Maja FRANKOVI], Danijela STOJILJKOVI], Du{an MAKSIMOVI] National Museum in Belgrade Serbia

UDK 903.2 632/638 (497.11)

CONDITION OF MOSAICS IN SERBIA FROM THE POINT OF VIEW OF PREVENTIVE CONSERVATION

Abstract. The general condition of mosaics in Serbia from the point of view of preventive conservation
will be addressed through analyses of the state of conservation of mosaics at several archaeological sites. Results obtained through the rapid survey method and the evaluation of the condition at the Mediana, Gamzigrad and Cari~in Grad archaeological sites will be presented. The aim of the survey is to estimate the needs for the protection of mosaics in situ and to aid plans for maintenance and conservation. The results obtained will serve as the basis for all further detailed surveys, analyses of mosaics conditions and causes of decay, in order to prescribe measures for regular maintenance and determine priorities for conservation.

Mosaics at archaeological sites, as well as other archaeological remains left in situ, are exposed to many risk factors, which directly or indirectly contribute to their deterioration but cannot be entirely eliminated (Piqu et al. 2003: 447). Degradation of mosaics on archaeological sites is caused by climate factors, atmospheric conditions, soil humidity effects, pollutants, vegetation and animals, and the human factor. No matter how good and conscientious the conservation and restoration treatment was or which materials were used in the treatment, it cannot permanently stop the degradation process. Thus, the protection of in situ cultural heritage is a continuous endeavour to manage the identified risk factors in order to reduce their negative influence on the materials to the minimum. The purpose of this paper is not to comprehensively analyse the state of every single mosaic but to point out the general problems of in situ mosaics protection in Serbia. A definition of these problems is a starting point for creating a programme of mosaics conservation and presentation at the archaeological sites. These programmes should form a part of a comprehensive plan of site management based on collaboration between archaeologists, conservators, architects, administrators and the public (Roby 2006: 23). A preliminary condition assessment of mosaics, from the aspect of the preventive conservation measures that were taken, was conducted at the Mediana, Gamzigrad and Cari~in Grad sites. Valuable floor mosaics with geometrical and figural presentations were found at these three sites, all of which belong to the category of the cultural monuments of high importance.

GAMZIGRAD (Romuliana)1
Gamzigrad is situated at Crna reka, a rather small geographic region enclosed by the mountains Crni vrh, Stol and Deli Jovan in the north, Vr{ka ~uka in the east, the plateau Ku~aja in the west

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and Rtanj and Tupi`nica in the south (Srejovi} 1983: 7). Archaeological excavations of this area were undertaken in 1953 under the leadership of \or|e Mano-Zisi. At first, it was thought to be a military camp, but the later surveys proved that it was an imperial palace. The discovery of buildings with mosaics and other sacral and profane objects favoured this conclusion (Srejovi} 2003: 24).

Imperial palace
A total of twelve objects have been examined within Galerius Palace so far. The mosaics discovered in some objects are stylistically uniform and can be dated to the period between the late third and mid-fourth centuries AD (@ivi} 2003: 29). The object marked as Palace I consists of five halls: one octagonal room, three peristyles and a small triclinium. The floor of the entrance court (vestibulum) is entirely covered by a mosaic carpet with geometric motifs, featuring a representation of the Labyrinth in the middle. In the central hall, probably the throne room of Palace I, the mosaic carpet is composed of side carpets with geometric ornaments and a central one with genre scenes of hunting Venatori. These mosaics were unearthed in 1953 during the palace surveys. The middle part of the floor in the north hall (triclinium) was decorated by tiles made of precious multicoloured stone (opus sectile). In 1969, a floor mosaic with a representation of the god Dionysius was unearthed at the entrance to the triclinium. This mosaic stands out from all the other identified representations of this deity since it is completely done in the painting manner (@ivi} 2003: 2021). The mosaics of Romuliana represent the peak of the mosaic art from the tetrarchy period and their authors were undoubtedly masters of the highest rank. These mosaics mostly adhere to the traditional floor mosaic arrangement: a space enclosed by walls is divided into mutually independent borders, which frame the marked panels with figural compositions (@ivi} 2003: 52). While working on the carpets with geometric motifs, the masters mainly used the schemes popular in the age of Hadrian and Antoninus Pius. The figural mosaics of Gamzigrad are unique for their rich colouring and theatricality. Taken as a whole, the mosaics of Romuliana are the highest point of renaissance mosaic art of the Hellenistic Age, given that their style, colouring and composition stand nearest to 1st and 2nd century BC mosaics, in particular the mosaics from the island of Delos (Srejovi} 2003: 71).

CARICIN GRAD (Prima Iustiniana)

Cari~in Grad lies on the gentle slopes that descend from Mt. Radan into the Leskovac valley, on the juncture between Bojnik, Medve|a and Lebane but away from the main roads. Professor Vladimir Petkovi} undertook the first surveys back in 1912 (Kondi}, Popovi} 1977: 163). After an interruption caused by the subsequent wars, the surveys were continued during the 1930s. At that time, Petkovi} put forth the hypothesis that Cari~in Grad might be identified with the endowment of Emperor Justinian the First (527567), Prima Iustiniana, built near his birthplace of Taurisium, not far from Bederiana, the birthplace of his uncle, emperor Justin the First.2 The process of

1) The place where Galerius, at first Diocletians caesar and afterwards (305311 AD) the Roman emperor, was born and buried. The place was named Romuliana after his mother, who was also buried there (Srejovi} 2003: 24). 2) The fact that Cari~in Grad was chosen for the archiepiscopal see of northern Illyricum bears witness to the importance of this site. That is why the cathedral church, together with the episcopal residence in the acropolis, takes up a dominat postition in the urbanistic complex. (Kondi}, Popovi} 1977: 167).

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disintegration of the urban structure started in the second half of the 6th century and continued to the first years of the reign of Emperor Heracleus (610641). The city was finally demolished during the Avaric invasion (614615) when Cari~in Grad was burnt down (Kondi}, Popovi} 1977: 171). Mosaics have been discovered in several objects at this early Byzantine site. Considering the value of the discovered mosaics, we should single out the following as the most important: Episcopal basilica, found in 1912: In this building mosaics used to cover the central nave floors, and probably the floors in the lateral naves and narthex as well. According to the glass paste tesserae found in the atrium, it is believed that the walls in this room were decorated with mosaics. All the found mosaics are only fragmentarily preserved. The southern side of the basilica is connected with the baptistery, whose conchae bear well preserved mosaics with geometric, animal and floral motifs (Kondi}, Popovi} 1977: 35). One of the most representative buildings in Cari~in Grad is the basilica with transept, known as Basilica D. It is a three-nave church with narthex and atrium holding some significant remains of stone sculpture and remarkable mosaics in the central nave (Kondi}, Popovi} 1977: 35). The church was not discovered until the archaeological excavation in 19491950. Mosaics in the naos are made of nine-colour tesserae, placed on a mortar foundation containing crushed brick. In the southern part of the narthex there is a composition with a radially positioned motif of four hydrias (i.e. four springs) from which the water flows, accompanied with a bird image on each side. A striking image of the Good Shepherd lies beside the ambo. The northern side of the middle nave is decorated with an array of regular fields framed by braids, bearing single images of warriors, centaurs, Amazons and large animals. The fields in front of the presbytery hold two figural compositions: the northern field bears a scene of a hunter killing a she-bear with a baby bear, while the southern field shows a hunter killing a lion (Kondi}, Popovi} 1977: 114). The mosaic from the altar is almost utterly ruined. The only preserved decoration is the image of an animal leg, most probably of a sheep, located in the rectangular field in the front of the apse and encircled with a meander. Judging from this detail, we can assume that it was a part of a symbolic scene of the Eucharist. The layout and symbolism of the floor mosaics are of great help for our understanding of the liturgical rituals performed in the basilica with transept, particularly those having to do with the act of the Eucharist (Kondi}, Popovi} 1977: 113). This is the very thing that makes these mosaics so greatly important and valuable.

