Historical Painting Techniques, Materials, and Studio Practice

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Gilding. Gold leaf was applied for a small number of particular features such as halos and the decorative borders of drapery. Two samples were taken to establish the gilding technique; in both cases, analysis by FTIR indicated that a resinous mordant was used to adhere the gold leaf. The supporting layer consists of calcium carbonate combined with a protein, probably glue. At 5 jJ.m, the gold leaf is exceptionally thick, more than twice that found at Idensen (1-2 jJ.m) where it was applied over a "bole" of lead white and carbon black bound with prepolymerized linseed oil (15). Fading oj the lake pigment. Although the susceptibility of red lakes to fa ding was known in the Middle Ages, they were nonetheless often used in wall paintings (16). The key factor in the fading of lake pigments is exposure to ultraviolet radiation, and, indeed, a darker pink is apparent where fresh losses have occurred in linear details overlaying Nicodemus's drapery. Lake pigment mixed with white, applied over a white ground and unprotected by a glaze (i.e., the Holy Sepulchre Chapel paintings), is particularly vulnerable to internal reflection (17). Alteration oj vivianite. Initial identification of the pigment by polarized light microscopy, in which the pigment is typified by blue-yellow pleochroism every 90°, was confirmed by X-ray diffraction (18, 19). In recent years, vivianite has been identified in medieval painting in Germany, as on the Romanesque lectern at Freudenstadter (ca. 1150) where it was applied over a gray ground of lead white combined with carbon black (20). In the context of English medieval polychromy, a preliminary identification of the mineral has been made on an Anglo-Saxon stone sculpture from York (21). Vivianite occurs naturally in two discrete environments. It is fo und in the oxidized upper layers of some metalliferous ore deposits, as at St. Agnes in Cornwall, where it generally appears as dark indigo, blue-black, or green crystals (22). It is also fo und in organic, phosphate-rich environments, and is frequently associated with bones, decaying wood, and other organic remains. Vivianite is generally stable and dark blue or green in color, though the mineral may be colorless when initially exposed (23). It seems likely that in the medieval period vivianite was used only where the mineral was locally available; thus, mineral deposits are well known in Germany. Good crystalline deposits of the mineral have been found at Whale Chine on the Isle of Wight, and in its earthy form at Fordingbridge in Hampshire, both close to Winchester (24). Current work on samples from the chapel includes an analysis of trace elements and examination of the crystalline structure to determine whether a mined or peaty alluvial deposit was the source of the mineral. Vivianite is known to be generally stable in its blue fo rm but at Winchester some of the particles have altered to a yellow color, giving an overall green effect. The mineral's color change from colorless to blue on initial exposure is due to increased ferric ion concentrations, and it has been established that mechanical grinding of the colorless crystals, heating in air, storage in a vacuum, or chemical treatment of samples can produce a more rapid conversion from ferrous to ferric ions, and so to a blue color (25, 26). It is therefore interesting to speculate whether grinding of the blue mineral to produce a particle size suitable fo r use as a pigment may have contributed to an additional increase in ferric ion concentration and ultimately to a further color alteration from blue to yellow. Technique of the thirteenth-century paintings Invasive conservation interventions-including waxing, facing with glue for detachment, thinning of the original plaster support, consolidation, and cleaning-have compromised the results of the technical examination of these paintings. Nevertheless, certain conclusions can be drawn. Plaster. Following the keying of the twelfth-century painting, a single layer of plaster approximately 5-8 mm thick was applied to the surface. This Howard 97
Fi,RlIre 3. This thirteellth-cel1tury pailltil1,R, ori,Ril1aily 011 the east wall, has beel1 transferred to al/. artificial slIpport at the west el1d of the chapel. Photo,Rraph collrtesy of the COllServatioll of Wall PaintilJ,R Department, Courtauld [llStitllte of Art, Londoll. 98 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
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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 128 and 129: Winchester Cathedral Holy Sepulchre
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
Page 178 and 179: 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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