the conservation of a group of painted mummy cloths

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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. 1-9Published by: on behalf of the Maney Publishing International Institute for Conservation of

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THE CONSERVATION OF A GROUP OF PAINTED MUMMY CLOTHS FROM ROMAN EGYPT

Lynda Hillyer

Abstract-The conservation of a group of five fragmentary. painted mummy cloths from Roman Egypt is described. The account covers the relaxation of the linen grounds, consolidation of the fragile powdery surfaces and the application of new linen supports using the vacuum hot- table. An analysis of the pigment and media of two of the fragments is also given.

1 Introduction

A group of five fragmentary mummy cloths (British Museum, Department of Egyptian Antiquities, nos. 68950-54), each with a painted decoration, was received into the Organics Conservation Section of the British Museum during 1980-81. All five were in very poor condition; both the gesso ground with which the linen had been prepared and the painted surfaces were cracking and powdery. None of them could be handled with any degree of safety. During the conservation of these fragments a number of problems were encountered which frequently occur not only in the treatment of painted textiles but in many ethnographical objects where it is necessary to consolidate a surface.decoration of pigment and ground while retaining the flexibility of the underly- ing support. The methods used to conserve these fragments have been adapted and used successfully on a number of other objects and it is hoped that a practical account of the treatments, with specific reference to two of the fragments, will be of use in other circumstances.

The mummy cloths almost certainly date from second-third century AD Roman Egypt, a period which witnessed an uneasy merging of cultures. Nowhere is this more evident than in its funerary art. Stylistically the portraits reflect this mixture; the Pharaonic conventions continue, often in a debased form, alongside the more human and realistic rep- resentations of the Classical World. In the finest sur- viving examples, the portrait has a directness and immediacy which seems almost modern, and the stark juxtaposition of styles gives an added poig- nancy to the moment of transition from one life to the next. Thus they may depict not only the deceased but the deities of the afterlife. The sky goddess Nut, for example, appears on the largest of the group of fragments; she was connected with the symbolism of resurrection and the awakening of the Received 6 April 1983

dead to new life. On two of the smaller fragments, one of the guardian gods of the underworld, the jackal, Anubis, is depicted. There is little evidence of any tradition of shroud painting in Ancient Egypt and the use of these linen shrouds in Roman Egypt is indicative of the gradual abandonment of the techniques of mummification. As Christianity estab- lished itself throughout Egypt methods of burial became far less complex and by the fourth century the body would have been interred simply in an everyday tunic. Linen portraits were a less popular and cheaper form of burial portrait than the better known encaustic paintings of the Faiyum area and most of them are rarely as notable artistically. With the economic collapse of the late Roman Empire, portrait production became increasingly poor and the flat cartoon-like appearance of the examples illustrated in this paper is typical of the late paintings [1].

The portraits were executed simply and quickly. A thin gesso ground (usually chalk and gum) was prepared to obscure the weave of the linen and on this smooth surface the design was drawn in outline (usually in black but sometimes red), before the colour was applied [2]. Pigments were almost always the naturally occurring earth colours familiar throughout the Pharaonic period although there is evidence that the Romans introduced some innova- tions, notably red lead and the use of madder [3]. Three distinct forms of medium are known to have been used: the pigment was either mixed with water and then with a gum (from the acacia tree), or with an animal glue, or an egg base was used. Egg white alone would have given a slightly more translucent effect. Although the portraits are often referred to as tempera paintings, they are not, strictly speaking, always true egg tempera. All forms of media can be found together on the same object and it seems likely that the artist used whatever was to hand.

2 Methods of examination

Before any attempt was made to assess the conservation requirements of the objects a thorough examination of the materials used in their construc- tion was carried out. The use of a binocular micro- scope (10x magnification) confirmed that the ground fabric was linen on all five fragments. This preliminary examination also made it clear that the

Studies in Conservation 29 (1984) 1-9 1



Lynda Hillyer

layer structure of the pigments was, as expected, a simple one. Only on the largest fragment was there any evidence of more than one layer of colour. In order to ascertain the precise nature of both the pigments and media and the composition of the gesso ground, the problem was referred to the sci- entific staff at the National Gallery, London. Sam- ples of pigment and ground were examined by opti- cal microscopy and analyses carried out microchem- ically and (in most cases) by spectrography using the laser microprobe [4]. Preliminary classification of the samples of the media was made by application of the furfural test, a routine and fairly sensitive test for the detection of sugars and starches (and hence gums) and by saponification (detection of fatty acids); precise identification was carried out by gas chromatography (see section 5).

