Maney Publishing

International Institute for Conservation of Historic and Artistic Works

The Conservation of a Group of Painted Mummy Cloths from Roman Egypt
Author(s): Lynda Hillyer
Source: Studies in Conservation, Vol. 29, No. 1 (Feb., 1984), pp. 1-9
Published by: Maney Publishing on behalf of the International Institute for Conservation of
Historic and Artistic Works
Stable URL: http://www.jstor.org/stable/1505937
Accessed: 10-10-2015 11:07 UTC
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THE CONSERVATION
OF A GROUP OF PAINTED
CLOTHS FROM ROMAN EGYPT

MUMMY

Lynda Hillyer

Abstract-Theconservation
ofa groupoffivefragmentary.
dead to new life. On two of the smallerfragments,
clothsfromRomanEgyptis described. one of the guardian gods of the underworld,the
paintedmummy
of thelinengrounds, jackal, Anubis, is depicted.There is littleevidence
The accountcoversthe relaxation
consolidation
of the fragilepowderysurfacesand the of anytraditionof shroudpaintingin AncientEgypt
of newlinensupports
application
usingthevacuumhot- and the use of these linenshroudsin Roman Egypt
andmediaoftwoofthe
table.An analysis
ofthepigment
is indicative of the gradual abandonmentof the
fragments
is also given.
As Christianity
estabtechniquesof mummification.
lished itselfthroughoutEgypt methods of burial
1 Introduction
became farless complex and by the fourthcentury
A groupof fivefragmentary
mummycloths(British the body would have been interredsimplyin an
Museum, Departmentof EgyptianAntiquities,nos. everydaytunic.Linen portraitswere a less popular
and cheaper formof burial portraitthan the better
68950-54), each with a painted decoration, was
receivedinto the OrganicsConservationSection of knownencausticpaintingsof the Faiyum area and
With
the BritishMuseum during1980-81. All fivewere mostof themare rarelyas notable artistically.
in verypoor condition;both the gesso groundwith the economic collapse of the late Roman Empire,
whichthe linenhad been preparedand the painted portraitproductionbecame increasinglypoor and
surfaceswere crackingand powdery.None of them the flat cartoon-likeappearance of the examples
could be handled withany degree of safety.During illustratedin thispaper is typicalofthelate paintings
the conservationof these fragmentsa numberof [1].
The portraitswere executed simplyand quickly.
problemswere encounteredwhichfrequentlyoccur
not only in the treatmentof painted textilesbut in A thingesso ground(usually chalk and gum) was
manyethnographicalobjects whereitis necessaryto prepared to obscure the weave of the linen and on
consolidate a surface.decorationof pigmentand thissmoothsurfacethe designwas drawnin outline
of the underly- (usuallyin black butsometimesred), beforethe colgroundwhileretainingtheflexibility
to
The
methods
used
conserve
these our was applied [2]. Pigmentswere almost always
ing support.
fragmentshave been adapted and used successfully the naturally occurring earth colours familiar
on a numberof otherobjects and it is hoped thata throughoutthe Pharaonic period althoughthereis
practical account of the treatments,with specific evidencethatthe Romans introducedsome innovareferenceto two of the fragments,
will be of use in tions,notablyred lead and the use of madder [3].
Three distinctformsof mediumare knownto have
othercircumstances.
The mummycloths almost certainlydate from been used: thepigmentwas eithermixedwithwater
second-thirdcenturyAD Roman Egypt, a period and thenwitha gum (fromthe acacia tree), or with
which witnessed an uneasy mergingof cultures. an animal glue, or an egg base was used. Egg white
Nowhere is this more evident than in its funerary alone would have given a slightlymore translucent
art.Stylistically
the portraitsreflectthismixture;the effect.Althoughthe portraitsare oftenreferredto
speaking,
Pharaonicconventionscontinue,oftenin a debased as temperapaintings,theyare not,strictly
form,alongside the more human and realisticrep- alwaystrueegg tempera.All formsof media can be
resentationsofthe Classical World.In thefinestsur- found togetheron the same object and it seems
vivingexamples, the portraithas a directnessand likelythatthe artistused whateverwas to hand.
immediacywhich seems almost modern, and the 2 Methods of examination
stark juxtapositionof stylesgives an added poignancyto the momentof transitionfromone lifeto Before any attemptwas made to assess the conserthe next. Thus they may depict not only the vation
requirementsof the objects a thorough
deceased but the deities of the afterlife.The sky examinationof the materialsused in theirconstrucgoddess Nut,forexample,appears on the largestof tion was carriedout. The use of a binocularmicrothe group of fragments;she was connectedwiththe scope
(10x magnification)confirmed that the
and the awakeningof the groundfabricwas linen on all fivefragments.This
symbolismof resurrection
examinationalso made it clear thatthe
Received6 April1983
preliminary
Studiesin Conservation29 (1984) 1-9

