THE TRANSFER OF A SIXTEENTH CENTURY PANEL PAINTING: USE OF A LIGHTWEIGHT PAPER HONEYCOMB MATERIAL AS A SUPPORT

1978 ◽  
Vol 23 (sup1) ◽  
pp. 185-189
Author(s):  
Timothy Lennon
Keyword(s):  
Sixteenth Century ◽  
Panel Painting ◽  
Paper Honeycomb ◽  
Honeycomb Material

Verifying the operation of an elastic crossbar system applied to a panel painting: the Deposition from the Cross by an anonymous artist from Abruzzo, sixteenth century

2016 ◽  
Vol 62 (3) ◽  
pp. 150-161 ◽  
Author(s):  
Linda Cocchi ◽  
Bertrand Marcon ◽  
Giacomo Goli ◽  
Paola Mazzanti ◽  
Ciro Castelli ◽  
...  
Keyword(s):  
Sixteenth Century ◽  
Panel Painting ◽  
The Cross ◽  
Crossbar System

X.—The St. Albans School of Painting, Mural and Miniature: Part I. Mural Painting

Archaeologia ◽  
1902 ◽  
Vol 58 (1) ◽  
pp. 275-292
Author(s):  
William Page
Keyword(s):  
Sixteenth Century ◽  
Thirteenth Century ◽  
Decorative Arts ◽  
Mural Painting ◽  
Norman Conquest ◽  
Panel Painting ◽  
History Of

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.

scholarly journals 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

2016 ◽  
Vol 374 (2082) ◽  
pp. 20160051 ◽  
Author(s):  
María Angélica García-Bucio ◽  
Edgar Casanova-González ◽  
José Luis Ruvalcaba-Sil ◽  
Elsa Arroyo-Lemus ◽  
Alejandro Mitrani-Viggiano
Keyword(s):  
Raman Spectroscopy ◽  
Sixteenth Century ◽  
Latin American ◽  
Surface Enhanced Raman Spectroscopy ◽  
Specific Information ◽  
Panel Painting ◽  
Surface Enhanced ◽  
Surface Enhanced Raman ◽  
Panel Paintings

Colonial panel paintings constitute an essential part of Latin-American cultural heritage. Their study is vital for understanding the manufacturing process, including its evolution in history, as well as its authorship, dating and other information significant to art history and conservation purposes. Raman spectroscopy supplies a non-destructive characterization tool, which can be implemented for in situ analysis, via portable equipment. Specific methodologies must be developed, comprising the elaboration of reference panel paintings using techniques and materials similar to those of the analysed period, as well as the determination of the best analysis conditions for different pigments and ground preparations. In order to do so, Raman spectroscopy at 532, 785 and 1064 nm, surface-enhanced Raman spectroscopy (SERS) and a helium-Raman system were applied to a panel painting reference, in combination with X-ray fluorescence analysis. We were able to establish the analysis conditions for a number of sixteenth century pigments and dyes, and other relevant components of panel paintings from this period, 1064 nm Raman and SERS being the most successful. The acquired spectra contain valuable specific information for their identification and they conform a very useful database that can be applied to the analysis of Ibero-American Colonial paintings. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.

Maxims of Foreign Policy

Itinerario ◽  
2000 ◽  
Vol 24 (2) ◽  
pp. 62-79
Author(s):  
W.J. Boot
Keyword(s):  
Foreign Policy ◽  
Sixteenth Century ◽  
Foreign Relations ◽  
East Asian ◽  
Modern Period ◽  
Cultural Sphere ◽  
Japanese Identity

In the pre-modern period, Japanese identity was articulated in contrast with China. It was, however, articulated in reference to criteria that were commonly accepted in the whole East-Asian cultural sphere; criteria, therefore, that were Chinese in origin.One of the fields in which Japan's conception of a Japanese identity was enacted was that of foreign relations, i.e. of Japan's relations with China, the various kingdoms in Korea, and from the second half of the sixteenth century onwards, with the Portuguese, Spaniards, Dutchmen, and the Kingdom of the Ryūkū.

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