Painting the Past in the 19th Century: Materials, Methods, and Perspectives in Watercolour Replicas
Abstract
:1. Introduction
2. Materials and Methods
2.1. The Replicas
2.2. Macro-X-ray Fluorescence (MA-XRF), Bruker CRONO XRF Spectrometer
2.3. X-ray Diffraction (XRD), Bruker HYDRA XRF + XRD Spectrometer
2.4. Fibre-Optic Reflectance Spectroscopy (FORS), University of Durham
3. Results
3.1. Hand-Coloured Engravings Replicating Egyptian Frescoes
3.1.1. Black and Red Printing Inks
3.1.2. Whites
3.1.3. Reds
3.1.4. Yellows
3.1.5. Blues and Greens
3.2. Watercolours by Ruskin’s Academic Circle
3.2.1. WA.RS.ED.204 and 205
3.2.2. WA.RS.ED.206
3.2.3. WA.RS.ED.207 and 208—Replicas by John James Laing
4. Discussion
4.1. Capurro’s Workshop: Emphasis on Modernity and Profitability
4.2. Ruskin’s Academic Circle: Traces of a Historical Approach
5. Conclusions
Supplementary Materials
Author Contributions
Funding
Data Availability Statement
Acknowledgments
Conflicts of Interest
Appendix A
# | Date | Accession n. | Producer | Title |
---|---|---|---|---|
1 | 1829-32 | WA.RS.REF.176 | Niccolò Capurro | Engraving of a relief of Ramesses II receiving suppliants |
2 | 1829-32 | WA.RS.REF.177 | Niccolò Capurro | Engraving of a relief of the chariot of Ramesses II |
3 | 1829-32 | WA.RS.REF.179 | Niccolò Capurro | Engraving of a painting of Merneptah adoring Re-Harakhti |
4 | 1829-32 | WA.RS.REF.180 | Niccolò Capurro | Engraving of a painting of Ramesses III adoring Isis and Ptah-Sokar |
5 | 1870? | WA.RS.ED.204 | Anonymous | Drawing of an initial “I” from the Arnstein Bible |
6 | 1860 | WA.RS.ED.205 | Anonymous | Drawing of an initial “N” from a twelfth-century illuminated manuscript |
7 | 1860 | WA.RS.ED.206 | Anonymous | Drawing of an illuminated initial “M” and “C” from a manuscript of the late twelfth or early thirteenth century |
8 | 1860 | WA.RS.ED.207 | John James Laing | Drawing of two illuminated initials from late thirteenth-century English or French manuscripts |
9 | 1860-62 | WA.RS.ED.208 | John James Laing | Drawing of two illuminated initials from thirteenth-century French manuscripts |
Red and Orange | Yellow | ||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|
# | Vermilion | Ochre | Organic | Minium | Ochre | Organic | Lead Chromate | Barium Chromate | Cadmium Yellow | Strontium Chromate | Gold |
1 | A, B | A | |||||||||
2 | A, B, C | A | |||||||||
3 | A, B, C | B | A | A | A | ||||||
4 | A, B, C | B | A | A | |||||||
5 | A, B | A | |||||||||
6 | A, B | ||||||||||
7 | A | A | A | A, B | |||||||
8 | A, B | A | A? | A? | A | ||||||
9 | A, B | A | A | ||||||||
Blue | Green | White | |||||||||
# | Prussian Blue | Cobalt-Based | Ultramarine | Azurite/Blue Verditer | Emerald Green | Chromium-Based | Zinc White | Lead White | Barium White | ||
1 | A, C | A | B, C | ||||||||
2 | A, C | A | A, B | B, C | A | ||||||
3 | C | A, B, C | |||||||||
4 | A, C | A, B | B, C | A | |||||||
5 | A (Al, Co) | A, B | A | A, B | |||||||
6 | A (Al, Co) | A | A, B | ||||||||
7 | A (Co) | A, B | A | A, B | |||||||
8 | A (Al, P, Ca, Co), B | A | A | A, B | A, B | ||||||
