A changing face. Sequences of ancient polychromy on the marble head of Berenike II (Royal Museum of Mariemont), based on sample analyses
The Hellenistic marble head of Queen Berenike II, found in Hermopolis Magna, Egypt, is famous for its well-preserved polychromy. This essay presents new findings on the stratigraphy of its painting, gilding, and wax layers, based on multi-technique analyses of samples using XRF, XRD, SEM-EDS, FT-IR,...
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| הוצא לאור ב: | URI:https://journals.openedition.org/techne, |
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| Auteurs principaux: | , |
| פורמט: | Article ou chapitre numérique |
| שפה: | Anglais |
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Technè
2025
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| נושאים: | |
| גישה מקוונת: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:techne_23564 |
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openedition |
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openedition-oai:revues.org:techne_23564 https://doi.org/10.4000/150w5 urn:doi:10.4000/150w5 en https://journals.openedition.org/techne/23564 2025-10-23T02:00:00Z info:eu-repo/date/embargoEnd/2026-10-22T02:00:00Z info:eu-repo/semantics/embargoedAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/150w5 https://creativecommons.org/licenses/by-nc-nd/4.0/ A changing face. Sequences of ancient polychromy on the marble head of Berenike II (Royal Museum of Mariemont), based on sample analyses Technè C2RMF info:eu-repo/semantics/reference/issn/2750-6185 info:eu-repo/semantics/reference/issn/1254-7867 URI:https://journals.openedition.org/techne Bourgeois, Brigitte Vandenberghe, Yannick dorure restauration antique analyse ganôsis Égypte ptolémaïque portrait grec peinture à l’encaustique cire punique gilding Ptolemaic Egypt ancient restoration Greek portrait encaustic painting Punic wax ganôsis analytical study The Hellenistic marble head of Queen Berenike II, found in Hermopolis Magna, Egypt, is famous for its well-preserved polychromy. This essay presents new findings on the stratigraphy of its painting, gilding, and wax layers, based on multi-technique analyses of samples using XRF, XRD, SEM-EDS, FT-IR, and GC-MS. Several polychrome techniques have been identified: an initial phase of encaustic painting, likely with Punic wax; a protective coating of pure beeswax, in accordance with the Greek ganôsis technique; subsequent gilding, preserved in places atop the ganôsis layer; a later phase using beeswax containing lead white and huntite; and finally later repaintings without wax. The complexity of the surface condition and the historical stratigraphy of the various polychrome phases, likely extending up to the Roman Imperial period, are now better understood. The study thus confirms the long history of ancient care and restoration devoted to the portrait of a divinized queen. It also highlights the hybrid character of a work combining, in one of its polychrome phases, elements of the Greek and Egyptian painting tradition. Le portrait en marbre d’époque hellénistique de la reine Bérénice II, découvert à Hermopolis Magna (Égypte), est célèbre en raison de son exceptionnelle polychromie. L’article présente de nouveaux résultats sur la stratigraphie des couches de peinture, de dorure et de cire, fondés sur l’analyse multi-technique d’échantillons par fluorescence de rayons X (MFX), diffraction de rayons X (DRX), microscopie électronique à balayage couplée à la spectrométrie de dispersion d’énergie (MEB-EDS), spectroscopie infrarouge à transformée de Fourier (IR-TF) et chromatographie en phase gazeuse-spectrométrie de masse (GC-MS). Plusieurs techniques polychromes ont été identifiées : une phase initiale de peinture à l’encaustique, exécutée probablement à la cire punique ; un revêtement protecteur de cire d’abeille pure, conforme à la pratique grecque de la ganôsis ; une dorure ultérieure, conservée par endroits au-dessus de la couche de ganôsis ; une phase plus tardive de peinture à l’encaustique utilisant de la cire d’abeille chargée avec du blanc de plomb et de la huntite ; enfin, des repeints ultérieurs sans cire. La complexité des états de surface et la stratigraphie historique des différentes phases de polychromie, allant vraisemblablement jusqu’à l’époque romaine impériale, sont désormais mieux comprises. L’étude confirme ainsi la longue histoire des soins et des restaurations antiques apportés au portrait d’une reine divinisée ; elle souligne aussi le caractère hybride d’une œuvre dont la technique picturale associe, dans l’une de ses phases, la tradition grecque et égyptienne. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
dorure restauration antique analyse ganôsis Égypte ptolémaïque portrait grec peinture à l’encaustique cire punique gilding Ptolemaic Egypt ancient restoration Greek portrait encaustic painting Punic wax ganôsis analytical study |
| spellingShingle |
dorure restauration antique analyse ganôsis Égypte ptolémaïque portrait grec peinture à l’encaustique cire punique gilding Ptolemaic Egypt ancient restoration Greek portrait encaustic painting Punic wax ganôsis analytical study Bourgeois, Brigitte Vandenberghe, Yannick A changing face. Sequences of ancient polychromy on the marble head of Berenike II (Royal Museum of Mariemont), based on sample analyses |
| description |
The Hellenistic marble head of Queen Berenike II, found in Hermopolis Magna, Egypt, is famous for its well-preserved polychromy. This essay presents new findings on the stratigraphy of its painting, gilding, and wax layers, based on multi-technique analyses of samples using XRF, XRD, SEM-EDS, FT-IR, and GC-MS. Several polychrome techniques have been identified: an initial phase of encaustic painting, likely with Punic wax; a protective coating of pure beeswax, in accordance with the Greek ganôsis technique; subsequent gilding, preserved in places atop the ganôsis layer; a later phase using beeswax containing lead white and huntite; and finally later repaintings without wax. The complexity of the surface condition and the historical stratigraphy of the various polychrome phases, likely extending up to the Roman Imperial period, are now better understood. The study thus confirms the long history of ancient care and restoration devoted to the portrait of a divinized queen. It also highlights the hybrid character of a work combining, in one of its polychrome phases, elements of the Greek and Egyptian painting tradition. |
| author |
Bourgeois, Brigitte Vandenberghe, Yannick |
| author_facet |
Bourgeois, Brigitte Vandenberghe, Yannick |
| author_sort |
Bourgeois, Brigitte |
| title |
A changing face. Sequences of ancient polychromy on the marble head of Berenike II (Royal Museum of Mariemont), based on sample analyses |
| title_short |
A changing face. Sequences of ancient polychromy on the marble head of Berenike II (Royal Museum of Mariemont), based on sample analyses |
| title_full |
A changing face. Sequences of ancient polychromy on the marble head of Berenike II (Royal Museum of Mariemont), based on sample analyses |
| title_fullStr |
A changing face. Sequences of ancient polychromy on the marble head of Berenike II (Royal Museum of Mariemont), based on sample analyses |
| title_full_unstemmed |
A changing face. Sequences of ancient polychromy on the marble head of Berenike II (Royal Museum of Mariemont), based on sample analyses |
| title_sort |
changing face. sequences of ancient polychromy on the marble head of berenike ii (royal museum of mariemont), based on sample analyses |
| publisher |
Technè |
| publishDate |
2025 |
| container_title |
URI:https://journals.openedition.org/techne |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/150w5 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/techne/23564 |
| _version_ |
1877291896861097984 |