Historical Painting Techniques, Materials, and Studio Practice
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arrow in Adonis's right h<strong>and</strong> ends at the edge of the painting. The loss may<br />
be estimated at 5-9 cm. On the basis of a comparison with the Delignon<br />
print, the original size of the painting may have been 172 X 213 cm.<br />
Ground<br />
The painting has a conventional gesso ground. The ground was chemically<br />
identified as calcium sulfate. XRD has shown that it consisted of a dihydrate<br />
gypsum. This composition is common fo r Venetian painting at that time.<br />
Gypsum of the dihydrate form occurs when it is used in its natural state. The<br />
use of unburned gesso-as opposed to burned gesso, where crystallization<br />
water is driven off to an anhydrite form-seems to occur primarily on Venetian<br />
paintings. PLM examination, however, has shown that a considerable<br />
amount of anhydrite particles were also present. <strong>Painting</strong>s from Florence <strong>and</strong><br />
Sienna more often show the presence of anhydrite or hemihydrite grounds<br />
(5). Gesso grounds of this type were the same as those used for ground layers<br />
on panel paintings, <strong>and</strong> its use stems from this tradition. In panel paintings,<br />
however, several layers of gesso-gesso grosso <strong>and</strong> gesso sottile--were applied.<br />
The brittleness of the gypsum layers, which form a good first ground on<br />
panels, would cause it to crack off too easily from a canvas. Therefore, artists<br />
began using thinner gesso layers on canvas; eventually, in the eighteenth century,<br />
an oil priming was used instead.<br />
The ground on the Getty Titian is rather thinly applied so that it only fills<br />
the spaces between the warps <strong>and</strong> wefts of the canvas. Cross sections show<br />
that it is an unpigmented ground. In some areas, an oily layer containing a<br />
few charcoal-black particles was found between the white ground <strong>and</strong> the<br />
first paint layer. It was only later, in the paintings by Tintoretto, for instance,<br />
that a colored ground became more common. A passage in the Volpato<br />
manuscript refers to Titian's use of white gesso grounds as opposed to the<br />
increasing use of colored grounds by other, more modern Venetian painters.<br />
Staining of microscopic cross sections with specific reagents gave strong indication<br />
that the binding medium of the ground contains proteinaceous material;<br />
this was confirmed by the presence of specific FTIR absorption b<strong>and</strong>s.<br />
Infrared mapping allowed us to locate the presence of specific b<strong>and</strong>s in the<br />
cross sections.<br />
Underdrawing<br />
Infrared reflectography revealed some evidence of underdrawing. The interpretation<br />
of the infrared reflectograms is difficult, however, as some features<br />
that showed up as broad, dark lines in the reflectogram could be carbon black<br />
used in the paint, rather than the underdrawing. It is not immediately obvious,<br />
for instance, whether the dog's curled tail in the original underdrawing was<br />
intended to be straight. The broad, dark form in the reflectogram may represent<br />
a dark, carbon-black pigment in the painted tail, which was actually<br />
intended to be curled in the underdrawing. The reflectogram shows sketchy<br />
lines in the trees in the background. The sleeping Cupid seems also to have<br />
been rapidly sketched before painting. In all, no significant deviations from<br />
the preparatory drawing appear to have been made.<br />
Paint layers: the medium<br />
Staining of cross sections indicated that the actual painting was executed in<br />
an oil medium. This was confirmed by the presence of characteristic absorption<br />
b<strong>and</strong>s in the FTIR spectrum (Fig. 1). Three samples were selected for<br />
examination with gas chromatography. One sample consisted Inainly of paint<br />
fo r the golden vase in the painting's lower left corner. The other samples<br />
contained blue particles for the sky. Contemporary sources often indicate the<br />
use of walnut oil, which was generally considered to yellow less with age, for<br />
the making of blue paints. Earlier studies of Titian's paintings have revealed<br />
that the artist used both types of oil on different occasions. Chromatography<br />
showed an azelaic:palmitic acid ratio in all three different samples, indicating<br />
Birkmaier, Wallert, <strong>and</strong> Rothe 119