A SELECTION OF THE MOST IMPORTANT EXHIBITS

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1 A SELECTION OF THE MOST IMPORTANT EXHIBITS

Funerary Statue of Phrasikleia painted reconstruction original statue from Myrrhinous (modern-day Merenda, Attica, Greece) marble, c. 550/540 BC, h. (incl.

2007 O. Primavesi The inscription tells us that Phrasikleia died unmarried but was honored for eternity by the gods with the name Kore (girl).

2 Funerary Statue of Phrasikleia painted reconstruction original statue from Myrrhinous (modern-day Merenda, Attica, Greece) marble, c. 550/540 BC, h. (incl. base) 211 cm Athens, National Museum reconstruction: poly-methyl methacrylate(pmma); paint: natural pigments in egg-casein tempera on cast marble replica Deutsche Forschungsgemeinschaft Leibniz Prize 2007 O. Primavesi The inscription tells us that Phrasikleia died unmarried but was honored for eternity by the gods with the name Kore (girl). UV-VIS absorption spectroscopy and X-ray fluorescence analyses have shown that some pigments were used unmixed and others mixed, and that gold- and lead-tin foil were used. Places where no original colours have survived were left white in the reconstruction; however, these areas may have been painted or covered with metal.

The Chios Kore painted reconstruction original statue from the Acropolis in Athens (Greece) marble, c. 500 BC, h.

cast marble replica Stiftung Archäologie In 1886 an approximately half-life size statue of a girl was discovered on the

Her pose is typical of Archaic korai, she is facing us with a stern expression and clasping her dress with her left hand.

3 The Chios Kore painted reconstruction original statue from the Acropolis in Athens (Greece) marble, c. 500 BC, h. 55 cm Athens, Acropolis Museum reconstruction: poly-methyl methacrylate (PMMA); paint: natural pigments in egg-casein tempera on cast marble replica Stiftung Archäologie In 1886 an approximately half-life size statue of a girl was discovered on the Acropolis in Athens. Her pose is typical of Archaic korai, she is facing us with a stern expression and clasping her dress with her left hand. Only the front part of the statue is worked in detail and painted. New analyses using UV-VIS absorption spectroscopy enable us to identify the pigments azurite and cinnabar as well as other paints. The substances found on the original were used for the reconstruction.

The Persian Rider partially painted reconstruction original statue from the Acropolis in Athens (Greece) marble

108 cm Athens, Acropolis Museum reconstruction: Poly(methyl methacrylate)(pmma); paint: natural pigments in egg-casein

Primavesi Horse and rider were discovered in the late 19 th century among the so-called Perserschutt ( Persian debris

The rider s close-fitting trousers are typical of the attire worn by Orientals (Persians) and Amazons.

4 The Persian Rider partially painted reconstruction original statue from the Acropolis in Athens (Greece) marble (Greek), c. 490 BC, h. 108 cm Athens, Acropolis Museum reconstruction: Poly(methyl methacrylate)(pmma); paint: natural pigments in egg-casein tempera on cast marble replica Deutsche Forschungsgemeinschaft Leibniz Prize 2007 O. Primavesi Horse and rider were discovered in the late 19 th century among the so-called Perserschutt ( Persian debris ), a layer of architectural and votive sculptures damaged in the Persian War of 480/479 BC. The rider s close-fitting trousers are typical of the attire worn by Orientals (Persians) and Amazons. Not only his embellished robe but also the horse s mane and tail were once painted in vivid colours. The reconstruction is solely based on the results of scientific research. Over 250 pigmentanalyses allow us to recreate in detail both his polychrome appearance and the carefully differentiated hues.

