Um estudo comparativo interdisciplinar das técnicas e materiais de douramento em dois conjuntos de talha dourada barrocos portugueses

The gilded polychrome carved wood in Portugal, (talha dourada) gained its most rich expression during the Baroque epoch with the development of production techniques and the use of of gold leaf. The present paper proposes a complementary and comparative study of two important complexes of talha: one from St. Alberto’s church, integrating the visiting circuit of the Museu Nacional de Arte Antiga (Lisbon), and the other from church of Vale de Figueira (Santarém district). Both complexes house talha dourada’s decoration from the 18th century, that were studied through an inter-disciplinary approach, in which analytical data (optical microscopy, fluorescent stain, XRF, SEM-EDX, micro-computerized tomography, FTIR, Matrix-Assisted Laser Desorption/Ionisation-Time of Flight Mass Spectrometry) complement historical data.El arte de la talla dorada en Portugal ganó su más rica expresión durante el período barroco a través del desarrollo de técnicas de producción y el uso de pan de oro. Este trabajo propone un estudio complementario y comparativo de dos grandes complejos de talla, el de la Iglesia de San Alberto, integra el circuito de visita del Museu Nacional de Arte Antiga en Lisboa, y el de la Iglesia de Vale Figueira, en Santarém. Los dos complejos albergan retablos dorados del siglo XVIII, que han sido estudiados a través de una metodología interdisciplinar, en la que los datos analíticos (microscopia óptica, tinción fluorescente, fluorescencia de rayos X, SEM-EDX, micro-tomografía computerizada, FTIR, MALDI-TOF-MS) complementan los datos históricos.A arte da talha dourada em Portugal ganhou a sua mais rica expressão durante a época barroca devido ao desenvolvimento das técnicas de produção e ao uso do ouro em folha. O presente trabalho propõe um estudo complementar e comparativo de dois complexos importantes da talha respectivamente em Lisboa, na Igreja de São Alberto, integrada no circuito de visitas do Museu Nacional de Arte Antiga, e no distrito de Santarém, na Igreja de Vale de Figueira. Os dois complexos albergam decoração em talha dourada do século XVIII, estudados através de uma abordagem inter-disciplinar, em que os dados analíticos (microscopia óptica, teste de coloração fluorescente, FRX, MEV-EDX, microtomografia computadorizada, FTIR, Matrix-Assisted Laser Desorption/Ionisation-Time of Flight Mass Spectrometry) complementam os dados históricos

Gilt-teller: uma nova ferramenta multimédia ao serviço da divulgação da ciência da conservação

