A comparative interdisciplinary study of gilding techniques and materials in two Portuguese Baroque “talha dourada” complexes

Sandu, Irina Crina Anca; Murta, Elsa; Neves, Eva Raquel; Gonçalves-Pereira, Manuel; Sandu, Andrei Victor; Kučková, Štěpánka; Maurício, António

doi:10.7559/ecr.4.3080

Cited by 6 publications

(5 citation statements)

References 8 publications

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“…Lead white (2PbCO 3 •Pb(OH) 2 ) was identified through the characteristic peak at 1055 cm −1 in its Raman spectrum due to the v 1 , or the symmetric stretch vibration of CO 3 2− [14]. Small black areas (granules) were revealed in the cross sections of several samples, which consisted of carbon black as observed in the appearance of a characteristic broad band at~1584 cm −1 , assigned to a doubly degenerate deformation vibration of the aromatic ring and a second one at~1318 cm −1 , and attributed to a crystalline size effect [18,19].…”

Section: Raman Resultsmentioning

confidence: 99%

Identification of Colourants and Varnishes in a 14th Century Decorated Wood-Carved Door of the Dionysiou Monastery in Mount Athos

2021

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A decorated and carved wooden door of the late Byzantine period (14th Century), which belongs to the Dionysiou Monastery in Mount Athos, Greece, constitutes an important relic of valuable technological information due to its construction technology and history. Seventeen (17) samples detached from the door are studied using optical microscopy, scanning electron microscopy (SEM) with energy dispersive X-ray analysis (SEM-EDX), and micro-Raman and FTIR spectroscopy. The following materials are identified in the cross sections of the door samples using micro-Raman spectroscopy: orpiment, lead white, red lead, red ochre, cinnabar, carbon black, gypsum, anhydrite, and calcite, and an organic colourant of the indigoid family. SEM-EDX studies supported to the aforementioned Raman results. Interestingly, a combination of inorganic and organic colourants was detected. The main goals of this particular study were to: (a) reveal the colour palette and materials, (b) identify the type of varnish and its condition, and (c) contribute to future restoration processes and aid conservators in selecting compatible restoration materials.

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Section: Raman Resultsmentioning

confidence: 99%

Identification of Colourants and Varnishes in a 14th Century Decorated Wood-Carved Door of the Dionysiou Monastery in Mount Athos

2021

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“…Nevertheless, metallic decorations are often examined only qualitatively and apart from a single identification of the main alloying element, authors offer no or only limited data with regard to the minor ingredients of the alloys (e.g., Billinge et al ; Cesareo ; Abdel‐Ghani et al ); indeed, it is interesting to note that only in a few instances is the elemental composition of the metal leaf quantitatively investigated. Among others, the latter instances include wooden post‐medieval gilded objects (Anderson and Malenka ; Bidarra et al ; Sandu et al ) as well as ancient and medieval mosaic tesserae (Conventi et al ).…”

Section: Introductionmentioning

confidence: 99%

On the Metal‐Leaf Decorations of Post‐Byzantine Greek Icons

et al. 2017

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Metal leaves were widely used as decorative materials in post-Byzantine ritual painting. Fiftytwo icons (mid-15th to mid-19th centuries) were studied by means of analytical techniques in order to reveal the materials and techniques encountered in their metal-leaf decorations. High-purity gold leaf was used throughout the studied period. Silver was employed rarely and mostly during the latter part of the period in consideration, while metal powders were mostly used from the mid-18th century onwards. The identification of a gold-silver powder mixture and an 'electrum'-type alloy are among the reported findings, which are novel for post-Byzantine icons. Three micromorphologically distinct highlighting techniques were also documented.

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“…Coloured translucent glazes over gilding and silvering, also known as lustering, were used in altarpieces as a low cost method for imitating gold, gemstones, glazes, vitreous enamels and luxurious cloths and for the addition of interesting shiny effects and different shades depending on the artist criteria. The technique consisted in the application of a thin (20-50 microns) colour glaze over metal silver, gold, brass or occasionally, tin [1][2][3][4][5][6]. The colour is obtained adding dyes, pigments or lake pigments, in variable amounts, into an organic matrix.…”

Section: Introductionmentioning

confidence: 99%

Microanalytical study of luster glazed gilding and silvering from Baroque altarpieces

Salvadó

Butí

Clemente

et al. 2017

Pure and Applied Chemistry

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Lustering, a technique which involved the application of coloured translucent glazes over gilding and silvering was widely used to enrich and decorate altarpieces in the Baroque period. The decorations consist of a micrometric multilayered structure including several color glazes, metallic leaves andboleapplied over a plaster ground. The collection of Baroque altarpieces, the oldest dating 1671 and the newest 1775 from the cathedral of Tortosa (Catalonia), is a perfect case of study of the materials used and the techniques employed throughout the period. Further information is obtained from the analysis of the reaction and aging compounds resulting from the interaction among the compounds present in the layers and between the different layers. A combination of sensitive analytical techniques, Synchrotron based μ-XRD and μ-IR and SEM-EDS which enabled the luster samples to undergo analysis without altering their original layered microstructure were selected. The nature of the compounds used to produce the yellow, green, red and blue glazes (pigments, pigment lakes and resins), metallic leaves and boles is presented. Relevant information from historical and conservation viewpoints about the origin and nature of the materials used, the making of the lusters and their reactivity and aging are also discussed.

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A comparative interdisciplinary study of gilding techniques and materials in two Portuguese Baroque “talha dourada” complexes

Abstract: The gilded polychrome carved wood in Portugal, (talha dourada) gained its most rich

Cited by 6 publications

References 8 publications

Identification of Colourants and Varnishes in a 14th Century Decorated Wood-Carved Door of the Dionysiou Monastery in Mount Athos

Identification of Colourants and Varnishes in a 14th Century Decorated Wood-Carved Door of the Dionysiou Monastery in Mount Athos

On the Metal‐Leaf Decorations of Post‐Byzantine Greek Icons

Microanalytical study of luster glazed gilding and silvering from Baroque altarpieces

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