Relief with Hercules and the Cattle of Gerion (inv. no. RA28l)

Item

Description
The relief depicts a scene from the tenth labor of Hercules: the moment the hero slays the giant Geryon. On the right is the hero, with his characteristically robust musculature, depicted naked. With his left arm, he holds his opponent by the hair, while his right arm is raised in the act of delivering the lethal blow. The three-headed monster, now fallen to the ground and defeated, has human features and wears military attire typical of a general of the Early Roman Empire: a paludamentum and a muscled cuirass (lorica musculata) over a woolen tunic (subarmalis) covering the thighs and arms, also decorated with pteryges depicting the heads of a wolf, a lion, Medusa, and griffins.

Artwork

Typology
Relief
Definition
Relief with Hercules and the Cattle of Gerion (inv. no. RA28l)
Collection
Toulouse, Musée Saint-Raymond
Inventory number
RA28l
Provenance
Chiragan, Roman Villa
Date
End of the 3rd century C.E.
Material
Saint-Béat marble (Haute-Garonne)
Dimensions
Height 155 cm; Width 103 cm; Depth 23 cm

Analytical results

Analytical methods
VIS
UV
Autoptic examination
Visible traces of pigment have been observed with the naked eye on the background to the right (dark brown-grey), on the body of Heracles (orange, off-white), on the right head of Geryon (brown helmet and blue-painted eyebrow), as well as on the helmet of the left head.
Imaging
Ultraviolet (UV) examination confirms the distribution of these pigments and assists in distinguishing original coloration from surface encrustations. Particularly notable is the bicolored treatment of the woolen curls of the subarmalis, which is confirmed by microscopic analysis: an alternation of yellow and brown tones enhances the legibility of the individual curls.
Microscopic examination (350 observation points) further revealed traces of pigmentation across the entire surface.
If confirmed, the background was originally painted in a dark palette with tonal variations between brown, black, and grey, and with cast shadows rendered in blue. The frame appears to have been painted in a reddish-brown hue.
Heracles' body exhibits an off-white coloration, similar to that observed on the figures of Attis and Aesculapius, achieved through a mixture of white, orange, yellow, and red pigments. The skin tones darken in shaded areas.
A faint trace of gold leaf gilding—subject to further compositional analysis to confirm its nature—has been identified on the calf of the left leg (fig. 24).
Black and green lines on the hips may indicate intramuscular divisions. Similar lines are also used to define facial features.
Heracles’ hair preserves traces of red pigment in various shades. When observed under UV light, the red fluoresces orange, a characteristic response of madder lake, suggesting a possible identification of the pigment used (fig. 25).
Black contour lines between the hair and the relief’s background serve to frame and accentuate the figure.

The right head of Geryon exhibits yellow pigmentation in the hair, while the skin appears significantly more orange and less pale than that of Heracles.
The cuirass presents a yellow-orange coloration; the heads on the pteryges are rendered in grey-black, and the fringes of the subarmalis are painted in black and brown tones, as is the helmet of Geryon's left head.

Polychromy technique

Under painting traces
no
Pigments
White calcium sulfate, ochres (red, orange, yellow), black vegetable sandyx, madder lake, Egyptian blue
Binder
n.d.
Stratigraphy
Preparatory layer of calcium sulfate
Shading
Darker gradient
Metallic traces
Tools marks
no
Background colour
Black
Apparent marble parts
N.D.
Restorations
No

Polychromy type

Imitation of other supports
marmi colorati
Polychromy type
The colors are applied with different degrees of transparency and thickness depending on the desired effect, and with the shadows rendered through different shades or through the use of Egyptian blue, in accordance with classical pictorial tradition. The imitation of the material (colored marble?) rather than the actual color seems to be placed in the foreground, with a marked interplay of contrasts between background and figure.
This imitation, however, seems to integrate with the classical color codes used in the representation of deities, according to conventions more commonly attested in painting.