Glass weathering in eighteenth century mosaics: The São João Chapel in the São Roque Church in Lisbon

Salerno, Carlo Stefano; Moretti, Cesare; Medici, Teresa; Morna, Teresa; Verità, Marco

doi:10.1016/j.culher.2008.06.008

Cited by 3 publications

(7 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The FTIR bands between 1200 and 700 cm -1 are directly related with the bridging and non-bringing bonds in the silica network, which seems to be non-altered during the exposure. Previous studies have proven that lead silicate glasses are susceptible to atmospheric [71,72] and marine environment [42,73] because of the ion exchange between the H + ions of the medium and the Pb 2+ cations in the glass network [74,75]. Na + ions from NaCl aerosols could favor these reactions due to the opening of the network proposed in the alteration mechanism of the silica [35].…”

Section: Influence Of Glass Composition On Its Alterationmentioning

confidence: 99%

Effect of marine aerosols on the alteration of silicate glasses

Palomar¹,

Chabas

Bastidas³

et al. 2017

Journal of Non-Crystalline Solids

View full text Add to dashboard Cite

This work is focused on the effect of marine aerosols on soda-lime, potash-lime and lead silicate glass samples. Two kinds of tests were carried out, the first one under laboratory controlled condition during 36 days to evaluate the alteration of glass surface by NaCl aerosols, and the second one in a marine atmosphere in Cabo Vilano (Galicia, Spain) for up to three months. Both tests showed similar results. NaCl aerosols acted as condensation nuclei in high humidity environments favoring the lixiviation of the alkaline and alkaline-earth ions from the glass surface and the solubilization of atmospheric gases (CO2, SO2). Marine aerosols could also accelerate the corrosion attack inducing the loss of the surface hydrogen bonds and the opening of the network accelerating the corrosion mechanism. Results also confirmed that high humidity favored the alteration of the glass surface and the formation of new crystalline phases. Soda-lime silicate and lead silicate glasses were the most durable ones, whereas potash-lime silicate glass presented a fissured alteration layer due to the hydrolytic attack of the surface. New crystalline phases including chlorides, carbonates and sulfates were detected on the glass surfaces which can be related to marine aerosols, environmental particles and the reaction of the cations lixiviated from the glass with the atmospheric gases.

show abstract

Section: Influence Of Glass Composition On Its Alterationmentioning

confidence: 99%

Effect of marine aerosols on the alteration of silicate glasses

Palomar¹,

Chabas

Bastidas³

et al. 2017

Journal of Non-Crystalline Solids

View full text Add to dashboard Cite

show abstract

“…4577 librae 2 of glass, turquoise, yellow, white, red and carnation (flesh colours) for the Capela de São João Baptista. [3] Alessio Mattioli glassmaking records…”

Section: Description Of the Mosaic Panelsmentioning

confidence: 99%

“…In terms of Raman bands the most significant are the symmetric stretch vibration [v s (T-O-T)] (where T can be Si or Al), at ca. 3 503 cm À1 in crystalline anorthite and ca. 507 cm À1 in glass anorthite, and the high wavenumber modes (but low intensity bands) in the region 900-1200 cm À1 associated to an antisymmetric stretch mode [v as (T-O-T)].…”

Section: Yellow Glassmentioning

confidence: 99%

“…The glass mosaic panels are a unique example of this type of art in the Portuguese territory, and the production of the tesserae was the responsibility of the most famous glassmaker in Rome at that time period, Alessio Mattioli. [3] Mattioli was accountable for making possible an old dream of executing copies in mosaic of all the pictorial masterpieces in Saint Peter's Basilica, although at the beginning of the 18 th c. other glass-makers were active in the Fabbrica di San Pietro. Mattioli's success as a mosaic glassmaker was because of the production of a larger number of chromatic hues, the production of a colour named porporino, substituting the famous rubino (red colour) from Venice, and finally the complete opacity of his mosaics.…”

Section: Introductionmentioning

confidence: 99%

“…The Capela de São João Baptista (Chapel of Saint John the Baptist), located in Lisbon, at the Igreja de São Roque (Church of Saint Roch), is the most magnificent chapel in this church, with extraordinary art works not only with glass mosaics, but also with metal works, the usage of precious stones and marbles. The glass mosaic panels are a unique example of this type of art in the Portuguese territory, and the production of the tesserae was the responsibility of the most famous glassmaker in Rome at that time period, Alessio Mattioli . Mattioli was accountable for making possible an old dream of executing copies in mosaic of all the pictorial masterpieces in Saint Peter's Basilica, although at the beginning of the 18 th c. other glass‐makers were active in the Fabbrica di San Pietro .…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Baroque glass mosaics from the Capela de São João Baptista (Chapel of Saint John the Baptist, Lisbon): unveiling the glassmaking records

Muralha

Canaveira

Mirão³

et al. 2015

J Raman Spectroscopy

Self Cite

View full text Add to dashboard Cite

For the first time, 18th-century glass mosaics from the Capela de São João Baptista (Chapel of St. John the Baptist, Lisbon) were analysed by Raman microscopy (RM). This masterpiece in baroque mosaic art had one of its major contributors the most famous glassmaker in Rome, Alessio Mattioli. Mattioli was celebrated because of the opacity of his mosaics and the astonishing number of hues he was able to produce for mosaic decorating Saint Peter's Basilica in Rome. This study had two goals in mind: (1) characterising the materials involved in the manufacture of these glass mosaics and (2) lengthening the understanding of what was left of Mattioli's glassmaking records. As expected the mosaics presented a high ratio of crystalline phases, making RM the ideal technique for non-destructive analysis. The mosaics contained a white 'background' or opacifier added identified as Ca 2 Sb 2 O 7 . The yellow tesserae are opacified with lead antimonate (Pb 2 Sb 2 O 7 ) and ternary oxides, structures related to lead antimonate but with other ions entering the position of Sb 4+ (namely Sn 4+ ). Those ternary oxides are pervasive in most colours, admixed with other colorants. The red, orange, pink and brown colours were accomplished with cuprous oxide (Cu 2 O) and admixed with a ternary oxide to create the latter three colours. The red copper-based colours were made according to the procedure to make a ruby copper glass and with the exception of the red colour; all mosaics exhibited a dark layer on each side of the mosaic, named scorzetta. This layer is the outcome of an oxidation reaction because of a quick cooling process and is composed of CuO. Finally the blue and green colours are accomplished with cobalt oxide and copper oxide, respectively, and the purple/black colour with manganese oxide.

show abstract

Glass science in art and conservation

Murcia‐Mascarós

2008

Journal of Cultural Heritage

View full text Add to dashboard Cite

Glass weathering in eighteenth century mosaics: The São João Chapel in the São Roque Church in Lisbon

Cited by 3 publications

References 0 publications

Effect of marine aerosols on the alteration of silicate glasses

Effect of marine aerosols on the alteration of silicate glasses

Baroque glass mosaics from the Capela de São João Baptista (Chapel of Saint John the Baptist, Lisbon): unveiling the glassmaking records

Glass science in art and conservation

Contact Info

Product

Resources

About