the room with conchs (2) is concerned Dj. Stričević suggests the possibility that central area was covered with the wooden structure, but after analyzing the entrance to the burial chamber (1) he nevertheless accepts the opinion of M. Valtrović that it had been an area open to the sky (sine tecto) 25. The conservator M. Vujičić-Vulović after completion of the rescue investigations of this structure suggested that perimeter walls of room 2 could have supported a roof structure and that open space in the center would have been in discord with other covering rooms in the tomb. In favor of this assumption she also mentioned the wall painting in the central room (2) 26.

It is more probable that the tomb had been initially conceived as a tripartite structure including burial chamber (1), room for the funerary cult (2) and approaching partially roofed monumental dromos (3). The frescoes and sculptural decoration of the central area speaks in favor of this opinion. In the photographs of the northwestern corner of the room (2) it is conspicuous that plaster on the west and north wall is of the same date indicating that the tomb was painted at the same time. The paintings in the room 1 and room 2 are stylistically uniform and contemporary. It could be assumed, according to everything said above, that decoration in all rooms of the tomb has been carried out consistently and at the same time. The room 1 was completely dug in the hill slope while other parts were partially or completely visible. It is possible that above the central room and part of the dromos was the wooden ceiling covered with gabled roof of tegulae and imbrices although it is more probably that the cross vault was constructed above the room (2) 27. This also explains the large amount of rubble discovered by Valtrović in the south section of the central room (2) 28.

The tomb was planned for three burials judging by the size of the burial places; for two adults (in the west and north) and perhaps one younger individual in the south. The position of head rest in both graves in the northwestern end could be connected with the remains of figural representation registered by M. Valtrović in the northwestern segment of the west wall 29. The question concerning the chronological sequence of painting and

23. Valtrović 1906, p. 138.24. Stričević 1957, p. 41325. Stričević 1957, p. 413.26. Vujačić-Vulović 1967, p. 87.27. Milošević 1993, p. 181-183.28. Valtrović 1906, p. 131.29. Valtrović 1906, p. 131-132.

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arranging of the tomb and the date of the first interment still remains open. Taking into account the meticulous decoration and the sculptural ornament it is more probable that the tomb had been prepared for a rather long period and that its construction and decoration had been completed before the first interment.

General design of the tomb indicates long funerary tradition and revering of the dead. It is well known that the grave was considered as the new home of the dead in the period from the 1st to the middle of the 3rd century so the place of interment had been declared a sanctuary (cella memoriae) with the area for funeral feasts nearby 30. Sometimes the cult rituals and funerary feasts took place in the same room. The so-called ‘Basel or Lingon testament’ where the Roman citizen and magistrate Sex. Iulius (Fornitinus) insists how his tomb should be arranged and taken care of indicates without doubt the general idea of life after death 31. Some members of the Roman nobility used as special privilege their right to be buried within their estates, separated form other inhabitants and at specially selected spots 32. This seclusion and monumentality of such structures in the private estates was intended to emphasize even more the privilege of the funeral and the privacy of the funerary ritual.

After establishing new Late Roman ideology, the ancient customs and elements from the early Roman funerary ritual were not abandoned. Nevertheless, it could be said that they were adapted to the new notions about the afterlife and the idea of maintaining the funerary cult has never been completely abandoned. The believers and followers of the solar cults as well as the adherents of Christianity continued to maintain the funerary cult, which got the character of a custom and was modified according to the regional or religious adherence 33. The idea of the imperial mausolea was transferred in a more modest manner and in correspondence with position and economic status of the family in the Late Roman family tombs. The ancient family tomb in the Late Roman provinces in the Balkans experienced with slight delay similar transformation.

The identified sculpture with toga and chlamys from Brestovik was according to the finding place and general layout of room 2 initially placed in the south conch (fig. 5) 34. In favor of this assumption speaks the summary execution of the back side of the sculpture carved of the architrave beam. Although 20 cm thick beam did not make possible different type of modeling it seems that the statue had never been conceived as the really full round sculpture. The initial profilation of the architrave beam was maintained and there were no attempts to model the chlamys on the sculpture back even in a summary way. It could be assumed that manner of execution represents the transition between the relief representation of the deceased on the funerary monuments and the round sculpture. If we take into account that the difference between the private and imperial portrait was clearly emphasized in the time of Tetrarchy than the idea of such sculptural representation is even more apparent. The veneration of the emperor and his divinity and inaccessibility of the imperial personality were in direct opposition to the character of the private portraits. The Late Roman portrait using an iconography of glorification of the highest ranking persons had also the character of imperial propaganda so the representation of other public personalities could have been

30. Toynbee 1982, p. 43-62 ; Ferguson 1970, p. 133-149.31. Rodriguez 1995, p. 99-126, with comprehensive literature ; Sage 1991, p. 17-40.32. Verzar-Bass 1995, p. 102-115. 33. Grierson 1962, p. 1-63.34. Possible position next to the wall or in some niche has already been suggested by M. Valtrović and M. Tomović.

