Mummy Portrait of a Man

This mummy portrait of a man, painted around 150–225 A.D., is a striking example of the Faiyum portrait tradition; an evocative fusion of Egyptian funerary practices and Greco-Roman artistic techniques. This particular portrait, rendered in encaustic (hot wax) paint on a panel of sycamore fig wood, comes from Antinoé in Middle Egypt, a city founded by the Roman Emperor Hadrian in honour of his beloved Antinous.

Measuring approximately 40 cm x 25 cm x 1.4 cm, the portrait depicts a man with lifelike realism, his face framed by curling dark hair and a closely trimmed beard. His wide, almond-shaped eyes gaze directly at the viewer, conveying a sense of individuality and presence. The use of encaustic painting, a technique involving pigments suspended in heated beeswax, creates a luminous and textured surface that brings remarkable vitality to the features. The background, likely once a rich ochre or golden hue, now bears the gentle patina of time.

This portrait served as the funerary likeness of the deceased, affixed to his mummified body to preserve his image for eternity. The blending of Roman naturalism with Egyptian funerary customs reflects the multicultural character of Roman Egypt, where identities and traditions intertwined seamlessly.

The panel was excavated at Antinoé, a site renowned for its wealth of Late Roman and Byzantine remains, and is now held in the Musée du Louvre under inventory number AF 6887. It stands as a poignant testament to the enduring desire for remembrance, where artistry and commemoration meet.

Antinoé

Antinoé, also known as Antinoopolis, was a prominent city of Middle Egypt, founded by the Roman Emperor Hadrian in A.D. 130. The city was named in honour of Antinous, Hadrian’s beloved companion, who tragically drowned in the Nile near this location. In his grief, Hadrian established Antinoé as both a commemorative city and a cult centre for the worship of Antinous, who was subsequently deified.

Situated on the east bank of the Nile, across from Hermopolis Magna, Antinoé quickly became a flourishing urban hub, blending Egyptian, Greek, and Roman cultural elements. Its layout followed the traditional Hellenistic city plan, featuring colonnaded streets, public baths, a theatre, and temples dedicated to both local and imperial deities. Over time, the city evolved into an important religious centre, not only for the cult of Antinous but also for the Christian community, which later established numerous churches and monasteries there.

Antinoé is particularly renowned for its archaeological remains, including the richly decorated tombs and burial sites from the Roman and Byzantine periods. These have yielded a wealth of textiles, portraits, and funerary goods, such as the mummy portraits, that seamlessly blend Greco-Roman naturalism with Egyptian funerary traditions. Excavations in the 19th and early 20th centuries revealed remarkable insights into the multicultural fabric of this ancient city.

Today, the site of Antinoé offers a poignant window into a place where art, religion, and identity converged; a testament to both the personal grief of an emperor and the enduring resilience of cultural syncretism in Roman Egypt.