The paper focuses on an innovative bilingual multimedia tool designed within the research project funded by the Portuguese Foundation for Science and Technology (FCT) – Gilt-Teller, an interdisciplinary multiscale study of gilding techniques and materials in Portugal, 1500- 1800. The tool was designed with the help of the company Take the Wind Lda. (Coimbra) and is based on an online platform (http://www.gilt-teller.pt). It has different components, from documents of general description of the project, its team and outcomes in terms of publications and conference presentation or workshop organization to the historical background of the project and short characterization of the main stylistic époques considered under study. The three innovative components are: the bilingual glossary on gilding materials and techniques (http://www.gilt-teller.pt/index.php/glossary/index); a movie with the data on laboratory documented reconstructions of gilded composites based on Portuguese recipes (http://www.gilt-teller.pt/index.php/site/historicalReconstructions) and 11 case studies with gilded decoration from the European heritage (http://www.gilt-teller.pt/index.php/site/additionalMaterials) For the first time in Portugal an open access bilingual database including the most representative altarpieces and polychrome sculptures studied within the project was made available to larger and specialized public. For the first time this multimedia tool will bring together knowledge from three different scientific areas, all related with the topic of the project: Art History (with a component of Technical Art History), Conservation and Heritage Science.O presente trabalho apresenta uma ferramenta multimédia inovadora desenvolvida no âmbito do projeto de investigação financiado pela Fundação para a Ciência e Tecnologia (FCT): “GILT-Teller, um estudo interdisciplinar multiescala das técnicas e dos materiais de douramento em Portugal, 1500-1800”. A ferramenta desenvolvida com a contribuição da companhia Take the Wind Lda. (Coimbra) é baseada numa plataforma online (http://www.gilt-teller.pt) e contém vários componentes entre quais se destaca a base de dados constituída por vários casos de estudo do território nacional abrangendo diferentes estilos de talha dourada no período 1500 e 1800. Além dessa base de dados a plataforma online inclui também outras três componentes inovadoras, nomeadamente um glossário bilingue sobre materiais e técnicas de douramento (http://www.gilt-teller.pt/index.php/glossary/index); um filme sobre as reconstruções históricas de provetas douradas realizadas em laboratório com base em receitas portuguesas (http://www.gilt-teller.pt/index.php/site/historicalReconstructions) e 11 casos de estudo de objectos com decoração dourada do património cultural europeu (http://www.gilt-teller.pt/index.php/site/additionalMaterials). Pela primeira vez na história do património religioso português, esta ferramenta reúne o conhecimento de três áreas científicas diferentes: História da Arte (com uma componente de Historia da Arte Técnica) Conservação e Restauro de Talha Dourada e Ciências da Conservação e do Património Cultural

A COMPARATIVE MULTI-TECHNIQUE INVESTIGATION ON MATERIAL IDENTIFICATION OF GILDING LAYERS AND THE CONSERVATION STATE OF 7 PORTUGUESE MANNERIST ALTARPIECES

This paper deals with the multi-analytical comparative characterization of 59 samples of gilded and polychrome layers from 7 altarpieces studied during the Gilt-Teller project (www.gilt-teller.pt). The altarpieces studied here belong to seven churches in the areas of Lisbon, Santarém, Portalegre and Guarda and display stylistic and constructive features characteristic to the Mannerism carved wood decoration in Portugal. The applied protocol of investigation characterized the structure and manufacture technique of gilding; identified the chemical composition of the layers constituting the gilded polychrome decoration; compared the materials and gilding techniques encountered in the 7 altarpieces and assessed the conservation state of each altarpiece. The analytical techniques applied to these purposes were: stereomicroscopy (SM), optical microscopy (OM), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDX), X-ray diffraction (XRD), MALDI-TOF mass spectrometry, μRaman and μFTIR/imaging μFTIR spectroscopies. This interdisciplinary multi-scale approach was used to elucidate the aspects related to the material and technical aspects of “talha dourada” decoration, answering to these questions: which are the original materials and layers in the making of the polychromy and which are the ones added with posterior interventions; which are the relationships between gilding materials and techniques, regarding the degree of erudition of each case study; which were the main causes of degradation and influence to their conservation condition

TWO RECIPES FROM PORTUGUESE TRADITION OF GILDING ON WOODEN SUPPORT BETWEEN LABORATORY REPRODUCTION AND ANALYTICAL INVESTIGATION