3 Description and condition

The group contained many similarities with regard to condition and type and a detailed description of

Figure 2 Detail (x 10O magnification) of linen ground of 68950, showing pattern of weft stripe.

each would serve no real purpose. The linen support on all five fragments was severely degraded and crumpled and each piece contained several splits. Objects 68951 (21cm x 35cm) and 68953 (43cm x 64cm) were almost identical in design, both depict- ing seated jackals with meshed decorative borders and, like no. 68954, which is discussed in greater detail below, had only scant trace of a gesso prepara- tion.

Object 68952 (37cm x 23cm), on which only the remains of a design could be distinguished, was completely impregnated with a hard and brittle resinous deposit and its condition was comparable to the lower edge of the large portrait (68950). Results of pigment and media analysis on samples taken from these objects confirm the use of a limited and consistent range of colour and binders and there is very little variation from the results given for the two fragments discussed below.

Object 68950, the largest fragment of the group (Figure 1), measuring 71cm by 135cm, is possibly Figure I Object no. 68950 before conservation.

2 Studies in Conservation 29 (1984) 1-9



Conservation of a group of painted mummy cloths from Roman Egypt

from Thebes. It depicts the goddess Nut with smaller figures of divinities on either side including the four sons of Horus in very debased style. There are the remains of a mesh border on the right-hand side and above the head of the goddess is a winged disc, the ancient symbol of heaven [5]. The linen support (Figure 2) is characteristically s-spun single ply, and is woven in a simple but somewhat irregular tabby weave (average thread count 17 warp ends per cm, 10 weft picks per cm) with extra wefts used to create two sets of decorative stripes at the top of the fragment. A fringe has been formed at this end simply by twisting the free warps. Apart from the upper section (approximately 5cm) the whole fragment is covered in a thin and unevenly applied gesso ground which analysis identified as chalk. The portrait has been sketched in black and the outlines filled in yellow; details are painted in green, pink, two shades of blue and two shades of red. On several areas (notably the stars surrounding the goddess), coarse brush-strokes can be seen indicating the use of a fibre (probably palm) brush.

The general condition of this fragment was very poor. Where the linen was not protected by the gesso layer it was dry and degraded and what

Figure 5 Detail of paint surface on 68950.

remained of the fringe broke easily. The whole portrait was crumpled and creased and a crude attempt to straighten it by pinning it (with drawing pins) to a backboard had resulted in further strain (Figure 3). The fragment was split into two sections and there were several holes. There were two areas of heavily resinated staining, one on the neck and face of the portrait and the other along the lower edge measuring approximately 10-15cm in depth. These areas were very hard and brittle. The lower edge had several splits and parts of it were in danger of breaking away from the main body of the textile (Figure 4).

The gesso was missing in many areas. Where it remained it was cracked and crumbling. The paint surface was friable and powdery and there were many loose flakes (Figure 5). The colours were fresh and not in need of cleaning but they had a slightly dusty appearance due to the condition of the paint.

This particular fragment had a more substantial covering of gesso, both in depth and area, than the others treated in this group. There was a noticeable difference in the feel and condition of the linen support where it was protected by the ground. Areas of bare linen were in a more advanced state of degradation; they were darker in colour and felt harder and more brittle. Since calcium compounds stabilize cellulose it seems reasonable to assume that the fibres were well protected by their alkaline envi- ronment from the normal processes of cellulose decay. Oxidation of the fibres would also have been reduced by the presence of this barrier.*

Object 68954 was a smaller fragment (60cm x 69cm) which differed in character from the others in the group in that the subject was treated much more naturalistically and the painting was clearly Hel- lenistic in style (Figure 6). Three figures are depicted: part of the face of a woman to the left, a

Figure 3 Detail of 68950, showing condition of linen, gesso and pigment.

Figure 4 Detail of lower stained edge of 68950. *I am grateful to Mr A. D. Baynes-Cope for confirming and enlarging this observation.




Lynda Hillyer

Figure 6 Object no. 68954 before conservation.

rather insignificant Egyptian figurine in the centre and a small figure on the right; below is what appears to be the top of an Egyptian crown. The hairstyles and jewellery of the two women are typi- cally second century AD.

