Preparing the foundation for stable gilding: Baroque craftsmen's empirical understanding of gesso gilding grounds

Cardoso, Isabel Pombo; Pye, Elizabeth

doi:10.1016/j.jas.2017.01.015

Cited by 9 publications

(6 citation statements)

References 7 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In line with the preparatory technique of that time, a different distribution of calcium sulphate dihydrate and anhydrite mineral phases was observed within the distance from the surface. Anhydrate (gesso grosso) was found mainly in the bulk of the ground, whereas calcium sulphate dihydrate (gesso sottile) was found closer to the metal layers as a kind of white bole layer [34][35][36]. This result further corroborates the execution of the water gilding technique, where the use of a white ground bole served the purpose to burnish the applied Ag leaf.…”

Section: Discussionsupporting

confidence: 71%

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

et al. 2020

View full text Add to dashboard Cite

The painting depicting the “Virgin with the Child and two angels” by a Tuscan anonymous artist of the XIII century, has raised great interest regarding the execution technique including the use of silver, applied on wood as a background. An in-depth investigation was carried out especially concerning the burnishing process of the silver leaves as well as a detailed inspection of the nature of the organic compounds over the metal leaf and the degradation products of the silver layer. To this aim, a multianalytical approach was used including UV–VIS microscopy along with an Ultra-High-Resolution Scanning Electron Microscopy (UHR-SEM), as well as Fourier Transform Infrared (FTIR), fluorescence and micro-Raman spectroscopies. As a result, the presence of an oil-resin varnish layer in the uppermost layer and a wax-protein layer between the varnish and the metal layer as well as the evidence that the silver leaf was applied with high accuracy directly to the preparation layer, were clearly demonstrated. Furthermore, degradation products of the silver leaf were identified as sulphides, chlorides, and oxides. The holistic approach herein adopted enabled a step forward in the knowledge of the 13th century silver leaf gilding technique, adding value to the originality of this artwork. In this respect, the scientific evidence led to the assumption that likely this painting originally showed a silver-colored background (“argento biancheggiato”) as compared to the initial theory of a case of “argento deaurato”.

show abstract

Section: Discussionsupporting

confidence: 71%

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

et al. 2020

View full text Add to dashboard Cite

show abstract

“…These methods include, as in all the cases mentioned before, the frequent use of gypsum and lime plasters as ground layers. The critical functions of ground layers are to prepare the surface to receive the decoration, to produce a high quality decoration as well as to promote its durability [3][4].…”

Section: Evidence Of Transference Of Practicesmentioning

confidence: 99%

“…This particle shape and size also increases the plasticity of the paste, improving its workability; it speeds the carbonation rate, as well as increasing the final strength of the mortar [6,[79][80]. The slaking process is also used for producing gesso mate powders in order to achieve extremely small and lamellar gypsum particles which have a vital impact on quality and durability of gilded and polychrome surfaces, although through different mechanisms [2][3][4].…”

Section: Evidence Of Transference Of Practicesmentioning

confidence: 99%

“…These southern European gilding grounds, gesso grounds, are commonly made of gypsum based materials (as aggregates) mixed with size glue (as binder) and typified by a double-layered structure. These materials and practices used to produce them were clearly aimed at obtaining long lasting and high quality gilded surfaces due to the importance of these religious objects [1][2][3][4].…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Preparing the foundation for stable gilding: the origins of materials and practices – a review

Cardoso

2019

Cons. Património

View full text Add to dashboard Cite

This paper is the fifth of a series and focuses on tracing the history of the use of gypsum based products as well as of the use of ground layers, centred on a review of published analytical evidence. The purpose is to contribute for the understanding of these long traditions which led to the choice of specific materials and practices used for producing gilding grounds in southern Europe. In fact, several practices and the raw material gypsum used in gilded surfaces do have an extremely long tradition, which can be traced back to the Pre-Pottery Neolithic B. The systematic use of these materials, especially the use of ground layers for decoration and other purposes, suggests not only an intention but also, somehow, the notion of a complex concept, the concept of a composite material, even at these very early periods, from which gilding origins. In addition, the particular case of Portugal shows that aspects such as religious, political, and sociocultural influences played a central role in the choice of gypsum as the raw material, which was curiously used exclusively for gilding. Resumo Este artigo, o quinto de uma série, explora a história da utilização do gesso e de camadas de preparação, baseado numa revisão de literatura com evidência analítica. O objectivo é contribuir para a compreensão destas longas tradições que estão na génese da escolha de materiais e de práticas específicas utilizadas para produzir camadas de preparação de douramento no sul da Europa. De facto, a utilização do gesso como matéria-prima bem como de certas práticas, associadas à produção de superfícies douradas, tem uma tradição extremamente longa identificando-se já no Neolítico Pré-cerâmico B. O uso sistemático desses materiais, especialmente na produção de camadas de preparação, para decoração ou outros propósitos, indiciam não só uma intenção mas também, de alguma forma, a noção de um conceito complexo, o conceito de material compósito, mesmo nestes períodos tão remotos. Por outro lado, o caso particular de Portugal revela que razões religiosas, políticas, assim como influências socioculturais, desempenharam um papel central na escolha do gesso como matéria-prima, curiosamente utilizado em exclusivo no douramento.

show abstract

“…The sacred art has played an essential role in the community where belongs ever since. One of the greatest exponent of artworks from the catholic religious context are altarpieces, which are composed of sculptures, relieves, panel paintings, and etc. These masterpieces are unique elements of the world's cultural heritage not only because of their morphology and artistic value but also to their social, economic, and cultural implications .…”

Section: Introductionmentioning

confidence: 99%

Spectroscopic analysis of polychromic sculptures belonging to the cultural heritage of Extremadura (Spain)

2019

View full text Add to dashboard Cite

Several spectroscopic techniques have been applied in order to characterize the polychrome pigments used in some religious sculptures, from the 13th to the 18th centuries, belonging to the cultural heritage of Extremadura (west of Spain). First, two energy‐dispersive X‐ray fluorescence portable devices were used. The measurements were carried out in situ, where the artworks were been restored. In addition to these nondestructive analyses, various samples with a millimeter size were taken from some of the sculptures and embedded in polyester resins. The stratigraphy of these fragments was observed through an optical microscope. Finally, they were analyzed using a scanning electron microscope in a low‐vacuum mode with two different detectors. Results show a wide range not only in pigments but also in the methods used in their realizations. Moreover, the variety of pigments found allows distinguishability from different restorations carried out along centuries.

show abstract

Preparing the foundation for stable gilding: Baroque craftsmen's empirical understanding of gesso gilding grounds

Cited by 9 publications

References 7 publications

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

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

Preparing the foundation for stable gilding: the origins of materials and practices – a review

Spectroscopic analysis of polychromic sculptures belonging to the cultural heritage of Extremadura (Spain)

Contact Info

Product

Resources

About