Connecting objects, communities and cultural knowledge

Lewincamp, Sophie; Sloggett, Robyn

doi:10.1080/10344233.2016.1206288

Cited by 6 publications

(2 citation statements)

References 21 publications

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“…The results obtained from Vespucci's chart show that its pigment palette is similar to those of other late medieval and early modern manuscript or hand-coloured maps and globes [19,20]. The first material studies of these works were based on analysis of microsamples [22]; however, the current tendency is the application of non-invasive techniques, predominantly XRF, which was combined variously with UVF, IRR, PIXE, FORS or Raman spectroscopy [8][9][10][25][26][27]. Recently, multispectral and hyperspectral imaging have also been used [28,29].…”

Section: Discussionmentioning

confidence: 99%

“…Gypsum is present in a Blaeu hand-coloured map from the 17th century printed on paper, but in this case, the substance was used as a filler in the cellulose of the paper [10]. In some maps, the use of organic colourants for violet, yellow [26] and red, identified as cochineal [32], was reported. We could not identify organic materials due to the analytical techniques available.…”

Section: Discussionmentioning

confidence: 99%

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Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)

et al. 2022

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Not many manuscript maps have been the object of material analysis so far. A portolan chart, signed and dated by Juan Vespucci in 1520, was studied in this research, conserved at the Archivo General de Indias in Seville (Spain). It is made on parchment and depicts the coasts and islands of Europe and Africa. It is the oldest portolan chart made in Seville, being unusual in applying hand stamp for decorative figures. The map was analysed by different non-invasive techniques: infra-red and ultraviolet light, digital microscope and X-ray fluorescence (XRF). The main goals of this study were to identify the materials used, as well as to detect retouching or restoration work. Results showed that the entire parchment was first covered with a white layer made of lead white (Pb), calcite or gypsum (Ca). The principal pigments used were vermilion (Hg), yellow ochre (Fe), azurite (Cu) and a copper-based green pigment (Cu) and carbon black. The letters were probably written with an iron-gall ink (Fe, Cu). Very thin golden leaves were applied on a mixtion glue for gilded wind roses. Several retouches from the 19th/20th centuries were found using zinc and titanium whites and probably cobalt blue.

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