The covering of gesso was very thin, just enough to act as a size for the linen. The pigments (pink, red, black, brown and yellow) were well attached although areas painted in brown had rotted, perhaps indicative of a painted dye with iron mordant. On the lower right-hand side there are hard black deposits around the edge of the textile. The left- hand side of the portrait appears to have been delib- erately cut away. The linen itself was very degraded and dry and darker in appearance than others in the group and the fragment was the most crumpled of the five. It, too, had been attached with drawing pins to a backboard. Much of the fringe was intact but it was extremely brittle. Like the fringe on the large fragment it had been formed by twisting the free warps except for the last tassel on the right which was plaited. The right-hand side of the fragment was a selvedge. Thread count: 18 warp ends per cm, 11 weft picks per cm. Specific pigment analysis was not carried out for this particular fragment. Results of analysis on the other four pieces showed a marked consistency and it was unlikely that there would be any variation for this piece (see section 5).

4 Conservation

The group presented three main conservation problems:

1 The linen support needed to be relaxed and straightened (Objects 68950, 51, 53, 54).

2 The ground (where applicable) and pigment were in need of consolidation (Objects 68950, 51, 53, 54). In the case of the large fragment (68950) loose fragments of paint needed re- attachment.

3 All five fragments needed support in the form of a sympathetic lining and a decision had to be made as to how this was to be done.

The large fragment was the most complex due to the condition of the paint and the nature of the gesso. The three similar fragments (68952, 53, 54) could be grouped together; they all had thinner gesso grounds and the pigments were well attached. The small resinated fragment was in need of support only. In general, though, the procedure was the same for the whole group.

The aim of the conservation was to stabilize the objects and make them safe for handling. In addition there were two important aesthetic considera- tions. The freshness and delicacy of the colours of the painting had to be retained and secondly, it was hoped that the conservation treatment would restore some flexibility to the linen supports. The cloths would have been draped or wrapped around the mummy and, although it was intended that they should be stored flat and supported, it was important not to interfere with their essential character.

4.1 Choice of materials There were two processes in the conservation treatment which required careful choice of material:

(a) the consolidation of the painted decoration and the gesso;

(b) the attachment of the cloths to new supports. The consolidation of powdery matt surfaces is a

familiar problem in the Organics Section of the Brit- ish Museum. On many ethnographical objects the painted surfaces are weakly bound and in some cases there is no binder at all. Provided the consolidants have passed the routine laboratory tests, the final choice is nearly always an empirical one and the main consideration in the treatment of these surfaces is always to leave the appearance of the object as unaffected as possible [6].

From the range of consolidants used to treat this problem in the British Museum the following were selected as possibilities for use on the mummy cloths:

Mowilith 50 PVA resin, 2-5% in acetone. Mowital B30H (polyvinyl butyral), 3% in IMS. Soluble nylon (N-methoxymethyl nylon), 2-5%- 6% in IMS. Beva 371 (ethylene-vinyl acetate copolymer): Ketone resin N, 1:1 solution in petroleum spirit. Paraloid B72 (acrylic resin), 2*5% in xylene. The consolidant had to fulfil a number of func-

tions. Flexibility was essential because of the under- lying linen support. The consolidant had to be carried in a solvent which would not harm the object (for this reason all the water-based emulsions were ruled out because of the solubility of the gesso and pigment). It had to be matt and virtually colourless





although it was accepted that any consolidation process would slightly alter surface appearance. Rever- sibility may seem an academic point when consider- ing the treatment of a powdery surface but it was important to find a consolidant which would remain soluble for an indefinite period of time and would not discolour or cross-link with age. The resins were tested firstly on made up panels of linen, chalk gesso 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 small areas of the largest fragment. Of the five consolidants, Mowilith 50 and Mowital B30H produced slight but unacceptable colour changes. Soluble Nylon was effective but had to be applied at a high percentage (5-6%) to re-affix larger fragments of paint on Object 68950. This was considered unsatis- factory since it produced a slight sheen in these areas. In addition it has proved extremely difficult to remove from a number of ethnographical objects and a greying effect has been observed. Beva 371 had been used successfully by the author for the consolidation of fugitive paint on Chinese painted silks prior to washing. It produced little change in surface appearance but became shiny when heat was applied. Paraloid B72 was the only consolidant which fulfilled all the conditions necessary for this particular group of objects. Tests carried out in the British Museum Research Laboratory showed that the effect of heat aging for three days at 60?C on the flexibility of this consolidant was negligible nor was there any shrinkage or change in colour or any adverse effect on reversibility. At low concentra- tions Paraloid B72 is surprisingly matt and flexible. The use of a relatively slow-drying solvent (xylene) ensured that there was sufficient penetration; this was particularly important on the large fragment.

