Varnish and Aesthetics

An additional element of the painted surface was the use of selectively applied coatings or varnishes with specific areas left in reserve. Areas in reserve include the register background which was painted grey the white background of the cartouches and very few of the hieroglyphs were partially unvarnished (primarily white-painted areas). The pigment is poorly preserved in these areas as a result of being left in an unvarnished state.
	Examination of the surface of the relief using normal light and magnification suggests three visually distinctive varnishes: a colorless waxy layer...
	a pale yellow matte layer...
	and a yellow glossy layer.
Examination of the surface using longwave ultraviolet light reveals two different fluorescences associated with the varnishes.
A pale green fluorescence is noted on the translucent waxy areas. A yellow fluorescence is noted for the pale yellow matte areas and the yellow glossy areas; the brightness of the yellow fluorescence appears to vary between the two with the deep yellow areas fluorescing a brighter yellow. Both yellow varnishes are brittle; in contrast, the colorless waxy layer is pliable when mechanical pressure is applied. The yellow glossy varnish is the most visually distinctive. It is deep yellow to amber in tone, glossy and somewhat waxy in appearance. It was often thickly applied with visible marks from application using a brush or from subsequent burnishing. It is typically found on the broad areas of single colors such as the horizontal bands separating the registers, the large-scale figures in the upper register and the vertical inscription bands. The majority of hieroglyphs were coated with the pale yellow, matte coating, as were a portion of the offerings- typically those painted in yellow or a combination of yellow and red. The nome gods, the majority of their offerings and a select number of the hieroglyphs (primarily those colored green) were coated with the colorless coating with a subtle waxy sheen. The deliberate manner in which the three visually different coatings were employed suggests their use was carefully considered for specific effects. Varnishes were employed in ancient Egypt for many reasons including color enhancement, to create emphasis, and to mimic the aesthetic qualities of other materials such as stone, faience or gold -all three of these are factors in the Nome Gods. The glossy yellow varnish over the bright yellow paint on the background of the vertical hieroglyphic bands would have created a shining yellow surface akin to gold. The areas left unvarnished must have been a striking contrast- the velvety white background of the cartouches serving to emphasize the gleaming names of the kings that they contained. The painting is the most colorful and detailed in the richly detailed depictions of the Nome's accoutrements and offerings- the waxy coating applied to most of these scenes very much enhances the palette. For instance, the greens appear rich and vibrant when the wax coating is in place and considerably paler where it has been abraded.

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