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LyndaHillyer
layer structureof the pigmentswas, as expected,a
simpleone. Only on the largestfragmentwas there
any evidence of more than one layer of colour. In
order to ascertain the precise nature of both the
pigmentsand media and the compositionof the
gesso ground,the problemwas referredto the scientificstaffat the National Gallery,London. Samples of pigmentand groundwere examinedby optical microscopyand analysescarriedout microchemicallyand (in mostcases) byspectrography
usingthe
laser microprobe[4]. Preliminaryclassificationof
thesamplesof the media was made byapplicationof
thefurfural
test,a routineand fairlysensitivetestfor
the detection of sugars and starches (and hence
gums) and by saponification(detection of fatty
was carriedout by gas
acids); precise identification
(see section 5).
chromatography
3

Descriptionand condition

The group contained manysimilaritieswithregard

to conditionand type and a detailed descriptionof

of linengroundof
Figure2 Detail(x 10Omagnification)
68950,showing
stripe.
pattern
of weft

FigureI
2

Objectno. 68950 beforeconservation.

each would serveno real purpose.The linensupport

on all five fragmentswas severely degraded and
crumpledand each piece contained several splits.
Objects 68951 (21cm x 35cm) and 68953 (43cm x
64cm) were almostidenticalin design,both depicting seated jackals withmeshed decorativeborders
and, like no. 68954, which is discussed in greater
detailbelow,had onlyscanttraceofa gesso preparation.
Object 68952 (37cm x 23cm), on whichonlythe
remains of a design could be distinguished,was
completely impregnatedwith a hard and brittle
resinousdepositand itsconditionwas comparableto
theloweredge of thelargeportrait(68950). Results
of pigmentand media analysis on samples taken
fromthese objects confirmthe use of a limitedand
consistentrange of colour and bindersand thereis
very littlevariationfromthe resultsgiven for the
discussedbelow.
two fragments
Object 68950, the largestfragmentof the group
(Figure 1), measuring71cm by 135cm, is possibly
29 (1984) 1-9
Studiesin Conservation

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Conservationof a group of paintedmummyclothsfromRoman Egypt

fromThebes. It depictsthegoddessNutwithsmaller
figuresof divinitieson eitherside includingthe four
sons of Horus in verydebased style.There are the
remainsof a meshborderon the right-hand
side and
above the head of the goddess is a wingeddisc, the
ancient symbol of heaven [5]. The linen support
(Figure 2) is characteristically
s-spunsingleply,and
is woven in a simple but somewhatirregulartabby
weave (average threadcount 17 warp ends per cm,
10 weftpicksper cm) withextraweftsused to create
two sets of decorativestripesat the top of the fragment.A fringehas been formedat thisend simply
by twistingthe free warps. Apart fromthe upper
section(approximately5cm) the whole fragmentis
coveredin a thinand unevenlyapplied gesso ground
whichanalysisidentifiedas chalk. The portraithas
been sketchedin black and the outlinesfilledin yellow; detailsare paintedin green,pink,twoshades of
blue and two shades of red. On several areas (notably the stars surroundingthe goddess), coarse
brush-strokescan be seen indicatingthe use of a
fibre(probablypalm) brush.
The general conditionof this fragmentwas very
poor. Where the linen was not protected by the
gesso layer it was dry and degraded and what

