Hidden mysteries in ancient Egyptian paintings from the Theban Necropolis observed by in-situ XRF mapping.

The material study of ancient Egyptian paintings began with the advent of Egyptology during the 19th century. By the 1930s, a lot had already been sampled and described. The limited palette for example has been analysed from actual painted surfaces but also from pigments and painting tools retrieved on site. However, most of these studies took place in museums while the painted surfaces, preserved in funerary chapels and temples, remained somewhat estranged from this primary physical understanding. The artistic process has been also reconstructed, mainly from the information presented by unfinished monuments, showing surfaces at different stages of completion. A lot of this modern and theoretical reconstruction is, however, based on the usual archaeological guessing game that aims at filling the remaining blanks. Our interdisciplinary project has decided to experiment on-site with state-of-the-art portable analysis tools, avoiding any physical sampling, to see if our knowledge of the work of the ancient Egyptian painters and draughtsmen could be taken at a further stage, while based on physical quantification that could be seen as a stronger and more reliable foundation for a redefined scientific hypothesis. The use of XRF mapping has, for instance, been applied to a known case of correction by surface repaint, something that is supposedly rare in the ancient Egyptian formal artistic process, while another fully unexpected one was discovered during the analytic exploration of a royal representation. In both cases, the precise and readable imaging of the physical composition of the painted surface offers a renewed visual approach based of chemistry, that can be shared through a multi- and interdisciplinary approach. However, this also leads to a more complex description of pigment mixtures that could have multiple meanings, where the practical often leads towards the symbolic, and from there hopefully to a renewed definition of the use of colours in complex sets of ancient Egyptian representations. At this stage, though the progress in this on-site material assessment of ancient works of art definitely means astonishing progress, one humbly has to face the fact that these ancient treasures shall still retain part of their defining mysteries.

Elemental 2D imaging of paintings with a mobile EDXRF system.

Imaging techniques are now used commonly and intensively in cultural heritage object analysis. Nowadays, many different techniques in nature as well as many applications exist, where they can be applied. X-ray radiography and infrared reflectography as well as UV photography are some of the most applied techniques. The study of works of art usually requires these techniques to be non-invasive. Furthermore, they are frequently required to perform in situ analysis. A few years ago, our laboratory developed a mobile energy-dispersive X-ray fluorescence and UV-vis-NIR coupled spectrometer, especially designed for fieldwork studies, where all three techniques can be applied strictly at the same site of analysis. Recent developments on a new positioning system have now allowed us to perform 2D elemental mappings with our equipment, which is especially well adapted to painting analysis. The system control is carried out entirely through a laptop computer running a dedicated homemade software. The positioning is achieved by means of a CCD camera embedded in the system and controlled via a Wi-Fi connection through the computer. The data acquisition system, which is made through a homemade multichannel pulse height analyzer, being also managed via the software mentioned above, goes through an Ethernet connection. We will present here the new developments of the system and an example of in situ 2D elemental mapping applied on an anonymous oil painting on wood panel. The discovery of a hidden painting under this oil painting makes it a good choice for a first example of 2D large scan with a mobile instrument.

Multi-disciplinary investigation of the tomb of Menna (TT69), Theban Necropolis, Egypt.

The archaeometrical survey of the tomb of Menna (TT69), which took place in November-December 2007, is part of the extended research program that aims to study and preserve this tomb in all its aspects. Menna was a high official who served as an overseer of Cadastral surveys during the reigns of pharaohs Tuthmosis IV and Amenhotep III (ca. 1419-1370 BC). The research team aimed to gather information, in a totally non-destructive way, on the materials used and the painting techniques. The technical examinations included photography with normal and raking light, macrophotography, ultra-violet (UV) fluorescence photography, and microscopy. On selected points X-ray fluorescence (XRF) was combined with diffuse reflectance UV-spectrometry, near infrared (NIR) diffuse reflectance spectroscopy and Raman spectroscopy. The technical aspects as well as problems that are inherently associated with an interdisciplinary survey of this extent, are discussed. The project worked with a large team of people with different backgrounds and sensitive technical equipment. Working conditions were quite hostile, including elevated temperatures and dust hampering the examinations.