https://classicalchopped2.artinterp.org/omeka/files/original/7819169fc1be7a2e78b620f5db6bc71c.png 0ae0ead64bd376d3260c3bd5adf9717a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The "European" Date A point or period of time associated with an event in the lifecycle of the resource Hadrianic, ca. 117-138 AD Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Encaustic and gilt on cedar Format The file format, physical medium, or dimensions of the resource 42 cm tall Source A related resource from which the described resource is derived Egypt, Antinoopolis Rights Holder A person or organization owning or managing rights over the resource. Louvre Museum, Paris, France Contributor An entity responsible for making contributions to the resource Lauren Kershenbaum Description An account of the resource Description: This mummy portrait depicts a young woman using the encaustic technique. The shape of the panel mimics the sensitively rendered portrait as it is narrow at the head and wider at the shoulders. The woman’s face, with its light, pearly complexion, rosy cheeks, and dark eyebrows and eyelashes, is characterized by large, slightly lowered eyes that gaze rightward instead of forward at the viewer. Her dark hair is drawn back from her face and braided at the crown of her head; the braid is fastened with a carefully painted spherical, gold hairpin. The young woman is wearing a red-purple mantle and elaborate jewelry that consists of a large oval brooch at her breast, pearl earrings that contain a dark-colored stone, and a pearl necklace, hidden by the gold leaf bib that covers her neck and upper bust. There are also a series of white parallel lines that appear throughout the lower part of the composition, signaling repairs. Significance: During the Roman period, mummification technique declined and it became more necessary for a substitute likeness for the deceased to be provided. Thus, bust-length painted portraits were created to help the deceased achieve immortality. Therefore, the practice of incorporating the bust style of painting into funerary tradition is a Roman import of Egyptian tradition and was translated into local custom in the mummy portraits. Many mummy portraits, including “The European,” are depicted with Roman hairstyles, jewelry, and clothing that was fashionable at the time. Each individual represented in a mummy portrait is shown at their best. The panel of this particular mummy portrait has been cut down to the shape characteristic of mummy portraits from Antinoopolis. It was dubbed “The European” due to the sitter’s pale complexion. Though the use of gold leaf was often added for funerary purposes, its application in the neck area is unique and suggests that this portrait was commissioned by the local elite. The gilding in the jewelry and around the collar would have been added after the painting process itself was completed. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Sitter unknown References A related resource that is referenced, cited, or otherwise pointed to by the described resource. <div class="textLayer--absolute">Doxiades, E. 2000. <em>The Mysterious Fayum Portraits: Faces from Ancient Egypt</em>, London, p.213.<br /><br /><div class="textLayer--absolute">Walker, S. (ed). 2000. <em>Ancient Faces: Mummy Portraits from Roman Egypt</em>, New York, pp.14-31.<br /><br /></div> <p><span>www.louvre.fr/en/oeuvre-notices/portrait-woman-known-l-europeenne</span></p> <div><span><span><span>www.museumlab.eu/exhibition/06/about.html</span></span></span></div> </div>