on 68950.
Figure5 Detailofpaintsurface

remainedof the fringebrokeeasily.The whole portraitwas crumpledand creased and a crude attempt
to straighten
it by pinningit (withdrawingpins) to a
strain(Figure 3).
backboard had resultedin further
The fragmentwas splitinto two sectionsand there
were several holes. There were two areas of heavily
resinatedstaining,one on the neck and face of the
portraitand the otheralong the loweredge measuring approximately10-15cm in depth. These areas
were veryhardand brittle.The loweredge had several splitsand partsof it were in dangerof breaking
away fromthe main body of the textile(Figure 4).
The gesso was missingin many areas. Where it
remainedit was cracked and crumbling.The paint
surface was friable and powdery and there were
manyloose flakes(Figure 5). The colourswerefresh
and not in need of cleaningbut theyhad a slightly
dustyappearance due to theconditionof thepaint.
This particularfragmenthad a more substantial
coveringof gesso, both in depth and area, than the
otherstreatedin thisgroup.There was a noticeable
differencein thefeel and conditionof the linensupFigure3 Detail of 68950, showingcondition
of linen, portwhereit was protectedby theground.Areas of
bare linen were in a more advanced state of degragessoandpigment.
dation; theywere darkerin colour and feltharder
and more brittle.Since calciumcompoundsstabilize
cellulose it seems reasonable to assume that the
fibreswere well protectedby theiralkaline environmentfrom the normal processes of cellulose
decay. Oxidationof the fibreswould also have been
reduced by the presenceof thisbarrier.*
Object 68954 was a smallerfragment(60cm x
69cm) whichdifferedin characterfromtheothersin
thegroupin thatthesubjectwas treatedmuchmore
naturalisticallyand the paintingwas clearly Hellenistic in style (Figure 6). Three figures are
depicted: part of the face of a woman to the left,a
Figure4

Detail of lowerstainededge of 68950.

to Mr A. D. Baynes-Copeforconfirming
*I am grateful
andenlarging
thisobservation.

Studiesin Conservation29 (1984) 1-9

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LyndaHillyer

Figure6 Objectno. 68954beforeconservation.

3 All fivefragments
neededsupport
intheform
of a sympathetic
liningand a decisionhad to
be madeas to howthiswas to be done.
wasthemostcomplexduetothe
Thelargefragment
condition
of thepaintand thenatureof thegesso.
The threesimilarfragments
(68952, 53, 54) could
be groupedtogether;theyall had thinnergesso
werewellattached.The
groundsand thepigments
smallresinatedfragment
was in need of support
only.In general,though,the procedurewas the
sameforthewholegroup.
The aimof theconservation
was to stabilizethe
In addiobjectsand makethemsafeforhandling.
tionthereweretwoimportant
aesthetic
considerations.The freshness
and delicacyof thecoloursof
thepainting
hadto be retained
andsecondly,
itwas
hoped that the conservationtreatmentwould
restoresomeflexibility
to the linensupports.
The
clothswouldhavebeendrapedor wrappedaround
itwasintended
themummy
thatthey
and,although
shouldbe storedflatandsupported,
itwasimportant
withtheiressentialcharacter.
notto interfere

in thecentre
ratherinsignificant
Egyptianfigurine
and a small figureon the right;below is what
appearsto be the top of an Egyptiancrown.The
ofthetwowomenare typiandjewellery
hairstyles
AD.
callysecondcentury
ofgessowas verythin,justenough
The covering
to act as a size forthelinen.The pigments
(pink, 4.1 Choice of materials
red,black,brownand yellow)werewell attached Thereweretwoprocessesintheconservation
treatareaspaintedinbrownhadrotted,
perhaps mentwhichrequiredcarefulchoiceofmaterial:
although
On
indicative
of a painteddyewithironmordant.
of thepainteddecoration
(a) theconsolidation
side thereare hard black
the lower right-hand
and thegesso;
depositsaroundthe edge of the textile.The left- (b) theattachment
oftheclothstonewsupports.
handsideoftheportrait
appearstohavebeendelib- The consolidation
of powderymattsurfacesis a
eratelycutaway.The linenitselfwasverydegraded familiar
intheOrganics
SectionoftheBritproblem
anddryanddarkerinappearancethanothersinthe ish Museum.On manyethnographical
objectsthe
of paintedsurfacesare weaklyboundand in some
was themostcrumpled
groupand thefragment
withdrawing
thefive.It,too,hadbeenattached
pins cases thereis no binderat all. Providedthe conwasintactbutit solidantshavepassedtheroutinelaboratory
to a backboard.Muchofthefringe
tests,
on thelarge thefinalchoiceis nearlyalwaysanempirical
brittle.Like thefringe
was extremely
oneand
thefree themainconsideration
it had been formedby twisting
fragment
inthetreatment
ofthesesurwarpsexceptforthelasttasselon therightwhich facesis alwaystoleavetheappearanceoftheobject
was as unaffected
sideofthefragment
wasplaited.Theright-hand
as possible[6].
a selvedge.Threadcount:18 warpendspercm,11
Fromtherangeofconsolidants
usedto treatthis
weftpickspercm.Specific
pigment
analysiswasnot problemin theBritishMuseumthefollowing
were
Resultsof selectedas possibilities
carriedout forthisparticular
fragment.
for use on the mummy
analysison theotherfourpiecesshoweda marked cloths:
thattherewouldbe
and it was unlikely
consistency
Mowilith
50 PVA resin,2-5% in acetone.
forthispiece(see section5).
anyvariation
MowitalB30H (polyvinyl
3% in IMS.
butyral),
Solublenylon(N-methoxymethyl
nylon),2-5%6% in IMS.
4 Conservation
Beva 371 (ethylene-vinyl
acetate copolymer):
Thegrouppresented
threemainconservation
spirit.
prob- KetoneresinN, 1:1 solutionin petroleum
lems:
ParaloidB72 (acrylicresin),2*5%in xylene.
The consolidant
had to fulfil
a numberof func1 The linensupportneededto be relaxedand
tions.Flexibility
wasessential
becauseoftheunderstraightened(Objects 68950, 51, 53, 54).
had to be car2 The ground(whereapplicable)and pigmentlyinglinensupport.The consolidant
wereinneedofconsolidation
(Objects68950, riedin a solventwhichwouldnotharmtheobject
emulsions
were
51, 53, 54). In thecase ofthelargefragment(forthisreasonall thewater-based
ofthegessoand
of paintneededre- ruledoutbecauseofthesolubility
(68950) loose fragments
attachment.
It had to be mattandvirtually
colourless
pigment).
4

