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arts Article The Girl with the Golden Wreath: Four Perspectives y on a Mummy Portrait Judith Barr 1, Clara M. ten Berge 2, Jan M. van Daal 3 and Branko F. van Oppen de Ruiter 4,* 1 J. Paul Getty Museum, Getty Villa, Pacific Palisades, CA 90272, USA 2 Amsterdam University of the Arts, Reinwardt Academy, 1018 TZ Amsterdam, The Netherlands 3 Department of Arts and Culture (Conservation and Restoration), University of Amsterdam, 1012 XT Amsterdam, The Netherlands 4 (Formerly) Allard Pierson Museum, University of Amsterdam, 1012 GC Amsterdam, The Netherlands * Correspondence: [email protected] An earlier version of this article was presented at the “Crossing Disciplinary Boundaries in Ancient Painting y Studies” workshop at the annual meeting of the Archaeological Institute of America (AIA) and the Society for Classical Studies (SCS) held in San Diego, California (3–6 January 2019). Brief preliminary articles have been published by van Daal and van Oppen (2018), and ten Berge and van Oppen (2019). We would like to thank the anonymous reviewers for their constructive critique, comments and suggestions. Received: 27 May 2019; Accepted: 18 June 2019; Published: 16 July 2019 Abstract: A mummy portrait of a young woman with a golden wreath is part of the archaeological collection of the Allard Pierson Museum in Amsterdam. This portrait is covered by four authors, each from their separate perspective, namely provenance research, technical examination, museum presentation, and diversity education. Provenance research is significant not only for tracing the second-life biography of the panel, but also for assessing its bona fide authenticity. Non-invasive examinations can help identify possible underlayers, pigments and modern restorations. Museological aspects concern the contextualization of the portrait, not only as a funerary artefact, but also as an expression of physical appearance. Educational programs can be implemented to illustrate to museum visitors the relevance of ancient artefacts for modern society. Keywords: panel portraiture painting; archaeology; Roman Egypt; provenance research; technical examination; museum presentation; museum education; multiculturalism 1. Introduction Mummy portraits painted on wooden panels or linen shrouds were an invention of the Roman Imperial period in an otherwise millennia-old Egyptian funerary tradition.1 These painted portraits were enclosed over the head within the linen wrappings of the mummified remains of some of the wealthiest inhabitants of Roman Egypt. As their first significant archeological discoveries were made in the Fayum Oasis to the southwest of Cairo, they are commonly known as Fayum mummy portraits—although they have been found elsewhere along the Nile valley too, such as at Saqqara (south of Cairo) and Deir el-Bahari (on the west bank across Luxor), Panopolis (mod. Achmim) and particularly Antinopolis (mod. Sheikh ‘Ibada). A mummy portrait of a young woman adorned with a golden wreath (Figure1), which is part of the archeological collection of the Allard Pierson Museum in Amsterdam (Figure2), o ffers a wealth 1 For Romano-Egyptian mummy portraits, e.g., see: Corcoran(1995); Doxiadis(1995); Borg(1996); Walker(2000); Riggs(2006); Spier et al. (2018, pp. 241–43, no. 145 [SEC]). Arts 2019, 8, 92; doi:10.3390/arts8030092 www.mdpi.com/journal/arts Arts 2019, 8, 92 2 of 30 Arts 2019, 8, x FOR PEER REVIEW 2 of 32 2 of information for research scholarsscholars asas wellwell asas museummuseum visitors.visitors.2 The naturalistic portrait on a greenish-grey background appears to depict a girl of about fourteen years of age from an aaffluentffluent 3 family.3 WithWith her her head head turned turned slightly slightly to to the the (viewer’s) (viewer’s) left, left, and and a twinkle a twinkle in her in hereyes, eyes, she sheseems seems still stillvery very much much alive. alive. She wears She wears a red atunic red tunicwith withblack black stripes, stripes, golden golden ear pendants, ear pendants, a barely a barely visible visible pearl pearlnecklace, necklace, and is and crowned is crowned with with a wreath a wreath of ofgild gildeded leaves. leaves. That That golden golden wreath wreath symbolizes symbolizes her blissfulness due to the divine favor she enjoys in th thee afterlife. While average life expectancy in Roman Egypt was low (about 40 at most for men,men, and younger still for women,women, viz.viz. 20–25), members of the 4 elite willwill doubtlessdoubtless have have reached reached a higher a higher age. age.The4 youthfulnessThe youthfulness of the portrayedof the portrayed girl might girl therefore might betherefore understood be understood as an indication as an indication of the exceptionally of the exceptionally early age ofearly her age death. of her death. Figure 1.1. TheThe GirlGirl with with the the Golden Golden Wreath Wreath (APM (APM inv. inv. no. no. 724); 724); painting painting and goldand leafgold on leaf wooden on wooden panel; perhapspanel; perhaps from Hawara from Hawara (Fayum), (F Egypt;ayum), h.Egypt; 302 mm; h. 302 ca. mm; 50–100 ca.ce 50–100(or later); CE (or ex later); Reinhardt ex Reinhardt coll., Cairo, coll., ca. 1890–exCairo, ca. Leyds 1890–ex coll., TheLeyds Hague, coll., ca.The 1903–ex Hague, Scheurleer ca. 1903–ex coll., Scheurleer The Hague, coll., 1907–APM, The Hague, Amsterdam, 1907–APM, 1934. [PhotographyAmsterdam, 1934. by Michiel [Photography Bootsman; by Michiel courtesy Bootsman; of the Allard courtesy Pierson of Museum].the Allard Pierson Museum]. 