Gold leaf analysis of three baroque altarpieces from Porto

Bidarra, Ana; Coroado, João; Rocha, Fernando

doi:10.4000/archeosciences.2552

Cited by 12 publications

(8 citation statements)

References 5 publications

(2 reference statements)

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“…On the basis of the latter analysis, it turned out that, with regard to the concentrations of gold, the error of the method is less than ±1%, while in the case of silver and copper concentrations the error is of the order of ±10% (concentrations measured as elements wt%). In the few instances in which minor peaks of interfering elements such as calcium, sodium and so on appear (and apparently are the result of the proximity of the analysed metal leaf to the gluing agents), they were manually removed from the software's elemental list; consequently, the compositions of the various kinds of metal leaf were automatically normalized to 100% (Bidarra et al ). For each distinct metal leaf and gluing agent material, at least three EDX analyses were undertaken.…”

Section: Methodsmentioning

confidence: 99%

“…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%

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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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Section: Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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

et al. 2017

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“…Esta observação sugere que a diferença de cor observada poderá ter a sua origem na utilização de um adesivo orgânico, aplicado directamente sobre a camada de preparação, para colocação da folha metálica. Não foi identificada a presença de bolo ou de qualquer outra camada intermédia associada a um douramento ou prateamento tradicional [7][8]. A análise da folha metálica revelou a presença de prata, aplicada sob uma camada espessa de verniz colorido (Figura 8).…”

Section: Tabelaunclassified

Technical study of an eighteenth century clay Nativity scene

Bidarra¹,

Antunes²

2014

Cons. Património

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The Nativity scene (presépio), from the Santuário de Nossa Senhora dos Remédios, in Lamego (Portugal), is a rare and precious example of Portuguese clay sculpture from the eighteenth century. This Nativity scene presents more than 60 polychrome clay sculptures, with heights between 10 and 18 cm. The main figures show rich details and techniques, similar to the wooden sculpture decorative motives from the same century: glass eyes, lace, sequins, silver halos, glazes and metallic leafs. The presépio is contained within a wooden polychrome structure -a reliquary. Several analytical techniques were carried out in order to characterise some of the physical and chemical features of the materials. The qualitative and semi-quantitative analyses of the pigments were performed by optical microscopy and by scanning electron microscopy coupled with energy dispersive X-ray spectrometry. The technical investigation preceded the conservation and restoration of the sculptures. ResumoO presépio em barro pertencente ao Santuário de Nossa Senhora dos Remédios, em Lamego (Portugal), é um precioso exemplar da escultura portuguesa em barro do século XVIII. O conjunto é composto por mais de 60 esculturas em barro policromado, com alturas entre os 10 e os 18 cm. As principais figuras evidenciam pormenores e técnicas semelhantes à escultura em madeira do mesmo período: olhos de vidro, rendas, lantejoulas, coroas, vernizes e aplicação de folha metálica. O presépio encontra-se numa maquineta em madeira. Foram efectuados diversos exames laboratoriais de forma a permitir uma caracterização física e química dos materiais e a análise tecnológica do conjunto. A análise qualitativa e semi-quantitativa dos pigmentos foi realizada por microscopia óptica e por microscopia electrónica de varrimento com espectrometria de raios X por dispersão de energia. O estudo tecnológico precedeu a intervenção de conservação e restauro do conjunto.Conservar Património 20 (2014) 65-73 |

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“…A decorative phenomenon, called "talha dourada", has been adopted and largely used, together with other artistic techniques such as "azulejos", in a form of a total work of art, as an expression of a national mark, religious faith and catechetical message vehicle [1][2][3][4][5][6][7][8][9][10]. Although subjected to intensive historical research [1][2][3][4], "talha dourada" decorations all over the Portuguese territory were not systematically investigated from the material and technical points of view, therefore many churches and museums house today altarpieces, retables and other wooden and gilded decorations, never studied.…”

Section: Introductionmentioning

confidence: 99%

“…Although subjected to intensive historical research [1][2][3][4], "talha dourada" decorations all over the Portuguese territory were not systematically investigated from the material and technical points of view, therefore many churches and museums house today altarpieces, retables and other wooden and gilded decorations, never studied. Only punctual information speaking of the conservation and restoration interventions performed on some national altarpieces with gilded decorations was reported [5][6][7][8][9][10][11][12][13][14][15][16]. Gilded decoration on wooden support has been extensively studied not only in Europe but also in other places, as in North and South America [17][18][19][20][21].…”

Section: Introductionmentioning

confidence: 99%