Historical Painting Techniques, Materials, and Studio Practice

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it on what you are working, with a scuilie, so that it spreads. Press everywhere on it with a sponge, as you work with the paper pulp without glue. [48] To make cork board fo r making reliif. Take good writing paper, which is smooth and with a little glue. Place them between washcloths. Always fold the cloths in four quarters, placing the paper in between. Put it in boiling water, making sure that it does not become brownish or stained by lye. Then take it out and let it dry on the grid. When it is a bit dry, you can work with it. It is best to work with water, so warm that you can just stand to have your hand in it. [49] To make letters, big or small, in gold. Take the milky juice of a fig tree and put as much as you think you need in a dish. Next take good black ink, which is rich in gum, and put so much of it in that the juice looks black. Write with it. When the letters are written, you huff on it and immediately lay the gold on it. Burnish with the tooth, and then rub the letters with cottonwool and where you have huffed on the ground, the gold will stick and the rest will be taken off (32). [50] Another way. Take Armenian bole and grind it with clear water very fine on the porphyry stone. Let it dry on the stone. Then grind it again with water and let it again dry on the stone. Then grind it again with the aforesaid milky juice. When ground, {20r} gather what you have in a horn of glass, or of glazed earthenware. Temper this so much that it flows from the pen. [51] To make secret writings. Take well pounded and sieved galls and put it to soak in water. Let it stand in the water until it settles to the bottom. Four glasses of this powder go to one glass of water. Write with this water whatever you want. Take, when you want to read it, vitriol and put it in water, with which you wet these letters. The letters, which you will be able to read, will now appear. [52] To make the blue clothlet. Take a plant which is called turnsole whose flowers and clustering berries you pick one-by-one. Then you put these in a mortar, according to the quantity you want to make of it. Crush them and take the juice out. Put this juice in a glazed bowl and then you take pieces of cloth that are white and coarse. Then you immerse them in the bowl [with the juice] and let them soak well in it. Do this three times, and every time that you that you take it out of this bowl, you let it dry well on a wooden bench. Before you reach this stage, you have to find a remote quiet place in the ground, and urinate much in it, six days before you come to make the said turnsole. Then, to place it above the humidity of this urine, take straw and make a fabric over the urine, and place the cloths on it. Let it stand fo r at least twenty days above the aforesaid urine to make it darker and more beautiful. The best turnsole is made in this way: First, take glair according to the quantity you want to make. You may wish to use amounts small enough that the said turns ole will be {20v} strongly colored. When you want to work with it, take the glair and put it in a shell or in a small glazed jar. Then take the turnsole and put some of it in, according to the right proportion and let it stand [in the glair] fo r an hour. Then press it out with your finger and the juice that comes out of the clothlet is the turnsole. Always prepare a little bit at a time because that is better. Notes 1. Constraints of space in the present volume made it impossible to publish a true bilingual text edition (with a transcript of the original printed next to the translation). A copy of my transcript, however, is available upon request. 2. Merrifield, M. P. 1849. Original Treatises, Dating from the XIIth to the XVIIlth Centuries on the Arts of Painting in Oil, Miniature, Mosaic, and on Glass; of Gilding, Dyeing, and the Preparation of Colours and Artificial Gems, Vol. II. London: John Murray, 325-547. References to the so-called Bolognese manuscript (Segreti per Wallert 45
Colori, Biblioteca Universitaria MS 1536) are given as Bo1. MS, followed by recipe number and page number in Merrifield's publication. 3. Wallert, A. 1991. Kookboeken en Koorboeken, Techniek en productie van boekverluchting in koorboeken van het klooster Monte Oliveto Maggiore. Groningen: Groningse Universiteits Drukkerij. References to Ambruogio da Sienas Ricepte daffare pili colori, Siena Biblioteca Comunale MS 1.JI.19, fols. 99r-106r, are given as Siena MS I, followed by recipe number and page number in Wallert's edition. The indication Siena MS II with recipe and page number refers to the edition in the same publication of Bartolomeo da Sienas Experientie, Siena Biblioteca Comunale, MS L.XI.41, fols. 34v-39v. 4. This recipe is an abbrieviated version of Siena MS II, XVIII, p. 45. A version in Latin of the same recipe is in Bo1. MS, 160, p. 467. 5. Alexander, S. M. 1965. Medieval recipes describing the use of metals in manuscripts. Marsyas (XII) :34-51. 6. An identical recipe is in Siena MS I, recipe XXIV, p. 35. An abbreviated version of this recipe is in Oxford (Bodleian Library, MS Conon. Misc. 128, fo1. 2v): "A mettere oro in carta." 7. Wallert, A. 1990. Chrozophora tinctoria Juss.: Problems in identifying an illumination colorant. Restaurator (1 1):141-55. 8. Identical recipe in Siena MS I, XVIII, p. 31. Similar descriptions of ingredients are given in Siena MS II, III, p. 37; Bo1. MS 389; and Bo1. MS 390, p. 597. Also see Zerdoun Bat-Jehouda, M. 1980. La fabrication des encres noires d'apres les textes, Codicologica 5; Les materiaux du livre manuscrit, Litterae textuales Leiden. 9. Kuhn, H., 1961, Safran und dessen Nachweis durch Infrarotspektrographie in Malerei und Kunsthandwerk, Leitz-Mitteilungen fUr Wissenschaft und Technik, Bd 11, (1):24-28. See also Straub, R. E. 1965. Der Traktat "De Clarea" in der Burgerbibliothek Bern, Schweizerisches Institut ju r Kunstwissenschajt, jahresbericht (12):89-1 14. 10. The same but more complete recipe can be found in Bo1. MS 129, p. 447. 11. Identical recipe Siena MS I, XXIII, p. 35. This recipe recurs in a slightly more elaborate form in Oxford, Bodleian Library, MS Conon. Mise. 128, fo1. 21r and also in Bo1. MS, 77, p. 415, and Bo1. MS, 80, p. 417. 12. Brachert, E and T. 1980. Zinnober. Maltechnik / Restauro (86):145-59. 13. Siena MS II, XlV, p. 49.; Siena MS I, Xv, p. 29. 14. Siena MS II, XII, p. 41. Also see Kurella, A., and I. Strauss. 1983. Lapis lazuli und naturliches Ultramarin. Maltechnik / Restauro (89):34-55. 