MEDIANA
The antique settlement of Mediana lies 5 km southeast of Ni{ (Naissus), situated in the fertile valley between the Ni{ava in the north and Vla{ko brdo in the south. Initially an agricultural farm, Mediana grew into a suburb (suburbium) of Naissus. Its numerous archaeological finds, rich architectural and decorative sculpture, and the mosaics themselves, bear testimony to the high economic and cultural life of this settlement, in which people lived from the end of the 3rd century till the second half of the 4th century. Since it was not fortified, the settlement was destroyed several times, especially in the mid and late fifth century, when Huns and some time later the Goths conquered Naissus. Partly rebuilt under Justinian in the first half of the 6th century, it was plundered during Slav and later Avar raids (Dr~a, 2006: 10). The Slavo-Avaric devastation brought an end to life in Mediana, although there are traces indicating some sporadic settlements in the Middle Ages.

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Archaeological surveys have been conducted with shorter or longer interruptions from the 1930s to the present. Around twenty objects have been partly examined while the test sondages have yielded approximately the same number of others. Seven buildings decorated with floor mosaics were discovered during the archaeological surveys.3 As the most significant, the following can be singled out: Villa with peristyle and nympheum. This is the biggest and the most representative object that has been discovered in Mediana up to now. The central part of the luxurious villa has a large yard (garden) surrounded by a porch (peristyle), a big main hall (triclinium) and a somewhat smaller room to the east of the hall (nympheum). The mosaics are made of multi-coloured stone and marble tesserae forming various geometric ornaments (rosettes, swastikas, meanders, different crosses, etc.) and square, rhombic and polygonal fields in repeating patterns. The first figural mosaics in Mediana were discovered on the floor of the main hall. The entrance area bears several images: a half-prone river deity (perhaps Neptune), female feet with a portion of a dress and a waterfowl, and, northwards, in the circular medallion, the head of a winged Medusa. There were probably two more similar medallions but, unfortunately, they are lost. Two rectangular fields with geometric motifs are preserved along the hall walls, while in the apse interior there is a bordure of two interwoven ribbons (Dr~a, 2006: 22). Southwards from the triclinium, there is a small room (nympheum) with a well-preserved polychrome mosaic. The central part, hexagonal in shape, is decorated with various geometric and floral motifs, while the floor in each niche is covered with mosaic bearing different ornaments. The early Christian church (end of the 4th century) discovered in 2000, is also noteworthy. The small mosaic field with Christs monogram in the naos was made by combining white, blue and red tesserae on a thin mortar foundation. Although mostly geometric, the mosaic compositions in Mediana have vivid colours, while their ornamentation resembles the mosaics in Sirmium, Ulpiana, Stobii and Heraclea (Dr~a, 2006: 22).

CONDITION ASSESSMENT RESULTS

Conservation assessment of the mosaics at the archaeological sites of Gamzigrad, Cari~in Grad and Mediana was focused on the preventive conservation measures that have been taken and their adequacy. A more detailed assessment of the mosaics state would require their being uncovered, which is impossible in this phase. Additional details about the mosaics in situ and the state of their preservation were obtained from documentation and literature, or by interviewing representatives of the institutions in charge of the sites maintenance.4 A questionnaire about the implementation of protection standards at the sites was made for this purpose, containing questions regarding their management, financing, documentation, maintenance, conservation and presentation. The obtained data were used to identify the key problems in mosaics protection.

Management
Three different institutions are present at archaeological sites in Serbia: An authorised scientific institution
3) The information on the Mediana mosaics has been provided by G. Jeremi}, Archaeological Institute, Belgrade. 4) V. Ivanievi}, G. Miloevi}, Archaeological Institute Belgrade; A. Radovi}, Insitute for the Protection of Cultural Monuments Ni, S. Dr~a, V. Crnoglavac, D. Iljamovi}, National Museum in Ni.

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 A local museum, in charge of protection and safekeeping of movable finds as well as of site maintenance An authorised institute for the protection of cultural monuments, in charge of site conservation and protection When a site of high importance is in question, the Republic Institute for the Protection of Cultural Monuments has the legal and administrative authority, in other words it issues the licences and regulates the conditions for any intervention on site. In addition, if the authorised institute does not have an adequately educated conservator, the conservation works are done by the Republic Institute itself.

Documentation
Each of the above-mentioned institutions documents all conducted works that fall under their authorised domain. Thus, the documentation about a particular site is divided among several institutions and only partly digitalised. This makes the research and use of information rather difficult.

Financing
Mosaics conservation is financed by project from the State budget. There are no special financial means provided for preventive conservation of mosaics. It is usually the authorised museum that bears the costs of maintenance.

Conservation planning
There is no systematic assessment of the state of mosaics. An expert from the authorised institute for the protection of cultural monuments occasionally goes into the field and reports on the state by writing a study which is to subsequently serve as a base for creating a conservation project. This type of assessment does not have a defined time schedule and is not regularly and systematically conducted on all the mosaics on a particular site. The written studies are focused on the state of mosaics in single objects. Therefore, the priorities for mosaic conservation are not set for the entire site.

Conservation
The majority of the mosaics in the examined objects were conserved in the period between the 1950s and the 1990s.5 The conservation generally involved mosaic lifting, changing the original foundation and relaying the mosaic, which was the usual procedure at the time. Lifting the mosaic from the site was not a usual practice. In the cases that required such action, such as rescue excavations for instance, mosaics were lifted and taken from the site but their conservation was not always adequate. Thus, in the case of Villa with conchae and atrium in Mediana unearthed in 1975 during rescue excavations on the highway route Ni{Ni{ka Banja the southern concha held an 8 m mosaic made of large white, dark blue and red tesserae. The mosaic was dislocated and conserved. It is currently stored in the open-air behind the Mediana Museum building. Its foundation (heraclite) has deteriorated over time, it has cracked in several

5) The Gamzigrad mosaics conservation and restoration was conducted under the leadership of: M. Duha} (19541957), R. Sikimi} (19581966), M. Medi} (19671993), V. Rai} (since 1993) (@ivi} 2003:9). The mosaics conservation on Mediana was led by M. Medi} and N. Antonov (Dr~a 2006: 19); while on Cari~in Grad the managers were S. Petkovi} and a Tunisian specialist, M. Hamrouni (verbal information).