Sculptures from the West Pediment of the Temple of Aphaea on Aegina partially painted reconstructions on a scale of 1:1

131 cm ( Aias ), diameter 65 cm (boar shield) Munich, Glyptothek reconstructions: plaster or cast marble replica; paint:

Heidelberg) The central figure in the battle between Greeks and Trojans, the goddess Athena, once dominated the west

On her left is Aegina s national hero, Aias (shield-device: eagle with serpent); in the reconstruction both he and his

5 Sculptures from the West Pediment of the Temple of Aphaea on Aegina partially painted reconstructions on a scale of 1:1 original statues from Aegina (Greece) marble, c. 500/490 BC or after 480 BC, h. 96 cm ( Paris ), h. 168 cm (Athena), h. 131 cm ( Aias ), diameter 65 cm (boar shield) Munich, Glyptothek reconstructions: plaster or cast marble replica; paint: natural pigments in egg-casein tempera Stiftung Archäologie (archer Paris : Stiftung Archäologie & University of Heidelberg) The central figure in the battle between Greeks and Trojans, the goddess Athena, once dominated the west pediment of the Temple of Aphaea, erected around 500 BC on the Greek island of Aegina. On her left is Aegina s national hero, Aias (shield-device: eagle with serpent); in the reconstruction both he and his Trojan antagonist (shield-device: a wild boar) are only silhouetted. The archer dressed in clinging Oriental robes is generally identified as Paris, Prince of Troy.

So-called Paris from the West Pediment of the Temple of Aphaea on Aegina painted reconstruction original statue from Aegina (Greece) marble, c. 500/490 BC or after 480 BC, h.

photograph by Dieter Rehm In 1811 a temple dedicated to the main local deity, Aphaea, was discovered on the Greek island of Aegina.

6 So-called Paris from the West Pediment of the Temple of Aphaea on Aegina painted reconstruction original statue from Aegina (Greece) marble, c. 500/490 BC or after 480 BC, h. 96 cm Munich, Glyptothek reconstruction: plaster or cast marble replica; paint: natural pigments in egg-casein tempera Stiftung Archäologie & Universität Heidelberg, Munich, Stiftung Archäologie, photograph by Dieter Rehm In 1811 a temple dedicated to the main local deity, Aphaea, was discovered on the Greek island of Aegina. Archaeologists found traces of paint both on the architectural fragments and on the statues, documenting beyond doubt that the temple and its statues had once been painted in vivid colours. The archer, sporting brightly-coloured close-fitting Oriental clothes and a Phrygian cap, comes from the west pediment of the temple. He is usually identified as Prince Paris of Troy. The reconstruction uses only colours of which traces have been detected on the original statue.

Funerary Stela of Paramythion partially painted reconstruction original stela from Athens, found on the sacred road to Eleusis (Greece) marble, c.

92 cm Munich, Glyptothek reconstruction: cast marble replica; paint: natural pigments in egg-casein tempera Stiftung Archäologie Munich, Stiftung

It shows a vessel for bridal water jutting out from the actual monument with a scene typically depicted on such stelae: the deceased (inscription:

7 Funerary Stela of Paramythion partially painted reconstruction original stela from Athens, found on the sacred road to Eleusis (Greece) marble, c. 380/370 BC, h. 92 cm Munich, Glyptothek reconstruction: cast marble replica; paint: natural pigments in egg-casein tempera Stiftung Archäologie Munich, Stiftung Archäologie, Photograph by Vinzenz Brinkmann The stela was erected around 380/370 BC over the grave of Paramythion. It shows a vessel for bridal water jutting out from the actual monument with a scene typically depicted on such stelae: the deceased (inscription: Paramythion) and her husband (Pheidiades) are shaking hands. The vessel is flanked by additional standing or hanging funerary gifts. Some traces of red, blue and ochre have survived. The delicate handling of the details is only visible in UV-light. Foreshortenings and colours enhance the use of perspective and create the illusion of space and depth.

Relief from the Alexander Sarcophagus: Battle between Greeks and Persians partially painted reconstruction original sarcophagus from the royal necropolis at Sidon (Lebanon) marble, c. 320 BC, h.

Although Alexander the Great appears twice on the reliefs on the Alexander Sarcophagus it served as the last resting place of one of his friends, King Abdalonymus of Sidon.

