Historical Painting Techniques, Materials, and Studio Practice

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Winchester Cathedral Holy Sepulchre Chapel o 20 60 80 100 em East Wall , § i / .f J .j ...... . . ......... ....... ....... ............. .. -. ... _, . ....... , .... , .. ... -........... --.... _ . .,_ .... . \, \ t. , " Incisions D Snapped Lines Plaster Joins F(rzure 2. Diagral1l of the east lIlall scholle, showillg the positioll of plaster joills, illcisioll, allli S/lapped cord Illarks. Diagrmll collrtesy of the COllserPatioll if Wall Paimillg Department, Courtauld Illstitute of Art, Londoll. Howard 95
3Na20·3Al203·6Si02·2Na2S; vivianite Fe3 + 2(P04)2·SH20; cinnab:l.r, HgS; red lake; red lead, Pb304; hematite, Fe203; green earth, K[(Al,Fe"')·(Fe",Mg)]· (AlSi3,Si4)O,o (OH)2; yellow iron oxide, Fe203·H20; and lime white, CaC03. One of the most interesting findings is that red lake was used for the unusual pink color of Nicodemus's robe. This is the earliest identification of this pigment in English wall painting, though at Miistair (Switzerland) a red lake pigment thought to be madder has been identified in the Carolinian scheme of circa SOO (11). The inclusion of vivianite in the palette is particularly surprising, not only since this pigment has not previously been identified in English medieval wall painting, but also because it was clearly selected fo r its distinctive coloristic qualities rather than as an economic alternative to other mineral blues (12). The characteristic deep indigo blue of vivianite, set against a pale blue of natural ultramarine combined with lime white, was employed for the central details on the vair (bluish gray and white squirrel fur) lining of Nicodemus's cloak in the Deposition. Although the iron phosphate mineral has now altered and appears green, an examination of the Morgan leaf from the Winchester Bible (ca. 11 70-1 1 SO) shows that vair linings were represented by pale blue elements with a dark blue center, and it is clear that this was also the intention in the wall paintings. Binding media. Analysis undertaken initially by microchemical tests on thin sections and cross sections was followed in some cases by Fourier transform infrared microspectroscopy. Results confirmed that although the carbonation of lime is the principal binding mechanism, a proteinaceous component is also present in some samples. A proteinaceous component was identified, for example, in a paint layer consisting of red lead, lead white, and calcium carbonate in Sample 27, taken from the impasto decoration of the geometric border. Likewise, a proteinaceous component was identified in a layer of calcium carbonate applied beneath a resinous mordant for gold leaf in Sample 30, from the halo of the angel in the Entombment. Instrumental analysis of the media of comparable wall paintings is rare, but it is significant that, where available, it indicates similar findings. For instance, in the paintings (ca. 1130) of Idensen (Lower Saxony), the presence of a proteinaceous binding medium is associated with blue and green pigments, while in the scheme (ca. 1130) in St. Gabriel's Chapel, Canterbury Cathedral, both linseed oil and protein have recently been identified as part of the original technique (13, 14). Application. The presence of a sinopia, and the application of the into naco in overlapping patches, indicate that the primary binding mechanism for the pigments was the carbonation of calcium hydroxide from the lime plaster; that is, at least the preliminary drawing and initial pigment layers were applied a fresco. However, the stratigraphy of the final painting is remarkably complex and varies substantially across the pictorial surface, from thin single layers applied directly on the lime plaster substrate to paint applied in considerable impasto, often over colored grounds (Table 1). In Sample 24, a single layer, just 30 f.Lm thick, of yellow iron oxide combined with umber and a few charcoal black particles has been applied directly to the white plaster substrate. Layers such as this are likely to have been applied a fresco. For areas of flesh painting, multiple layers have been applied to produce complex effects of modeling. In Sample 7, the mid-dark flesh tone has been produced by the application of five different layers of earth pigments-green, red, and yellowapplied either singly or in combination, often with the addition of lime white and charcoal black. Here, carbonation of the lime white pigment provides additional binding capacity within the complex layer structure. By contrast, red lead combined with an additional proteinaceous binding medium was applied in a layer some 200 f.Lm thick for the decorative motifs on the central border, over a thin layer of carbon black applied directly to the lime plaster. 96 Historical Painting Techniques, Materials, and Studio Practice
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Historical Painting Techniques, Mat
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Contents vii viii Foreword Preface
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Foreword One of the first events or
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The discussions in this volume pres
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Plate 2a, above right. Attributed t
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Plate 4a, above. Jacques Louis Da
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Plate 7a, above. Valerio Mariana da
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Plate 9. Marco Palmezzano, Mystic M
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Plate 13, right. Surya in his Chari
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Plate 16. The Fifth King of Shambha
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Plate 20. Cross section oj Sample 3
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Plate 26, top. Titian, Venus and Ad
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Plate 29. Cross sections of the St.
