The tomb G-160, known as the 'Tomb with Cupids', was discovered in 2003, during the excavations at the Pirivoj - Viminacium necropolis. The tomb has a trapezial section, characteristic for Viminacium tombs of the late antique period, and its interior was painted using the fresco technique. Scenes and motives are set on all four walls of the tomb. Since the western wall is damaged, the tomb is named after the depiction of cupids on the eastern wall. The wealth of the iconographic repertoire, together with an analysis of the geometry and symmetry, allowed the reconstruction of the conceptual context and it can be concluded that the tomb was dedicated to Venus, or Dionysus. The tomb painting could be dated to the beginning of the 4th century, owing to the analysis of the style, which combines an eclectic Eastern expressionism, classicism and illusionism of the Constantine era.

In the art of late antiquity and early Christianity, during the Christian Middle Ages to the present, peacock holds a prominent place, not only as a decorative motif, but also as a distinctive emblematic and symbolic sign. Veneration and breeding of this bird is dating back to distant past. Owing to the beauty of his plumage and splendid tail, peacock has early got a lot of symbolic functions, causing he to become a very frequent artistic motif. Because of his protective functions, he is a characteristic sign in funerary art. On this example, the transposition of the same motif from pagan to Christian iconography is most noticeable. He is usually combined with a kantharos or a tree of life. These scenes are common in the late antique and early Christian fresco painted tombs from the territory of modern Serbia. Individually or in pair, he is usually represented on places which are the ones closest to the holiest part of churches (altar's parapet wall panels). His ornamentation is visible on floor mosaics, which are often a sole testimony of the decoration of public buildings from the early Christian period, and whose remains can be found on the territory of the Roman provinces on the Central Balkans.

Viminacium, Stari Kostolac, Srbija LAT 44 o 44' 09'' / LONG 21 o 12' 42'' ABSTRAKTTema rada su terakote i kalupi za terakotu pronađeni u otpadnoj jami i sloju šuta u okviru istraženog dela Zanatskog centra na Viminacijumu. One su deo proizvodnog asortimana ovog zanatskog centra, a njihova brojnost skoncentrisana na jednom malom prostoru vezuje ih za određenu peć i otpadnu jamu uz nju. Lokalni su proizvod i predstavljaju jeftiniju zamenu za razne fi gurice rađene u metalu ili mermeru. KLJUČNE REČI: TERAKOTA, KALUPI ZA TERAKOTU, VIMINACIJUM, ZANATSKI CENTAR, OTPADNE JAME, KERAMIČKI PROIZVODI.1. Za terakote se još koriste i izrazi glinene statuete, terakotna plastika, koroplastika i dr.

Methods of presentation within an archaeological park are always related to the period of history which is represented, but also to the atmosphere in which the park is created. However, any form of representation must be subordinated to observer and his experience. There is no universal organization of archaeological parks, but in different scientifi c fi elds of sociology, psychology and philosophy, principles can be found upon which individual presentations are functioning and evoke similar reactions by every observer. By applying a model originating from the experience of these sciences, architects, planners, designers and management of archaeological parks can together reach adequate proposals for creation of physical elements and processes which make the park itself. A special role in this approach belongs to the scientifi c fi eld that has long been known in architecture and design, apropos in theories of perception and acceptance of space and that is phenomenology. The creation of elements, processes and fi nally of the complete area of archaeological parks, thus obtains all characteristics of emotional design.

Blue and green pigments from fresco painted tombs of Viminacium were analysed using nondestructive EDXRF spectrometry. Based on the results gained, it can be concluded that within this Late Antique palette of green colour, there were copper based pigments: malachite, verdigris or chrysocolla and green earth, while the blue pigments included Egyptian blue and azurite.