29 (1984) 1-9
Studiesin Conservation

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Conservation
clothsfromRomanEgypt
ofa groupofpaintedmummy
althoughit was acceptedthatany consolidationprocess would slightlyaltersurfaceappearance. Reversibilitymayseem an academic pointwhenconsidering the treatmentof a powderysurfacebut it was
importantto finda consolidantwhichwould remain
soluble for an indefiniteperiod of time and would
not discolouror cross-linkwithage. The resinswere
testedfirstly
on made up panels of linen,chalkgesso
and egg tempera.These were heat aged at 60?C for
one week and a simulated powdery surface
obtained. The consolidants were then tested on
smallareas of the largestfragment.Of the fiveconsolidants,Mowilith50 and MowitalB30H produced
slight but unacceptable colour changes. Soluble
Nylonwas effectivebut had to be applied at a high
percentage(5-6%) to re-affixlargerfragmentsof
painton Object 68950. This was consideredunsatisfactorysince it produced a slightsheen in these
areas. In additionit has provedextremelydifficult
to
remove froma number of ethnographicalobjects
and a greyingeffecthas been observed. Beva 371
had been used successfullyby the author for the
consolidationof fugitivepaint on Chinese painted
silks prior to washing.It produced littlechange in
surfaceappearance butbecame shinywhenheat was
applied. Paraloid B72 was the only consolidant
whichfulfilledall the conditionsnecessaryfor this
particulargroup of objects. Tests carriedout in the
BritishMuseum Research Laboratoryshowed that
theeffectof heat agingforthreedaysat 60?C on the
of thisconsolidantwas negligiblenor was
flexibility
there any shrinkageor change in colour or any
adverse effecton reversibility.
At low concentrationsParaloid B72 is surprisingly
mattand flexible.
The use of a relativelyslow-drying
solvent(xylene)
ensured that there was sufficient
penetration;this
was particularlyimportanton the large fragment.
For the attachmentof the clothsto new supports,
in all five cases an overall supportwas considered
essential.Of the thermoplasticadhesive techniques
available, two were considered as being suitable.
Eitherthe supportcould be treateddirectlywithan
adhesive and attached to the object, or an intermediate support treated with adhesive could be
sandwichedbetweentheobject and a backingfabric.
The backingfabricwould both act as an isolatorfor
the treatedsupportand complementthe object visually. The second methodwas chosen as the most
appropriate.A finelightnylontulle (20/40 gauge)
was selected as the supportand dyed to blend with
the objects using ICI Dispersol dyes,and an evenweave linenvisuallycompatiblewiththelinenof the
fragmentswas chosen as the backingfabric.Pieces
were dyed individuallyfor each object using ICI
Durazol dyes. Of the thermoplasticadhesives, the
PVA emulsionMowilithDMC2 seemed theobvious
choice. It has a low softeningpoint
and
(60--80?C)
Studiesin Conservation
29 (1984) 1-9

