By Julia Commander, Jessica Betz Abel, and Anna O’Neill
We’ve shared a few insights into the monumental limestone we’ve been treating at our Conservation Lab Annex (CLA). You may have noticed a consistent color scheme: tan. The surfaces of the doorways are intricately carved and decorated with faience inlay, although we mainly see a variety of neutral tones.
To get a sense of how these architectural elements would have looked when they were made in Memphis, Egypt around 1213–1203 BCE, it helps to understand the materials and their state of deterioration. Luckily, the Penn Museum Archives has extensive records from the 1920’s Memphis excavations, which provides some further clues about these objects.
Searching through archival materials, we found detailed notes about each object as it was excavated, as well as extensive watercolor illustrations. We can see brilliant colors in the drawings and notes referencing traces of paint and inlay material.
We even see that the doorways are illustrated with brilliant blue and teal colors.
Some of the illustrations appear to extrapolate data from small traces of material. Do these colorful illustrations line up with what we’re seeing now in the material itself?
To explore a little further, we brought the Crimescope out to CLA to investigate using multispectral imaging. This technique has been discussed on the blog before, and we were particularly interested in infrared (IR) imaging of the faience inlay. While there are different types of faience material, some types related to Egyptian blue pigment produce the same luminescent response induced by visible light.
Searching for IR luminescence pointed us to a tiny area of inlay in the upper corner lintel fragment. The tip of one stripe glowed brightly, which corresponds to a pale green color that’s visible in normal lighting.
This result suggests that we’re seeing a deteriorated state of formerly bright blue/green/teal faience. While we did not see every trace of the degraded inlay light up in infrared imaging, this small hint corroborates what we’re seeing in the archival illustrations.
We plan to continue using multispectral imaging to explore decorated surfaces when we’re back at CLA. Stay tuned!