Fayum Portraits: Greco-Roman Egyptian Funerary Painting (1st-3rd Century CE)

Walk through the Egyptian galleries of the British Museum or the Metropolitan Museum of Art, and you will pass rows of stylized pharaonic art: rigid figures in profile, hieroglyphic inscriptions, gods with animal heads. Then, without warning, you will come face to face with a portrait that looks like it could have been painted yesterday. A young man with a sparse beard and large brown eyes stares out from a wooden panel. A woman wears gold earrings and a purple clavi across her tunic. The faces are individual, specific, and unsettlingly modern. These are the Fayum portraits, painted nearly 2,000 years ago, and they represent the oldest portrait-painting tradition in known history.

Fayum portraits are funerary paintings produced in Roman Egypt between the 1st and 3rd centuries CE. They were painted on wooden panels or linen shrouds and placed over the faces of mummified bodies, replacing the traditional three-dimensional mummy mask with a two-dimensional, personalized Greco-Roman portrait. The portraits combine Egyptian funerary practice with Hellenistic and Roman painting traditions, producing a hybrid art form that existed only in Egypt and only for about 300 years. Approximately 1,000 examples survive, scattered across museum collections worldwide.

This entry covers what Fayum portraits are, how they were made, what recent scientific research has revealed about their materials and techniques, and where to see the finest examples.

What Are Fayum Portraits?

Fayum portraits depict the faces of deceased individuals, painted in a naturalistic style that draws on Hellenistic and Roman painting conventions. The subjects are shown frontally, with large eyes that engage the viewer directly. They wear contemporary Roman clothing: tunics with colored clavi (vertical stripes indicating rank), jewelry, and hairstyles that match Roman fashions of the period. The portraits were painted either on thin wooden panels, typically made from sycamore fig, cedar, or lime wood, or directly on the linen shrouds that wrapped the mummified body.

The panels were inserted into the mummy's bandages over the face, with the edges wrapped in linen to secure them. Some portraits show the edges of the painted area extending only as far as the linen wrappings would have covered, a detail that has proven important for understanding how the portraits were used. The shroud portraits were painted directly on the outer layer of wrapping, covering the entire upper body of the mummy.

The subjects belonged to the elite populations of the small towns and cities of Roman Egypt. They were people of Greek descent who had lived in Egypt since the Ptolemaic period and who negotiated their status with Roman authorities by claiming a Greek historical identity. Recent epigraphic research confirms that this group enjoyed exceptional legal privileges. The portraits were expensive commissions, and the quality of the painting varies, reflecting local workshop traditions rather than a chronological decline in skill.

Painting Techniques: Encaustic and Tempera

Fayum portraits were painted using two main techniques: encaustic and tempera. Encaustic painting uses heated beeswax as the binding medium. The pigment is mixed with molten wax and applied while hot, using brushes or metal tools. The wax cools and hardens quickly, creating a surface with a luminous, slightly raised quality. Encaustic allows for thick, layered application and produces colors that remain vivid after 2,000 years. The finest Fayum portraits, with their deep modeling and rich color, are encaustic.

Tempera painting uses a water-soluble binder, typically animal glue or plant gum, mixed with pigment. Tempera produces a flatter, more linear effect than encaustic. The colors are less saturated and the surface is smoother. Some portraits combine both techniques, using tempera for backgrounds and underpainting and encaustic for the face and details.

A long-held scholarly assumption was that encaustic and tempera portraits represented two distinct traditions and periods. Recent research has overturned this view. The APPEAR project (Ancient Panel Paintings: Examination, Analysis, and Research), organized by the J. Paul Getty Museum, has shown that painters used a variety of media for specific purposes within a single portrait. The visibly differing results more likely reflect the choice of tool kit used to work the painted surface rather than a preference for one medium over another. Read the Getty's research at Getty Publications.

Historical Context and Timeline

The Fayum portrait tradition emerged in the context of Roman rule in Egypt, which began in 30 BCE after the death of Cleopatra and the annexation of Egypt by Augustus. The practice of mummification continued under Roman rule, but the traditional pharaonic mummy mask, a stylized three-dimensional face made of cartonnage or gilded wood, was gradually replaced by the painted portrait. This shift reflected the cultural hybridity of Roman Egypt, where Egyptian funerary practice met Greco-Roman portraiture.

The portraits were produced primarily between the 1st and 3rd centuries CE. The tradition declined in the late 3rd century and effectively ended by the 4th century, as Christianity spread through Egypt and pagan rituals were suppressed. The edict of Theodosius, which banned pagan rituals in Egypt around 379 CE, accelerated the end of mummification practices.