as an emulsionis easy to apply.Furthertestscarried

out in the British Museum Research Laboratory
confirmedthatthe effectof heat aging at 60?C for
three days on the flexibility
and colour of a film
made fromDMC2 was negligibleand the effectof
heat aging on colour afterthreedays at 100?C was
on the Lovibond yellowglass scale.
only
0.2
4.2 Conservationtreatment
The firstmove in the conservationprocessonce the
objects had been released fromtheir backboards
was to relax and straightenthe fibres.It was clear
thatthe only satisfactory
way of achievingthiswas
to introducemoistureinto the degraded linen but
since the chalk/glue
groundand thegum/gluemedia
of the pigmentswere botheasilywater-soluble,and
the compositenatureof the objects meantthatany
dimensional changes would not be uniform,this
operation could only be accomplishedwitha great
deal of caution. The possibilityof using steam was
considered but it was felt that this would be too
violentand localized,exertingan unnecessarystrain
on the objects. For a satisfactory
resultit was necessary to moisten the objects gently and without
undue movementand to devise a method which
gave the conservatorcomplete control over the
entireoperation.For thesereasonsit was decided to
relax the textilesby placingthemin a closed environmentand slowlyraisingthe humidity.A large
wooden framecovered with monofilamentnetting
(the type used in the departmentfor dryinglarge
objects such as feathercapes) was invertedand prepared by liningwithphotographicdryingpaper. A
sheet of mulberrypaper was placed on top of the
dryingpaper and then the object was put into the
frame(Figure 7). The framewas lightand easy to lift
and the dryingpaper could be sprayedwithdistilled
water fromunderneath.The purpose of the mulberrypaper was to diffusethe moistureand prevent

themethod
usedto
Figure7 Objectno. 68954,showing
relaxthelinenground.

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LyndaHillyer

of thetextile.As a water,whichwas spongedlightly

ontothenet.For
anysuddenor unevenwetting
thatthe net is susa sheetof tissuepapertreated thisoperationit is important
further
precaution
inIMS wasplacedover pendedandundertensiontofacilitate
with1% orthophenylphenol
evenapplicathetextile.Thislastsheethada further
tionand to preventtheformation
of 'windows'of
function---it
fromdamag- adhesive.Two coatswereappliedto one side and
prevented
anydropsof condensation
ofthe
ingthefragilepaintsurface.The wholeframewas threeto theother.Thisallowsformigration
ineven
theheatsealprocessandresults
sheeting.For Objects PVA during
wrappedin polyethylene
68951,53 and54 (thosewitha scantgessocovering) adhesionon bothsidesofthenet.Thelinenbacking
within
twotothree fabricwasthentapedintoposition
thelinenhadrelaxedsufficiently
on thesurface
of
and the hot-tableusingSellotape,havingfirstensured
hoursto be able to removethe polyethylene
tissue,smoothout thecreasesverygentlybyhand thattheweavewascorrectly
aligned.Whenthehotthevacuumexertsa strongpull
anduntangle
thefringes.
By placingtheframeover tableis operating,
it was possibleto pin thelinenwhere and it is vitalto makesurethattheedgesof the
a softboard
ForObject68950,whichhada moresub- backingfabricaresealedefficiently
toguardagainst
necessary.
ofscalloping.
The treatednetwascut
stantialcovering
of gesso,theprocesstookslightly thepossibility
to theappropriate
sizesand thepieceswereplaced
longer.
on all fourtextiles on top of thelinentakingcareto ensurethatthey
The degreeof deterioration
treatedin thisway was such thatthe linenwas did notextendbeyondtheedgesof theSellotape.
foranylengthoftimeand The fragments
unableto holdmoisture
werethenplacedin theirfinalpositionsand the fringeswere sandwichedbetween
driedveryquicklywhenexposedto theair.
ofsiliconereleasepaperinorderto keepthem
hasprovedequallyusefulforpainted strips
Thismethod
x
withveryfugitive
textiles
andthere
tableis
barkcloth,
dyesor objects free.Thisparticular
4.2mtogether.
1.2m
to withstand
themanipulationwas roomto treatall fourpieces
whichare too fragile
It was feltthattheloweredge of thelargefragrequiredwhensteamis applied.
ment(68950) mightbe moreresistant
to adhesion
4.3 Consolidation
becauseof its heavyimpregnation
withresins.A
For the large fragment
(68950) the consolidant piece of polyester
crepeline(Stabiltexno. 4) was
solu- treatedon one sidewithtwocoatsof 60% DMC2.
(ParaloidB72 inxylene)wasappliedina
tionwitha finepaintbrush.
Two overall2.5%
coatswere Whenitwasdry,thetreatedsidewasplacedupperconsiderednecessaryand more consolidantwas moston a piece of Teflon-coated
and a
glasscloth
introduced
intoparticularly
areasand under filmwas castusing15% Mowilith
DMC2. A tempfragile
of paint.The colourslost their latewasmadeoftheloweredgeofthefragment
loose fragments
and
ratherdustyappearanceand becameslightly
richer the Stabiltexsupportwas cut to size. It was then
and brighter.
The areas whichhad been powdery placed betweenthe objectand thetreatednet to
becamequitefirm
andtheobjectas a wholeretained provideadditional
strength.
forthevacuumhot-table
at
The mainextraction
itsflexibility.
For objects68951, 53 and 54 onlya
was necessary.
The introductionOsterleytakesplacethrough
a seriesof 24 suction
lightconsolidation
of moisture
intotheobjectsduringthefirst
also
partof tubesattachedto rubbersheeting.Extraction
had to some extentrevitalized
the treatment
the takesplace at theedge of thetablethrough
a fine
wererelatively
well channelin the aluminium
a
paintmediumandthepigments
surface,thusforming
withthesame
attached.Theyweresprayedlightly
in a
consolidant
solution.
2.5%
4.4

