Historical Painting Techniques, Materials, and Studio Practice

2. Elam, C. 1982. The Splendours oj the Gonzaga. Catalog. London: Victoria & Albert
Museum, 122, entry no. 32.
3. Lightbown, R. W 1986. Mantegna. Oxford, Berkeley, and Los Angeles, 446.
4. I am indebted to Dusan Stulik, Michele Derrick, Michael Schilling, and Eric
Doehne from the Getty Conservation Institute fo r their extensive media analysis.
5. Mills,]., and R. White. 1978. National Gallery Technical Bulletin (2):71-76.
6. White, R. 1984. The characterization of proteinaceous binders in art objects.
National Gallery Technical Bulletin (8):5-14.
7. Thompson, D. L. 1982. Mummy Portraits in the J. Paul Getty Museum. Malibu,
California: The ]. Paul Getty Museum, 7.
8. Wolf thai, D. 1989. The Beginnings oj Netherlandish Canvas Painting: 1400-1530.
Cambridge: Cambridge University Press.
9. Leonard, M., F. Preusser, A. Rothe, and M. Schilling. 1988. Dieric Bouts's Annunciation.
The Burlington Magazine Guly): 517-522.
10. Wolf thaI, op. cit., 6. See also 38-87 in catalogue.
11. Illuminated manuscript artists used media, such as gum arabic, that are similar to
watercolors and have very similar optical properties to distemper paint.
12. Mantegna was known to have been an exasperatingly slow painter, as revealed
in the correspondence with his benefactor, Ludovico Gonzaga, the Marquis of
Mantua.
13. Kristeller, P 1902. Andrea Mantegna. London, 534, doc. 69.
14. Cennini, C. 1960. The Crciftsman's Handbook. Translated by D. V Thompson. New
York: Dover Publications, 87.
15. White, op. cit., 5-14.
16. Merrifield, M. P 1849. Original Treatises on the Arts oj Painting. London: John
Murray, 232.
17. Ibid., 89-90.
18. Ibid., 255.
19. Ibid., 262.
20. Ibid.
21. Ibid., 262-64.
22. Ibid., 282.
23. De Arte Iliuminandi. 1933. Translated from the Latin (Naples MS XII.E.27) by
D. V Thompson and G. H. Hamilton. New Haven: Yale University Press, 12-
13.
24. Eastlake, C. L. 1960. Methods and Materials oj Painting oj the Great Schools and
Masters. Vol. 1. New York: Dover Publications, 106-7.
25. De Arte Iliuminandi, op. cit., 13.
26. Strainers differ from stretchers in that they have no keys. Stretchers became
widely used after the eighteenth century.
27. The Ecce Homo has the original panel, confirmed by carbon-14 dating, on which
the original canvas is glued only by its edges to the back of the panel. The
Presentation still has its original strainer with two original backing boards inserted
into the strainer, as if it were on panel. The Lamentation in the Brera, which no
longer has its original support, quite probably had one similar to the Presentation.
28. Newberry, T., G. Bisacca, and L. Kanter. 1990. Italian Renaissance Frames. New
York: The Metropolitan Museum of Art, no. 63 (diagram erroneously under no.
64).
29. So far, not a single painting of Mantegna's has been identified as painted in
oil, even though there are records of his having ordered walnut oil.
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