Heritage materials science techniques, including pXRF, FTIR-ATR, XRD, microphotography, and microsampling, have peeled back concealed layers of polychromy on a Roman Mithraic altar near Hadrian’s Wall. The results break new ground by exposing the interplay between light and dark and the transformative impact of colour cast onto cultic carved stone. A powerful pigment palette is revealed, including vibrant cinnabar/vermilion letters overlying an unprecedented purple inscription panel created from a compound of Egyptian blue, ultramarine, cinnabar/vermilion, red ochre, red lead, and realgar framed with purple, Egyptian blue, ultramarine, and orpiment. The panel was covered in a golden surface crafted from a previously unknown recipe of pyrite (fool’s gold) mixed with beeswax. Tantalising traces are also detected on some iconographic features, but conservator intervention and degradation processes combined to leach colour from the sculpted relief. These are paradigm-shifting results. They force a reinterpretation of the symbolism and performance of altars as personifications of dedicators, and we identify, for the first time, high-ranking Mithraic initiates by name and grade. Critically, we present a digital reconstruction of the altar with original polychromy that revolutionises our understanding of relief-sculpted Roman inscriptions—a category that has, until now, remained underexplored by the burgeoning polychromy research community.
Campbell et al. (Sat,) studied this question.