For the attachment of the cloths to new supports, in all five cases an overall support was considered essential. Of the thermoplastic adhesive techniques available, two were considered as being suitable. Either the support could be treated directly with an adhesive and attached to the object, or an inter- mediate support treated with adhesive could be sandwiched between the object and a backing fabric. The backing fabric would both act as an isolator for the treated support and complement the object visually. The second method was chosen as the most appropriate. A fine light nylon tulle (20/40 gauge) was selected as the support and dyed to blend with the objects using ICI Dispersol dyes, and an even- weave linen visually compatible with the linen of the fragments was chosen as the backing fabric. Pieces were dyed individually for each object using ICI Durazol dyes. Of the thermoplastic adhesives, the PVA emulsion Mowilith DMC2 seemed the obvious choice. It has a low softening point

(60--80?C) and

as an emulsion is easy to apply. Further tests carried out in the British Museum Research Laboratory confirmed that the effect of heat aging at 60?C for three days on the flexibility and colour of a film made from DMC2 was negligible and the effect of heat aging on colour after three days at 100?C was only

0.2 on the Lovibond yellow glass scale.

4.2 Conservation treatment The first move in the conservation process once the objects had been released from their backboards was to relax and straighten the fibres. It was clear that the only satisfactory way of achieving this was to introduce moisture into the degraded linen but since the chalk/glue ground and the gum/glue media of the pigments were both easily water-soluble, and the composite nature of the objects meant that any dimensional changes would not be uniform, this operation could only be accomplished with a great deal of caution. The possibility of using steam was considered but it was felt that this would be too violent and localized, exerting an unnecessary strain on the objects. For a satisfactory result it was necessary to moisten the objects gently and without undue movement and to devise a method which gave the conservator complete control over the entire operation. For these reasons it was decided to relax the textiles by placing them in a closed envi- ronment and slowly raising the humidity. A large wooden frame covered with monofilament netting (the type used in the department for drying large objects such as feather capes) was inverted and prepared by lining with photographic drying paper. A sheet of mulberry paper was placed on top of the drying paper and then the object was put into the frame (Figure 7). The frame was light and easy to lift and the drying paper could be sprayed with distilled water from underneath. The purpose of the mulberry paper was to diffuse the moisture and prevent

Figure 7 Object no. 68954, showing the method used to relax the linen ground.




Lynda Hillyer

any sudden or uneven wetting of the textile. As a further precaution a sheet of tissue paper treated with 1% orthophenylphenol in IMS was placed over the textile. This last sheet had a further function---it prevented any drops of condensation from damag- ing the fragile paint surface. The whole frame was wrapped in polyethylene sheeting. For Objects 68951, 53 and 54 (those with a scant gesso covering) the linen had relaxed sufficiently within two to three hours to be able to remove the polyethylene and tissue, smooth out the creases very gently by hand and untangle the fringes. By placing the frame over a softboard it was possible to pin the linen where necessary. For Object 68950, which had a more substantial covering of gesso, the process took slightly longer.

The degree of deterioration on all four textiles treated in this way was such that the linen was unable to hold moisture for any length of time and dried very quickly when exposed to the air.

This method has proved equally useful for painted barkcloth, textiles with very fugitive dyes or objects which are too fragile to withstand the manipulation required when steam is applied.

4.3 Consolidation For the large fragment (68950) the consolidant (Paraloid B72 in xylene) was applied in a

2.5% solu-

tion with a fine paintbrush. Two overall coats were considered necessary and more consolidant was introduced into particularly fragile areas and under loose fragments of paint. The colours lost their rather dusty appearance and became slightly richer and brighter. The areas which had been powdery became quite firm and the object as a whole retained its flexibility. For objects 68951, 53 and 54 only a light consolidation was necessary. The introduction of moisture into the objects during the first part of the treatment had to some extent revitalized the paint medium and the pigments were relatively well attached. They were sprayed lightly with the same consolidant in a

2.5% solution.

