Notes
- Park, D. 1983. The wall paintings of the Holy Sepulchre Chapel. In Mediellal Art
and Architecture at Winchester Cathedral. British Archaeological Association Con
ference Transactions 1980, VI, 38-62. - I am indebted to Stephen Rickerby and the students of the Conservation of
Wall Painting Course, Courtauld Institute, for their observations during the work
in the chapel, and for providing the drawings used in Figures 4 and 6. Previous
investigations of aspects of the paintings include: Hluvko, S. 1991. Red piglTlents
in English medieval wall painting; and Howard, H. 1988. Blue pigments in En
glish medieval wall painting. Diploma dissertations. London: Conservation of
Wall Painting Department, Courtauld Institute of Art, University of London. - This scene, previously described as the Raising of Lazarus, was identified by
Christoph Tinzl. - Lee, M. 1975. Paintings in the Holy Sepulchre Chapel, Winchester. Unpublished
M.A. report, University of London. - For the role of organic additives in plaster, see Sickels, L. 1981. Organics v syn
thetics: their use as additives in mortars. In Mortars, Cements and Grouts Used in
the Conservation of Historic Buildings. Rome: International Centre for the Study
of the Preservation and Restoration of Cultural Property, 25-49. - Deeply undulating surfaces occur in other Romanesque paintings, such as the
scheme of ca. 1130 in St. Gabriel's Chapel, Canterbury Cathedral. See Cather,
S., and H. Howard. 1994. Romanesque wall paintings in the apse of St. Gabriel's
Chapel, Canterbury Cathedral: their technique, condition and environment reas
sessed. Arbeitslufte zur Denkmalpfiege in Niedersachsen (11):143. - See Rickerby, S. 1990. Kempley: A technical examination of the Romanesque
wall paintings. In Early Medieval Wall Painting and Painted Sculpture in England.
Ed. S. Cather, et al. Oxford: BAR British Series 219, 249-261; Howard, H. 1992.
All Saints' Church, Witley, Surrey: scientific examination of the Romanesque
wall paintings. Unpublished report. London: Conservation of Wall Painting De
partment, Courtauld Institute of Art, University of London; Cather and Howard,
op. cit. (note 6). - These patches were mapped in the 1980s by the Canterbury Cathedral Wall
painting Workshop. - Kupfer, M. 1986. Les fresques romanes de Vicq: Etude technique. Bulletin Mon
umental 144:98-132. - Park, op. cit., 40.
- Mairinger, F., and M. Schreiner. 1986. Deterioration and preservation of Caro
lingian and medieval wall paintings in the Mlistair Convent. Part II: Materials
and rendering of the Carolingian wall paintings. In Case Studies in the Conserl!ation
of Stone and Wall Paintings. Ed. N. S. Bronmlelle, et al. London: International
Institute for the Conservation of Historic and Artistic Works, 195-96. - Ultramarine was the mineral blue normally employed in Romanesque wall
paintings, though azurite has been identified at Kempley (Rickerby, op. cit., 256)
and Marslet, Denmark (Graebe, H., K. Trampedach, and M. Jensen. 1986. Kalk
malerierne i Marslet Kirke. National museete Arbejdsmark 23:164-82). - Matteini, M., and A. Moles. 1994. Mural paintings in Wunstorf-Idensen: Chem
ical investigations on paintings, materials and techniques. Arbeitschifte zur Denk
malpfiege in Niedersachsen 11:85-86. - Cather and Howard, op. cit., 144-46.
- Matteini and Moles, op. cit., 85.
- Cennino Cennini. II Libro Dell'Arte: The Craftsman's Handbook. 1933. Translated
by D. V. Thompson. New Haven, 26. - The acceleration of the rate of fading over time, due to an increased proportion
of white, has been shown experimentally for a lake mixed with white, and for
a lake used as a glaze over a white ground. See Johnston-Feller, R., and C. W
Bailie. 1982. An analysis of the optics of paint glazes: fading. In Science and Tech
nology in the Service of Conserl/ation. Ed. N. S. Brommelle, et al. London: Inter
national Institute for Conservation of Historic and Artistic Works, 180-85. - Faye, G. H., P. G. Manning, and E. H. Nickel. 1968. The polarized optical ab
sorption spectra of tourmaline, cordierite, chloritoid and vivianite: ferrous-ferric
electronic interaction as a source of pleochroism. The American Mineralogist (53):
1174-20 1. - I am grateful to Dr. G. Cressey of the Natural History Museum for carrying out
analysis by X-ray diffraction using a Debye-Scherrer camera. The possible ad-
Howard 103