This study gives an account of the organic components (binders and coatings) found in the polychromy of some fragmented architectural reliefs from the Palace of Apries in Memphis, Egypt (26th Dynasty,. A column capital and five relief fragments from the collections of the Ny Carlsberg Glyptotek in Copenhagen were chosen for examination, selected because of their well-preserved polychromy. Samples from the fragments were first investigated using Fourier transform infrared (FTIR) spectroscopy to screen for the presence of organic materials and to identify the chemical family to which these materials belong (proteinaceous, polysaccharides or lipid). Only the samples showing the potential presence of organic binder residues were further investigated using gas chromatography with mass spectrometry detection (GC-MS) targeting the analysis towards the detection and identification of compounds belonging to the chemical families identified by FTIR. The detection of polysaccharides in the paint layers on the capital and on two of the fragments indicates the use of plant gums as binding media. The interpretation of the sugar profiles was not straightforward so botanical classification was only possible for one fragment where the results of analysis seem to point to gum arabic. The sample from the same fragment was found to contain animal glue and a second protein material (possibly egg). While the presence of animal glue is probably ascribable to the binder used for the ground layer, the second protein indicates that either the paint layer was bound in a mixture of different binding materials or that the paint layer, bound in a plant gum, was then coated with a proteinaceous material. The surface of two of the investigated samples was partially covered by translucent waxy materials that were identified as a synthetic wax (applied during old conservation treatments) and as beeswax, respectively. It is possible that the beeswax is of ancient origin, selectively applied on yellow areas in order to create a certain glossiness or highlight specific elements.
Fragments of painted limestone reliefs from the Palace of Apries in Upper Egypt excavated by Flinders Petrie in 1908-1910 have been investigated using visible-induced luminescence imaging, micro X-ray fluorescence, laser ablation inductively coupled plasma mass spectrometry, micro X-ray powder diffraction, and Fourier transform infrared spectrometry. The pigments have been mapped, and the use and previous reports of use of pigments are discussed. Mainly lead-antimonate yellow, lead-tin yellow, orpiment, atacamite, gypsum/anhydrite, and Egyptian blue have been detected. It is the first time that lead-antimonate yellow and lead-tin yellow have been identified in ancient Egyptian painting. In fact, this is the earliest examples known of both of these yellow pigments in the world.
Colours containing bright and saturated blue hues were popular for painterly effects in most of the Mediterranean cultures dating from the Bronze Age to the fall of the Roman Empire. Pigments providing the desired blue were produced from precious minerals such as azurite and lapis lazuli, but bright blue hues also came from pigments produced by merging other naturally occurring sources. This large group of synthetically-generated blue frits is referred to as Egyptian blue. Egyptian blue is a calcium copper tetrasilicate compound, a synthetic pigment made by heating a calcium compound (such as powdered limestone and sand rich in calcium carbonate) together with copper and quartz (fig. 1), although synthetic blue pigments based on cobalt are also known, so far mainly in Egypt (such as “Amarna-blue”). The hue of Egyptian blue pigments ranges from a saturated, almost black blue to light blue, bluish-green, and purple, each being dependent on the materials employed for its production and manufacturing process. Its material properties are crystal-like, resembling finely shattered glass. It ranges in saturation and brightness (which can be enhanced by secondary heating), and it has a relatively low covering power. It seems to have ceased being widely applied sometime after the fall of the empire, which added a certain mystery to it.
The polychrome glazes from the Processional Way and the Ishtar Gate of Babylon are among the best preserved from antiquity. Yet, little is known about the logistical choices involved in their production. Variations in isotope ratios can be useful for complementing an archaeological investigation of potential geological sources of raw materials. Consistent with archaeological evidence and ancient texts on trade in metals, Turkish ore deposits are thus tentatively proposed as possible sources of the metal oxide colorants used for the investigated polychrome glazes of three Neo-Babylonian faunal reliefs that are now part of the collection of the Ny Carlsberg Glyptotek, Copenhagen.
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