Venus Anadyomene (inv. no. 010326 181)

Description: The headless statue of Venus Anadyomene is smaller than life-size and was probably once adorned with drapery in the lower section. The lower edge has a smooth rim and internal pecking, indicating that the upper body was fitted into a second piece. It would have been displayed from behind, probably in a niche.

Analytical methods: VIS; VIL; UV; MO VIS; MO UV; MAXRF; TOF/SIMS
Autoptic examination: There are large areas of red and orange paint on the back and sides, in particular on the left shoulder blade, the right flank, and in the hollows of the lower back.
Imaging: Observation under UV light shows that the paint layers appear black, suggesting the use of hematite. Microscopic examination reveals a variety of shades, from yellow to brown, including orange and red. The color is darker, almost brown, on the right side of the back, particularly on the lower back. In the lower half of the back, green dots are observed on the reddish-brown paint.
Chemical analysis: MA-XRF analysis in four areas indicates the presence of iron and suggests the use of hematite or goethite, found in earth pigments.

A sample was taken, corresponding to the shaded area created with the green dots, coated and polished. The cross-section shows the green-blue paint layer, applied directly to the marble. TOF/SIMS analysis confirms the absence of copper and indicates an iron-based composition with traces of zinc and barium, suggesting the use of a green earth pigment. Palmitic acid and natron are present across the entire surface of the sample.

Under painting traces: no
Pigments: Red, yellow (ochre), orange, brown, blue (terres-vertes)
Binder: Punic wax
Stratigraphy: Directly on the marble
Shading: Green shades
Metallic traces: no
Tools marks: no
Background colour: no
Apparent marble parts: no
Restorations: no
Polychromy technique: The presence of palmitic acid and natron indicates the use of a wax-based organic binder, probably applied cold, saponified with natron, according to the recipe transmitted by Pliny and Vitruvius. Pigments are applied directly to the marble.

Polychromy type: It can be argued that red is the predominant colour.
The chromatic finish in the lower half of the back emphasizes the movement of the statue and accentuates the shadows cast by the sculptural form.