Historical Painting Techniques, Materials, and Studio Practice

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Winchester Cathedral Holy Sepulchre Chapel Jo tOO em West Wall I2J P laster Joins Figure 4. Diagralll of the thirteenth-century east schenle (now tral1sferred to the west el/d), showil/g the positiol/ of plaster joil/s. Diagralll col/rtesy of the COIIServatiol1 of Wall Painting Departlllent, Courtauld Institl/te
plaster consists of lime combined with an aggregate of subangular quartz in a ratio of 1:3. It is generally more yellow and less well prepared than the plaster for the earlier decoration, with large lumps of unmixed calcium carbonate clearly visible. It is now difficult to establish the sequence of application of the plaster, since surface features have been completely flattened by the detachment process (Figs. 3, 4) . Examination under raking light of the surface of the east wall paintings (now transferred to the west end) does, however, indicate that plaster joins may originally have run along the upper edge of the central border and the lower horizontal of the cross in the upper register. This indicates that generally the plaster may have been applied in broad horizontal bands, roughly corresponding to scaffold lifts. However in the east recess of the south wall there appears to be a vertical join between the Harrowing of Hell and Noli me Tangere, suggesting that in this area at least a fu rther division was considered necessary. Preparatory techniques. A preparatory sketch in red iron earth was used to set out the main features of the composition. Unlike the twelfth-century painting wherein both a sinopia and then fu rther preparatory drawing on the final plaster layer exist, in the thirteenth-century scheme the preparatory drawing is confined to the final plaster layer. Direct incisions into the plaster are also clearly visible, such as the fine, sharp incisions that outline the curls in the hair of the figure at far right in the Entombment and the hair of St. John in the Deposition. Pentimenti. An interesting alteration discovered during the detachment process-and presumably visible on the reverse of the thinned plaster layer-was that above the horizontal arm of the cross in the Deposition was a sketch fo r the sun and moon, which are symbols more usually associated with the Crucifixion (27). Pigments. The present research has established that the original palette included: natural ultramarine (3Na20·3Al203·6Si02·2Na2S); vivianite (Fe3 + 2[P04L'8H20); copper chloride green; cinnabar (HgS); hematite (Fe203); yellow iron oxide (Fe203'H20); lead white (2PbC03·Pb[OHl2); lime white (CaC03); charcoal black (C). Binding media. The inclusion of lead pigments in the palette makes highly likely the incorporation of organic binding media as part of the original technique but, owing to the previous conservation interventions, it was not possible to confirm their presence. Application. Preliminary drawing in red ochre was followed by blocking in of the basic background colors. Oakeshott considered that the powerful black outlines, which are such a major feature of the scheme, were also painted at this stage and were thus more firmly bound by the carbonation of the plaster (28). The stratigraphy is remarkably simple, with one or at most two paint layers applied directly to the plaster (Tables 2, 3, 4, 5). In some cases the final paint layer was applied in thick impasto, and it seems likely that here an additional binding medium was used. Pigment alteration. Although the background colors of the scheme are now red and green, it seemed much more likely on the basis of comparisons with other paintings of the period that red and blue would originally have been used. Analysis indicated that this was indeed the case: the present green color is due to the alteration of some of the original blue pigment (vivianite) to form a yellow alteration product. The alteration of a lead pigment is evident in the fo rm of black spots on the paint surface throughout the scheme, and analysis confirmed the presence of a dark red/brown lead-based material. In wall paintings elsewhere where this type of alteration occurs, the alteration product has been found to be plattnerite (lead dioxide) (29). In the Holy Sepulchre Chapel however, analysis by 100 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
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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 130 and 131: Gilding. Gold leaf was applied for
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
Page 180 and 181: 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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