Historical Painting Techniques, Materials, and Studio Practice

(Steven Felgate) #1

Table 2. Samples from the �vest wall if the Holy Sepulchre Chapel, Winchester Cathedral


Sample No:

34

35

36

Location and Description
W. wall, upper tier, N. side, green background
colour below white scroll.
W. wall. upper tieT, St. John, drapery below
knee, black over pink.

W. wall, upper tier, S. side, (left as viewed) leg
of Joseph of Aramalhea, dark green linear detail
on back of calf.

Original Polychromy


  • viviani!e IOOllm

  • charcoal black 80llm

  • lime plaster substrate 60llm

  • darkened lead pigmentl5IJm

  • lime plaster substrate 250 11m

  • vivianite 150JJm

  • charcoal black and lime white 40llm

  • I ime plaster substrate IOOJJm

  • trace of red pigment from 12th century scheme 20JJm


Coatings! Indications of binding media!
Pigment alterations


  • beeswax coating containing calcium carbonate and calcium sulphate 20llm

  • proteinaceous coaling 30llm

    • vivianite has partially altered from blue to yellow

    • beeswax (trace)



  • proteinaceous coating

  • lead pigment has altered to fonn a dark product which appears to be a mixtur
    of lead dioxide (plattnerite) and lead sulphide.

  • beeswax (trace)

    • proteinaceous coating

    • vivianite has partially altered from blue to yellow




Table 3. Samples from the north wall of the Holy Sepulchre Chapel, Winchester Cathedral


Sample No:

11

12

13
14

Location and Description
N. wall, E arch, soffit, E. side, upper figure, left
proper arm, pale pink drapery.

N. wall, E arch, chamfer on S. side, E end, 6th
ashlar block from apex, yellow over green on
plaster.
N. wall, E arch, S face, E side, C13th vine
scroll in red on plaster.
N. wall, E arch, soffit, E side, lower figure,
thick beige coating over green paint of drapery.

Original Polychromy


  • white, lead-containing pigment with charcoal black, calcium carbonate,
    calcium sulphate & red pigment particles

  • yellow, lead-containing layer which appears white towards perimeter. A
    few yellow iron oxide particles are present

  • lime ground - calcium carbonate with calcium sulphate and a trace of
    wax present

  • yellow earth pigment in lead white matrix

  • vivianite in lead white matrix

  • lime white ground

  • red earth

  • lime ground

  • vivianite in lead white matrix


Coatings! Indications of binding media!
Pigment alterations


  • proteinaceous coating

  • proteinaceous material is indicated in both paint layers

    • vivianite has partially altered from blue to yellow

    • beeswax

    • proteinaceous coating

    • beeswax



  • proteinaceous coating

  • thick lead white layer

    • vivianite has partially altered from blue to yellow
      The tables give the location where each sample was taken, the sample number, and the stratigraphy of the various layers from the top down,
      with the thickness of each layer in microns (Ji m).
      Table 4. Samples from the south wall of the Holy Sepulchre Chapel, Winchester Cathedral
      Sample No:




16

17
18

19

20

41

Location and Description
S. wall, E. bay, above recess, blue background
behind donkey's left ear, thick dark impasto
over blue background.
S. wall, W bay, above recess, E. side, old
cleaning test area, coating from in key mark
S. wall, W. bay, above recess, E. side, old
cleaning test area, coating over red! brown paint
layer.
S. wall, W. bay, above recess, W. end, CI2th
angel, area fluoresces in uv, coating over black
and orange paint.
S. wall. W. bay, recess, lower zone, central area
of dark red 'drapery', coating over redlblack
paint.
S. wall, E. bay, above recess, Washing offeer,
bright green from 'border' above Christ's head.