4.4 Support For the attachment of the support it was decided that the best result would be achieved by using the vacuum hot-table [7]. For this part of the treatment we were fortunate to be able to use the equipment at the Victoria and Albert Museum Textile Workshop at Osterley Park [8]. Theoretically it would have been quite possible to mount the objects onto their supports by hand using a spatula iron, and one of the fragments (68952, a heavily-resinated piece) was kept aside for treatment in this way. The other four (68950, 51, 53, 54) were transported to Osterley.

Our first task was to treat the nylon tulle with a 60/40 solution of Mowilith DMC2 in deionized

water, which was sponged lightly onto the net. For this operation it is important that the net is sus- pended and under tension to facilitate even application and to prevent the formation of 'windows' of adhesive. Two coats were applied to one side and three to the other. This allows for migration of the PVA during the heatseal process and results in even adhesion on both sides of the net. The linen backing fabric was then taped into position on the surface of the hot-table using Sellotape, having first ensured that the weave was correctly aligned. When the hot- table is operating, the vacuum exerts a strong pull and it is vital to make sure that the edges of the backing fabric are sealed efficiently to guard against the possibility of scalloping. The treated net was cut to the appropriate sizes and the pieces were placed on top of the linen taking care to ensure that they did not extend beyond the edges of the Sellotape. The fragments were then placed in their final posi- tions and the fringes were sandwiched between strips of silicone release paper in order to keep them free. This particular table is 4.2m

x 1.2m and there

was room to treat all four pieces together. It was felt that the lower edge of the large frag-

ment (68950) might be more resistant to adhesion because of its heavy impregnation with resins. A piece of polyester crepeline (Stabiltex no. 4) was treated on one side with two coats of 60% DMC2. When it was dry, the treated side was placed upper- most on a piece of Teflon-coated glasscloth and a film was cast using 15% Mowilith DMC2. A temp- late was made of the lower edge of the fragment and the Stabiltex support was cut to size. It was then placed between the object and the treated net to provide additional strength.

The main extraction for the vacuum hot-table at Osterley takes place through a series of 24 suction tubes attached to rubber sheeting. Extraction also takes place at the edge of the table through a fine channel in the aluminium surface, thus forming a

Figure 8 Detail of lower edge of 68950 after conservation.





seal. A sheet of Melinex is placed over the whole surface of the table, covering the objects, and lengths of soft cotton fabric are placed in contact with each object and brought over the top of the Melinex to act as channels for air which otherwise might be trapped. The Melinex is covered by a heavy blanket and then the rubber sheeting is low- ered. In this case, the table was operated at a temp- erature of exactly 600C with a pressure of 400mm of mercury.

The vacuum extraction served to flatten the textiles very successfully and consequently their appearance was greatly improved, particularly in the case of the large textile (68950) where the colours appeared brighter. A slight cockling of the surface of this fragment, which was probably a result of the evaporation of the solvent after consolidation, was eliminated. The resinated areas at the lower edge of this object benefited from the application of heat, and the additional adhesion from the Stabiltex film successfully realigned this area (Figure 8). The new supports gave the objects both strength and flexibil-

ity and they could now be handled with some degree of safety. Object no. 68952 was heat-sealed by hand (using a spatula iron set to 100?C) onto nylon tulle treated with two coats of a 60% solution of Mowilith DMC2. This gave adequate support but was not as successful visually as the relining process carried out on the hot-table.

New wooden supports of 12mm blockboard were prepared for each fragment by covering first with a thin layer of polyester wadding and then with suit- ably dyed cotton fabric. The textiles were then lightly stitched to the cotton covering ready for stor- age (Figures 9, 10).

5 Analysis of media

5.1 Object no. 68950 Black pigment and yellow pigment This paint was not attacked by 10% methanolic potassium hydroxide reagent, but on dilution and warming with water the paint did show signs of dis- integration. A furfural test [9, p.392] was carried out

Figure 9 Object no. 68950 after conservation. Figure 10 Object no. 68954 after conservation.




Lynda Hillyer

and found to be positive relative to a blank sample. Thus there would appear to be some polysaccharide material i.e. gum, present as binder.

Some material was leached from a fragment by water, which gave positive indication when a ninhydrin test [9, p.283] was performed. The presence of water-soluble protein was taken to be a possible indication of animal/fish glue. Gas chromatography was carried out on the saponifiables [10-12] and revealed low levels of non-drying lipids, which might be expected from an aqueous gum/glue binder.

