The technique of depletion gilding is well evidenced in pre-Columbian Andean gold work.Artefacts from the Nahuange period in Colombia (c. AD 100-1000)
IntroductionPre-Columbian goldsmiths of South America are renowned for having developed, among many other technical feats, a range of gilding techniques that rendered their objects golden, even if the quantity of gold in the bulk metal was relatively low. A variety of gilding methods are known that are predominant in different regions, depending on individual goldsmithing traditions. Gilding techniques can be broadly categorised into those that functioned by adding a gold layer on top of a different metal substrate (with subvariants, such as fusion, leafgilding or electrochemical plating), and those that involved removing copper (and, 2 sometimes, silver) from the surface of a gold-copper-silver alloy (named 'tumbaga'), leaving it more gold-rich and hence more golden in colour than the substrate (e.g. Scott 1983; Lechtman 1988;La Niece & Meeks 2000). The latter repertoire of techniques is broadly known as 'depletion gilding', and it was favoured in large regions of the Andes, including parts of present-day Colombia. Heather Lechtman's pioneering research helped in understanding the technical sophistication of depletion gilding techniques; she also proposed interpretive models to explain this particular cultural choice (Lechtman 1973(Lechtman , 1977(Lechtman , 1984(Lechtman , 1988.Essentially, depletion gilding is achieved by exposing a gold-copper-silver alloy to an oxidising environment, which leads to the formation of copper oxide scales on the surface.During removal of these oxides by burnishing or pickling with plant acids, copper is progressively removed from the surface of the alloy, and silver and gold replace it. By repeating the process several times, metalsmiths achieved remarkably golden (and gold-rich) surfaces, even if the bulk alloy was relatively gold-poor. The thickness of the golden layer could be as thin as 10µm or less, but it was sufficient to alter the appearance of the objects radically. As Lechtman posited, this process probably responded less to a concern with saving metals or reducing their melting temperatures, as to a cultural norm dictating that the golden 'essence' of the metal must be exhibited on the objects' surfaces. Thus, depletion gilding became a key element of the Andean 'technical style' that straddles material and symbolic considerations, and it has continued to be recognised as such (e.g. González 2004).While overarching models are useful to drive the discipline, higher-resolution regional studies often reveal idiosyncratic practices that do not fit easily into those paradigms. Here, we present the first analytical characterisation of Nahuange gold work from Colombia-a metallurgical tradition that developed in the northern Sierra Nevada de Santa Marta, based on copper-rich tumbaga alloys. Of particular significance is the discovery...