Historical Painting Techniques, Materials, and Studio Practice

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4. HKI MS 865-1993, 497. The move is attributed to increasing congestion caused by the growth of Covent Garden Market in a note on the firm's history in a Roberson catalogue of 1969-1970, ii. A letter of 18 January 1940, however, states that they were not going to renew their lease on the Piccadilly branch "owing to conditions caused by the war," HKI MS 866-1993, 47. 5. HKI MS 866-1993, 51-2. 6. The first address is 26 Rue Chaptal, the premises of E. Mary & Fils, later Geo. Mary, who gave up business in 1920. The second address is 3 Quai Voltaire, where G. Sennelier & Fils are listed between 1920 and 1935. 7. Gallagher, op. cit., 3. 8. Walt, N. 1993. Personal communication. L. Cornelissen & Son, 105 Great Russell Street, London WC1B 3RY 9. Cob be, A. 1994. Personal communication. A full account of the arrival of the archive at the Institute is recorded in Gallagher, op. cit., 3-4. 10. The archive is listed in the Cambridge Union Catalogue of Departmental and College Libraries, and was compiled by Paul Woudhuysen, Keeper of Manuscripts and Printed Books, Fitzwilliam Museum. 11. McGrath, M. 1973. A catalogue of some eighteenth and nineteenth century patents dealing with artists' instruments. Unpublished typescript. London: Courtauld Institute of Art. 12. Walt, N. 1994. Personal communication. 13. Walt, N. 1993. Personal communication. 14. HKI MS 865-1993, 191. 15. This is demonstrated to even greater effect by H. Hodder, described as "Chemist & Druggist, Oil and Colorman, Tallow Chandler, Tea Dealer, and Tobacconist," whose recipe book (1823-1858) covers fo od and drink, household cleaning agents, cures fo r both human and animal ailments, and recipes fo r varnishes, oils, and paints (Guildhall Library MS 16262, by permission of the Guildhall Library, Corporation of London) . The preface to a 1875 Post Office Directory clarifies the separation of the trades: "Groceries in early times consisted chiefly of spices . . . but subsequently came to comprise confectionery, dyes, drugs, chemicals, whale oil, &c.; the confectioner, the druggist, and the oilman have now branched off into separate and distinct trades" (The 1875 post office directory of the grocery and oil and color trades. 1875, iv) . 16. Townsend, J. H., L. Carlyle, S. Woodcock, and N. Khandekar. n.d. Later nineteenth century pigments: analyses of reference samples, and evidence fo r adulterants and substitutions. The Conservator. Forthcoming. 17. HKI MS 788-1993, fo1. 45v. 18. HKI MS 892-1 993. Charles Roberson died and was succeeded by his nephew in 1878, according to the note on the firm's history in a 1969-1970 catalogue, 11. 19. HKI MS 891-1993. 20. HKI MS 864-1993, 142. 21. HKI MS 865-1993, 373. 22. HKI MS 527-1993. 23. HKI MS 500-1993. 24. HKI MS. 785-1993, fo1. 37r. 25. Ibid., fo1. 41r. 26. HKI MS 597-1993. 27. HKI MS 860-1993, 30. 28. Townsend, J. H., et aI., op. cit. See also Woodcock, S., and N. Khandekar, n.d. The Adulteration of Twentieth Century Pigments in the Roberson Archive. Forthcommg. 29. HKI MS 866-1993, 164, 219. 30. HKI MS 860-1993, 6, 15, 22, 83, 85. Woodcock 37
Abstract Two texts from Simone de Monte Dante's medieval Italian manuscript are presented here in English translation. With their many recipes, these texts shed light on the technique and materials of fifteenth-century Italian manuscript illumination and the historical development of the illuminator's craft. Studying the relationship of this manuscript to other treatises may provide a better understanding of the mechanisms involved in the adaptations and transmission of medieval art technology. Figure 1. Rome, Biblioteca Casanatense, MS 1793, cover. Figure 2. Rome, Biblioteca Casanatense, MS 1793, jol. 10v. 38 Libro Secondo de Diversi Colori e Sise da Mettere a Oro: A Fifteenth-Century Technical Treatise on Manuscript Illumination Arie Wallert The Getty Conservation Institute Museum Services Laboratory The J. Paul Getty Museum 17985 Pacific Coast Highway Malibu, California 90265 USA Introduction The Biblioteca Casanatense in Rome holds a very interesting fifteenth-century technical art manuscript. It has the shelf mark "MS 1793" and shows on folio 2r ("r" for recto) the author's name and the date of the manuscript: "Questo libro et ne di Simone de Monte Dante dela Zazera . .. 10 chopiai el mese di novembre 1422" (Fig. 1). The manuscript contains two closely related treatises on folios 10v-13v ("v" for verso) and 15v-20v. Written in different hands, these texts contain recipes devoted to the practice of manuscript illumination. Various aspects of the art are described, such as ink production, parchment preparation, gold leaf application, and the preparation and application of pigments and various transparent organic colorants. The recipes in the Simone manuscript are not related to the well-known Mappae Clavicula tradition, the texts from Theophilus' Schedula de Diversarum artium, the Eraclius texts, or the texts of the Liber de Coloribus. What makes this manuscript so important is the fact that it appears to be related to a particular group of technical art treatises comprising a number of littleknown, mostly unpublished recipe texts that are specifically devoted to the miniaturist's craft. The relationships of parts in Simone's treatise with those manuscripts in the Siena Biblioteca Comunale, the Modena