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Plate 33. Paul Delaroehe, The Execu
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Plate 35, right. Detail Jrom the lo
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Abstract This paper argues for an i
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we find a description of the affini
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2. A Practical Treatise on Painting
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knowledge and understanding of the
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Table 1. Scientific methods used Jo
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the painting together, share backgr
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y distance with "the aid of the air
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ected, shadows would appear matte a
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The differences in saturation, clea
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19. White, R. Personal communicatio
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occupation agreable pour charmer l'
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DE PEJN'FURE PRATIQUE. Par demit::
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In spite of the laments of certain
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While cooking their eggs, two young
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some used for painting (i.e., amber
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ange of artists' materials, books o
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Figure 3. Personal account book, 18
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paper resulted in a volume of corre
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4. HKI MS 865-1993, 497. The move i
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[1] How to make a gold ground. Take
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into a glass, and put in a bit of w
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[37] To make crude verzino for writ
Page 78 and 79: it on what you are working, with a
Page 80 and 81: 28. On these "clothlet colors," see
Page 82 and 83: it also includes instructions fo r
Page 84 and 85: Ricordi di belli colori Initially i
Page 86 and 87: Figure 4. Gherardo Cibo, "Fusaina [
Page 88 and 89: The treatise is typical for the lat
Page 90 and 91: Filza CXLIII, fols. 1122r, 1125v, 1
Page 92 and 93: that is, plaster of Paris, which ha
Page 94 and 95: 100 80 60 40 a 3500 30.00 2500 2000
Page 96 and 97: process described by Cennini for ge
Page 98 and 99: Abstract The frequent use of verdig
Page 100 and 101: strating that spreading this glaze
Page 102 and 103: 10. Thompson, op. cit., 61. 11. Ber
Page 104 and 105: Tingry, in 1830, gives a recipe for
Page 106 and 107: elonged to William Mallord Turner (
Page 108 and 109: 500 450 As Ph As 400 350 Fe Co 300
Page 110 and 111: 19. Merrifield, op. cit., 745-6. 20
Page 112 and 113: Table 1. Tibetan color names, trans
Page 114 and 115: J Figure 3. Three-dimensional spect
Page 116 and 117: Figure 5. Detail IR-reflectogram fr
Page 118 and 119: Abstract Icons preserved in the Nil
Page 120 and 121: I )--------------------------1 I i
Page 122 and 123: The understanding of an icon and it
Page 124 and 125: Abstract As part of a five-year sys
Page 126 and 127: later transferred to an artificial
Page 130 and 131: Gilding. Gold leaf was applied for
Page 132 and 133: Winchester Cathedral Holy Sepulchre
Page 134 and 135: scanning electron microscopy I ener
Page 136 and 137: Notes 1. Park, D. 1983. The wall pa
Page 138 and 139: Abstract It is rare for ancient ext
Page 140 and 141: Sa. Location : Salisbury west front
Page 142 and 143: sheltered eye on the southernmost c
Page 144 and 145: Abstract Extensive examination of A
Page 146 and 147: create surface gloss and could be v
Page 148 and 149: Figure 3. Andrea Mantegl1a, The Pre
Page 150 and 151: Abstract In September 1992 the J Pa
Page 152 and 153: arrow in Adonis's right hand ends a
Page 154 and 155: For the early works are executed wi
Page 156 and 157: J Figure 3. Fluorescence spectrul1'
Page 158 and 159: This property was deliberately used
Page 160 and 161: Abstract The St. Anne Altarpiece (N
Page 162 and 163: Figure 3. Infrared reJlectogram ass
Page 164 and 165: Figure 5. Irifrared niflectogram as
Page 166 and 167: followed by modeling layers and gla
Page 168 and 169: Abstract Based on extensive informa
Page 170 and 171: o . (Vv..-.< 1 2. underdrawing, and
Page 172 and 173: The key position of Lamentation in
Page 174 and 175: Figure 1. Workshop of Jan Bruegel,
Page 176 and 177: Figure 3. Camelis Vroom, Landscape
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Figure 5. Infrared photograph of Es
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at the beginning of the seventeenth
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artist like Vermeer had to use all
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Figure 1. Perspective drawing of Ve
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Hague, 1996). The author is also gr
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Abstract The paper presents some re
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Summary We can conclude after this
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the product, a salesman motivated b
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complaints, have been strictly adhe
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F(gure 8. Illfrared rriflectograph
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13. Hunt, W. H. 1905-1 906. Pre-Rap
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Figure 1. The Execution of Lady Jan
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Figure 3. The Execution of Lady Jan
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Figure 5. Detail of Lady Jal1e Grey
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Figure 6. Paul Delaroche, The Execu
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38. Merimee,J.-F.-L. 1830. De la pe
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F(gure 1. J. M. W. Turner, Goring M
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Figl/re 3. Detail if lower left, s/
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Figure 5. J. M. W. Tumer's The Dawn
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TabLe 1. Dates of manufa cture of i
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Kennedy of the Ulster Museum, Viola
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Figure 2. James Whistler, Nocturne
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5). There are many such examples of
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Abstract This paper discusses aspec
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1960s in North America. Requiring b
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2. Eder, ]. M. 1945. History of Pho
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Figure 1. Jan Baptiste Collaert, Co
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sudden increase in the dimensions o
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lacks. Passages painted with mixtur
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8. It is not clear when people firs
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Errata for Historical Painting Tech
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PAGE 159 Figure 2. Image source: Pe
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