Historical Painting Techniques, Materials, and Studio Practice

7. The Accounts of the Fabric of Exeter Cathedral, 1279- 1353. 1981. Part I, 1279-
1326. Ed. A. Erskine. Devon and Cornwall Record Society, 24.
8. The Accounts of the Fabric of Exeter Cathedral, 1279- 1353. 1983. Part II, 1328-
1353. Ed. A. Erskine. Devon and Cornwall Record Society, 26.
9. Hulbert, A. 1991. An examination of the polychromy of Exeter Cathedral roof
bosses, and its documentation. In Medieval Art and Architecture at Exeter Cathedral.
Ed. F. Kelly. British Archaeological Association, 188-98.
10. Rossi-Manaresi, op. cit.
11. Sampson, J. Personal communication. At Wells, three different techniques were
identified by Dr. Roy (National Gallery, London) with the use of either white
lead or gypsum (?) as a ground. The niche in which The Coronation if the Virgin
is situated, above the main west door, retains evidence of the more exotic pigments
on a lead white ground.
12. In a search fo r polychromy during recent work on the west front of Bath Abbey,
Jerry Sampson found that, apart from one isolated fragment elsewhere, the only
paint was in the west door. This may be the result of a poor technique resulting
in almost total disappearance of color, but it suggests again the importance of
the main doorway. See Sampson, J. 1992. Bath Abbey West Front: The History of
the Restorations. Private report. Bath City Council and English Heritage.
13. Rossi-Manaresi, R., and A. Tucci. 1984. The polychromy of the portals of the
gothic cathedral of Bourges. [COM Committee fo r COl1seYilatiol'l preprints, 7th Triennial
Meeting, Copenhagen. During construction of the west front, the south
portal was used as the main entry. Here, twelfth-century carvings, unpainted until
incorporated into the south portal in 1225, were then polychromed in situ,
forming a temporary main entrance. Bourges Cathedral is contemporary with
Salisbury Cathedral.
14. Erskine, 1983. Op. cit., 269.
15. Ibid., 270.
16. Hulbert, op. cit., 192.
17. Hulbert, A. 1994. Personal cOl11l11unication.
18. Sinclair, E. 1990. Appendix: Sampling and analysis of paint traces from the exterior
elevations of the front block. In Exeter Guildhall. S. R. Blaylock. Exeter:
Devon Archaeological Society Proceedings (48): 174-6. Research on the exterior
of Exeter Guildhall revealed a rich polychromy that included azurite, vernlilion,
and gilding, with the earliest layers dating from 1593 to 1594.
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Historical Painting Techniques, Materials, and Studio Practice