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When and where to see the portraits in Rome
The exhibition, The Power of Portraiture: Egypt and Rome. The Fayum Portraits, is scheduled at the Museo dell’Ara Pacis from 5 November 2026 to 2 May 2027. The organizer’s exhibition page has the current visitor information: Civita Mostre e Musei exhibition details. Dates and practical arrangements can change, so check the organizer’s page before planning a visit.
According to Ahram Online, the Egyptian loans come from the Egyptian Museum in Tahrir, Kom Aushim Museum and Hurghada Museum. The exhibition is expected to include nearly 60 painted portraits from Egypt and more than 110 objects overall, including funerary shrouds, masks, marble portraits, plaster casts and ancient jewelry. These are figures reported for the planned exhibition, not a final count of objects visitors have already seen.
What is the Tondo of the Two Brothers?
The Tondo is a circular wooden panel, about 62 centimetres in diameter and less than one centimetre thick, depicting two young men side by side. Its round format and paired subjects make it unusual among surviving Fayum portraits, most of which show one person. The painting was made using encaustic, in which pigments are mixed with molten wax. The Associated Press describes it as a second-century work; a more precise date is not established by the cited reporting.
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The panel belongs to the Egyptian Museum in Tahrir and is usually kept there. Its restoration was carried out in a three-week collaboration between specialists from Rome and conservators at the museum, reported by the Associated Press and Ahram Online in October 2026. The work made features—including those of the brother on the right—more legible, rather than repainting the ancient image.
How conservators treated the damaged panel
An ancient wood-boring insect infestation, probably termites, had weakened the support. Parts of the figures had separated, and sections of the painted surface were extremely fragile. Fragments around the right-hand figure’s mouth and chin had also been put back in incorrect positions during an earlier restoration.
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According to Ahram Online, the team supported fragile paint, treated cavities beneath sunken areas, and dismantled, flattened, reinforced and repositioned displaced fragments. Discreet balsa-wood supports helped return them to place; lightweight wood-coloured filler was used where needed. Cleaning and consolidation improved the surface’s legibility. The reported approach was minimal intervention intended to respect the panel’s authenticity.
Ultraviolet examination showed traces in the figures’ hair that may point to a transparent ancient varnish used to deepen dark tones. That remains a possible interpretation, not a confirmed identification.
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What Fayum mummy portraits are—and what “Fayum” means
Fayum portraits are painted images associated with Roman Egypt, generally dating from the first through third centuries CE; some may date to the fourth century, according to the National Archaeological Museum in Athens. Many were found in the Fayum region, but portraits have also been discovered elsewhere in Egypt. The name therefore does not mean that every portrait was found in the oasis.
Many portraits were painted on thin wooden panels, while others were painted on linen. They were placed over the face of a deceased person within mummy wrappings, joining an individualized likeness to Egyptian funerary practice. The National Archaeological Museum says more than 1,000 Fayum portraits exist worldwide; that is the museum’s collection-page figure, accessed in 2026, rather than a new census for this exhibition.
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How artistic materials and funerary traditions meet
Encaustic and tempera produce portraits through different materials and handling. Encaustic uses pigment mixed with wax; tempera uses pigments with water-soluble binders, often animal glue. The distinction matters to how a painting was made, but neither technique alone explains the portraits’ purpose or cultural setting.
The Metropolitan Museum of Art notes that the wooden-panel portraits draw on Greek painting conventions, while their placement on mummies connected them to Egyptian beliefs about the afterlife. Rather than treating the works as simply Egyptian or Greek/Roman, it is more accurate to see artistic practices and funerary traditions intersecting in Roman Egypt. The Rome exhibition’s inclusion of shrouds, masks, marble portraits, casts and jewelry offers a wider context for considering those connections.
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What “first time abroad” means
Current reports describe this as the first time a group of Fayum portraits from Egyptian museum collections will travel abroad for exhibition. That wording is narrower than saying Fayum portraits have never been shown outside Egypt: portraits from other collections are included in the broader international history of the subject. The significance here is the planned overseas loan of Egyptian-held panels, including the restored Tondo, not a claim that every portrait in the Rome exhibition has the same lending history.
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