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During the 2020 excavation campaign of the French Archaeological Mission to the Egyptian Eastern Desert (MAFDO), the team in charge of the excavation of the Roman fort of Deir el-Atrash uncovered a polychrome painting on one of the original entrance tower gates from the late 1st–early 2nd c. CE. The iconographic program includes, in the top register, a horseman genius and a caravan of dromedaries with its driver. In the lower register, a pattern of vine stalks and leaves occupies the space. This discovery is exceptional, as very few Roman paintings have been preserved in a military context. In addition to depicting a scene of everyday desert life, the supply of the fort, the scene also illustrates the power of the Empire and its presence at its borders.
This article draws on the notion of collective memory to address the experience of urban space in antiquity. Focusing on Timgad in the Severan period as a case study, it mainly engages with the city plan and its streets, the public buildings that lined them, and their honorific inscriptions. Based on top-down and bottom-up processes, it highlights how the built landscape was staged to create a memory of the urban space and its development, but also how the inhabitants themselves were able to contribute to fostering this memory through everyday urban practices.