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places and the tesserae have fallen out. An improvised asbestos tile shelter was constructed over the mosaic in 2004, to replace the cloths with which it was previously covered (Fig. 1). In Gamzigrad, the central compositions were lifted and taken to the museum; these mosaics with representations of Venators, Labyrinth and Dionysus from Palace I were conserved in accordance with contemporary standards and are now exhibited as a part of the permanent exhibition of the National Museum in Zaje~ar (Fig. 2).

Covering
The non-conserved mosaics have been reburied or, if slated for conservation, temporarily covered with sand. Unfortunately, this method, intended as a temporary one, has lasted in some cases for several decades. This is the case with the mosaics in the basilica with transept at the Cari~in Grad site. Their conservation has been planned since 1979 but, due to continuous postponements, has yet to take place. In awaiting a conservation intervention, the sand layer which covers the mosaic has not been adequately maintained and now the sprouted vegetation threatens the mosaic. There is a real danger of losing this valuable mosaic for good (Fig. 3). The conserved mosaics are protected against the direct influence of atmospheric conditions by a sand layer, approximately 20 cm thick. The other method of refilling includes a nylon cover over the tessellatum in addition to a sand layer. Nylon is predominantly used so that the sand may be easily removed when the mosaic is uncovered. Although it facilitates cleaning and reduces the risk of potential damage during the uncovering, nylon is not an adequate solution for mosaic protection it gets brittle over time, cracks and does not prevent vegetation from penetrating into the tesselatum. Moreover, nylon keeps humidity directly on the mosaic surface, resulting in condensation. Hence, nylon can become one of the causes of deterioration (Fig. 4) (Menicou et al. 2003: 226). This covering method has not been changed thus far. Polypropylene net or geotextile6 are not used on any site. The sand layer usually is not thick enough to adequately protect the mosaics against climate and vegetation factors, especially since the layer is not properly maintained, so it gets blown off by the wind and thus reduced over time. On some sites, the sand layers have not been changed for 20 or even 30 years.

Shelters
Shelters over mosaics have been installed only at Mediana. Out of the four shelters, only the one above the nympheum is permanent, built in 1936 with money donated by the citizens of Ni{. This mosaic still lies on its original foundation. As regards conservation interventions, edging repair is noticeable and the mosaic surface has probably been polished. These interventions probably date from the time of the buildings construction. Although a separation process between the tesselatum and the foundation has been detected, the mosaic is not in danger. After plumbing basins7 were built, capillary water appeared in the shelter. Traces of humidity, algae and moss are detectable on the mosaic as well. The building used to leak but the roof was fixed in 2005 (Fig. 5).
6) These materials are used in archaeological conservation for separating the layers and protecting the archaeological objects as they are covered or reburied. Geotextiles are materials made of polymer fibers. They are used in geotechnical engineering mainly for separation, protection, and filtration, and sometimes for drainage (Kavazanjian, 2004:378, 383). 7) Mediana is located on the property of the the Ni Water Utility.

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Above one part of the peristyle, a simple shelter has been installed, consisting of a wooden construction and tiles. The pillars of the protective construction directly lean on the walls. The roof is relatively low but we dont know whether it adequately protects the mosaic against atmospheric conditions. The shelter was constructed and installed as a trial solution and should have been installed over the entire mosaic, but its evaluation has not been done yet. Part of the peristyle mosaic protected by this shelter is uncovered seasonally and the last time it was refilled with nylon and sand was in 2005 (Fig. 6). In 2005, the mosaic discovered in the passage between the villa with peristyle and the thermae was protected by a protective construction made of wooden beams, polystyrene boards and asbestos roofers, while the mosaic itself was covered with nylon and a sand layer. This type of temporary shelter provides adequate protection against negative atmospheric influences while the openings on one side of it enable air circulation and better ventilation (Fig. 7). The small mosaic field with the representation of Christs monogram in the early Christian church, discovered in 2000, is protected in a similar manner. This construction is lower than the previous one and has no openings for ventilation. As a result, the summertime temperature inside the shelter is very high. Furthermore, nylon causes the problem of condensation, as previously mentioned.

Maintenance
Mosaics maintenance includes the regular assessment (monitoring) of the condition of the mosaics and their context and the performance of simple interventions as deemed necessary during the assessment to slow the deterioration processes and to prevent further decay (Piqu et al. 2003: 447). However, a programme of regular mosaics maintenance, one that would be in accordance with given explanations, has not been instituted on the sites in Serbia. Measures of regular site maintenance are reduced to grass mowing and garbage collecting. For these jobs, the authorised museum hires part-timers. The staff working on the sites is not trained for condition assessment and mosaics maintenance. There is no regular procedure for assessing the mosaics condition and it is left to ones conscience to take notice of possible changes. If some of the staff notices particular changes, they report them to the authorities in the museum which, in turn, inform the authorised institute for the protection of cultural monuments. The sand layer covering the mosaic is not regularly renewed and often the same one stays for decades. As a result, vegetation grows on it, and this can severely damage the mosaic. At Mediana and Gamzigrad, certain parts of the mosaics are seasonally opened for the visitors. In order to obtain better visibility of colours and decorations, water is often poured on the mosaics during the visiting season. As a result of the constant wetting and drying, the mosaics are subject to tension which leads to their deterioration (Fig. 8).

Presentation
Despite the great number of annual visitors8 at Mediana and Gamzigrad, little attention has been given to the mosaics presentation. The mosaics are not followed up by info boards and panels. Only at Mediana are suggested touring paths marked, with this being the only site that has trained guides working.
8) In 2005, Mediana had 14,000 visitors and Gamzigrad 24,436.

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Safety
Mediana is the only fenced-off site, and it has a security system. But in spite of this serious lack of security measures on other sites, there have been no cases of robbery or vandalism recorded on any of them.

CONCLUSION
According to the results obtained through a condition assessment of mosaics at these three representative archaeological sites, it can be concluded that the preventive conservation measures applied are generally unsatisfying. Several key problems can be singled out: The mosaics are mostly not covered in ways ensuring adequate protection against atmospheric influance and vegetation. Shelters are mainly installed as temporary solutions and as such impede presentation of the mosaics.9 There is no long-term conservation planning at site level. Systematic condition assessment of the mosaics is lacking. There is no programme for regular mosaic maintenance and the on-site staff is not trained for regular condition assessment and mosaic maintenance. Under the existing conditions, mosaics presentation is barely possible. This state is largely a consequence of the fact that there is no clear division of labor and responsibility the authorised institutions have different interests, and the collaboration is ill coordinated, which results in difficulties in site management. What is more, in Serbia the awareness of the important role that preventive conservation has in preserving cultural heritage is very low. Authorities and often even conservation professionals are not aware of the indispensability of long-term planning, systematic condition assessment and regular maintenance for the successful conservation of archaeological sites. In order to have a clear picture about the needs of mosaics protection on the sites in Serbia, it is necessary to conduct a comprehensive assessment and analysis of the state of conservation for all the mosaics discovered at archeological sites. This assessment should be undertaken on all the sites with mosaics. Projects would involve comprehensive condition assessment of the mosaics, analyses of the immediate surroundings and their influence on the mosaic material, definition of the causes of deterioration and risk assessment to facilitate the conservation planning. These projects should be part of a general plan of archaeological sites conservation. It is necessary to standardise documentation and to form a unique database, which would include assessment results from all sites, in order to provide systematic and consistent recording and documentation, as well as to facilitate data comparison (Corfield 2003: 135). The obtained results would be used to plan conservation treatments according to priorities and to devise a programme of preventive conservation and regular site maintenance. It is also necessary to provide follow-up training for the staff that would apply these programmes. In this way, mosaics would receive adequate protection, making it possible to continue their presentation in situ.