2 APM inv. no. 724; Scheurleer(1909, 64, no. 45, pl. 3, Figure 2); Allard Pierson Museum(1937, 19, no. 111, pl. 11); Parlasca ( 1966 , 213; id. Parlasca 1969–2003 , II: 43, no. 307, pl. 72, Figure 4); Allard Pierson Museum(1972, pl. 29); van Haarlem in 2 EggebrechtAPM inv. (no.1981 724;, p. 74);Scheurleer Scheurleer (1909,(2009 ,64, pp. no. 66–67); 45, pl. van 3, Oppen Figure in 2);Hupperetz Allard Pierson et al.(2014 Museum, p. 146). (1937, 19, no. 111, pl. 3 It11); should Parlasca be noted, (1966, however, 213; id. that 1969–2003, age is diffi II:cult 43, to no. gauge 307, from pl. ancient72, Figure portraits, 4); Allard whether Pierson painted Museum or sculptural; (1972, e.g., pl. see: 29); L. A. Beaumont and J. H. Oakley in Neils and Oakley(2003, pp. 59–84, 163–94); Huppertz in Hembold-Doy é (2017, pp. 33–38, thevan physical Haarlem remains in Eggebrecht of a young (1981, girl of nop. more74); Scheurleer than seven years(2009, old, pp. which 66–67); was van adorned Oppen with in a Hupperetz mummy mask et seeminglyal. (2014, depictingp. 146). a young woman); Purup(2019). 43 BagnallIt should and be Frier noted,(1994, pp.however, 75–110); cf.that T. Parkinage is indifficultBMCR 1995.03.20 to gauge (for from doubts ancient about theportraits, accuracy whether of male life painted expectancy or statistics).sculptural; e.g., see: L. A. Beaumont and J. H. Oakley in Neils and Oakley (2003, pp. 59–84, 163–94); Huppertz in Hembold-Doyé (2017, pp. 33–38, the physical remains of a young girl of no more than seven years old, which was adorned with a mummy mask seemingly depicting a young woman); Purup (2019). 4 Bagnall and Frier (1994, pp. 75–110); cf. T. Parkin in BMCR 1995.03.20 (for doubts about the accuracy of male life expectancy statistics). Arts 2019, 8, 92 3 of 30 Arts 2019, 8, x FOR PEER REVIEW 3 of 32 Figure 2. The Allard Pierson Museum Museum by by night, night, seen seen fr fromom across across the the Rokin Rokin canal canal in in December December 2015. 2015. [Image credit: CC CC BY-SA BY-SA 4.0]. While presented jointly, the following article will cover four perspectives perspectives each by by a a single single author: author: (1) provenanceprovenance research research by by J. Barr; J. Barr; (2) technical (2) technical examination examination by J. M. by van J. Daal; M. (3)van museum Daal; (3) presentation museum presentationby B. F. van Oppen by B. deF. Ruiter;van Oppen and (4)de museumRuiter; an educationd (4) museum by C. M education ten Berge. by Our C. presentationM ten Berge. is thusOur presentationintended as a is case thus study intended aimed as ata case illustrating study aimed what aat single illustrating archeological what a single artefact archeological examined from artefact four examineddifferent perspectives from four different can teach perspectives us. can teach us. 2. Provenance Provenance Research Research Comprising antiquitiesantiquities from from across across the the ancient ancient Mediterranean Mediterranean with with an emphasis an emphasis on Egypt, on Egypt, Greece Greeceand Rome, and Rome, the Allard the Allard Pierson Pierson was established was established as the as archaeologicalthe archaeological museum museum of theof the University University of 5 ofAmsterdam Amsterdam in 1934. in 1934.The5 The museum museum is named is named for Prof. for dr.Prof. Allard dr. Al Piersonlard Pierson (1831–1896), (1831–1896), son of the son patrician of the patricianbusinessman businessman Jan Lodewijk Jan Lodewijk Gregory Gregory Pierson (1806–1873)Pierson (1806–1873) and the Dutchand the author Dutch Ida author Oyens Ida Pierson Oyens Pierson(1808–1860), (1808–1860), daughter daughter of the banking of the banking family Oijens.family Oijens. As theologian, As theologian, art historian art historian and linguist, and linguist, Allard AllardPierson Pierson was appointed was appointed in 1877 asin the1877 first as professor the first ofprofessor archaeology of archaeology at the University at the ofUniversity Amsterdam. of Amsterdam.For educational For purposes, educational he setpurposes, about assembling he set about a substantialassembling collection a substantial of plaster collection casts of ancientplaster castsworks of of ancient art. works of art. The actualactual archaeological archaeological collection—viz., collection—viz., rather rather than saidthan casts—initially said casts—initially derived fromderived the collectionsfrom the collectionsof Prof.
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