This paper has the main purpose to compile and highlight the first data obtained from experimental studies on docμmented reconstructions of gilded composites performed within a research project on gilding materials and techniques in Portugal (www.gilt-teller.pt) funded by FCT. Two water gilding recipes were appropriately chosen from the treatises written by the Portuguese Filipe Nunes (1615) and José Lopes Baptista de Almada (1749) as being representative for Baroque époque. Based on these recipes, the production of raw materials - “gesso grosso”, “gesso fino”, bole, animal glue (from lamb and goat skins) - was made as faithful as possible. Their application was then performed in laboratory following the indications given by these authors or by treatises of previous époques (e.g. the Bolognese treatise for thawing leather), on plane and curved wooden supports (pine and oak species) using three types of leaf: gold (Au/Ag/Cu) of 22 and 23.75 karat respectively and silver. After the completion of gilding, the samples’ surfaces were divided into areas and on each different finishing layers (wax, animal glue size) and decorations (punching, “esgrafitado”, “estofado”) were applied. An analytical campaign using optical microscopy (OM) and scanning electron microscopy (SEM) on surfaces and cross sections, X-ray diffraction (XRD), microcomputerized tomography (microCT) and colorimetry (CIEL*a*b*) was undertaken in order to characterize the gilded composites and to assess the faithfulness of the reproductions in the laboratory. Correlations between the information given by the recipes and the composition and stratigraphical patterns of the reconstructions can be established. Furthermore, the study aims to highlight the difficulties encountered in analyzing real samples and comparing the results with those from reproductions as the number and types of layered materials are not always reproducible. A critical approach is needed and criteria for faithful reproduction of ancient recipes are suggested

Análise comparativa do douramento e policromia de dois retábulos de Évora, Portugal

A dispute among the best five painters-gilders of Evora, for two of the most important contracts regarding the gilding of the altarpieces, gave rise to an extensive and detailed documentation on the technique, materials and prices used in 1729. The rivalry between the master Filipe de Santiago, responsible for the gilding of the whole set of the Church of Mercy (Igreja da Misericórdia de Évora), and the team led by Manuel da Maia, responsible for gilding the main altar of the Convent Church of Scala Coeli’s (Igreja do Convento de Scala Coeli, Cartuxa), forced the commissioners to redraft contracts with unusual rigor since both did not accept the possibility to be examined by the opponent. Physical-chemical characterization of the gilding and polychrome layers of samples from both altarpieces, performed within the GILT-Teller project (www.gilt-teller.uevora.pt), led to a comprehensive approach of the pictorial culture of this period. As it is reported in contracts, the gilded woodcarving was enriched with flesh-coloured tones, “estofado” and “regraxos”. These techniques were both used in the Church of Mercy and in the Church of the Convent of Scala Coeli, of the Carthusian monks of Evora. The documentation and the results of the phsyical-chemical analyses presented in this paper confirm the existence of a common and poorly differentiated artistic culture between the main workshops of Evora.Una disputa entre cinco de los mejores pintores doradores de Évora condujo a la realización de una amplia documentación sobre la técnica, los materiales y los precios vigentes en Évora, en el año 1729. La rivalidad entre el maestro Filipe de Santiago, responsable pela execución del dorado del retablo de la Iglesia de la Misericórdia de Évora, y el equipo dirigido por Manuel da Maia que realizó el dorado del retablo de la capilla principal de la iglesia de la Cartuja, obliga los comitentes a redactaren contratos con un rigor inusual, ya que ambos los maestros no aceptaron la posibilidad de seren examinados por el oponente. La caracterización fisicoquímica del dorado y policromía de los dos altares, que se realizó en el ambito del proyecto Gilt-Teller (www.gilt-teller.uevora.pt), permite acercarnos a la cultura pictórica de la época. Como se informó en los contratos, el dorado se ha enriquecido con tonos de carnacion, estofado y „regraxos“. Estas técnicas se utilizan de la misma manera tanto en la Iglesia de la Misericordia y en la iglesia de Scala Coeli del convento de los monjes cartujos de Évora. La documentación y los resultados de los análisis químicos presentados en este documento confirman la existencia de una cultura artística común y poco diferenciada entre los principales talleres de Évora.Uma disputa entre cinco dos melhores pintores douradores de Évora deu origem à realização de uma extensa documentação sobre a técnica, os materiais e os preços em vigor em Évora, no ano de 1729. A rivalidade entre o mestre Filipe de Santiago, responsável pelo douramento do conjunto de talha da Igreja da Misericórdia, e a equipa liderada por Manuel da Maia que executou o douramento do retábulo da capela-mor da Igreja da Cartuxa, obrigou os comitentes a redigirem os contratos com um rigor inusual, já que ambos os mestres não aceitavam a possibilidade de serem examinados pelo oponente. A caracterização físicoquímica do douramento e das camadas de policromia de ambos os altares, realizada no âmbito do projecto GILT-Teller (www.gilt-teller.uevora.pt), permite-nos uma aproximação à cultura pictórica do período. Como é reportado nos contratos, o douramento da talha dourada foi enriquecido com carnações, estofado e “regraxos”. Estas técnicas foram utilizadas de maneira muito semelhante em ambos os conjunto da Igreja da Misericórdia e no Convento de Scala Coeli dos monges cartuxos de Évora. Os resultados documentais e analíticos dessa investigação confirmam a existência de uma cultura comum e pouco diferenciada entre as principais oficinas de Évora