9) The sole exception is the building of the Mediana Museum, built above the nympheum in 1935.

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Maja FRANKOVI], Danijela STOJIQKOVI], Du{an MAKSIMOVI] Narodni muzej u Beogradu Srbija

STAWE MOZAIKA NA ARHEOLO[KIM LOKALITETIMA U SRBIJI SA ASPEKTA PREVENTIVNE ZA[TITE

Apstrakt. Na osnovu analize stawa mozaika na nekoliko arheolo{kih lokaliteta zna~ajnih po toj vrsti materijala predstavqeno je op{te stawe mozaika u Srbiji sa aspekta wihove preventivne za{tite. Prikazani rezultati dobijeni su metodom brzog snimawa i procene stawa konzervacije mozaika na arheolo{kim lokalitetima Gamzigrad, Medijana i Cari~in Grad. Ciq takvog snimawa jeste sticawe uvida u potrebe za{tite mozaika na lokalitetu, kao i to da ono pomogne pri planirawu odr`avawa i konzervacije. Dobijeni podaci bi}e polazna osnova za sva daqa detaqna snimawa, analize stawa mozaika i uzroka wihovog propadawa, a radi propisivawa mera za redovno odr`avawe i odre|ivawa prioriteta za konzervaciju.

Mozaici na arheolo{kim lokalitetima, kao i drugi arheolo{ki ostaci koji se nalaze in situ, izlo`eni su mnogim faktorima rizika, koji neposredno ili posredno uti~u na wihovo propadawe, a koji ne mogu u potpunosti da se uklone (Piqu et al., 2003: 447). Na degradaciju mozaika na arheolo{kim lokalitetima uti~u klimatski uslovi, atmosferalije, delovawe vlage iz tla, zaga|iva~i, vegetacija, `ivotiwe i qudski faktor. Konzervatorsko-restauratorski tretman ne mo`e trajno da zaustavi propadawe, bez obzira na to koliko je dobro, savesno i pomo}u kakvih materijala izveden. Zbog toga za{tita kulturnog nasle|a in situ predstavqa stalni napor da se identifikovani faktori rizika kontroli{u kako bi se wihov uticaj na propadawe materijala sveo na najmawu mogu}u meru. Ciq ovog rada nije da se detaqno analizira stawe pojedinih mozaika, ve} da se uka`e na op{te probleme za{tite mozaika na lokalitetima u Srbiji. Odre|ivawe tih problema jeste polazna osnova za formirawe programa za{tite i prezentacije mozaika na arheolo{kim lokalitetima. Trebalo bi da takvi programi budu deo sveobuhvatnog plana za{tite

lokaliteta, koji bi se zasnivao na saradwi arheologa, konzervatora, arhitekata, administratora i javnosti (Roby, 2006: 23). Preliminarno snimawe stawa mozaika sa aspekta preduzetih mera preventivne za{tite sprovedeno je na lokalitetima Medijana, Gamzigrad i Cari~in Grad. Na tim lokalitetima prona|eni su zna~ajni podni mozaici s geometrijskim i figuralnim predstavama. Sva tri lokaliteta spadaju u spomenike kulture od izuzetnog zna~aja.

GAMZIGRAD (Romuliana)1
Gamzigrad se nalazi u Crnoj reci, mawoj geografskoj regiji, koja je na severu ograni~ena planinama Crnim vrhom, Stolom i Deli Jovanom, na istoku Vr{kom ~ukom, na zapadu visoravnima Ku~aja, a na jugu grebenom Rtwa i Tupi`nice (Srejovi}, 1983: 7). Arheolo{ka

1) Mesto u kojem je ro|en i sahrawen Galerije, najpre Dioklecijanov savladar, a od 305. do 311. godine rimski imperator. Naziv Romulijana poti~e od imena Galerijeve majke Romule, koja je tako|e tu sahrawena (Srejovi}, 2003: 24).

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iskopavawa tu su zapo~eta 1953. godine, pod rukovodstvom \or|a Mano-Zisija. U po~etku se mislilo da se radi o vojnom logoru, ali je kasnijim istra`ivawima utvr|eno da je re~ o carskoj palati. Tome u prilog i{lo je otkri}e gra|evina s mozaicima i drugih sakralnih i svetovnih objekata (Srejovi}, 2003: 24).

mozaici Romulijane predstavqaju vrhunac renesanse mozai~ke umetnosti helenisti~kog doba, budu}i da su po stilu, koloritu i kompoziciji najbli`i mozaicima II i I veka p. n. e., naro~ito primercima sa ostrva Delos (Srejovi}, 2003: 71).