Support

For the attachment

of the supportit was decided
thatthebestresultwouldbe achievedbyusingthe
vacuumhot-table
[7]. Forthispartofthetreatment
wewerefortunate
tobe abletousetheequipment
at
theVictoriaand AlbertMuseumTextileWorkshop
at OsterleyPark [8]. Theoretically
it wouldhave
beenquitepossibleto mounttheobjectsontotheir
supports
byhandusinga spatulairon,andoneofthe
(68952, a heavily-resinated
fragments
piece) was
in thisway.The otherfour
keptasidefortreatment
(68950, 51, 53, 54) were transportedto Osterley.

Our firsttaskwas to treatthenylontullewitha

conservation.
60/40 solutionof MowilithDMC2 in deionized Figure8 Detailofloweredgeof68950after

Studiesin Conservation
29 (1984) 1-9

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Conservation
ofa groupofpaintedmummy
clothsfromRomanEgypt

seal. A sheetof Melinexis placedoverthewhole ityandtheycouldnowbe handledwithsomedegree

surfaceof the table, coveringthe objects,and ofsafety.
byhand
Objectno. 68952washeat-sealed
ontonylontulle
lengthsof softcottonfabricare placedin contact (usinga spatulaironsetto
100?C)
withtwocoatsofa 60%
solution
ofMowilith
witheach objectand broughtoverthetop of the treated
Melinexto act as channelsforair whichotherwise DMC2. Thisgaveadequatesupportbutwas notas
as therelining
processcarriedout
visually
mightbe trapped.The Melinexis coveredby a successful
is low- on thehot-table.
heavyblanketand thentherubbersheeting
of 12mmblockboard
were
ered.In thiscase,thetablewasoperatedat a temp- Newwoodensupports
witha
first
erature
ofexactly600Cwitha pressure
of400mmof preparedforeach fragment
bycovering
thinlayerofpolyester
waddingand thenwithsuitmercury.
The vacuumextraction
servedto flatten
thetex- ably dyed cottonfabric.The textileswere then
to thecottoncovering
stitched
tiles very successfullyand consequentlytheir lightly
readyforstorinthe age (Figures9, 10).
appearancewasgreatly
improved,
particularly
case of thelargetextile(68950) wherethecolours
A slight
ofthesurface
of 5 Analysisofmedia
appearedbrighter.
cockling
thisfragment,
whichwas probablya resultof the
of thesolventafterconsolidation,
was 5.1 Object no. 68950
evaporation
eliminated.
The resinated
areasat theloweredgeof Black pigmentand yellowpigment
thisobjectbenefited
fromtheapplication
of heat, This paintwas not attackedby 10% methanolic
and theadditionaladhesionfromtheStabiltex
film potassiumhydroxide
reagent,but on dilutionand
withwaterthepaintdidshowsignsofdisthisarea (Figure8). The new warming
successfully
realigned
A furfural
andflexibil- integration.
test[9,p.392]wascarried
out
supports
gavetheobjectsbothstrength

Figure9 Objectno. 68950 afterconservation.

conservation.
Figure10 Objectno. 68954after

Studiesin Conservation
29 (1984) 1-9

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LyndaHillyer
and foundto be positiverelativeto a blank sample.
Thus therewould appear to be some polysaccharide
materiali.e. gum,presentas binder.
Some materialwas leached froma fragmentby
water, which gave positive indication when a
test[9, p.283] was performed.The presninhydrin
ence of water-solubleproteinwas takento be a possible indicationof animal/fish
glue. Gas chromatographywas carriedout on the saponifiables[10-12]
and revealed low levels of non-drying
lipids,which
mightbe expected froman aqueous gum/gluebinder.

