Historical Painting Techniques, Materials, and Studio Practice
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Abstract<br />
It is rare for ancient external paint<br />
to survive the English climate, particularly<br />
in the original location of<br />
the paint. It is vital that evidence of<br />
color be documented, <strong>and</strong> studied<br />
current recognition of this need has<br />
created opportunities to survey<br />
the fabric of important historic<br />
buildings for evidence of paint.<br />
Analysis of paint fragments fo und on<br />
the richly sculpted west front of Exeter<br />
Cathedral has revealed evidence<br />
of a magnificent polychromy on<br />
both architecture <strong>and</strong> sculpture, giving<br />
vital information on fourteenth<strong>and</strong><br />
fifteenth-century materials <strong>and</strong><br />
techniques. A similar investigation on<br />
the west front of Salisbury Cathedral<br />
has just commenced. An initial look<br />
at surviving evidence of polychromy<br />
enables some comparisons to be<br />
made, in addition to other relevant<br />
examples.<br />
The Polychromy of Exeter <strong>and</strong> Salisbury Cathedrals:<br />
A Preliminary Comparison<br />
Eddie Sinclair<br />
10 Park Street<br />
Crediton<br />
Devon EX17 3EQ<br />
United Kingdom<br />
Introduction<br />
There has been in recent years an increasing awareness of the historic importance<br />
<strong>and</strong> vital role of color in medieval architecture, as there is at last<br />
recognition that our ancient buildings, <strong>and</strong> not just the artifacts within them,<br />
were painted as an integral part of their overall design.<br />
The Reformation in Engl<strong>and</strong> in the sixteenth century resulted in the destruction<br />
or obliteration of much polychromy. Where any evidence of color still<br />
exists it is frequently only fragmentary, but those fragments retain much valuable<br />
information.<br />
Conservation work on the west-front image screen of Exeter Cathedral carried<br />
out from 1979 to 1984 revealed much evidence of a rich polychromy<br />
in the form of paint fragments surviving in the most sheltered corners of<br />
both architecture <strong>and</strong> sculpture. Although the study of this polychromy is<br />
discussed in detail elsewhere, the establishment of a large archive of paint<br />
samples has created an invaluable resource that can be used with other emerging<br />
fragmentary evidence (1, 2). As well as providing useful reference material,<br />
these samples contain much information not yet explored that future similar<br />
proj ects may yet discover (3) .<br />
The work on the Exeter polychromy, while not the first English cathedral to<br />
receive such attention, was on an unprecedented scale (4). As conservation<br />
work is carried out on more cathedrals <strong>and</strong> other important buildings in<br />
Engl<strong>and</strong>, investigations into the color become a vital element of the work<br />
undertaken. Similar investigations in other European countries have provided<br />
a wealth of detailed information, summarized by Rossi-Manaresi <strong>and</strong> more<br />
recently by Brodrick (5, 6). Each cathedral adds its own invaluable evidence<br />
to the complex picture of materials, techniques, <strong>and</strong> workshop practice of<br />
medieval times.<br />
With conservation work due to commence on the west front of Salisbury<br />
Cathedral in winter 1994, an inspection fo r polychromy was requested. A<br />
preliminary investigation with access to only part of the facade has shown<br />
evidence of color. Some analysis has been carried out to date, with further<br />
work anticipated in 1995.<br />
Exeter Cathedral west front<br />
Figure 1. Exeter Cathedral, west front,<br />
showing image screen. Photograph courtesy of<br />
the Cathedral of St. Peter in Exeter.<br />
The west-front image screen of Exeter Cathedral dates from the fourteenth<strong>and</strong><br />
fifteenth-centuries, although much of the crenellated parapet <strong>and</strong> some<br />
portions of the architectural elements, along with six sculptures <strong>and</strong> the heads<br />
of four others, have been replaced over the years (Fig. 1). Most of the fabric<br />
is built from Beer stone, a local compact, close-grained limestone.<br />
Much vital information on the materials <strong>and</strong> techniques of the medieval<br />
period are provided in the Exeter Cathedral fabric accounts for the period<br />
1279-1353 (7, 8). Although the fabric accounts are missing for most of the<br />
period during which the west front was being constructed <strong>and</strong> decorated,<br />
they provide a wealth of information relating to the polychromed bosses of<br />
the high vault which, combined with an examination of the fabric discussed,<br />
Sinclair 105