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. 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
(reconstruction: Brinkmann & Brinkmann)
© Munich, Stiftung Archäologie, photograph by Vinzenz Brinkmann
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. 55 cm
Athens, Acropolis Museum
reconstruction: poly-methyl methacrylate (PMMA);
paint: natural pigments in egg-casein tempera on cast marble replica
Stiftung Archäologie
(reconstruction: Brinkmann & Brinkmann)
© Munich, Stiftung Archäologie, photograph by Vinzenz Brinkmann
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 (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
(reconstruction: Brinkmann & Brinkmann)
© Munich, Stiftung Archäologie, photograph by Vinzenz Brinkmann
Horse and rider were discovered in the late 19th 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
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)
(reconstruction: Brinkmann & Brinkmann)
© Munich, Stiftung Archäologie, photograph by Vinzenz Brinkmann
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. 96 cm
Munich, Glyptothek
reconstruction: plaster or cast marble replica;
paint: natural pigments in egg-casein tempera
Stiftung Archäologie & Universität Heidelberg,
(reconstruction: Brinkmann & Brinkmann)
© 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. 380/370 BC, h. 92 cm
Munich, Glyptothek
reconstruction: cast marble replica;
paint: natural pigments in egg-casein tempera
Stiftung Archäologie
(reconstruction: Brinkmann & Brinkmann)
© 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. 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
(reconstruction: Brinkmann & Brinkmann)
© Munich, Stiftung Archäologie, photograph by Vinzenz Brinkmann
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.
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
(reconstruction: Brinkmann & Brinkmann)
© Munich, Stiftung Archäologie, photograph by Vinzenz Brinkmann
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 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
(reconstruction: Brinkmann & Brinkmann)
© Munich, Stiftung Archäologie, photograph by Vinzenz Brinkmann
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)
Porphyry, AD 293 − 311 (?), 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 293 − 311) 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.