Dark brown pigment Results were essentially the same, but there was a slightly more intense positive indication from the furfural test. This suggested a higher proportion of gum in the medium.

Black paint The sample was taken from an area that had a less dry appearance than that examined above. Some soluble protein was extracted, suggesting the presence of glue. Gas chromatography showed somewhat larger amounts of non-drying fats and so pointed to an inclusion or contamination with animal or human tallow. No bitumen was found in this sample.

Pink paint It was not possible to characterize the extremely low quantities of organic material isolated from this sample. This may represent extensive degradation of the medium.

Brown paint from stained edge Some soluble protein was detected in this sample. In general the medium of the paint appeared much the same as the sample taken from the 'richer' black paint above. Gas chromatography of the sample revealed quite marked content of non-drying fats, suggestive of body fats or animal tallow. In addition, there was clear indication of resinous components of which dehydroabietic acid was prominent [13]. One could argue that a larger amount of degraded protein might suggest tIat the stain resulted from body fluids. However it is more likely that the stain (tallow and a resinous component) represents a spillage of some form of consecration fluid.

Specific pigment identification Green Green earth: Fe, Si, Al, Mg, Cu

(trace). In addition to green earth, a small amount of Egyptian blue (artificial copper lime silicate) appears to be present.

Pink Lake pigment, probably on hydrated alumina substrate. Al.

Yellow Probably an organic yellow. Not identified.

Brightest blue Egyptian blue. Cu, Ca, Si, Sn (trace). The tin content of Egyptian blue has been attributed to the use of bronze as a starting material for the man- ufacture of the pigment [14].

Brick red Red lead and red ochre. Pb, Fe, Al, Si. There appear to be two separate layers of pigment.

Black Charcoal and another carbon black and trace of red ochre. Carbon parti- cles of two types appear to be present. One variety strongly suggests wood charcoal, whilst a second very fine-grained type is also present.

Red Red lead (minium). Pb.

5.2 Object no. 68954 Using the same experimental procedures, refer- enced above, samples of pink paint (face of large figure) and yellow background paint were tested, with similar results for both. Both the furfural test and ninhydrin test on a water-soluble component were positive. In addition, gas chromatography revealed low levels of non-drying fats, typical of background contamination. On balance, the paint binder would appear to be a mixture of glue and gum.

Acknowledgements

I wish to thank Dr Ashok Roy and Raymond White of the National Gallery "or their work on the analysis of the pigments and media. Thanks are also due to Dr M. L. Bierbrier of Egyptian Antiquities, British Museum, for checking the background material; to Jim Murrell, Deputy Keeper of the Conser- vation Department, Victoria and Albert Museum, for his helpful comments and to Mrs Sheila Landi, Chief Conservation Officer, Textiles, Victoria and Albert Museum, for her advice and encouragement. Finally, I wish to thank Mr W. A. Oddy, Head of Conservation, British Museum, and Dr Jonathan Ashley-Smith, Keeper of Conservation, Victoria and Albert Museum, for permission to publish.

Materials and suppliers

Beva 371. Frank W. Joel Ltd, Oldmedow Road, Hardwick Industrial Estate, King's Lynn, Norfolk PE30 4HH, UK.

Dispersol and Durazol dyes. ICI Ltd, Millbank, London SW1, UK.

Linen. The Silver Thimble, 33 Gay Street, Bath, Avon, UK.





Melinex. Boyden Data Papers Ltd, Trade Services Divi- sion, Parkhouse Trading Estate, Parkhouse Street, Camberwell, London SE5, UK.

Mowilith DMC2, Mowilith 50, Mowilith B30H. Hoechst Chemicals Ltd, Hoechst House, Salisbury Road, Houns- low, Middlesex, UK.

Mulberry paper. T. N. Lawrence & Sons, 2 Bleeding Heart Yard, Greville Street, London EC1, UK.

Nylon tulle. Black Bros. & Bowden Ltd, 53 Storey Street, Nottingham NG1 1NA, UK.

Orthophenyl phenol. Frank W. Joel Ltd (address above). Paraloid B72. Rohm & Haas (UK) Ltd, Lennig House, 2

Mansons Avenue, Croydon CR9 3NB, UK. Photographic blotting paper, acid free (HMSO Code 1-

43). Wiggins Teape Ltd, Basingstoke, Hampshire, UK. Polyester wadding. John Lewis & Co. Ltd, Oxford Street,

London W1, UK. Silicone release paper (impregnated vegetable parchment).