Original Polychromy


  • darkened lead pigment 100llm

  • natural ultramarine (2Sllm)

  • organic analysis only

  • carbon black pigment 5J1m

  • red earth in lime matrix 10JJm

  • lime ground 40).lm

    • lime plaster 200llm

    • black and red particles in a lead white matiix 351lm

    • lime ground l40llm

    • lime plaster substrate 400JJm

    • red iron oxide 2SIlm

    • charcoal black 40llm

    • blue/green copper chloride green layer 50llm

    • paler blue/green copper chloride layer 50llm

    • calcium carbonate with a little calcium sulphate present 20llm




Coatings! Indications of binding media!
Pigment alterations


  • proteinaceous material on surface

    • lead pigment has altered to fo nn a dark product which appears to be a mixture
      of lead dioxide (plattnerite) and lead sulphide

    • layers of beeswax

    • beeswax with a small amount of proteinaceous material

    • extremely thin coating present which is almost completely combined with the
      upper pigment layer. As yet unidentified

    • beeswax

    • trace coating on surface

    • copper chloride green may be the product of an alteration prOcess




The table gives the location where each sample was taken, the sample number, and the stratigraphy of the various layers from the top down,
with the thickness of each layer in microns (/-un).

Table 5. Samples from the vault if the Holy Sepulchre Chapel, WiNchester Cathedral
Sample No:

15

37

38

39

40

42

43

44

45
46

Location and Description

Vault, E. bay, E. segment, under left proper
hand of Christ, 'pea' green background of
mandorla.
Vault, E. bay, S. segment, W. side, prophet in
roundel, darkened cheek patch.
Vault, E. bay, S. segment, W. side, prophet in
roundel, yellow flesh painting of hand.
Vault, E. bay, S. segment, W. side, prophet in
roundel, hand, dark flesh area.
Vault, E. bay, W. side, S. segment, prophet in
roundel, left side, dark band around edge of
roundel.
Vault, E. bay, S. segment, W. side, prophet in
roundel, red linear detail of robe over now black
layer.
Vault, E. bay, E. segment, mandorla, S. side,
green border with black on surface.
Vault, E. bay. E. segment, S. side, green
background below Christ's hand, white
decorative spot over green.
Vault, E. bay, E. segment, mandorla, S. side,
green over red.
Vault, E. bay, E. segment, mandorla, N. side,
brilliant green of border.

Original Polychromy


  • vivianite 75JJm

  • black (darkened cinnabar) particles in lead white matrix ISllm

  • plaster substrate 140llm

  • yellow iron oxide 15JJm

  • lime white ground 50l1m

  • plaster substrate 200llrn

  • charcoal black and red iron oxide 40l 1 m

  • lime white ground 100llm

  • plaster substrate

  • dark red/brown lead-based layer 651lm

  • lime white ground 751lm

  • red earth 1251lm

  • dark redlbrown lead-based material 551lm

  • white ground 751lm

  • plaster substrate 400llm

  • dark red/brown lead-based material 75J.1m

  • lime white ground 180llm

  • lead white 90l 1 m

  • vivianile 55J.1m

  • white layer (calcium carbonate combined with calcium sulphate) 50llm

  • trace red pigment

  • pale blue/green copper-based layer 351 lm

  • white ground 751101

  • plaster substrate 300llm


Coatings! Indications of binding media!
Pigment alterations


  • beeswax

  • proteinaceous coating

  • vivianite has partially altered from blue to yellow

  • proteinaceous coating with additional components of calcium carbonate,
    calcium sulphate and a trace of wax 151lm

  • cinnabar has altered to its black meta fo nn

  • proteinaceous coating 10llm

  • proteinaceous coating with additional components of calcium carbonate and
    calcium sulphate 30JJm

  • proteinaceous material has penetrated paint layers

  • proteinaceous coating 20llm

    • lead pigment has altered to fonn a dark material which appears to be a mixture
      of lead dioxide (plattnerite) and lead sulphide

    • proteinaceous coating 2SI1m



  • lead pigment has altered to fonn a dark material which appears to be a mixture
    oflead dioxide (plattnerite) and lead sulphide

    • proteinaceous coating IOllm

    • lead pigment has altered to fo nn a dark material which appears to be a mixtur
      of lead dioxide (plattnerite) and lead sulphide

    • proteinaceous coating 51lm

    • beeswax coating

    • proteinaceous material is incorporated in wax coating 351lm

    • proteinaceous coating 51lm




The table gives the location where each sample was taken, the sample number, and the stratigraphy of the various layers fr om the top down,
with the thickness of each layer in microns (J im).

102 Historical Painting Techniques, Materials, and Studio Practice
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