All that glitters is not gold: silver leaf gilding, another means to an end

Abstract

Nem tudo o que brilha é ouro: douramento com folha de prata, outro meio para um fim ResumoComplementando e enriquecendo retábulos e imagens, o uso de folhas metálicas tornou-se paradigmático dos interiores religiosos portugueses nos séculos XVII e XVIII. Apesar do ouro ter sido sempre favorecido desenvolveram-se, simultaneamente, técnicas alternativas para atingir o desejado lustre dourado, com recurso a folhas metálicas brancas cobertas com velaturas coloridas. Referências históricas, presentes em numerosos textos de técnicas artísticas, indiciam que estas técnicas de contrafação são praticadas desde há muito. Pouco mencionado, o processo de prateamento é genericamente descrito como idêntico ao de douramento, sendo dada muito mais atenção aos vernizes dourados a ser aplicados sobre a superfície prateada, o que permite que a sua evolução material e técnica seja seguida. Baseado num inquérito a estas referências, é feito um enquadramento destes desenvolvimentos e da terminologia associada, tendo presente que o fulgor alvo das folhas de prata também brilhou por direito próprio. Palavras-chave AbstractComplementing carved wood altarpieces and sculptures, the use of metallic leaves became paradigmatic of Portuguese religious ambiences during the 17th and 18th centuries. Although gold has always been favoured, alternative techniques to attain the desired golden lustre were developed simultaneously, mainly with the use of white metallic leaves covered with coloured glazes. Written historic references, present in various technical art texts, indicate that these imitation gildings have been a long time practice. Seldom mentioned, the silvering part of the process is generically described as identical to gilding, while much more attention is given to the golden glazes to be applied over the silvered surface, allowing for their material and technical evolution to be followed. Based on a survey of these historical references, an outline on these developments and the associated terminology is made, keeping in mind that the silver leaf's white glitter also shone on its own right. Article / ArtigoAll that glitters is not gold: silver leaf gilding, another means to an end

“Argento Deaurato” or “Argento Biancheggiato”? A Rare and Interesting Case of Silver Background in Italian Painting of the XIII Century

“…Moreover, DRIFT spectra of the ground ( Figure 5A, spectrum d) figured out a strong and broad ν 1 + ν 3 (SO 4 −2 ) overtone and combination bands in the 2500-1900 cm −1 range, with maxima at 2230 and 2130 cm −1 , and a strong inverted reststrahlen band at 1150-1160 cm −1 . These features are unequivocally ascribed to calcium sulphate [25]. The bands at 1636 and 1550 cm −1 were also of amide I and II due to the proteinaceous material present in the ground.…”

Development of a multi-method analytical approach based on the combination of synchrotron radiation X-ray micro-analytical techniques and vibrational micro-spectroscopy methods to unveil the causes and mechanism of darkening of “fake-gilded” decorations in a Cimabue painting

“…31 The combined use of orpiment and silver (in the form of either powder or leaf) was found in a fair number of artworks, this being a quite common medieval practice for imitating gildings. [32][33][34][35] Similar to the Maestà by Cimabue, also some of the "fake-gilded" areas of a series of paintings by Pietro Lorenzetti (ca. 1280-1348) show a visible darkening nowadays.…”

The silver lining: preliminary research into gold-coloured varnishes for loss compensation in two 19th C silver gilded frames

“…The imitation of gold using coloured varnishes applied to silver and tin leaf has been practiced since antiquity. The earliest documented recipes for golden varnishes record the use of egg yolk, animal glues, gums and drying oils mixed with organic dyestuffs, inorganic pigment, and animal bile [1] [2] [3]. From the 17 th century permutations of recipes expanded to include spirit-based natural resin and shellac varnishes that became very popular during the 19 th and 20 th centuries.…”