Contribution to the study of grounds for panel painting of the Spanish School in the fifteenth and sixteenth centuries

On The Grounds Of Post‐Byzantine Greek Icons

“…On the basis of pertinent published data, it is obvious that high‐purity CaSO 4 compounds were not always used; for example, during the examination of Spanish Renaissance panel paintings, Gómez et al . () found that only 1 out of 18 different gesso layers exhibited an CaSO 4 content above 95%. Thus, the narrow range of SO 3 /CaO values, as well as the high purity of the icons examined herein, indicate that the Greek icon painters were conscious of the importance of the purity of their gesso material, and paid attention to its selection/processing, two points that are also emphasized by Dionysius (, §5).…”

“…; Gómez et al . ; Rodríguez et al . ) and thus the latter icons may represent the first evidence of the application of a version of this technique in the context of post‐Byzantine icon painting in the Greek lands.…”

“…Above 525 °C, only β‐CaSO 4 is formed (Gómez et al . ), while at an even higher temperature (≈1200 °C) β‐CaSO 4 inverts to α‐CaSO 4 (Palache et al . ).…”

“…), while it has also been identified in 16th century Spanish panel paintings and tin‐relief, brocade decorated altarpieces (Gómez et al . ; Rodríguez et al . ), as well as in several Portuguese artefacts (Sandu et al .…”

A comparative interdisciplinary study of gilding techniques and materials in two Portuguese Baroque “talha dourada” complexes

“…Sandu, E. Murta, E. R. Neves, M.F.C. Pereira, A. V. Sandu, S. Kuckova, A. Maurício An interesting contribution given by microCT in this case is the possibility of distinguishing between the coarse layers of gesso grosso and finer gesso matte, which presence characterize the water gilding technique [35][36][37]. This dynamic observation can be complemented with the SEM imaging that also allows differentiating the distribution and orientation of gypsum grains within different layers ( Figure 5, samples MNAA4 and VF7-VF8).…”