Pink

Lake pigment,probablyon hydrated

aluminasubstrate.Al.
Yellow
Probably an organic yellow. Not
identified.
Brightestblue Egyptianblue. Cu, Ca, Si, Sn (trace).
The tincontentof Egyptianblue has
been attributedto the use of bronze
as a startingmaterialfor the manufactureof the pigment[14].
Brickred
Red lead and red ochre. Pb, Fe, Al,
Si. There appear to be two separate
layersof pigment.
Black
Charcoal and anothercarbon black
Dark brownpigment
and traceof red ochre.CarbonpartiResults were essentiallythe same, but therewas a
cles of two typesappear to be present. One variety stronglysuggests
slightlymore intense positive indicationfromthe
furfuraltest.This suggesteda higherproportionof
wood charcoal,whilsta second very
gum in the medium.
fine-grained
typeis also present.
Red
Red lead (minium).Pb.
Black paint
The sample was taken froman area thathad a less 5.2 Object no. 68954
dry appearance than that examined above. Some Using the same experimentalprocedures, refersoluble proteinwas extracted,suggestingthe pres- enced above, samples of pink paint (face of large
ence of glue. Gas chromatography
showed some- figure)and yellow backgroundpaint were tested,
what larger amounts of non-dryingfats and so withsimilarresultsforboth. Both the furfuraltest
pointed to an inclusionor contaminationwithani- and ninhydrintest on a water-solublecomponent
mal or humantallow.No bitumenwas foundin this were positive. In addition, gas chromatography
revealed low levels of non-dryingfats, typicalof
sample.
backgroundcontamination.On balance, the paint
binder would appear to be a mixtureof glue and
Pink paint
gum.
It was notpossibleto characterizetheextremelylow
quantities of organic material isolated from this
sample.This mayrepresentextensivedegradationof Acknowledgements
the medium.
I wishto thankDr Ashok Roy and RaymondWhite
of the National Gallery"or their work on the
Brownpaintfromstainededge
analysisof thepigmentsand media. Thanksare also
Some soluble proteinwas detectedin thissample.In due to Dr M. L. Bierbrierof EgyptianAntiquities,
generalthe mediumof thepaintappeared muchthe BritishMuseum,forcheckingthe backgroundmatsame as the sample taken fromthe 'richer' black erial; to JimMurrell,Deputy Keeper of the Conserpaint above. Gas chromatographyof the sample vation Department,Victoria and Albert Museum,
revealed quite marked contentof non-dryingfats, forhis helpfulcommentsand to Mrs Sheila Landi,
suggestiveof bodyfatsor animaltallow.In addition, Chief ConservationOfficer,Textiles,Victoria and
therewas clear indicationof resinouscomponentsof AlbertMuseum,forheradvice and encouragement.
whichdehydroabieticacid was prominent[13]. One Finally,I wish to thankMr W. A. Oddy, Head of
could argue thata largeramountof degraded pro- Conservation,British Museum, and Dr Jonathan
teinmightsuggesttIat the stainresultedfrombody Ashley-Smith,Keeper of Conservation,Victoria
fluids.However it is more likelythatthe stain(tal- and Albert Museum,forpermissionto publish.
low and a resinouscomponent)representsa spillage
of some formof consecrationfluid.
Materialsand suppliers
Specificpigmentidentification
Beva371. FrankW. JoelLtd,OldmedowRoad,Hardwick
Green
Green earth: Fe, Si, Al, Mg, Cu
Industrial
Estate,King'sLynn,Norfolk
PE30 4HH,UK.
(trace). In additionto greenearth,a Dispersoland Durazoldyes.ICI Ltd,Millbank,
London
small amount of Egyptian blue
SW1,UK.
(artificial copper lime silicate) Linen.The SilverThimble,33 Gay Street,Bath,Avon,
UK.
appears to be present.
8

Studiesin Conservation29 (1984) 1-9

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All use subject to JSTOR Terms and Conditions