CARI^IN GRAD (Prima Iustiniana) Carska palata

U okviru Galerijeve palate do sada je istra`eno 12 objekata. Mozaici na|eni u pojedinim objektima stilski su ujedna~eni i mogu se datovati u period od kraja III do sredine druge decenije IV veka n. e. (@ivi}, 2003: 29). Objekat koji je ozna~en kao palata I sa~iwava pet dvorana: jedna oktogonalna prostorija, tri peristila i mawi triklinijum. Pod pristupne dvorane (vestibulum-a) u celosti je prekriven mozai~kim tepihom s geometrijskim motivima, u ~ijem je sredi{tu predstava Lavirinta. U centralnoj, verovatno prestonoj dvorani palate I mozai~ki tepih sa~iwen je od bo~nih tepiha s geometrijskom ornamentikom i centralnog tepiha sa scenama iz lova Venatori. Ti mozaici otkriveni su 1953. godine, tokom istra`ivawa palate. Sredi{wi deo poda severne dvorane (triclinium-a) bio je ukra{en plo~icama od raznobojnog skupocenog kamena (opus sectile). Na ulazu u triklinijum 1969. godine otkriven je podni mozaik s predstavom boga Dionisa, jedinstven me|u svim poznatim predstavama tog bo`anstva u svetu, pre svega po ~iwenici da je ~isto slikarski izveden (@ivi}, 2003: 2021). Mozaici Romulijane predstavqaju najvi{i domet mozai~ke umetnosti tetrarhijskog perioda i nema sumwe da su wihovi tvorci bili majstori najvi{eg ranga. Ti mozaici uglavnom se dr`e tradicionalnog nacrta podnih mozaika: zidovima ograni~en prostor podeqen je u me|usobno nezavisne bordure, kojima su uokvireni istaknuti paneli s figuralnim kompozicijama (@ivi}, 2003: 52). Pri izradi tepiha s geometrijskim motivima majstori su se uglavnom oslawali na sheme omiqene u doba Hadrijana i Antonina Pija. Figuralni mozaici Gamzigrada jedinstveni su po rasko{nom koloritu i teatralnosti. Posmatrani kao celina, Cari~in Grad le`i na blagim padinama koje se spu{taju od planine Radan ka Leskova~koj kotlini, na mestu van glavnih putnih tokova, na trome|i izme|u Bojnika, Medve|e i Lebana. Prvo istra`ivawe zapo~eo je profesor Vladimir Petkovi} 1912. godine (Kondi}, Popovi}, 1977: 163). Nakon prekida tokom ratova koji su usledili, tridesetih godina XX veka iskopavawa su nastavqena. Tada Petkovi} iznosi hipotezu o tome da je Cari~in Grad zapravo zadu`bina cara Justinijana I (527567), Prima Iustiniana, podignuta u blizini Taurisiona, wegovog rodnog mesta, i Bederijane, rodnog mesta wegovog ujaka cara Justina I.2 Proces raspadawa urbane strukture zapo~eo je u drugoj polovini VI veka i nastavqen je sve do prvih godina vladavine cara Iraklija (610641). Odumirawe grada zavr{eno je tek sa avarskim pohodom (614615), kada je Cari~in Grad izgoreo u po`aru (Kondi}, Popovi}, 1977: 171). Na tom ranovizantijskom lokalitetu mozaici su otkriveni u nekoliko objekata. Kao najzna~ajnije, kada je re~ o mozaicima koji su u wima prona|eni, treba izdvojiti slede}e: Episkopska bazilika, otkrivena jo{ 1912. godine. U toj gra|evini mozaicima su bili ukra{eni podovi centralnog broda, a verovatno i podovi bo~nih brodova, kao i narteksa. Na osnovu prona|enih kockica od staklene paste u atrijumu smatra se da su i zidovi te prostorije bili ukra{eni mozaicima. Svi prona|eni mozaici

2) O zna~aju Cari~inog Grada svedo~i i ~iwenica da je izabran za arhiepiskopsko sedi{te severnog dela Ilirika. Samim tim, u wegovom urbanisti~kom sklopu kompleks katedralne crkve sa episkopskom palatom na Akropoqu zauzima dominantno mesto (Kondi}, Popovi}, 1977: 167).

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fragmentarno su o~uvani. Na baziliku se s ju`ne strane nadovezuje baptisterijum, u ~ijim su konhama otkriveni dobro o~uvani mozaici s geometrijskim, `ivotiwskim i biqnim motivima (Kondi}, Popovi}, 1977: 35). Jedna od najreprezentativnijih gra|evina u Cari~inom Gradu jeste bazilika s transeptom, poznata i kao bazilika D. Re~ je o trobrodnoj crkvi s narteksom i atrijumom otkrivenoj tokom arheolo{kih iskopavawa od 1949. do 1950. godine, sa zna~ajnim ostacima kamene plastike i izvanrednim mozaicima u centralnom brodu (Kondi}, Popovi}, 1977: 109). Mozaici u naosu, izvedeni od kockica u devet boja, postavqeni su na malternu podlogu koja sadr`i tucanu opeku. U ju`nom delu narteksa nalazi se predstava s radijalno raspore|enim motivom ~etiri hidrije (odnosno ~etiri izvora) iz kojih se izliva voda i pticom sa svake strane. Pored amvona, posebno se isti~e predstava dobrog pastira sa ovcama. Na severnoj strani sredweg broda re|aju se nizovi pravilnih poqa uokvirenih pletenicama, u kojima se nalaze pojedina~ne predstave ratnika, kentaura, amazonki i krupnih `ivotiwa. U poqima ispred prezbiterijuma nalaze se dve figuralne predstave: u severnom je prikazan lovac koji ubija me~ku s mladun~etom, a u ju`nom poqu lovac koji ubija lava (Kondi}, Popovi} 1977: 114). Mozaik u oltarskom prostoru gotovo je potpuno propao. U pravougaonom poqu ispred apside, oivi~enom meandrom, o~uvana je samo predstava noge jedne `ivotiwe, najverovatnije ovce. Na osnovu tog detaqa mo`e se pretpostaviti da je bila prikazana scena sa simboli~nim zna~ewem evharistije. Raspored i simbolika podnih mozaika znatno doprinose boqem razumevawu liturgijskih obreda obavqanih u bazilici s transeptom, a posebno onog dela koji se odnosi na ~in evharistije (Kondi}, Popovi}, 1977: 113). Upravo u tome su najve}a vrednost i zna~aj ovih mozaika.

MEDIJANA
Anti~ko naseqe Medijana udaqeno je od Ni{a (Naissus) pet kilometara u pravcu jugoistoka; nalazi se u plodnoj dolini izme|u Ni{ave na severu i Vla{kog brda na jugu. Medijana je prvobitno bila poqoprivredno gazdinstvo, a u IV veku postala je predgra|e (suburbium) Naissus-a. Brojni arheolo{ki nalazi, bogata arhitektonska i dekorativna plastika, kao i mozaici, svedo~e o visokom ekonomskom i kulturnom nivou naseqa koje je postojalo od kraja III do druge polovine VI veka. Po{to nije bilo utvr|eno, naseqe je nekoliko puta stradalo, naro~ito sredinom i u drugoj polovini V veka, kada Huni, a ne{to kasnije i Goti, osvajaju Naissus. Delimi~no je obnovqeno u vreme Justinijanove obnove u prvoj polovini VI veka, da bi u drugoj polovini VI veka stradalo u pqa~ka{kim pohodima Slovena, a ne{to kasnije i Avara (Dr~a, 2006: 10). Nakon slovensko-avarskog ru{ewa `ivota u Medijani nije bilo tokom dugog niza godina, ali ima tragova koji ukazuju na sporadi~no naseqavawe i u sredwem veku. Arheolo{ka istra`ivawa se, s mawim ili ve}im prekidima, sprovode od tridesetih godina XX veka do danas. Delimi~no je istra`eno dvadesetak objekata, a pribli`no ih je jo{ toliko konstatovano probnim sondama. Tokom arheolo{kih istra`ivawa otkriveno je sedam gra|evina koje su ukra{ene mozai~kim podovima.3 Kao najzna~ajnije mogu se izdvojiti slede}e. Vila s peristilom i nimfeumom najve}i je i najreprezentativniji objekat koji je do sada otkriven u Medijani: centralni deo luksuzne vile, s prostranim dvori{tem (vrtom) okru`enim tremom (peristil), velikom sve~anom salom (triclinium) i mawom prostorijom isto~no od sale (nimfeum). Mozaici su izra|eni od raznobojnih kamenih i mermernih kockica slo`enih u raznovrsne geometrijske ornamente (rozete, svastike, meandre, razne preplete), kvadratna, rombi~na i poligonalna poqa, koja se u odre|enom ritmu ponavqaju.
3) Podaci o mozaicima u Medijani dobijeni su na kori{}ewe od G. Jeremi} iz Arheolo{kog instituta u Beogradu.

