Historical Painting Techniques, Materials, and Studio Practice

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Notes 1. Park, D. 1983. The wall paintings of the Holy Sepulchre Chapel. In Mediellal Art and Architecture at Winchester Cathedral. British Archaeological Association Conference Transactions 1980, VI, 38-62. 2. I am indebted to Stephen Rickerby and the students of the Conservation of Wall Painting Course, Courtauld Institute, for their observations during the work in the chapel, and for providing the drawings used in Figures 4 and 6. Previous investigations of aspects of the paintings include: Hluvko, S. 1991. Red piglTlents in English medieval wall painting; and Howard, H. 1988. Blue pigments in English medieval wall painting. Diploma dissertations. London: Conservation of Wall Painting Department, Courtauld Institute of Art, University of London. 3. This scene, previously described as the Raising of Lazarus, was identified by Christoph Tinzl. 4. Lee, M. 1975. Paintings in the Holy Sepulchre Chapel, Winchester. Unpublished M.A. report, University of London. 5. For the role of organic additives in plaster, see Sickels, L. 1981. Organics v synthetics: their use as additives in mortars. In Mortars, Cements and Grouts Used in the Conservation of Historic Buildings . Rome: International Centre fo r the Study of the Preservation and Restoration of Cultural Property, 25-49. 6. Deeply undulating surfaces occur in other Romanesque paintings, such as the scheme of ca. 1130 in St. Gabriel's Chapel, Canterbury Cathedral. See Cather, S., and H. Howard. 1994. Romanesque wall paintings in the apse of St. Gabriel's Chapel, Canterbury Cathedral: their technique, condition and environment reassessed. Arbeitslufte zur Denkmalpfiege in Niedersachsen (1 1):143. 7. See Rickerby, S. 1990. Kempley: A technical examination of the Romanesque wall paintings. In Early Medieval Wall Painting and Painted Sculpture in England. Ed. S. Cather, et al. Oxford: BAR British Series 219, 249-261; Howard, H. 1992. All Saints' Church, Witley, Surrey: scientific examination of the Romanesque wall paintings. Unpublished report. London: Conservation of Wall Painting Department, Courtauld Institute of Art, University of London; Cather and Howard, op. cit. (note 6). 8. These patches were mapped in the 1980s by the Canterbury Cathedral Wallpainting Workshop. 9. Kupfer, M. 1986. Les fresques romanes de Vicq: E tude technique. Bulletin Monumental 144:98-132. 10. Park, op. cit., 40. 11. Mairinger, F., and M. Schreiner. 1986. Deterioration and preservation of Carolingian and medieval wall paintings in the Mlistair Convent. Part II: Materials and rendering of the Carolingian wall paintings. In Case Studies in the Conserl!ation of Stone and Wall Paintings. Ed. N. S. Bronmlelle, et al. London: International Institute fo r the Conservation of Historic and Artistic Works, 195-96. 12. Ultramarine was the mineral blue normally employed in Romanesque wall paintings, though azurite has been identified at Kempley (Rickerby, op. cit., 256) and Marslet, Denmark (Graebe, H., K. Trampedach, and M. Jensen. 1986. Kalkmalerierne i Marslet Kirke. National museete Arbejdsmark 23:164-82). 13. Matteini, M., and A. Moles. 1994. Mural paintings in Wunstorf-Idensen: Chemical investigations on paintings, materials and techniques. Arbeitschifte zur Denkmalpfiege in Niedersachsen 11:85-86. 14. Cather and Howard, op. cit., 144-46. 15. Matteini and Moles, op. cit., 85. 16. Cennino Cennini. II Libro Dell'Arte: The Craftsman's Handbook. 1933. Translated by D. V. Thompson. New Haven, 26. 17. The acceleration of the rate of fading over time, due to an increased proportion of white, has been shown experimentally fo r a lake mixed with white, and for a lake used as a glaze over a white ground. See Johnston-Feller, R., and C. W Bailie. 1982. An analysis of the optics of paint glazes: fa ding. In Science and Technology in the Service of Conserl/ation. Ed. N. S. Brommelle, et al. London: International Institute for Conservation of Historic and Artistic Works, 180-85. 18. Faye, G. H., P. G. Manning, and E. H. Nickel. 1968. The polarized optical absorption spectra of tourmaline, cordierite, chloritoid and vivianite: ferrous-ferric electronic interaction as a source of pleochroism. The American Mineralogist (53): 1174-201. 19. I am grateful to Dr. G. Cressey of the Natural History Museum for carrying out analysis by X-ray diffraction using a Debye-Scherrer camera. The possible ad- Howard 103
ditional presence of metavivianite (a polymorph of vivianite) was indicated by this analysis. 20. Richter, E. L. 1988. Seltene pigmente im Mittelalter. Zietschrift Jur Kunsttechnologie und Konservierung 2 (1):171-77. 21. J. Darrah. 1987. Personal communication. Victoria & Albert Museum, London. 22. Mineral deposits are fo und in England, France, Germany, Italy, Portugal, Serbia, and the Ukraine, as well as in the United States and elsewhere. I am grateful to Mr. Peter Tandy of the Natural History Museum, London for providing this information and for guiding me through the extensive range of samples in the collection. I am also indebted to Dr. Brian Young of the British Archaeological Survey for his enthusiastic interest and informed opinion on the provenance of the mineral. 23. Watson, T. L. 1918. The color change in vivianite and its effect on the optical properties. The American Mineralogist 3 (8): 159-61. 24. P. Tandy. 1994. Personal corrununication. Natural History Museum, London. 25. Following initial exposure of the colourless mineral, oxidation of one of the paired ferrous ions may occur at the surface and along crystal cleavages. The resulting intervalency charge transfer between the paired ions (now Fe2+ and Fe3+) produces a blue color. Cressey, G. 1994. Personal communication. Natural History Museum, London. 26. Hanzel, D., W Meisel, 0. Hanzel, and P. Glitlich. 1990. Mossbauer effect study of the oxidation of vivianite. Solid State Communications 76 (3):307-10. 27. This information was kindly provided by Mr. David Perry and published by Park, op. cit. 28. Oakeshott, W. 1981. The paintings of the Holy Sepulchre Chapel. Winchester Cathedral Record 50, plate 98a. 29. Welford, P. 1991. Investigation of the phenomenon of dark flesh areas in English medieval wall painting. Diploma diss. London: Conservation of Wall Painting Department, Courtauld Institute of Art, University of London. 104 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
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it also includes instructions fo r
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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 132 and 133: Winchester Cathedral Holy Sepulchre
Page 134 and 135: scanning electron microscopy I ener
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
Page 182 and 183: artist like Vermeer had to use all
Page 184 and 185: 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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