The Actor Fundilius Doctus

Summary

This full-size potrait statue bears traces of original paint, especially on the garments where a light red orange colour is observed. The pigment existes mostly as scattered particles or as thin transparent layers due to a presumed cleaning. On the back of the statue the traces are apparently better preserved as compact layers of red along the folds are observed. A few traces of red are found on the skin and on the hair on the back of the statue. Egyptian blue has been identified by means of VIL-imaging and is most conspicuous in the folds of the garments and next to the book casket suggesting that the pigment was used for shadows.

Description of object

The statue is carved in one piece and portrays a mature man, clean-shaven and with hair cut short. The statue body is clad in a tunic beneath a toga. The tunic is shaped by chisel work unlike the face and the neck which have a smooth, polished surface. The folds of the garments appears very realistic with numerous details.

The statue is missing the right arm from the elbow down and the left hand. The head and upper part of the chest including the left shoulder have been broken off but have been reassembled. Apart from this the statue is intact. The overall surface of the statue appears white without any remarkable encrusted, calcareous or dirty layers. Even the folds are clean, which may indicate a thorough, modern cleaning.

Archaeological Commentary

On the front of the plinth the inscription C FVNDILIVS DOCTVS APOLLINIS PARASIT. Found at Nemi together with IN 708, IN 1437, IN 1436 and IN 1435

Choice of methods

Visual examination

• Macroscopic
• Microscopic in situ

Technical imaging

• UV
• VIL

Sampling

• Cross section
• Microscopy

Marble identification method

• Isotopic analysis

Visual examination

Red is found in several places on the garment. In most cases it appears as transparent layers. On the back of the statue red is found along some of the folds as compact layers. Small traces of red are found on the forehead, on the right ear and on the hair on the back of the head. On the back of the statue the piece of marble left as a support between the legs red colour is present in many of the recesses.

Technical imaging

UV-FL: The UV-FL-image shows a complex picture. The photographs distinguish the difference between original material and subsequent repairs. Violet and green-blue fluorescence seem to dominate the surface of the sculpture. It is uncertain whether the fluorescence phenomena are related to the antique polychromy, organic lakes or resins.

VIL: The presence of luminescent particles indicates the use of Egyptian blue and is primarily seen between the folds of the garments, while a larger concentration appears on the area between the book casket and the right foot. This suggests the use of Egyptian blue for shadows.

Other types of investigation

Cross-section: A sampling strategy has been developed on the basis of the preliminary investigation. one sample with a surface area of circa 0.25-1 mm2 is taken of red from the back of the garments

The cross sections shows only a single layer of a fine grained yellowish colour painted directly onto the marble.

Isotopic analysis: Results δ13C: 0.883; δ18O: – 5.290 = 97% Afyon; 41% Ephesos.

Bibliography

F. Poulsen (1951), Catalogue of Ancient Sculpture in the Ny Carlsberg Glyptotek, Copenhagen, cat. no. 536.

F. Johansen (1994), Catalogue. Roman Portraits I. Ny Carlsberg Glyptotek, Copenhagen, 182 cat. No. 79.