Conservation
clothsfromRomanEgypt
ofa groupofpaintedmummy
Melinex.BoydenData PapersLtd,TradeServicesDiviOsterley--anew venture',The Conservator1
sion, ParkhouseTradingEstate, ParkhouseStreet,
(1977) 28-30.
LondonSE5, UK.
9 FEIGL,F.,SpotTestsin OrganicAnalysis,
Camberwell,
5thEnglish
Mowilith
DMC2, Mowilith
50, Mowilith
B30H. Hoechst
edn,ElsevierPublishing
Company(1956).
Chemicals
Ltd,HoechstHouse,Salisbury
Road,Houns- 10 MILLS,J.,and WHITE,R.,'Organic analysisin thearts:
UK.
low,Middlesex,
somefurther
NationalGalpaintmedium
analyses',
& Sons,2 BleedingHeart
Bulletin
2 (1978) 71-76.
Mulberry
leryTechnical
paper.T. N. Lawrence
Yard,GrevilleStreet,LondonEC1, UK.
11 MILLS,J., and WHITE,R., 'The gas chromatographic
examination
of paintmedia. Some examplesof
Nylontulle.BlackBros.& BowdenLtd,53 StoreyStreet,
NG1 1NA,UK.
mediumidentification
in paintingsby fattyacid
Nottingham
Orthophenyl
phenol.FrankW. JoelLtd(addressabove).
analysis'in BROMMELLE,N. S., and SMITH, P., (eds),
ParaloidB72. Rohm& Haas (UK) Ltd,LennigHouse,2
Conservation
and Restoration
Art,ButofPictorial
MansonsAvenue,CroydonCR9 3NB,UK.
terworths
(1976).
Photographic
blotting
examination
paper,acid free(HMSO Code 1- 12 MILLS, J.S., 'The gas-chromatographic
UK.
of paintmedia.PartI. Fattyacidcomposition
43). Wiggins
Teape Ltd,Basingstoke,
and
Hampshire,
JohnLewis& Co. Ltd,OxfordStreet,
identification
ofdriedoilfilms',
Studies
inConservaPolyester
wadding.
LondonW1,UK.
tion11 (1976) 92-108.
Siliconereleasepaper(impregnated
vegetable
parchment). 13 MILLS, J.S., and WHITE,R., 'Natural resinsof artand
FrankW. JoelLtd(addressabove).
archaeology. Their sources, chemistryand
Solublenylon.ICI Ltd(addressabove).
Studiesin Conservation
22 (1977)
identification',
12-31.
Ltd,Industrial
Spatulairon.WillardDevelopments
Estate,
Chichester
14 PROFI,S., PERDIKATSIS,
PO19 2TS, UK.
B., and FILIPPAKIS,S. E.,
Stabiltex(no. 4). SwissSilk BoltingManufacturers
Co.
ofGreekBronzeAgepigments
from
'X-rayanalysis
Thera (Santorini)',Studiesin Conservation
Ltd,Grutlestrasse
68, CH-8002Zurich,Switzerland.
22
Teflon-coated
Tootal Bondomor,
glasscloth.
(1977) 107-115.
Longendale
via Hyde,
Works,Woolleybridge
Road, Hollingsworth
UK.
LYNDA HILLYER, born 1947. StudiedEnglish,historyand
Cheshire,
Vacuumhot-table.WillardDevelopments
Ltd (address psychology,
Goldsmiths
of London.
College,University
Workedat theBritishMuseumfrom1975-1981,beginabove).
ofOrientalAntiquities
andtransningintheDepartment
ferringto the OrganicsSectionof the Conservation
in 1978. Joinedthe TextileConservation
Department
References
oftheVictoria
& AlbertMuseumin 1981,as
Department
Conservation
Officer.
Author's
address:Victoria
& Albert
SouthKensington,
LondonSW72RL, UK.
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2 THOMPSON,
D. L., TheArtistsoftheMummyPortraits,
d'une s6riede cinq
R6sum6--Ond6critla restauration
J.Paul GettyMuseum.
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de
tissus
peints
de
momies
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Materials
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3rdedn,EdwardArnold& Co. (1948) 348.
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NationalGalleryTechnical
Bulletin,
3 (1979) 43- la tablechauffante
sousvide.On donnetgalement
ranal50.
du
et du liantde deuxde ces fragments.
5 LURKER,M., The Gods and SymbolsofAncientEgypt, yse pigment
Thames& Hudson(1980).
6 WELSH,E. C., 'A consolidationtreatmentfor pow- Auszug--Eswirddie Praservierung
einerGruppevonfiinf
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aus dem
Conservation
of paperspresented
at the romischen
Preprints
beschrieben.
Die Beschreibung
erfaBt
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San Francisco,California, die Entspannung
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tigungder briichigen,
pulverigen
Oberflichen
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neuer Leinentrager
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undder
8 LANDI, S., 'A textile conservation workshop at MedienzweierderFragmente
wirdebenfalls
vermittelt.

29 (1984) 1-9
Studiesin Conservation

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