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Na podu sve~ane sale otkriveni su prvi figuralni mozaici u Medijani. U ulaznom delu otkrivena je predstava polule`e}eg re~nog bo`anstva (mo`da Neptuna), prikaz `enskih stopala s delom haqine, kao i barske ptice, a severno, u kru`nom medaqonu, nalazi se glava krilate Meduze. Verovatno su postojala jo{ dva sli~na medaqona, koja su, na`alost, uni{tena. Du` zidova sale o~uvana su dva pravougaona poqa s geometrijskim motivima, a u unutra{wosti apside bordura od dve upletene trake (Dr~a 2006: 22). Isto~no od triklinijuma nalazi se mawa prostorija (nimfeum) s dobro o~uvanim polihromnim mozaikom. Centralni deo, heksagonalnog oblika, dekorisan je razli~itim geometrijskim i floralnim ornamentima, dok je pod svake ni{e prekriven mozaikom s razli~itim ornamentima. Svakako treba pomenuti i ranohri{}ansku crkvu (kraj IV veka) ~iji su ostaci otkriveni 2000. godine. U naosu je prona|eno malo mozai~ko poqe s Hristovim monogramom, koje je izvedeno kombinacijom kockica bele, plave i crvene boje na tankoj malternoj podlozi. Iako prete`no geometrijske, mozai~ke kompozicije u Medijani `ivih su boja i u ornamentici imaju sli~nosti s mozaicima u Sirmijumu, Ulpijani, Stobima, Herakleji (Dr~a, 2006: 22).

rukovo|ewe, finansirawe, dokumentaciju, odr`avawe, konzervaciju i prezentaciju na lokalitetu. Dobijeni podaci poslu`ili su za identifikaciju kqu~nih problema u za{titi mozaika.

Upravqawe
Na arheolo{kim lokalitetima u Srbiji prisutne su po tri institucije: nadle`na nau~na ustanova; lokalni muzej, koji je nadle`an za za{titu i ~uvawe pokretnih nalaza, a i za odr`avawe lokaliteta; nadle`ni zavod za za{titu spomenika kulture, koji je odgovoran za za{titu lokaliteta. Kada je re~ o lokalitetu od izuzetnog zna~aja, Republi~ki zavod za za{titu spomenika kulture ima upravno-pravnu nadle`nost, to jest izdaje dozvole i propisuje uslove za sve intervencije na lokalitetu. Tako|e, ukoliko nadle`ni zavod nema konzervatora odgovaraju}eg profila, konzervatorske radove izvodi Republi~ki zavod.

Dokumentacija
Svaka od pomenutih institucija vodi dokumentaciju o obavqenim radovima iz domena svoje nadle`nosti. Dokumentacija o lokalitetu, dakle, podeqena je izme|u nekoliko institucija i samo delimi~no digitalizovana. Samim tim, ote`ani su pretraga i kori{}ewe informacija.

REZULTATI SNIMAWA STAWA

Snimawe stawa mozaika na arheolo{kim lokalitetima Gamzigrad, Cari~in Grad i Medijana bilo je fokusirano na mere preventivne za{tite koje su primewene i na procenu wihove adekvatnosti. Za svako detaqnije snimawe stawa o~uvanosti mozaika potrebno je wihovo otkrivawe, {to u ovoj fazi nije bilo mogu}e. Dodatne informacije o mozaicima koji se nalaze na lokalitetima i o wihovom stawu o~uvanosti dobijene su iz dokumentacije i literature, kao i iz razgovora s predstavnicima institucija koje su nadle`ne za brigu o lokalitetima.4 Za te potrebe sastavqen je upitnik o primeni za{tite na lokalitetima. Upitnik sadr`i pitawa koja se odnose na

Finansirawe
Konzervacija mozaika finansira se, prema projektu, iz dr`avnog buxeta. Za odr`avawe i preventivnu za{titu mozaika nisu predvi|ena posebna finansijska sredstva. Tro{kove odr`avawa uglavnom snosi nadle`ni muzej.

Planirawe konzervacije
Ne postoji sistematsko pra}ewe stawa mozaika. Stru~wak iz nadle`nog zavoda za za{titu

4) V. Ivani{evi}, G. Milo{evi}, Arheolo{ki institut, Beograd; A. Radovi}, Zavod za za{titu spomenika kulture, Ni{; S. Dr~a, V. Crnoglavac, D. I{qamovi}, Narodni muzej u Ni{u.

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spomenika kulture povremeno izlazi na teren i podnosi izve{taj o stawu putem elaborata, na osnovu kojeg se kasnije izra|uje projekat konzervacije. Takvo pra}ewe nije vremenski definisano i ne sprovodi se redovno i sistematski za sve mozaike na lokalitetu. Elaborati su usmereni na stawe mozaika u pojedinim objektima. Samim tim, u okviru jednog lokaliteta nisu odre|eni prioriteti za konzervaciju mozaika.

Konzervacija
U objektima koji su istra`eni ve}ina mozaika konzervirana je od pedesetih do devedesetih godina XX veka.5 Konzervacija je uglavnom podrazumevala podizawe mozaika i wihovo vra}awe nakon obnavqawa podloge, {to je u to vreme bio uobi~ajen postupak. Podizawe mozaika s lokaliteta nije se ~esto praktikovalo. Kada je to bilo neophodno, kao pri za{titnim iskopavawima, mozaici su podizani, ali wihova za{tita nije uvek bila adekvatna. U ju`noj konhi vile s konhama i atrijumom u Medijani, otkrivenoj tokom za{titnih istra`ivawa na trasi autoputa Ni{ Ni{ka Bawa 1975. godine, prona|en je mozaik povr{ine od oko osam kvadratnih metara, izra|en od krupnijih kockica bele, tamnoplave i crvene boje. Mozaik je dislociran i konzerviran. Sada se nalazi na slobodnom prostoru iza zgrade Muzeja Medijana. Podloga na kojoj je izveden (heraklit) s vremenom je dosta propala, pojavile su se pukotine i kockice su ispale iz le`i{ta. Tokom 2004. iznad mozaika je postavqen improvizovani krov od azbestnih plo~a. Pre toga mozaik je bio pokriven krpama (sl. 1). U Gamzigradu su podignute centralne kompozicije mozaici s predstavama Venatora, Lavirinta i Dionisa iz palate I konzervirani su na na~in koji je u datom periodu bio adekvatan i sada su izlo`eni u okviru stalne postavke muzeja u Zaje~aru (sl. 2).