9 | A (Al, P, Ca, Co), B | A, B | A, B |
Pigment Name * | Composition/Source | Rowney 1846 | W&N1852 | W&N 1858 | W&N 1860 | Barnard 1860 | Rowney 1861 | W&N 1877 | W&N 1879 | W&N 1880? | W&N 1883 | W&N 1897 |
---|---|---|---|---|---|---|---|---|---|---|---|---|
Vermilion | Mercury sulphide | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 |
Ochre(s) | Iron oxide(s) | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 |
Minium | Lead oxide | 1 | 1 | - | 1 | - | 1 | - | - | - | - | - |
Crimson lake | Cochineal insect | 1.6 | 1.6 | 1.6 | 1.6 | 1.6 | 1.6 | 1.6 | 1.6 | 1.6 | 1.6 | 1.6 |
Madder lake | Madder plant | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
Pink madder | Madder plant | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
Purple ditto | Madder plant | 5 | 5 | 5 | 5 | 3 | 5 | 5 | 5 | 5 | 5 | 3 |
Carmine | Cochineal insect | 5 | 5 | 5 | 5 | 5 | 5 | 3 | 3 | 3 | 3 | 3 |
Gamboge | Gamboge resin | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 |
Chrome yellow | Lead chromate | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 |
Lemon yellow | Barium/strontium chromate | 2 | 3 | 3 | 3 | - | 2 | 3 | 3 | 3 | 2 | 2 |
Cadmium yellow | Cadmium sulphide | - | 5 | 5 | 5 | 5 | 5 | 3 | 3 | 3 | 3 | 2 |
Prussian blue | Iron hexacyanoferrate | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 |
Indigo | Indigo plant | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 |
Blue verditer | Copper carbonate | 1 | - | - | - | 1 | - | - | - | - | - | |
Cobalt blue | Cobalt aluminate | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 |
French blue | Synthetic lazurite | 2 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 2 |
Smalt | ** | 5 | 5 | 5 | 5 | 5 | 5 | 5 | 5 | 5 | 5 | 5 |
Ultramarine ash | Lazurite | - | 5 | 5 | 5 | - | 5 | 5 | 5 | 5 | 5 | 5 |
Ultramarine | Lazurite | 21 | 21 | - | 21 | 21 | 11 | 21 | 21 | 21 | 21 | 21 |
Emerald green | Copper acetoarsenite | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 |
Oxide of chromium | Chromium oxide | - | 3 | 3 | 3 | - | 3 | 3 | 3 | 3 | 3 | 2 |
Viridian | Hydrated chromium oxide | - | - | - | - | - | - | 3 | 3 | 3 | 2 | 2 |
Flake white | Lead carbonate | 1 | 1 | - | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 |
Chinese white | Zinc oxide | - | 1.6 | 1.6 | 1.6 | 1.6 | 1.6 | 1 | 1 | 1 | 1 | 1 |
Constant/permanent white | Barium sulphate | 1.6 | 1.6 | - | 1.6 | 1.6 | 1.6 | 1.6 | 1.6 | 1.6 | 1.6 | 1 |
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Ghigo, T.; Hirschle, C. Painting the Past in the 19th Century: Materials, Methods, and Perspectives in Watercolour Replicas. Heritage 2024, 7, 4300-4322. https://doi.org/10.3390/heritage7080203
Ghigo T, Hirschle C. Painting the Past in the 19th Century: Materials, Methods, and Perspectives in Watercolour Replicas. Heritage. 2024; 7(8):4300-4322. https://doi.org/10.3390/heritage7080203
Chicago/Turabian StyleGhigo, Tea, and Christian Hirschle. 2024. "Painting the Past in the 19th Century: Materials, Methods, and Perspectives in Watercolour Replicas" Heritage 7, no. 8: 4300-4322. https://doi.org/10.3390/heritage7080203