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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).
Inhaltsverzeichnis
Acknowledgements List of tables List of colour plates Abstract 1 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 2 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books and accounts Secondary literature: antiquarian literature and more recent published sources The author's work and unpublished analytical sources Methods of scientific examination employed 3 Blue pigments Ultramarine Vivianite Egyptian blue Azurite Synthetic copper blues Indigo 4 Green pigments Green earth Salt green Malachite Verdigris and copper resinate 5 Red pigments Vermilion Red lake pigments Red lead 6 Red and yellow earth pigments 7 Yellow pigments Orpiment Lead-tin yellow 8 White pigments Lime white Chalk Calcium sulphate whites Lead white Bone white 9 Carbon black pigments Charcoal black Bone black Coal black Black earth pigments 10 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
