Pigments of English Medieval Wall Painting

Helen Howard’s Pigments of English Medieval Wall Painting is the first systematic analysis of pigments used in medieval English wall paintings, revealing a more complex and sophisticated painting practice than previously understood. Covering works from major sites such as Canterbury, Westminster, and Durham, it identifies thirty pigments-four newly detected in this context-and explores techniques, binding media, and pigment alteration. Richly illustrated, this volume offers vital insights for historians, conservators, and all those interested in medieval art and materials.

In Pigments of English Medieval Wall Painting, Helen Howard demonstrates that the techniques of wall painting in medieval England were far more complex than had previously been supposed. This is the first systematic analysis of the pigments employed in medieval wall paintings in northern Europe, covering an extensive selection of schemes from a variety of sites including parish churches, cathedrals and abbeys (Canterbury, Westminster, Norwich, Winchester, St Albans, Sherborne and Durham). The nature and extent of the palette used is revealed as well as the sophistication with which pigments were applied to achieve differing effects. Thirty pigments are detected including four previously unknown in the context of English medieval wall paintings – vivianite, salt green, kermes lake and madder lake. Also discovered are three alterations of pigments: the lightening of red lead; alteration of vivianite to a yellow form and the transformation of verdigris to a blue chloride-based alteration product. The use of different binding media employed for particular pigments in a single paint layer demonstrates the complex manner in which paintings were executed. The findings, discussed in the context of wall painting, sculptural polychromy and panel painting techniques in medieval northern Europe, show the broad chronological development in the choice, fabrication and application of materials linked to changes in artistic intent, technology and workshop practice. Beautifully illustrated with more than 200 colour plates, Pigments of English Medieval Wall Painting has significant implications for the conservation methods of such paintings and is an important source of information for all those interested in pigments and paintings.

Acknowledgements List of tables List of colour plates Abstract Introduction Background to the research Overview of English medieval wall painting techniques The focus of this book Sources of information Chronological and geographical scope Initial summary of the results Methodology Introduction Primary sources: medieval treatises, recipe books and accounts Secondary literature: antiquarian literature and more recent published Sources The author's work and unpublished analytical sources Methods of scientific examination employed Blue pigments Ultramarine Vivianite Egyptian blue Azurite Synthetic copper blues Indigo Green pigments Green earth Salt green Malachite Verdigris and copper resinate Red pigments Vermilion Red lake pigments Red lead Red and yellow earth pigments Yellow pigments Orpiment Lead-tin yellow White pigments Lime white Chalk Calcium sulphate whites Lead white Bone white Carbon black pigments Charcoal black Bone black Coal black Black earth pigments Discussion Pigments previously unidentified in English medieval wall painting Use of pigments and the changing nature of English medieval wall painting Pigment alteration in English medieval wall painting Relationships with continental wall painting, polychrome sculpture and panel painting: implications for workshop practice Conservation implications of the present research Avenues for further research Appendix 1: Glossary Appendix 2: Examination proforma for use in situ Appendix 3: Tables Appendix 4: Abbreviations used in the tables References Index,

Acknowledgements

List of tables

List of colour plates

Abstract

Introduction

Background to the research

Overview of English medieval wall painting techniques

The focus of this book

Sources of information

Chronological and geographical scope

Initial summary of the results

Methodology

Introduction

Primary sources: medieval treatises, recipe books and accounts

Secondary literature: antiquarian literature and more recent published

sources

The author's work and unpublished analytical sources

Methods of scientific examination employed

Blue pigments

Ultramarine

Vivianite

Egyptian blue

Azurite

Synthetic copper blues

Indigo

Green pigments

Green earth

Salt green

Malachite

Verdigris and copper resinate

Red pigments

Vermilion

Red lake pigments

Red lead

Red and yellow earth pigments

Yellow pigments

Orpiment

Lead-tin yellow

White pigments

Lime white

Chalk

Calcium sulphate whites

Lead white

Bone white

Carbon black pigments

Charcoal black

Bone black

Coal black

Black earth pigments

Discussion

Pigments previously unidentified in English medieval wall painting

Use of pigments and the changing nature of English medieval wall painting

Pigment alteration in English medieval wall painting

Relationships with continental wall painting, polychrome sculpture and panel painting: implications for workshop practice

Conservation implications of the present research

Avenues for further research

Appendix 1: Glossary

Appendix 2: Examination proforma for use in situ

Appendix 3: Tables

Appendix 4: Abbreviations used in the tables

References

Index

• By (author) Helen Howard

"...par sa rigueur, sa clarte et la richesse des sources scientifiques et documentaries reunies, une veritable somme sur les techniques picturales medievales, desormais indispensable Atoute personne approchant une oeuvre peinte et cherchant Aen identifier les constituents, et Atravers eux, son histoire profonde." Bulletin Monumental 164(3) (2006) 320-321 "The book is well produced and the colour plates are of good quality. Helen Howard is to be congratulated on writing this very useful volume, which will prove of great benefit to students as well as a mine of information for conservators, scientists, experienced practitioners of wall-painting conservation and everyone interested in the history of pigments and their use in art." Studies in Conservation 50 (2005) 77-78
—

The book is well produced and the colour plates are of good quality. Helen Howard is to be congratulated on writing this very useful volume, which will prove of great benefit to students as well as a mine of information for conservators, scientists, experienced practitioners of wall-painting conservation and everyone interested in the history of pigments and their use in art.

—

...par sa rigueur, sa clarté et la richesse des sources scientifiques et documentaries réunies, une véritable somme sur les techniques picturales médiévales, désormais indispensable à toute personne approchant une oeuvre peinte et cherchant à en identifier les constituents, et à travers eux, son histoire profonde.

—