Slog in tehnika srednjeveškega stenskega slikarstva na Slovenskem

Raman microspectroscopic analysis of pigments of the Gothic wall painting from the Dominican Monastery in Ptuj (Slovenia)

“…Especially in the 13 th and 14 th centuries, the entire painted surface would have been executed using the above-mentioned technique. [4] It owed its popularity in the regions north of the Alps to the humid climate and colder atmosphere, which permitted a longer drying period for the mortar and lime-wash. [4] According to the stratigraphic analysis, only one single paint layer was applied, indicating that the wall painting is quite simple from a technical point of view. Generally, Slovene mediaeval mural paintings show combination of three painting procedures: a fresco, a secco and lime technique.…”

“…Also used, but in smaller amount, because they were normally applied for a secco finishing, are cinnabar, lead white, red lead and massicote or lead-tin yellow. [5,6] For Slovenia, all later pigments are very rarely found, [4] what makes the presented wall paintings even more important in a wider Alpine region-not only from the art-historical, but also technical-material point of view. The blue pigment (DSP25), which covers the largest area on the wall painting as a background colour, was identified as azurite ( Fig.…”

“…[3] The medieval wall paintings in the Slovenian territory, dated between the end of the 13 th and the end of the 15 th century, are distinguished not only for their stylistic tendencies but also for their execution in different painting techniques. [4] Their painting technology and style were highly influenced by the southern Alpine region tradition. As north of the Alps, so also in Slovenia, the majority of monuments in medieval time were executed either in lime (painting on a layer of fresh lime-wash) or combined technique (painting started in a fresco with secco finishing touches).…”

“…As north of the Alps, so also in Slovenia, the majority of monuments in medieval time were executed either in lime (painting on a layer of fresh lime-wash) or combined technique (painting started in a fresco with secco finishing touches). [4] Especially in the period between the late 13 th and early 14 th century, there was a constant and rich exchange with the Northern European cultural group, followed by the first wave of Italian influences in the mid-14 th century. The main difference between the wall paintings of Italy and the countries north of the Alps is the painting technology.…”

“…The lime technique was predominant in Austria and Bavaria till the late Gothic period. [4] The Gothic painting technique, however, is not as fully investigated in the Alpine regions and Northern Europe as it is in Italy, one reason being the qualitative Italian art and another the great importance of miniature and table painting. [4] The identification of the wall painting pigments and painting technique is therefore of art-historical interest and provides important information also to restorers.…”