Interesting stories about the colour Caput Mortuum

One of the pastels used in a recent zoom demonstration by Lyn Mellady for the Pastel Society of Victoria came in for a bit of discussion. The evocative name Caput Mortuum conjures a mysterious aura, Latin for “dead head” or “worthless remains”. The name most likely originates from alchemical traditions, where it referred to the residue left after distillation, symbolising what was left behind when the “noble” elements had ascended. Perhaps picking up a bit of spiritual importance in transforming alchemical waste (death, decay) into artistic material (new life).

Despite its ominous name, the pigment itself is rich and versatile. It is identified in medieval paintings and manuscripts, and was widely used in oil paints and fabric dyes, especially during the 18th and 19th centuries. Artists prized it for its earthy tone, opacity, and ability to create dramatic shadows and depth. Its popularity peaked in religious and Romantic art, often appearing in robes, backgrounds, and symbolic compositions.

Mummy Brown and the Pre-Raphaelites

In the 1800s, mummy brown, also called caput mortuum, a pigment reportedly made from ground-up Egyptian mummies, was widely used by European artists for its rich, warm tone and excellent transparency. It was especially popular among the Pre-Raphaelite Brotherhood, a group of English painters who sought to revive the detail and vibrancy of early Renaissance art.

One of the most striking anecdotes involves Edward Burne-Jones, a prominent Pre-Raphaelite artist. According to multiple sources, Burne-Jones was horrified when he learned that the pigment he had been using was made from actual human remains. His nephew, Rudyard Kipling, recalled the moment in his autobiography:

“He [Burne-Jones] descended in broad daylight with a tube of ‘Mummy Brown’ in his hand, saying that he had discovered it was made of dead Pharaohs and we must bury it accordingly. So we all went out and helped ... according to the rites of Mizraim and Memphis.”

This symbolic burial of the pigment in his garden marked a turning point in the ethical awareness of artists. Burne-Jones’s reaction wasn’t unique many artists began to abandon mummy brown as the supply of mummies dwindled and the moral implications became harder to ignore.

Sources for Further Reading

• Art UK: The Corpse on the Canvas – The Story of Mummy Brown
• Wikipedia: Mummy Brown
• JSTOR Daily: When Artists Painted with Real Mummies
• Explore more of Evie Hatch's insights in the Ask an Artist podcast interview 
• Or her writings on Jackson’s Art Blog.

I’ve been using the colour for some time, it’s a deep, brownish-purple pigment derived from iron oxide (Fe₂O₃), specifically hematite or a synthetic equivalent. It is a common hue in soft pastels, with most brands also offering hues in a couple of lighter tints. Unfortunately, it is less common today in other media such as oil, acrylic or watercolour paints. It’s a good colour for enriching and warming up shadows. Although it is not an intensely chromatic or bright colour, it does strike a pleasing simultaneous contrast with turquoise or stronger greens. Modern versions have variable opacity but are an excellent help to mix or emphasise clean neutral colours.

Some research assisted by Copilot (AI)