Biblioteca Estense, the Bologna Biblioteca Universitaria, the Oxford Bodleian Library, and the Florence Biblioteca Nazionale are quite intriguing. The recipes of both treatises in Simone's manuscript are given here in translation, with notes indicating the relationships to other recipe texts, as well as references to relevant technical literature (1) . Relationships to recipes in the well-known Bolognese manuscript are referred to according to the numbering and pagination of Merrifield's edition (2). Relationships with two treatises in the Siena Biblioteca Comunale follow the numbering in Wallert's edition (3). To facilitate the understanding of these relationships, Simone's recipes-originally not numbered-are given numbers in brackets in this translation. The Simone manuscript is clearly not written by a person with a firsthand knowledge about the products and techniques he describes. Occasionally, Simone prescribes the wrong ingredients, gives only part of a recipe, or gives some recipes in which the final outcome clearly will not be the result promised by the heading; obviously, he was not a craftsman. Sometimes his descriptions are too succinct to be fully understood by the uninitiated or modern reader. In those cases I have added to the Simone text, placing these additions in brackets to distinguish them from the original text and to make the recipes more intelligible. With folio 10v, Simone begins a book on various colors and grounds to lay gold (Fig. 2). Following is the text of folios 10v-13v (page changes in the original will be noted here with the symbol {}): Historical Painting Techniques, Materials, and Studio Practice
Page 2:
Historical Painting Techniques, Mat
Page 5 and 6:
Contents vii viii Foreword Preface
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Foreword One of the first events or
Page 9 and 10:
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
Page 15 and 16:
Plate 7a, above. Valerio Mariana da
Page 17 and 18:
Plate 9. Marco Palmezzano, Mystic M
Page 19 and 20: Plate 13, right. Surya in his Chari
Page 21 and 22: Plate 16. The Fifth King of Shambha
Page 23 and 24: Plate 20. Cross section oj Sample 3
Page 25 and 26: Plate 26, top. Titian, Venus and Ad
Page 27 and 28: Plate 29. Cross sections of the St.
Page 29 and 30: Plate 33. Paul Delaroehe, The Execu
Page 31 and 32: Plate 35, right. Detail Jrom the lo
Page 34 and 35: Abstract This paper argues for an i
Page 36 and 37: we find a description of the affini
Page 38 and 39: 2. A Practical Treatise on Painting
Page 40 and 41: knowledge and understanding of the
Page 42 and 43: Table 1. Scientific methods used Jo
Page 44 and 45: the painting together, share backgr
Page 46 and 47: y distance with "the aid of the air
Page 48 and 49: ected, shadows would appear matte a
Page 50 and 51: The differences in saturation, clea
Page 52 and 53: 19. White, R. Personal communicatio
Page 54 and 55: occupation agreable pour charmer l'
Page 56 and 57: DE PEJN'FURE PRATIQUE. Par demit::
Page 58 and 59: In spite of the laments of certain
Page 60 and 61: While cooking their eggs, two young
Page 62 and 63: some used for painting (i.e., amber
Page 64 and 65: ange of artists' materials, books o
Page 66 and 67: Figure 3. Personal account book, 18
Page 68 and 69: paper resulted in a volume of corre
Page 72 and 73: [1] How to make a gold ground. Take
Page 74 and 75: into a glass, and put in a bit of w
Page 76 and 77: [37] To make crude verzino for writ
Page 78 and 79: it on what you are working, with a
Page 80 and 81: 28. On these "clothlet colors," see
Page 82 and 83: it also includes instructions fo r
Page 84 and 85: 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
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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 136 and 137:
Notes 1. Park, D. 1983. The wall pa
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
Page 186 and 187:
Hague, 1996). The author is also gr
Page 188 and 189:
Abstract The paper presents some re
Page 190 and 191:
Summary We can conclude after this
Page 192 and 193:
the product, a salesman motivated b
Page 194 and 195:
complaints, have been strictly adhe
Page 196 and 197:
F(gure 8. Illfrared rriflectograph
Page 198 and 199:
13. Hunt, W. H. 1905-1 906. Pre-Rap
Page 200 and 201:
Figure 1. The Execution of Lady Jan
Page 202 and 203:
Figure 3. The Execution of Lady Jan
Page 204 and 205:
Figure 5. Detail of Lady Jal1e Grey
Page 206 and 207:
Figure 6. Paul Delaroche, The Execu
Page 208 and 209:
38. Merimee,J.-F.-L. 1830. De la pe
Page 210 and 211:
F(gure 1. J. M. W. Turner, Goring M
Page 212 and 213:
Figl/re 3. Detail if lower left, s/
Page 214 and 215:
Figure 5. J. M. W. Tumer's The Dawn
Page 216 and 217:
TabLe 1. Dates of manufa cture of i
Page 218 and 219:
Kennedy of the Ulster Museum, Viola
Page 220 and 221:
Figure 2. James Whistler, Nocturne
Page 222 and 223:
5). There are many such examples of
Page 224 and 225:
Abstract This paper discusses aspec
Page 226 and 227:
1960s in North America. Requiring b
Page 228 and 229:
2. Eder, ]. M. 1945. History of Pho
Page 230 and 231:
Figure 1. Jan Baptiste Collaert, Co
Page 232 and 233:
sudden increase in the dimensions o
Page 234 and 235:
lacks. Passages painted with mixtur
Page 236 and 237:
8. It is not clear when people firs
Page 238 and 239:
Errata for Historical Painting Tech
Page 240:
PAGE 159 Figure 2. Image source: Pe
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