Contents
Foreword
Acknowledgments
Introduction
Part One
1. Challenges in the Characterization and Categorization of Binding Media in Mummy Portraits
2. Understanding Wood Choices for Ancient Panel Painting and Mummy Portraits in the APPEAR Project through Scanning Electron Microscopy
3. The Matter of Madder in the Ancient World
4. Green Pigments: Exploring Changes in the Egyptian Color Palette through the Technical Study of Roman-Period Mummy Shrouds
5. Egyptian Blue in Romano-Egyptian Mummy Portraits
6. Multispectral Imaging Techniques Applied to the Study of Romano‑Egyptian Funerary Portraits at the British Museum
7. Evaluating Multiband Reflectance Image Subtraction for the Characterization of Indigo in Romano-Egyptian Funerary Portraits
8. Invisible Brushstrokes Revealed: Technical Imaging and Research of Romano-Egyptian Mummy Portraits
9. Framing the Heron Panel: Iconographic and Technical Comparanda
10. A Study of the Relative Locations of Facial Features within Mummy Portraits
11. From All Sides: The APPEAR Project and Mummy Portrait Provenance
12. Painted Mummy Portraits in the Museum of Fine Arts, Budapest
Part Two
13. Scrutinizing “Sarapon”: Investigating a Mummy Portrait of a Young Man in the Michael C. Carlos Museum, Emory University
14. Defining a Romano-Egyptian Painting Workshop at Tebtunis
15. Nondestructive Studies of Ancient Pigments on Romano-Egyptian Funerary Portraits of the Kunsthistorisches Museum, Vienna
16. Painted Roman Wood Shields from Dura-Europos
17. Characterization of Binding Media in Romano-Egyptian Funerary Portraits
18. Binding Media and Coatings: Mummy Portraits in the National Museum of Denmark and the Ny Carlsberg Glyptotek
Glossary
Bibliography
APPEAR Participants
Contributors