Despite the name "Fayum portraits," the portraits were not limited to the Fayum Oasis. They have been found at sites across Egypt, including Saqqara (south of Cairo), Deir el-Bahari (west bank across from Luxor), Panopolis (now Akhmim), and Antinoopolis (now Sheikh Ibada). The Fayum Oasis, particularly the cemeteries at Hawara and er-Rubayat, has produced the largest number of portraits, which is why the name stuck. The first documented discovery was by the Italian traveler Pietro della Valle in 1615, who found portraits at Saqqara. Systematic archaeological excavation began with W. M. Flinders Petrie at Hawara in 1888-1889.

New Scientific Research

A 2023 study published in Heritage Science examined an unusual surface coating found on seven Fayum portraits from five museum collections. The coating, visible under ultraviolet light as an irregular bluish fluorescence, had not been previously described in publications. Analysis by peptide mass fingerprinting and liquid chromatography with tandem mass spectrometry identified the coating as highly deamidated whole hen egg, or hen egg white in one instance. Radiocarbon dating of the coating from two portraits confirmed that it was applied approximately 2,000 years ago, meaning it is not a modern addition but was part of the original production. The function of the egg coating remains unknown. It may have been an aesthetic or protective layer, or a symbolic and ritual unguent. This discovery represents a previously undescribed use of egg in the ancient world. Read the study at Heritage Science.

The APPEAR project has also studied a group of eleven mummy portraits excavated from Tebtunis between 1899 and 1900, now at the Phoebe A. Hearst Museum of Anthropology at UC Berkeley. This group is the largest assemblage of Roman-period mummy portraits to remain together and unrestored since excavation. Non-invasive analysis revealed that nine of the Tebtunis portraits share distinctive features: gypsum chalk preliminary sketches on the obverse, Greek script on the reverse, thick sycamore fig panels, and the use of beeswax binder applied with brushes and metal tools. Two pairs of portraits within the group share identical features in both appearance and execution, suggesting they were produced by the same workshop. Read the study at Getty Publications.

Key Examples and Where to See Them

The Young Man with a Gold Wreath (2nd century CE)

This portrait, in the collection of the Metropolitan Museum of Art, shows a young man with short curly hair, a sparse beard, and a gold wreath on his head. The encaustic technique produces a luminous skin tone with subtle modeling around the eyes and mouth. The portrait is one of the finest surviving examples of the encaustic technique.

The Woman with Earrings (2nd century CE)

This portrait, in the British Museum, depicts a woman with large gold earrings, a necklace, and a purple clavus on her tunic. Her hair is styled in a contemporary Roman fashion. The portrait is painted in tempera on linen, producing a flatter, more graphic effect than the encaustic examples.

The Mummy of Hermione (1st century CE)

The mummy of a woman named Hermione, a music teacher, is in the collection of the Fitzwilliam Museum in Cambridge. The portrait shows a young woman with dark hair and a serious expression. The mummy is inscribed in Greek with her name and profession, making it one of the few Fayum portraits with a documented identity.

Related Terms

Fayum portraits connect to several other areas of art history. The encaustic technique used in many portraits relates to the broader tradition of encaustic painting, which was used in ancient Greece and Rome and has been revived by modern artists. The funerary context connects to the broader history of portraiture and the depiction of the human face. The Greco-Roman style of the portraits relates to the broader traditions of Greek Art and Ancient Egyptian Art. The use of wooden panels connects to the history of panel painting before the adoption of canvas. For more on ancient art, read our post on the complete guide to art movements.

See Fayum Portraits in Person

The best collections of Fayum portraits are at the British Museum in London, the Metropolitan Museum of Art in New York, and the Musee du Louvre in Paris. The Getty Villa in Malibu has a significant collection and has led the APPEAR research project. The Fitzwilliam Museum in Cambridge holds the mummy of Hermione. The Petrie Museum of Egyptian Archaeology in London holds portraits from Flinders Petrie's excavations at Hawara. The Phoebe A. Hearst Museum at UC Berkeley holds the Tebtunis group.

If you want to see Fayum portraits, start at the British Museum for the range of techniques on display, then visit the Metropolitan Museum for the encaustic examples, and end at the Getty Villa for the research context. You will see faces that look out from the boundary between two worlds, Egyptian and Roman, ancient and familiar. For more on the art of the ancient Mediterranean, read our entries on Ancient Egyptian Art and Greek Art, or explore our post on the complete guide to art movements.