11/25/2023 0 Comments Robert plaster house![]() ![]() Knowledge of wall painting materials and techniques is progressing rapidly as more paintings are examined scientifically in view of or during restorations, while at the same time new and more accurate diagnostic methods and tools are established. The chronological focus is determined by the surviving paintings themselves, which are most numerous for the later centuries of the Middle Ages but which nevertheless include samples from earlier periods, that will also be discussed here. In this paper, we will focus mainly on European territories, where the highest percentage of medieval wall paintings survives, and specifically on Italy from the twelfth to the fifteenth century. Wall painting was used all over Europe, in the Mediterranean basin, in the Balkan territories and in Russia, with techniques and materials that, as we shall see, were substantially similar. The Middle Ages inherited these competences and yet declined them in a way as to meet new criteria, with specific respect to the different use that people made of painted decorations in Christianity, introducing some significant technical and stylistic innovations. ![]() Wall painting techniques were first developed in Antiquity and are evidenced by numerous surviving samples dating back to Roman times, as well as by frequent references in theoretical and technical treatises. painters and labourers or apprentices) (Zanardi 2002). painters) or generically divided into ‘magistri et operarii’ (i.e. From 19 th July to 2 nd of October 1369, 24 men worked on the decoration of two chapels in the Vatican palace (Vatican City, Rome, Italy), designated in documents as ‘magistri pictores’ (i.e. According to surviving documentary evidence, for example, 8 to 29 men worked at the same time on the building site of the Palace of the Popes in Avignon, France, in the period January to October 1336 (Piola Caselli 1981 Zanardi 2002) in the same building, another 21 men were paid alongside Matteo Giovannetti, the workshop’s master, for paintings done between 13 (Müntz 1889 Zanardi 2002). This circumstance, together with the fact that wall painting requires rapid execution times, necessitated a rigorous arrangement of the worksite and the work phases, as well as the simultaneous presence of several painters, organised in workshops led by a master. Although wall painting could be used for relatively small projects, such as individual panels dedicated to a single figure, it was more often carried out on huge areas, sometimes-as in the case of the Church of St Francis in Assisi (Umbria region, central Italy)-on entire buildings. Namely, their combined employment as materials for wall painting, one of the main domains of the period’s visual culture. This paper examines a distinctive use that, in the Middle Ages, artists made of plaster, mortar and pigments. 2021) provide insights into the variety and different uses of these materials. Furthermore, two papers on cosmetic (Pérez Arantegui 2021) and bioactive (antibacterial) pigments (Knapp et al. An overview of the use of inks, pigments and dyes in manuscripts, their scientific examination and analysis protocol (Burgio 2021) as well as an overview of glass-based pigments (Cavallo and Riccardi 2021) are also presented. 2021) As-based yellows and reds (Gliozzo and Burgio 2021) Pb-based whites, reds, yellows and oranges (Gliozzo and Ionescu 2021) Hg-based red and white (Gliozzo 2021) and organic pigments (Aceto 2021). 2021) Cu-based greens and blues (Švarcová et al. A series of archaeometric reviews illustrate the state of the art of the studies carried out on Fe-based red, yellow and brown ochres (Mastrotheodoros et al. Three archaeological reviews on prehistoric (Domingo Sanz and Chieli 2021), Roman (Salvadori and Sbrolli 2021) and Medieval (this paper) wall paintings clarify the archaeological and historical/cultural framework. ![]() The second group of contributions is focused on pigments, starting from a philological essay on terminology (Becker 2021). Furthermore, several issues concerning the degradation and conservation of mortars and plasters are addressed from practical and technical standpoints (La Russa and Ruffolo 2021, Caroselli et al. An insight into their production, transport and on-site organisation is further provided by DeLaine ( 2021). The first group of contributions explains how mortars have been made and used through the ages (Arizzi and Cultrone 2021, Ergenç et al. The chosen perspective is that of a multidisciplinary scenario, capable of combining, integrating and solving the research issues raised by the study of mortars, plasters and pigments (Gliozzo et al. This Topical Collection (TC) covers several topics in the field of study, in which ancient architecture art history, archaeology and material analyses intersect. ![]()
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