Cosmetics of the West

The Londinium ointment

Evershed, R. P., R. Berstan, F. Grew, M. S. Copley, A. J. H. Charmant, E. Barham, H. R. Mottram, and G. Brown. “Archaeology: Formulation of a Roman Cosmetic.” Nature 432, no. 7013 (November 4, 2004): 35–36. https://doi.org/10.1038/432035a

80% of the extant composition was determined:

• 15% stannic acid (tin oxide IV)

• Ruminant fat (bovine, goat) and starch in 1:1 ratio

The missing 20% was not identified, most likely due to degradation of original ingredient. But there is still hope if this ointment is re-analyzed using current technology. I am especially interested in knowing if the fat was "sweetened" using one of methods mentioned by Pedanius Dioscorides in "De Materia Medica"

The ‘medicinal’ ointment from the containers from British Museum

Stacey, R. J. “The Composition of Some Roman Medicines: Evidence for Pliny’s Punic Wax?” Analytical and Bioanalytical Chemistry 401, no. 6 (October 2011): 1749–59. https://doi.org/10.1007/s00216-011-5160-7.

Dyer’s madder (Rubia tinctorum) lake # 1

Bejarano Osorio, Ana M., Macarena Bustamante-Álvarez, José V. Navarro Gascón, Susanna Marras, and Ángela Arteaga Rodríguez. “Archaeological and Archaeometrical Study of the Cosmetic Remains Contained in a Malacological Pyxis from Augusta Emerita (Mérida, Badajoz).” Sagvntvm. Universitat de Valencia, 2019. https://doi.org/10.7203/SAGVNTVM.51.13121.

Madder lake from pre-soaked roots of Rubia tinctorum precipitated on alum (aluminum sulfate) with washing soda (sodium carbonate). The roots were soaked for several weeks, with daily changes of water.

The madder lake # 2 from Rubia tinctorum

Pérez-Arantegui, J., Gemma Cepriá, E. Ribechini, I. Degano, M. Colombini, Juan Ángel Paz-Peralta and Esperanza Ortiz-Palomar. “Colorants and oils in Roman make-ups–an eye witness account.” Trends in Analytical Chemistry 28 (2009): 1019-1028.

The original cosmetic was found on a tool which was most likely used for mixing the dye in the base of fragrant oil and animal fat. It formed a smooth colored ointment.

This lake was made without presoaking the roots. Both colorants, alizarin and purpurin, are present in this case. Colorants are precipitated on aluminum oxide with sodium carbonate (washing soda). I used 5 parts of beef suet base (prepared and scented according to Dioscorides), 1 part of the late Gallo-Roman perfume (version 1.2) and a pinch of salt as preservative. The final result on skin prepared with lead white replacement base is an appealing shade of warm pink which can be easily layered for a more intense color. This is my favorite rouge for early medieval look.

The madder lake # 3 from Rubia tinctorum

Pérez-Arantegui, J., Gemma Cepriá, E. Ribechini, I. Degano, M. Colombini, Juan Ángel Paz-Peralta and Esperanza Ortiz-Palomar. “Colorants and oils in Roman make-ups–an eye witness account.” Trends in Analytical Chemistry 28 (2009): 1019-1028.

"powders contained in a colorless glass unguentarium, identified as a probable Ising 10 form (a globular unguentarium), was also found in the ancient Roman colony of Celsa. Its archaeological context must be situated in the middle of the 1st century CE.’’

Again, this lake was made without the root pre-soaking step. Madder lake was precipitated on aluminum silicate with calcium carbonate and thinned with gypsum to a pale pink color. Since the original powder was found in a globular unguentarium, I ordered a replica from the Historical Glassworks to match the extant find.

Adapting Caterina Sforza lead white base to safer version

Pasolini, Pier Desiderio. 2011. Caterina Sforza. Documenti. Vol. 3. Nabu Press.

The original recipe calls for olio di violetto which most probably can be identified with cold maceration of iris rhizomes (Iris pallida x germanica) in sweet almond oil. Powdered iris rhizomes are supposed to be macerated for 40 days in the sun. The lead white is worked into a smooth powder and mixed with the oil.

The version with zinc oxide crumbled on skin. The version with titanium dioxide and starch was smooth in application but looked too white when compared to the reference sample made with lead white.

The best replacement is made with titanium dioxide and almond oil, with added starch and mica (to dilute the whiteness and provide smoothness). Additionally, mica seems to add similar kind of 'greasiness' which is typical of pure lead white preparations and helps to stick to skin. The mica is cosmetic grade fine powder and doesn't add too much shine (it is a popular filler in modern high-end makeup). For application, I make it into an emulsion with home distilled rosewater and apply with a piece of linen cloth (natural sponge wetted in rosewater works too).