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registers (Fig. 2). Additionally, within each of the principal plaster zones, there
are fu rther divisions that roughly conform to the various individual figures
or groups of figures. These secondary plaster joins, many of which are rather
indistinct (particularly in the lower register) make an understanding of the
plastering sequence problematic. It is evident however, that the narrow central
plaster patch fo r the geometric border was applied before the plastering of
either narrative register. In the upper register, the roughly executed plaster
joins, applied wet-over-dry, clearly indicate that the patch fo r the central cross
was applied first, fo llowed by that fo r the main figure group, and finally those
fo r the flanking figures. By contrast, the plaster joins in the lower register are
indistinct, and the application appears to have been wet-on-wet, allowing the
edges to merge. Careful examination of the surface in raking light does, how
ever, indicate that the central portion may have been applied first.
The plastering of the east wall of the chapel differs significantly from that
typically fo und elsewhere in England, where accumulated evidence at Kem
pley, Witley, and Canterbury suggests that application in broad horizontal
bands is characteristic of the Romanesque period (7). The plaster patches at
Winchester do, however, find parallels both in England and on the Continent:
in the scheme (ca. 1100) in the parish church at Hardham (Sussex), where
separate plaster patches were applied fo r each scene as well as fo r the borders;
and in the Romanesque paintings of Vicq (France), in which the plaster was
applied in a grid of large rectangular patches corresponding to the narrative
and ornamental divisions (8, 9).
Preparatory techniques. The detachment of a portion of the thirteenth-century
scheme from the south wall in the 1960s provided particularly significant
information concerning the laying out of the Romanesque painting. A small
but exquisite mitered head was uncovered here; underneath was fo und a
sinopia fo r three scenes set beneath architectural canopies.
The existence of a sinopia on the east wall, traces of which are visible where
tiny losses in the into naco exist, was noted by Park (10). Evidence from the
stratigraphy of the plaster and from the examination of cross sections, such as
that of Sample 29 showing a trace of red pigment (red earth with some
cinnabar) beneath approximately 0.4 cm of plaster, suggests that the sinopia
was applied either directly on the ashlar support or leveling plaster.
Examination of the surface of the Romanesque plaster in raking light reveals
the use of snapped lines marking the position of the central ornamental bor
der. The geometric elements within the border were set out by incision into
the wet plaster with the aid of a compass. When this border was moved to
a slightly lower position, new incisions were made, but in this case a slightly
different quality of line is evident since the plaster was clearly no longer as
fresh. Incision into the wet plaster is evident in other distinct areas, as in
Christ's arm and the flagon of holy oil in the Entombment. In addition, a
preparatory drawing in yellow iron oxide, clearly visible wherever the paint
layers have been lost, was used to place the main pictorial elements within
the visual field.
Pentimenti. The Romanesque paintings are particularly fascinating from the
point of view of the changes made by the painter at an advanced stage of
the painting process. This is particularly evident in the Entombment, in which
the remains of another head and a broad-brimmed hat can just be seen to
the left of the Virgin's head, indicating the original position of the figure
anointing Christ's body with oil (in the final version placed to the right of
the Virgin).
Many other alterations are visible. For instance, the figure of St. John in the
Deposition was finally painted with his hand gesturing toward Christ, but the
yellow preliminary drawing indicates that he was originally conceived with
his hand held to his face in grief.
Palette. The present research has established that the palette of the Roman
esque paintings included: gold leaf, Au; natural ultramarine,Historical Painting Techniques, Materials, and Studio Practice