![]() ![]() In most instances Egyptian blue also appeared in areas with no apparent need for the use of blue. Intrigued, we contacted colleagues at other institutions whose portraits also revealed divergent pigment usage patterns. However, the relative absence of the pigment in the face was significant. From an artistic point of view, the use of blue to render shadow in an otherwise completely white area was not terribly surprising. Its use was emphatic, however, in the folds of the tunic below the neck.Ĭurator Katharine Raff in the Department of Ancient and Byzantine Art confirmed that these lines of pigment in the drapery correlated to shadows within the folds, not to decorative stripes or embellishments on the tunic. There was none detected on the face, save for a small square between the eyes and a fine line tracing the top edge of the upper lip. The use of Egyptian blue on the other portrait contrasted markedly. ![]() Visible-induced luminescence image of Mummy Portrait of a Man Wearing an Ivy Wreath ![]()
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