The history of mural and panel painting in England before the sixteenth century may perhaps be divided into three periods. Firstly, that from the Norman Conquest, or possibly before, which continued during the wave of monastic enthusiasm which swept over Europe, and ended at the close of the thirteenth century. During this time there is every reason to suppose from the evidence of chronicles, fabric rolls, and works accounts that in England as well as elsewhere all the decorative arts were practised by persons associated together in schools or lodges with three gradations of members, namely, masters, workmen, and apprentices or novices. Art was at this date fostered by the monasteries, indeed, those who practised it were largely drawn from the inmates of the Benedictine houses, and it would seem that, at all events at St. Albans, the sacrists were themselves workers and sometimes held the rank of master workmen. During this period one man practised many arts. We know that Richard the Painter superintended the building of Hereford Castle in 1172, and, later, Master John of St. Omer, while making the great lectern for the chapter house at Westminster in 1253, had carpenters, masons, painters, smiths, and others working under his direction. Numerous other instances could be quoted were not the practice so well known as to make it unnecessary.
Spectroscopic characterization of sixteenth century panel painting references using Raman, surface-enhanced Raman spectroscopy and helium-Raman system for
in situ
analysis of Ibero-American Colonial paintings