8 Relief from the Alexander Sarcophagus: Battle between Greeks and Persians partially painted reconstruction original sarcophagus from the royal necropolis at Sidon (Lebanon) marble, c. 320 BC, h. of the figurines (frieze) 58 cm Istanbul, Arkeoloji Müzesi reconstruction: plaster, synthetic materials; paint: natural pigments in egg-casein tempera on cast marble replica Stiftung Archäologie Although Alexander the Great appears twice on the reliefs on the Alexander Sarcophagus it served as the last resting place of one of his friends, King Abdalonymus of Sidon. The original relief on which this reconstruction is based comes from one of its short sides and depicts a battle between Greeks and Persians. Note the inside of the circular shield held aloft by one of the Persian warriors: it is decorated with an audience at the court of the Persian Great King, and is similar to the scenes depicted on reliefs in the palace at Persepolis. The reconstruction is based on extant remainders of paint; all non-verified parts were left white.

Primavesi This statuette of the goddess of the hunt comes from the ancient city of Pompeii, buried when Mount Vesuvius erupted in AD 79.

9 Artemis from Pompeii painted reconstruction original statue from Pompeii (near Naples, Italy) marble, late 1st century BC AD 79, h. 108 cm Naples, Museo Archeologico Nazionale di Napoli reconstruction: plaster; paint: natural pigments in egg-casein tempera Deutsche Forschungsgemeinschaft Leibniz Prize 2007 O. Primavesi This statuette of the goddess of the hunt comes from the ancient city of Pompeii, buried when Mount Vesuvius erupted in AD 79. This Roman work features deliberate fallbacks to the Archaic period to evoke the image of an old, venerated idol. The combination of four yellow, five red and three white pigments with Egyptian blue and madder-pink is reminiscent of the tints found on Hellenistic terracotta figures.

Portrait of Emperor Caligula painted reconstruction Original head: acquired from an

31 cm Copenhagen, Ny Carlsberg Glyptotek paint: natural pigments in egg-casein tempera

this portrait of the Roman Emperor Caligula (AD 39 41): eyelashes, pupils and the

between his lips, the corners of his eyes and the lower lids were executed in rose

The reconstruction uses highlights and hatching to model skin tone and white

10 Portrait of Emperor Caligula painted reconstruction Original head: acquired from an art dealer in Paris in 1921 marble, AD 39 41, h. 31 cm Copenhagen, Ny Carlsberg Glyptotek paint: natural pigments in egg-casein tempera on cast marble replica Stiftung Archäologie There are copious remainders of paint on this portrait of the Roman Emperor Caligula (AD 39 41): eyelashes, pupils and the locks framing his face were painted in black directly onto the marble; the space between his lips, the corners of his eyes and the lower lids were executed in rose madder; the skin was painted in reddish brown. The reconstruction uses highlights and hatching to model skin tone and white highlights for his wavy hair. Comparable examples show that this type of handling reflects contemporary style. For example, the highlights in the pupils of each eye are typical for the period.

Portrait of Emperor Galerius painted reconstruction (hypothetical colours) original head from Gamzigrad (Serbia)

34 cm Narodni Muzej Zaječar reconstruction: plaster; paint: acrylic and gouache paints with powdered pigments

Göttingen, photograph by Stephan Eckardt Galerius (AD 293 311) was one of the Tetrarchs, the four co-emperors of the

In comparable portraits of the Tetrarchs small incisions denoted the ruler s beard and hair, but here they were

11 Portrait of Emperor Galerius painted reconstruction (hypothetical colours) original head from Gamzigrad (Serbia) Porphyry, AD (?), h. 34 cm Narodni Muzej Zaječar reconstruction: plaster; paint: acrylic and gouache paints with powdered pigments Göttingen, Archäologisches Institut der Universität, Sammlung der Gipsabgüsse Archäologisches Institut der Universität Göttingen, photograph by Stephan Eckardt Galerius (AD ) was one of the Tetrarchs, the four co-emperors of the Roman Empire. From late antiquity purple-coloured porphyry was the material of choice for imperial representation. In comparable portraits of the Tetrarchs small incisions denoted the ruler s beard and hair, but here they were originally executed in paint. This reconstruction is not necessarily completely accurate. The hair may well have been a more realistic shade (i.e. black or grey), and the wreath embellished with jewels and busts of deities may have been painted.

Roman Art. Name Date. Introduction

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