Material and diagnostic characterization of 17th century mural paintings by spectra‐colorimetry and SEM‐EDS: An insight look at José de Escovar Workshop at the CONVENT of N^a Sr^a da Saudação (Southern Portugal)

Abstract

The early 17th century mural paintings set from the low-choir of the extinct Dominican Convent of Nossa Senhora da Saudação in the town of Montemor-o-novo were analyzed by a setup comprising visible spectra-colorimetry and scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDS) complemented with optical microscopy (OM), micro X-ray diffraction, micro FTIR, and micro Raman spectroscopy. The main goals were material and diagnostic characterization of the paint layers and pictorial techniques used by Jose de Escovar workshop, one of the most active and controversial easel and mural painters of Evora Archiepiscopate between 1585 and 1622. The results show a differentiate use of red, blue, and green pigments in an alkaline environment. Stable mercury sulfide (HgS) was identified in almost all red areas in the latest scenes while, in the first ones, red ochre (Fe 2 O 3 ) is the predominant pigment. Faded smalt (a co-potassium silicate glass) is present pure in the sky background or mixed with red ochre in the garments at the beginning of the low-choir but less at the end. Five kinds of copper-based materials, with different degrees of color alteration, were found, namely malachite and azurite, copper chlorides, copper sulfates (e.g., posjnakite), and pseudomalachite. Another curious feature is the uneven use of a limewash made with slaked calcitic lime in the carnations. Lack of material, internal organization strategies, or technical differences within the team are probably the most likely causes.

Raman spectroscopy of minerals and mineral pigments in archaeometry

“…In the last period, 2014/2015, we can cite further relevant studies on wall paintings of two Greek Byzantine Churches from Kastoria, northern Greece (Iordanidis et al); pigments in the wall paintings at Jokhang Monastery in Lhasa, Tibet, China (Li et al); a wall painting attributed to Ambrogio Lorenzetti in the St Augustine Church in Siena, Italy (Damiani et al); the pigments in dome wall paintings by Correggio in Parma cathedral (Bersani et al); 17th century mural paintings, Dominican Convent of Nossa Senhora da Saudacao, Montemor, Portugal (Gil et al); medieval Nubia wall paintings from Saras, Old Dongola and Banganarti archaeological sites (Syta et al); wall paintings in Pompeii (Madariaga et al); wall paintings from Qasr El‐Ghuieta Temple, Kharga Oasis, Egypt (Mahmoud); the wall paintings from the Baños de Doña Maria de Padilla in the Alcazar of Seville (Perez‐Rodriguez et al); binder compositions in Pompeian wall paintings from Insula Occidentalis (Gelzo et al); gilded plasterwork in the Hall of the Kings in the Alhambra complex, Granada, Spain (de la Torre‐López et al); wall paintings in the San Francisco Church, Santiago, Chile (Araya et al); the wall paintings in the Churches of Panagia and Theotokos built in the settlements of Patsos and Meronas at Amari Rethymno, Crete (Cheilakou et al); wall painting fragments from Roman villas of the Sabina area, Rome (Paladini et al); the wall paintings from the Hellenistic hypogeum of Apaforte‐Licata, Agrigento, Sicily (Aquilia et al); wall paintings in the Villa of the Papyri in Herculaneum (Amadori et al); and decorative fragments from the hypocaustum in the Roman villa of El Ruedo, Almedinilla, southern Spain (Mateos et al).…”

Tracking old and new colours: Material study of 16th century mural paintings from Évora Cathedral (Southern Portugal)

“…). The work is attributed to the painter José de Escovar, one of the several painters who were operating in a period that witnessed a high popularity of mural paintings commissions in the Alentejo region (southern Portugal) …”

José de Escovar at the Chapel of the Souls: Technical and material study of a 1603 panel painting

“…This was confirmed by OM observations of cross sections from the background, draperies, and flesh areas (Figs. [3][4][5]. The inner layer is usually of a light, reflective tone, even in the blue paint layers made with coarse azurite, a pigment that usually required a dark undertone (Fig.…”

“…). In the first place, the contract ruling the way the work had to be finished, dated from 1603 and established between the painter and the Brotherhood of the Souls, is well‐known; 2 and secondly, the painting panel is one of the few works on wood done by José de Escovar, since he was mainly known in the region by his work on mural painting . Another interesting aspect is the fact that the panel painting is still on its original place and though it seems to have undergone some chromatic interventions in the past, it constitutes a rare opportunity to define the artist's capabilities better.…”

“…In the first place, the contract ruling the way the work had to be finished, dated from 1603 and established between the painter and the Brotherhood of the Souls, is well-known; 2 and secondly, the painting panel is one of the few works on wood done by Jos e de Escovar, since he was mainly known in the region by his work on mural painting. [4][5][6] Another interesting aspect is *Correspondence to: Milene Gil (e-mail: milenegil@gmail.com) Contract grant sponsor: Fundação para a Ciência e Tecnologia through program QREN-POPH-typology 4.1., co-participated by the Social European Fund (FSE) and MCTES National Fund and Project PRIM'ART PTDC/ CPC-EAT/4769/2012, financed by national funds through the FCT/MEC and co-financed by the European Regional Development the fact that the panel painting is still on its original place and though it seems to have undergone some chromatic interventions in the past, it constitutes a rare opportunity to define the artist's capabilities better.…”