Reconstructing the ‘Lady of Sissi’
The discovery of the burial of an individual within a shaft grave, accompanied by jewelry and pottery, in 2019 was exceptional enough to warrant a reconstruction. This was done by Céline Piret, an archaeologist, artist and director of the MiaBW (https://www.miabw.com/) in Hélécine in Belgium. Céline has a wide experience in the visual reconstruction of prehistoric individuals, based on solid scientific evidence. The anthropologists of the Sissi project had identified the individual as a woman, approximately 28 years old at the time of death.
My reconstruction of the individual was based on a rigorous protocol, initiated with the reception and examination of data resulting from the excavation. This initial phase was followed by a process of collaborative questioning with the excavators and the various specialists involved, particularly the anthropologist in charge of the skeletal analysis.
The objectives of the reconstruction, the intended uses of the image, and the target audiences were defined from the outset. Photogrammetric modelling of the tomb then made it possible to precisely delimit the spatial framework of the illustration.
The illustration was created directly in digital form, using a graphic tablet. Thanks to the technology of the digital drawing software employed, it is now possible for artists to superimpose each level of information in the form of layers, allowing for detailed access and modification of specific registers without affecting the rest of the work. This layered structure is made visible in the accompanying film.
A live model was used to reconstruct, in a zenithal view, the anatomical position of the body, taking into account the postural collapse caused by the decomposition of soft tissues. This was done in close consultation with the anthropologist. The skeleton was carefully outlined, anatomical elements were repositioned, and the associated artefacts (mirror, pyxis, etc.) were restored to their original locations.
The body’s soft tissues were then reconstructed using available data concerning the individual’s age, health status, and likely social rank. Skin tone, hair colour, and morphological features were interpreted based on the evidence at hand. A targeted documentary phase focused on clothing and hairstyle reconstruction, drawing upon contemporary iconographic sources (frescoes, figurines, seals, etc.).
Each stage of the reconstruction process was validated by the team. The strength of the documentation made it possible to complement the funerary context reconstruction with a lifelike representation of the individual, shown in three distinct poses. This version offers a view of items not easily visible in the tomb setting, such as the hairpin and the remarkable gold necklace.
Below is a short video, showing the process of reconstruction.