Gilding on wall paintings from a period

The use of gildings on wall paintings enjoyed its largest development in Italy between the 13th and 14th centuries AD. This work covers a few important artefacts from the Lombard lake region, dating from a period between 1360 and 1520, and painted by the Seregnesi, Da Tradate and De Passeri studios. Its purpose is to understand the gilding techniques by means of scientific examinations (OM, SEM/EDS, FTIR), integrated with information from ancient treatises.Two main gilding techniques have been used in this context: the composite foil (tin and gold), and the single gold foil, in both cases fixed on the wall by a type of oil-based adhesive with the addition of inorganic pigments, mostly lead white and ochres, called missione. The scientific results are in agreement with the recipes contained in the ancient treatises, particularly in the Libro dell’Arte by Cennino Cennini.Extending the research to other case studies in Tessin and Italy, it is clear that the gilding technique was not influenced by the geographical and historical context, but by the final appearance required by the decoration on the wall surface. The use of tin in the composite foil permitted the gold foil to be burnished and engraved.L’emploi de la dorure sur des peintures murales en Italie a eu son apogée entre le xiiie et le xive siècle. Ce travail traite les objets peints dans la région des lacs lombards, entre 1360 et 1520, réalisés dans les ateliers des Seregnesi, des Da Tradate et d’Andrea de Passeri, en vue d’une compréhension de la technique de la dorure au moyen de techniques scientifiques (MO, MEB/EDX, FTIR) et des informations obtenues par étude des traités anciens.Deux techniques sont principalement utilisées: la feuille composée (étain et or) et la simple feuille d’or ; dans les deux cas les feuilles sont fixées à la surface avec un adhésif huileux auquel sont ajoutés des pigments inorganiques, le plus souvent du blanc de plomb et des ocres, appelé missione (mixtion).Les résultats scientifiques trouvent une bonne correspondance avec les recettes mentionnées dans les traités anciens, en particulier dans le Libro dell’Arte de ennino Cennini.En étendant les recherches à d’autres exemples dans le Tessin et en Italie, il paraît évident que la technique n’a pas été influencée par le contexte historique ou géographique, mais par l’aspect final de la surface murale employée. L’utilisation de l’étain dans la feuille composée permettait de brunir et graver la surface