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understood as improper. The prominent persons were not allowed to imitate the holy images of the rulers as it was the case in the earlier periods when the imperial portraits were the models also for the private portraits 35.

It is certain that the sculpture from Brestovik was a portrait of the high ranking individual. The elements of clothing including short tunic with long sleeves (tunica manicata) 36, the mantle (paludamentum or sagum) 37, belt with precious stones (cingulum segmentatum) 38 and the footwear (of campagi type) 39 suggest from the iconographic point of view either the military commander or the person close to the court and its administration. Perhaps the answer to this question is in identification of the object in the right hand (fig. 4b). This object, which resembles the spear or standard pole, has according to M. Tomović certain similarities with the well-known marble statue of Constantine the Great in military gear from Rome 40. A. Jovanović also connected the preserved part of the object with the upper part of the spear 41. However, we should not exclude the possibility that it was a scroll (rotulus) as M. Valtrović suggested 42. Depicting of scrolls was frequent on the funerary stelae and it could be related here to the portraits of persons from the circle of imperial officials 43. The Romans were by turns civilians and soldiers, citizens and warriors 44 as it could be recognized in a duality of depicted attire on the Brestovik sculpture.

The tomb in Brestovik was halfway between the settlement Aureus Mons and Ad Sextum Miliarem. The settlement Ad Sextum Miliarem with necropoles and

35. Srejović 1987, p. 98. 36. Bishop, Coulston 1993, p. 153 ; Schönauer 2001, p. 395.37. Schönauer 2001, p. 409. 38. Bishop, Coulston 1993, p. 96 ; Schönauer 2001, p. 409 ; Quast 1999, p. 233-236.39. Schönauer 2001, p. 433.40. Tomović 1996, p. 422. 41. Jovanović 2006, p. 225.42. Valtrović 1906, p. 131.43. Pfhul, Möbius 1977, p. 120, 315, 316, Таf. 56, Т. VI fig. 3, 4.44. Dimezil 1997, p. 208 ; cf. Toynbee 1982, p. 43-62.

Fig Ο . 5. Sculpture from the Brestovik Tomb, photo documentation in the Office for Protection of Cultural

Monuments of the City of Belgrade.

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villas was in the bordering area of the Singidunum territory towards Margum and the tomb could have belonged to the municipal territory of Singidunum. On the other hand, Roman settlement Aureus Mons (present-day village Seona) developed during the 3rd and 4th century in the civil settlement (civitates), which could have had its own military urban territory or it was within the municipal territory of Margum 45. The historical sources and archaeological investigations do not provide so far the answers to these questions. It is certain, however, that the person who commissioned the sculpture was some prominent army or state dignitary, commander, who built, painted and decorated with sculptures his family tomb within his estate where he most probably also resided. The sculpture with mantle and tunic probably represented the owner of a tomb and it had been modeled after the imperial portraits from the end of 3rd and the beginning of the 4th century.

45. Mirković 1976, p. 23-94.

Fig Ο . 6. Tomb in Brestovik, Ideal Reconstruction of central Room with Conchs (2) (cella memoriae), drawing G. Milošević.

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BIBLIOGRAPhIE

Bishop, Coulston 1993 : Bishop (M.C.), Coulston (J.C.N.), Roman military equipment from Punic wars to the fall of Rome, London.

Dimezil 1997 : Dimezil (Ž.), Drevna rimska religija (La religion romaine), Beograd.

Grierson 1962 : Grierson (P.), “The Tombs and Obits of the Byzantine Emperors (337-1042)”, Dumbarton Oaks Papers, 16, p. 1-63.

Ferguson 1970 : Ferguson (J.), The religions of the Roman Empire, Ithaca.

Jovanović 2006 : Jovanović (A.), Tlo Srbije zavičaj rimskih careva, Beograd.

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Тomović 1996 : Tomović (M.), “O jednoj gornjomezijskoj skulpturskoj predstavi tetrarhijskog cara (?)” in M. Lazić (ed.), ΑΝTΙΔΩΡΟΝ, Uzdarje Dragoslavu Srejoviću, Beograd, (Univerzitet u Beogradu, Filozofski fakultet), p. 419-426.

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Verzár-Bass 1995 : Verzár-Bass (M.), “Mausoleum und Villa”, in Balácai Közlemények III, (Vesprém, 1994), p. 102-115.

Vujačić-Vulović 1967 : Vujačić-Vulović (M.), “Rimska grobnica u Brestoviku. Konzerva-torsko restauratorski radovi – prva faza”, Zbornik zaštite spomenika culture, XVIII, Beograd, p. 85-92.