Resumen
This article presents results from a binding media survey of 61 Romano-Egyptian paintings. Most of the paintings (51) are the better-known funerary mummy portraits created using either encaustic or tempera paint medium. Samples from all the paintings (on wooden panels or linen shrouds) were analyzed with gas chromatography/mass spectrometry (GC/MS) to identify waxes, fatty acids, resins, oils, and proteins in one sample. Analytical protocols that utilized three separate derivatization techniques were developed. The first analysis identified free fatty acids, waxes, and fatty acid soaps, the second characterized oils and plant resins, and the third identified proteins. The identification of plant gums required a separate sample. Results showed that fatty acids in beeswax were present as lead soaps and dicarboxylic fatty acids in some samples was consistent with an oxidized oil. The tempera portraits were found to contain predominantly animal glue, revising the belief that egg was the primary binder used for ancient paintings. Degraded egg coatings were found on several portraits, as well as consolidation treatments using paraffin wax and animal glue. The unknown restoration history of the portraits caused uncertainty during interpretation of the findings and made the identification of ancient paint binders problematic. Also, deterioration of the wooden support, residues from mummification, biodegradation, beeswax alteration, metal soap formation, and environmental conditions before and after burial further complicated the analysis. The inherent problems encountered while characterizing ancient organic media in funerary portraits were addressed. The fourteen museums that participated in this study are members of APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research), an international collaborative initiative at the J. Paul Getty Museum whose aim is to expand our understanding of ancient panel paintings through the examination of the materials and techniques used for their manufacture.