15. This recipe will not result in the promised blue pigment, but rather in the formation of the red mercuric sulphide. On the "azure-vermilion tangle," see Thompson, D. V 1956. The Materials and Techniques oj Medieval Painting. New York: Dover Reprints, 155. 16. An identical recipe can be fo und in Siena MS I, XII, p. 29. Also similarities with Modena, Biblioteca Estense, MS ex.T.7.3., fo1. lOv. Also see Wallert, A. 1986. Verzino and Roseta Colours in 15th Century Italian Manuscripts. Maltechnik / Restauro (92):52-70. 17. The recipe requires at this point the use of sulphur to be practically applicable. It is not clear what is meant by "cashina." 18. Similar in Siena MS I, XXI, p. 32, and Siena MS II, XXI, p. 46. 19. Probably a corruption of "porporino," a golden glistening tin (II) sulphide. 20. The recipe calls for lead. Any useful pigment, however, can only be obtained if this lead were replaced with tin. 21. The nitric salt, "sal nitro," should have been "sal armonic," i.e., al11110nium chloride. 22. This recipe is slightly more intelligible than Simone's recipe 17. See Schiessl, U. 1981. Musivgold, eine pigmentgeschichtliche Skizze. Maltechnik / Restauro (87): 219-30. 23. Florence, Biblioteca Nazionale, MS Magliabecchiana CL XV 8bis, fo1. 14v. More elaborate variations are in Siena MS I, III, p. 23, and in Florence, Biblioteca Laurenziana, MS Ashburnhamia 349, fols. 80v-81r. 24. The weld herb of the dyers is Reseda luteola L. See Stoll, A. M. 1981. Gelbe Pflanzenlacke, Schuttgelb und Safran. Maltechnik / Restauro (87):73-1 11. 25. An identical recipe can be found in Florence, Biblioteca Nazionale, MS Palatina 916, fo1. 110r, "Affare profili d'oro brunito." A related recipe occurs in Bo1. MS, 162, p. 469. 26. This recipe occurs in a slighly more elaborate version in Siena MS II, VI, p. 39. 27. Fior di lino is the cornflower, Centaurea cyanus L. 46 Historical Painting Techniques, Materials, and Studio Practice
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Historical Painting Techniques, Mat
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Contents vii viii Foreword Preface
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Foreword One of the first events or
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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
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Plate 7a, above. Valerio Mariana da
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Plate 9. Marco Palmezzano, Mystic M
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Plate 13, right. Surya in his Chari
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Plate 16. The Fifth King of Shambha
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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 70 and 71: 4. HKI MS 865-1993, 497. The move i
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 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
Page 124 and 125: 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
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scanning electron microscopy I ener
Page 136 and 137:
Notes 1. Park, D. 1983. The wall pa
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Abstract It is rare for ancient ext
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Sa. Location : Salisbury west front
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sheltered eye on the southernmost c
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Abstract Extensive examination of A
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create surface gloss and could be v
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Figure 3. Andrea Mantegl1a, The Pre
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Abstract In September 1992 the J Pa
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arrow in Adonis's right hand ends a
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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
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Figure 5. Irifrared niflectogram as
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followed by modeling layers and gla
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Abstract Based on extensive informa
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o . (Vv..-.< 1 2. underdrawing, and
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The key position of Lamentation in
Page 174 and 175:
Figure 1. Workshop of Jan Bruegel,
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Figure 3. Camelis Vroom, Landscape
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Figure 5. Infrared photograph of Es
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at the beginning of the seventeenth
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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
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the product, a salesman motivated b
Page 194 and 195:
complaints, have been strictly adhe
Page 196 and 197:
F(gure 8. Illfrared rriflectograph
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13. Hunt, W. H. 1905-1 906. Pre-Rap
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Figure 1. The Execution of Lady Jan
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Figure 3. The Execution of Lady Jan
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Figure 5. Detail of Lady Jal1e Grey
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Figure 6. Paul Delaroche, The Execu
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38. Merimee,J.-F.-L. 1830. De la pe
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F(gure 1. J. M. W. Turner, Goring M
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Figl/re 3. Detail if lower left, s/
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Figure 5. J. M. W. Tumer's The Dawn
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TabLe 1. Dates of manufa cture of i
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Kennedy of the Ulster Museum, Viola
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Figure 2. James Whistler, Nocturne
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5). There are many such examples of
Page 224 and 225:
Abstract This paper discusses aspec
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1960s in North America. Requiring b
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2. Eder, ]. M. 1945. History of Pho
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Figure 1. Jan Baptiste Collaert, Co
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sudden increase in the dimensions o
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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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