Historical Painting Techniques, Materials, and Studio Practice

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28. On these "clothlet colors," see Wallert, A. 1993. Natural organic colorants on medieval parchment: anthocyanins. ICOM Committee fo r Conservation Preprints, 516-23; and Willhauk, N. 1981. Farbprobleme spatmittelalterlicher Buchmalerei. Restaurator (1-2):103-34. 29. Bietola is a beet or garden beet; bietolina = weld (Reseda luteola) (?). 30. A plant with the same name, gilosia (Amaranthus tricolor?), is mentioned in Bol. MS, 117, p. 439, for making a purple clothlet color. 31. Gettens R. J., and E. West Fitzhugh. 1966. Azurite and blue verditer. Studies in Conservation (2): 54-61. 32. Quite similar is Siena MS I, IV, p. 22. In Simone's manuscript, however, the vermilion prescribed by Ambruogio is replaced for a black ink. The recipe recurs in a rather abbreviated version in Florence, Biblioteca Laurenziana, MS Ashburnhamia 349, fol. 84v. Wallert 47
Abstract Primary sources can be extremely valuable for the study of historical painting techniques, materials, and studio practice. Most authors of these treatises and manuals are either anonymous or little known. Quite often, therefore, no context for these books can be traced. In some cases, however, research on the author(s), if known, can reveal information that helps to interpret these sources, shedding light on the contents and their fu nction in studio practice. An example can be fo und in a seventeenth-century Italian treatise on miniature painting which, according to its title, was written by the miniaturist Valerio Mariani da Pesaro in 1620. Research on this treatise has revealed some unexpected aspects of its authorship. A Seventeenth-Century Italian Treatise on Miniature Painting and Its Author(s) Erma Hermens Kunsthistorisch Instituut Rijksuniversiteit Leiden Doelensteeg 16 Postbus 9515 2300 RA Leiden The Netherlands The manuscripts The Leiden University Library owns a seventeenth-century Italian manuscript titled Della Miniatura, del Signor Valerio Mariani da Pesaro, Miniatore del serenissimo Signor Duca d' Urbino, del Signore Capitano Giorgio Maynwaringe, inglese, l'anno del Signore 1620, in Padova (sign. Voss. Ger. Gall. 5q). The manuscript, consisting of three sections, contains a treatise on miniature painting technique. The first section covers technical recipes for the preparation of pigments, dyestuffs and inks, binding media, and utensils such as pencils and brushes. The second section gives instructions on how to paint landscapes, and describes the mixtures of colors to use and the build-up in layers fo r the execution of different types of trees, weather conditions, water, sea, rocks, plants, mountains, villages, close-up and distant views, and so fo rth. The third and smallest section describes the mixtures of colors and the layering of colors used to depict skin and cloth in portrait painting. The recipes in the first section seem to be quite accurate, a result in part of the continuation of traditional methods, and in part of personal experiments by the writer. In general, one can say that the technique described is a watercolor technique fo r paper and parchment, in which the final effect is reached by using a mixture of pigments and dyestuffs or, as is more often and more typical fo r this treatise, by several layers of washes of colors. During the research on the treatise, two more manuscripts were found to be connected with the Leiden manuscript. One manuscript, owned by the Beinecke Library, Yale University (sign. MS 372), is entitled Della miniatura del Signore Valerio Mariani da Pesaro, miniatore del Duca d'Urbino con aggiunte d'altre cose per l'istessa professione dal Signor D. Antonello Bertozzi scrittore e miniatore in Padova, per me Francesco Manlio Romano, l'anno MDCXX. The second manuscript, entitled Ricordi di belli colon:, is part of the Urbinati Latini collection in the Biblioteca Apostolica Vaticana, Citta del Vaticano, Italy (sign. Urb. Lat. 1280). The three manuscripts will be referred to here as the Leiden, Yale, and Rome manuscripts. The Yale manuscript, despite the differences in its title, is very similar to the Leiden manuscript, with only some minor variations in language. It contains, however, some extra pages at the end with additional recipes fo r pigments, paper dyeing, etching materials, as well as recipes fo r gunpowder, payments for books, a list of the quarters of Venice and other notes, some of them dated between 1614 and 1628. The extra recipes could be the "aggiunte d' altre cose per l'istessa professione dal Signor D. Antonello Bertozzi scrittore e miniatore in Padova." The Leiden manuscript contains a price list of pigments and dyestuffs and also a list of all materials needed by the miniatore. Both are lacking in the Yale manuscript (see Appendix doc. 1). The Rome manuscript covers only the second part of the Leiden and Yale manuscripts, that is, the part on landscape painting. We find here many differences in language and also in the sequence and length of the chapters. The Landscape section in the Leiden and Yale manuscripts is more extensive, as 48 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
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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 78 and 79: it on what you are working, with a
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
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J Figure 3. Fluorescence spectrul1'
Page 158 and 159:
This property was deliberately used
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Abstract The St. Anne Altarpiece (N
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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
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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
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Figure 1. Perspective drawing of Ve
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Hague, 1996). The author is also gr
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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
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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
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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
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8. It is not clear when people firs
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Errata for Historical Painting Tech
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PAGE 159 Figure 2. Image source: Pe
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