Frank W. Joel Ltd (address above). Soluble nylon. ICI Ltd (address above). Spatula iron. Willard Developments Ltd, Industrial Estate,

Chichester PO19 2TS, UK. Stabiltex (no. 4). Swiss Silk Bolting Manufacturers Co.

Ltd, Grutlestrasse 68, CH-8002 Zurich, Switzerland. Teflon-coated glasscloth. Tootal Bondomor, Longendale

Works, Woolleybridge Road, Hollingsworth via Hyde, Cheshire, UK.

Vacuum hot-table. Willard Developments Ltd (address above).

References

1 SHORE, A. F., Portrait Painting from Roman Egypt, Trustees of the British Museum (1972) 20-22.

2 THOMPSON, D. L., The Artists ofthe Mummy Portraits, J. Paul Getty Museum.

3 LUCAS, A., Ancient Egyptian Materials and Industries, 3rd edn, Edward Arnold & Co. (1948) 348.

4 RoY, A.,'The laser microspectral analysis of paint', National Gallery Technical Bulletin, 3 (1979) 43- 50.

5 LURKER, M., The Gods and Symbols of Ancient Egypt, Thames & Hudson (1980).

6 WELSH, E. C., 'A consolidation treatment for powdery matte paint' in The American Institute for Conservation Preprints of papers presented at the eighth annual meeting, San Francisco, California, 22-25 May 1980, 141-150.

7 LANDI, S., 'Notes on the use of the vacuum hot table', Studies in Conservation, 18 (1973) 167-170.

8 LANDI, S., 'A textile conservation workshop at

Osterley--a new venture', The Conservator 1 (1977) 28-30.

9 FEIGL, F., Spot Tests in Organic Analysis, 5th English edn, Elsevier Publishing Company (1956).

10 MILLS, J., and WHITE, R.,'Organic analysis in the arts: some further paint medium analyses', National Gal- lery Technical Bulletin 2 (1978) 71-76.

11 MILLS, J., and WHITE, R., 'The gas chromatographic examination of paint media. Some examples of medium identification in paintings by fatty acid analysis' in BROMMELLE, N. S., and SMITH, P., (eds), Conservation and Restoration of Pictorial Art, But- terworths (1976).

12 MILLS, J. S., 'The gas-chromatographic examination of paint media. Part I. Fatty acid composition and identification of dried oil films', Studies in Conserva- tion 11 (1976) 92-108.

13 MILLS, J. S., and WHITE, R., 'Natural resins of art and archaeology. Their sources, chemistry and identification', Studies in Conservation 22 (1977) 12-31.

14 PROFI, S., PERDIKATSIS, B., and FILIPPAKIS, S. E., 'X-ray analysis of Greek Bronze Age pigments from Thera (Santorini)', Studies in Conservation 22 (1977) 107-115.

LYNDA HILLYER, born 1947. Studied English, history and psychology, Goldsmiths College, University of London. Worked at the British Museum from 1975-1981, begin- ning in the Department of Oriental Antiquities and trans- ferring to the Organics Section of the Conservation Department in 1978. Joined the Textile Conservation Department of the Victoria & Albert Museum in 1981, as Conservation Officer. Author's address: Victoria & Albert Museum, South Kensington, London SW7 2RL, UK.

R6sum6--On d6crit la restauration d'une s6rie de cinq fragments de tissus peints de momies provenant de I'Egypte romaine. Le m~moire relate le d~montage des supports en toile, la consolidation des surfaces pul- v6rulentes et r application des nouvelles toiles en utilisant la table chauffante sous vide. On donne tgalement r analyse du pigment et du liant de deux de ces fragments.

Auszug--Es wird die Praservierung einer Gruppe von fiinf briichigen, bemalten Mumienkleidungsstiicken aus dem romischen Agypten beschrieben. Die Beschreibung erfaBt die Entspannung der Leinengrundgewebe, die Verfes- tigung der briichigen, pulverigen Oberflichen und die Aufbringung neuer Leinentrager unter Benutzung des Vakuum-Heiztisches. Eine Analyse des Pigments und der Medien zweier der Fragmente wird ebenfalls vermittelt.




the conservation of a group of painted mummy cloths

Documents

conservation of historic

conditionsthe conservation

group of painted mummy

artistic worksthe conservation

organics conservation

painted surfaces

jstor terms

painted decoration