The Depth of Surface: A practice-based encounter

This practice-based enquiry interrogates the drawn or painted surface as a dense, complex and ambivalent plane. The research arose from a sustained concern in my art practice with pattern and decoration, and it generated critical insight into existing artworks as well as works made in the course of the enquiry. Several bodies of new artworks, created to explore different aspects of surface, marked a considerable development in my established practice. The research proceeded through two complementary and interlinked activities: making drawings and paintings; and analysis of their cultural and contextual underpinnings. In order to explore the complexity of surface, a broad range of theory from, philosophy, anthropology, new media, textiles and fine art was considered. By exploring this theory through practical methods, the practice and theory impacted each other and shaped the direction of the investigation. This was a two-way process: paintings suggested contextual studies, and were used to test ideas arising from such research. Tacit understandings of surface were also sought through practical cross-cultural explorations of pattern-generating systems and techniques, notably aspects of Islamic, Celtic, Indian and medieval practice, and by probing personal and historical legacies. The study began as an exploration of the outward-facing and inward supporting components of image-making. My focus was on the interplay between what is intentionally presented on the surface and elements organically arising from the making process, such as traces of preparatory design and generating structures or devices. It sought to understand how these modify what we perceive as surface, and its meanings. Surface emerged as conceptually and materially complex; a place where meaning, value and materiality are not fixed, but in a constant state of (re)negotiation. A new reading of the interchange between surface and structure is the contribution to knowledge. This questions the commonly held views of surface as a thin skin, or a layered structure, or as solely a material component. The depth of surface was revealed in: ii a) cultural understandings linking pictorial geometries with meaning b) multiple temporalities whereby surface simultaneously references past, present and future c) the concept of entry where the viewer engages with a sense of interiority that volumizes the surface d) an interface between the viewing body and the artwork that contains both above-ness and below-ness. The research culminates by offering a new perspective on our understanding of surface based on interactivity between zones. This holistic approach synthesises ideas from other thinkers and practitioners, destabilises existing understandings of the over/under paradigm and focuses on the experiential dimension of surface as an embodied encounter. Ultimately, surface emerges as a heterotopic site where time, scopic regimes, outward-reaching shine, and inward-drawing shadow connect in a mutable and unstable zone of encounter

Painting with gold: gilders in Northern Alentejo in the 17th and 18th centuries

This article will demonstrate that the artistic context in the North Alentejo region, very dynamic in the 16th century and enriched by the presence of both national and international artists, evolved slowly during the late 17th and 18th centuries to a reality marked mainly by the activity of local painters, most of them unknown, which became increasingly versatile, working in oil painting, fresco and also gildings. To better characterize this reality, some examples will be presented of artists who worked in various techniques as proved by documentary evidences. The materials now presented were a relevant contribution for the project "Gilt Teller: an interdisciplinary multi-scale study of gilding techniques and materials in Portugal, 1500-1800"

Intervention in the golden ornamentation of the central area of and the south access to the Basílica De La Virgen de los Desamparados of Valencia

El objetivo de este artículo es mostrar las posibles soluciones de intervención sobre diferentes problemáticas en las ornamentaciones doradas de grandes conjuntos monumentales. A partir de la intervención del espacio central y acceso sur de la Real Basílica de la Virgen de los Desamparados de Valencia, se pretende presentar las causas más comunes de deterioro de las decoraciones con pan de oro y plata, así como sus posibles soluciones. De igual modo, se mostrarán las diversas técnicas y materiales tradicionales para la realización de la decoración dorada. Utilizando como referencia la intervención llevada a cabo en la Basílica, un edificio original del S. XVII con reformas barrocas y neoclásicas del S. XVIII (Bosch et al., 1994), se podrá entender las diferentes problemáticas que surgen para unificar los conceptos teóricos de restauración con el reconocimiento de la historia del conjunto monumental.This article attempts to show the possible solutions to undertake interventions in different cases of gilding ornamentation from large monuments. After the intervention in the central area of and the south access to the Real Basílica de la Virgen de los Desamparados de Valencia, we intend to explain the most usual causes of damage to the gold- and silver-leaf decorations and possible solutions. At the same time, different and traditional gilding techniques and materials will be shown. We will use the intervention carried out in the Basílica building as a reference, this being an original 17th century building with 18th century Baroque and Neoclassic alterations (Bosch et al., 1994), to understand the different problems that emerge in order to unify theoretical restoration concepts with the merit of this monument's history.Alfonso Muñoz, M.; Ferragut Adam, X.; Guerola Blay, V.; Roig Picazo, MP. (2008). Intervención en la ornamentación dorada del espacio central y acceso sur de la Basílica de la Virgen de los Desamparados de Valencia. Arché. (3):117-126. http://hdl.handle.net/10251/31509117126