re{ewe, koje je bilo predvi|eno kao privremeno, u nekim slu~ajevima potrajalo je i vi{e decenija. To se dogodilo s mozaicima u bazilici s transeptom na lokalitetu Cari~in Grad, ~ija je konzervacija planirana jo{ od 1979. godine, ali je stalno odlagana i mozaik nije konzerviran do danas. Zbog stalnog i{~ekivawa konzervatorske intervencije sloj peska kojim je mozaik pokriven nije adekvatno odr`avan, pa je do{lo do bujawa vegetacije koja ugro`ava mozaik. Postoji realna opasnost da taj zna~ajan mozaik bude nepovratno izgubqen (sl. 3). Konzervirani mozaici za{ti}eni su od neposrednog uticaja atmosferalija tako {to su pokriveni slojem peska debqine do dvadesetak santimetara. Tako|e se praktikuje pokrivawe mozaika najlonom i slojem peska. Najlon se prvenstveno koristio da bi se pesak prilikom otkrivawa mozaika lak{e uklonio. Iako omogu}ava lak{e ~i{}ewe i smawuje rizik od eventualnog o{te}ewa mozaika prilikom otkrivawa, najlon nije adekvatno re{ewe za za{titu mozaika s vremenom postaje krt, puca i ne spre~ava korewe biqaka da prodire kroz teselatum. S druge strane, najlon zadr`ava vlagu neposredno na povr{ini mozaika. Dolazi do kondenzacije, pa tako najlon mo`e postati jedan od uzro~nika o{te}ewa (Menicou et al., 2003: 226) (sl. 4). Takav metod pokrivawa do danas nije promewen. Polipropilenska mre`ica ili geotekstil6 ne koriste se ni na jednom lokalitetu. Tako|e, sloj peska uglavnom nije dovoqno debeo da bi na odgovaraju}i na~in
5) Rukovodioci konzervatorsko-restauratorskih radova na gamzigradskim mozaicima: M. Duha} (19541957), R. Sikimi} (19581966), M. Medi} (19671993), V. Ra{i} (od 1993) (@ivi}, 2003: 9). U Medijani su konzervacijom mozaika rukovodili M. Medi} i N. Antonov (Dr~a, 2006: 19), a u Cari~inom Gradu S. Petkovi} i M. Hamruni, specijalista iz Tunisa (usmena informacija). 6) Ti materijali se u arheolo{koj konzervaciji koriste za odvajawe slojeva i za{titu objekata prilikom pokrivawa ili zakopavawa arhitektonskih objekata. Geotekstili su materijali napravqeni od polimernih vlakana. Wihova primarna namena u geotehni~kom in`ewerstvu jeste odvajawe, za{tita, filtracija i ponekad drena`a (Kavazanjian, 2004, 378: 383).

Pokrivawe
Mozaici koji nisu konzervirani zatrpavani su ili, ukoliko se planirala wihova konzervacija, privremeno pokrivani peskom. Na`alost. Takvo

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za{titio mozaik od uticaja klime i vegetacije, tim pre {to se pokriva~ ne odr`ava, pa se s vremenom taj sloj raznosi i smawuje. Na nekim mozaicima pesak nije zamewen 20 ili 30 godina.

monograma. Ta konstrukcija je ni`a od prethodno opisane i nema otvore za ventilaciju. Zbog toga je leti temperatura unutar zaklona veoma visoka. Tako|e, upotreba najlona stvara pomenuti problem kondenzacije.

Zakloni
Zakloni iznad mozaika postoje samo u Medijani. Od ukupno ~etiri zaklona trajni je podignut samo iznad nimfeuma, {to je u~iweno 1936. godine zahvaquju}i donacijama gra|ana Ni{a. Mozaik je jo{ uvek na originalnoj podlozi. Od konzervatorskih intervencija prime}uju se op{ivi, a povr{ina mozaika najverovatnije je bru{ena. Te intervencije verovatno datiraju iz vremena podizawa zgrade. Iako je ustanovqeno podvajawe teselatuma od podloge, mozaik nije ugro`en. U zgradi se nakon izgradwe vodovodnih bazena7 pojavila kapilarna vlaga. Tragovi vlage, alge i mahovine vidqivi su i na mozaiku. Zgrada je ranije proki{wavala, ali je krov saniran 2005. godine (sl. 5). Iznad dela peristila podignut je jednostavan zaklon, koji se sastoji od drvene konstrukcije i crepa. Stubovi za{titne konstrukcije neposredno se oslawaju na zidove. Krov je relativno nizak, ali nemamo podataka o tome da li adekvatno {titi mozaik od neposrednog uticaja atmosferalija. Zaklon je konstruisan i postavqen kao probno re{ewe i trebalo je da se pro{iri iznad celog mozaika, ali wegova evaluacija do danas nije obavqena. Deo mozaika u peristilu koji je za{ti}en tim zaklonom otkriva se sezonski i posledwi put je pokriven najlonom i peskom 2005. godine. Ostatak mozaika pokriven je samo peskom, koji nije mewan godinama (sl. 6). Iznad mozaika koji je prona|en u hodniku izme|u vile s peristilom i termi podignuta je 2005. godine za{titna konstrukcija od drvenih greda, stirodur tabli i azbestnog krovnog pokriva~a, a mozaik je pokriven najlonom i slojem peska. Ta vrsta privremenog zaklona pru`a adekvatnu za{titu od atmosferskih uticaja, a otvori na jednoj strani zaklona omogu}uju cirkulaciju vazduha i boqe provetravawe (sl. 7). Na isti na~in je u ranohri{}anskoj crkvi, otkrivenoj 2000. godine, za{ti}eno mawe mozai~ko poqe s predstavom Hristovog

Odr`avawe
Odr`avawe mozaika podrazumeva redovno pra}ewe stawa o~uvanosti mozaika i gra|evine u kojoj se mozaik nalazi i izvo|ewe jednostavnih intervencija, za koje je tokom procene stawa ustanovqeno da su neophodne kako bi se usporio proces degradacije i spre~ilo daqe propadawe (Piqu et al., 2003: 447). Me|utim, program redovnog odr`avawa mozaika koji bi bio u skladu s navedenim obja{wewem ne primewuje se na lokalitetima u Srbiji. Mere redovnog odr`avawa lokaliteta svode se iskqu~ivo na ko{ewe trave i uklawawe sme}a, a za te poslove nadle`ni muzej sezonski anga`uje osobqe. Osobqe koje radi na lokalitetu nije obu~eno za pra}ewe stawa i odr`avawe mozaika. Ne postoji procedura pra}ewa stawa mozaika i na savesti je zaposlenih da vode ra~una o eventualnim promenama. Ukoliko primeti neke promene, osobqe na lokalitetu obave{tava nadle`ne u muzeju, koji tada izlaze da snime stawe i o tome obave{tavaju nadle`ni zavod za za{titu spomenika kulture. Sloj peska iznad mozaika ne obnavqa se redovno i ~esto nije mewan decenijama. Zbog tog razloga na pesku se pojavquje vegetacija koja mo`e zna~ajno da o{teti mozaik. U Medijani i Gamzigradu neki delovi mozaika sezonski se otvaraju za posetioce. Da bi se boqe videle boje i dekoracija, mozaici se tada polivaju vodom. Usled stalnog kva{ewa i su{ewa mozaik je izlo`en tenzijama i to dovodi do o{te}ewa (sl. 8).

