Polish Archaeology in the Mediterranean (13.2001(2002))

NAQLUN

EGYPT

therefore decided to transfer the upper
paint layer.
What made the operation different from
others of the same kind was the presence of
a painted frame around the niche. This
EXAMINATION OF THE
The wall supporting the painting is made
of mixed material, 80% of red brick, some
mud brick and limestone, and wooden
beams. Dating the building is still an open
issue — it is probably from the 7th-8th
century. The transferred painting was
executed on a single layer of lime-sand
plaster (0.5-3 cm thick), finely tempered
with small amounts of ivory and vegetal
black. The surface was smooth and well
prepared, probably with a thin layer of very
fine lime-sand mortar applied.
The painting technique is al secco with
Arabic gum as a possible binding
medium. This has been considered a
traditional technique in the area ever since
antiquity, but unfortunately cannot be
confirmed in this case because of the
degree of mineralization and the state of
preservation.
PREPARING FOR
Once the technical examination had
enabled the selection of the most suitable
materials, preliminary work for the actual
transfer began. Protecting the painting
was vital before any other steps were
undertaken. It was done by covering the
entire concave painted surface, first with
a protective facing of Japanese tissue, then
fine cotton gauze and, finally, two layers of
linen canvas, made to adhere with a water

precluded fixing the facing layer directly to
the wall and encumbered access. Neither
was it possible to separate the painting
from the back as there is a fairly thick
defense wall surrounding the church.
PAINTING TECHNIQUE
The color palette was limited: iron
oxides (red and yellow ochre), black (mixed
ivory and vegetal black), and copper green
(probably atacamite). The white of the
background was also used as a color.
The painting technique reveals similar-
ities with the Byzantine way of painting. If
partly damaged, the paint layer may give
an impression of transparency, but original-
ly it must have been thicker and stronger.
The contours were sketched “freehand"
without preparation, the composition
being adapted to the shape of the niche.
More attention was paid to the faces and
hands, while the dresses and background
received little but schematic treatment.
The painting is part of a larger com-
position representing the Twelve Apostles,
Maiestas Domini, St. Atanathios and St.
Mark, dated to the 11th century.
THE TRANSFER
solution of Bresciani polyvinyl alcohol.
This step had been taken by restorer Ewa
Parandowska immediately after the
discovery of the painting under layers of
undecorated plaster in 1995.
The frame of the niche was cleaned
with acetone and a water solution of
Contrad 2000 (Bresciani, Italy), fixed with
Primal E330, then protected with Japanese
tissue and paraloid B-72 in toluene.

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