Prezentacija
U Medijani i Gamzigradu prezentaciji mozaika nije posve}eno dovoqno pa`we, iako je broj posetilaca veliki.8 Pored mozaika nisu
7) Medijana se nalazi na zemqi{tu Ni{kog vodovoda. 8) U toku 2005. godine u Medijani je bilo 14.000, a u Gamzigradu 24.436 posetilaca.

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postavqeni informacioni panoi i table. Samo je u Medijani kretawe delimi~no sugerisano stazama i samo na tom lokalitetu rade obu~eni vodi~i.

Bezbednost
Jedino je Medijana ogra|ena i u woj postoji sistem obezbe|ewa. Ipak, ni na jednom lokalitetu nisu zabele`eni slu~ajevi kra|e ili vandalizma.

ZAKQU^AK
Na osnovu rezultata dobijenih snimawem stawa mozaika na ova tri reprezentativna arheolo{ka lokaliteta mo`e se zakqu~iti da su primewene mere preventivne za{tite generalno nezadovoqavaju}e. Mo`e se izdvojiti nekoliko kqu~nih problema: mozaici uglavnom nisu pokriveni na na~in koji obezbe|uje adekvatnu za{titu od atmosferskih uticaja i prodora vegetacije; zakloni su uglavnom podignuti kao privremeno re{ewe i ne omogu}uju prezentaciju mozaika;9 ne sprovodi se dugoro~no planirawe konzervacije na nivou lokaliteta; ne sprovodi se sistematsko pra}ewe stawa mozaika; ne postoji program redovnog odr`avawa mozaika, a osobqe koje radi na lokalitetima nije obu~eno za redovno pra}ewe stawa i odr`avawe mozaika; prezentacija mozaika u postoje}im uslovima uglavnom nije mogu}a. Takvo stawe je u velikoj meri posledica toga {to ne postoji jasna podela posla i odgovornosti nadle`ne institucije imaju razli~ite

interese, a saradwa nije koordinisana, {to rezultira te{ko}ama u upravqawu lokalitetom. Pored toga, u Srbiji jo{ uvek ne postoji izgra|ena svest o presudnoj ulozi preventivne za{tite u o~uvawu kulturnih dobara, kao ni o tome da su dugoro~no planirawe, sistematsko pra}ewe stawa i redovno odr`avawe neophodni za uspe{nu konzervaciju arheolo{kih lokaliteta. Da bi se stekla jasna slika o potrebama za{tite mozaika na lokalitetima u Srbiji, potrebno je, pre svega, sprovesti detaqno snimawe i analizu stawa o~uvanosti svih mozaika otkrivenih u okviru lokaliteta. Ta snimawa trebalo bi sprovesti na svim lokalitetima na kojima su otkriveni mozaici. Projekti bi ukqu~ivali detaqno snimawe stawa o~uvanosti mozaika, analizu sredine i wenog uticaja na mozai~ki materijal, odre|ivawe uzroka propadawa i procenu rizika radi planirawa konzervacije. Ti projekti neizostavno bi trebalo da budu deo generalnog plana konzervacije arheolo{kog lokaliteta. Da bi snimawe i bele`ewe stawa moglo da se obavqa sistematski i dosledno i kako bi podaci mogli da se porede, neophodno je standardizovati dokumentaciju i formirati jedinstvenu bazu podataka, koja bi objedinila rezultate snimawa na svim lokalitetima (Corfield, 2003: 135). Dobijeni rezultati koristili bi se za planirawe konzervacije prema prioritetima i za izradu programa preventivne za{tite i redovnog odr`avawa mozaika. Tako|e je potrebno paralelno obu~avati osobqe koje bi sprovodilo te programe. Na taj na~in mozaicima bi se obezbedila odgovaraju}a za{tita, koja bi, kona~no, omogu}ila i wihovu prezentaciju in situ.

9) Izuzetak je zgrada muzeja u Medijani, podignuta iznad nimfeuma 1936. godine.

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REFERENCES []
Corfield, M., 2003, A Framework for the Documentation of in situ Mosaic Conservation Projects, u: Proceedings of the VIth International Conference of the International Committee for the Conservation of Mosaics, Mosaics Make a Site: The Conservation in situ of Mosaics on Archaeological Sites, Rome, 123136; Dr~a, S., 2006, Medijana, Ni{; Kavazanjian, E., Jr, 2004, The Use of Geosynthetics for Archaeological Site Reburial, u: Conservation and Management of Archaeological Sites, special issue on site reburial, 6/34, London, 377393; Kondi}, V., Popovi}, V., 1977, Cari~in Grad, utvr|eni grad u vizantijskom Iliriku, Beograd; Menicou, M., Fiori, C., Macchiarola, M., 2003, Examples of Deterioration Following Preservation Works on Mosaics in situ, u: Proceedings of the VIth International Conference of the International Committee for the Conservation of Mosaics, Mosaics Make a Site: The Conservation in situ of Mosaics on Archaeological Sites, Rome, 225233; Piqu, F., Neguer, J., Lucherini, B., 2003, The Role of Maintenance in the Conservation of Mosaics in situ: Comparative Field-Testing Methodology, u: Proceedings of the VIIth International Conference of the International Committee for the Conservation of Mosaics, Mosaics: Conserve to Display?, Arles, 445453; Roby, T., 2006, Lessons Learned. A report on the 2005 ICCM Conference, The Getty Conservation Institute Newsletter 21/1, Los Angeles, 2023; Srejovi}, D., 1983, Carski dvorac, u: Gamzigrad, kasnoanti~ki carski dvorac, Beograd; @ivi}, M., 2003, Felix Romuliana / 50 godina odgonetawa, Zaje~ar.

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1 Figure 1. Mosaic lifted from the villa with conchae and atrium, Mediana Slika 1. Mozaik podignut iz vile s konhama i atrijumom, Medijana Figure 2. Dionysius mosaic in the permanent exhibition of the National Museum in Zaje~ar Slika 2. Dionis, stalna postavka Narodnog muzeja u Zaje~aru

3 Figure 3. Mosaic in the basilica with transept, Cari~in Grad Slika 3. Mozaik u bazilici s transeptom, Cari~in Grad Figure 4. Condensation under the nylon cover Early Christian church, mosaic with Christs monogram, Mediana Slika 4. Kondenzacija ispod najlonskog pokriva~a, ranohri{}anska crkva, mozaik sa Hristovim monogramom, Medijana

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CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION

5 Figure 5. Permanent shelter. mosaic from the nympheum Slika 5. Trajni zaklon, mozaik iz nimfeuma, Medijana Figure 6. Shelter over a portion of the peristyle mosaic, Mediana Slika 6. Zaklon iznad dela peristila, Medijana

7 Figure 7. Temporary shelter over the mosaic in the passage between the villa with peristyle and thermae, Mediana Slika 7. Privremeni zaklon iznad mozaika u hodniku izme|u vile s peristilom i termi, Medijana Figure 8. Part of the mosaic opened for visitors, Gamzigrad Slika 8. Deo mozaika otvoren za posetioce, Gamzigrad

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