Archaeometric investigations of medieval stained glass panels from Grodziec in Poland

Hyperspectral imaging workflow for the acquisition and analysis of stained-glass panels

Optics for Arts, Architecture, and Archaeology VIII ◽

10.1117/12.2593735 ◽

2021 ◽

Author(s):

Agnese Babini ◽

Sony George ◽

Jon Y. Hardeberg

Keyword(s):

Hyperspectral Imaging ◽

Stained Glass ◽

Glass Panels

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Stained Glass Panels from the Workshop of Dirk Vellert in the Goldman Collection

The Art Bulletin ◽

10.2307/3045439 ◽

1929 ◽

Vol 11 (2) ◽

pp. 125

Author(s):

Arthur Edwin Bye

Keyword(s):

Stained Glass ◽

Glass Panels

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XRF Imaging (MA-XRF) as a Valuable Method in the Analysis of Nonhomogeneous Structures of Grisaille Paint Layers

Heritage ◽

10.3390/heritage4040179 ◽

2021 ◽

Vol 4 (4) ◽

pp. 3193-3207

Author(s):

Edyta Bernady ◽

Maria Goryl ◽

Małgorzata Walczak

Keyword(s):

Experimental Methodology ◽

Light Elements ◽

Stained Glass ◽

Valuable Data ◽

Additional Information ◽

Xrf Scanning ◽

Valuable Method ◽

Glass Panels ◽

Quantitative Results ◽

Non Destructive

Stained glass paint layers made with vitreous paints can be a challenging subject for analyses. Their heterogenic structure requires proper experimental methodology in order to obtain valuable data. The main goal of this paper is to present the advantages of macro-XRF scanning (MA-XRF) in the non-destructive investigation of historical grisaille paint layers on the basis of research conducted on seven stained glass panels from the Dominican Monastery in Kraków, the Diocesan Museum in Kielce and the National Museum in Poznań (Poland). The obtained results showed the capabilities of MA-XRF scanning in technology recognition, the legibility of damaged fragments of painted depictions, as well as with distinguishing the elemental composition between vitreous paints in different colours. Additionally, SEM-EDS measurements are presented so as to acquire quantitative results and additional information concerning light elements.

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Fit for a Count: The Twelfth-Century Stained Glass Panels from Troyes

Speculum ◽

10.2307/2851944 ◽

1989 ◽

Vol 64 (2) ◽

pp. 338-372 ◽

Cited By ~ 1

Author(s):

Elizabeth Carson Pastan

Keyword(s):

Twelfth Century ◽

Stained Glass ◽

Glass Panels

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A transparent dialogue between iconography and chemical characterisation: a set of foreign stained glasses in Portugal

Heritage Science ◽

10.1186/s40494-021-00480-w ◽

2021 ◽

Vol 9 (1) ◽

Author(s):

Alexandra Rodrigues ◽

Mathilda Coutinho ◽

Andreia Machado ◽

Bruno A. Martinho ◽

Luís Cerqueira Alves ◽

...

Keyword(s):

Fifteenth Century ◽

Art History ◽

Lead Oxide ◽

Stained Glass ◽

Heritage Science ◽

Scientific Approach ◽

First Results ◽

Glass Panels ◽

Production Period ◽

Oxide Pigment

AbstractThis work presents the first results of the iconographic study and analytical characterisation of a set of four stained-glass panels that are part of the collection of National Palace of Pena (Sintra, Portugal). These panels were collected by the King Ferdinand II in the mid-nineteenth century, for his main residence the Palace of Necessidades (Lisbon, Portugal), and only first presented to the general public in 2011. This study contributes with the knowledge of Technical Art History and Heritage Science to a better and deeper understanding of their history, materials and techniques used in the production, where an art-historical and a scientific approach are applied to attribute their origins. Based on the analysis of the formal and stylistic characteristic of the panels, it is proposed that the drawings used for the production of three of these panels may be based on the design and painting being carried out in the same workshop, and that the four panels have the same provenance (Germany). The composition of the glass and grisaille was determined and colourising elements were identified. Through this approach, conclusive correlation between the analysed glasses was possible: all are calcium rich or calcium–potassium rich types, and the results also suggest that the same source of silica was used for their production. A typical mixture of glass and lead oxide was found in the grisaille applied on the painted panels. However, less usual was the use of a copper oxide pigment for the black grisaille. All these findings support the proposals made regarding provenance and production period (fifteenth century).

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A Transparent Dialogue Between Iconography and Chemical Characterisation: A Set of Foreign Stained Glasses in Portugal

10.21203/rs.3.rs-97368/v1 ◽

2020 ◽

Author(s):

Alexandra J. Rodrigues ◽

Mathilda Larsson Coutinho ◽

Andreia Machado ◽

Bruno A. Martinho ◽

Luís Cerqueira Alves ◽

...

Keyword(s):

Art History ◽

Lead Oxide ◽

Stained Glass ◽

15Th Century ◽

Heritage Science ◽

Scientific Approach ◽

First Results ◽

Glass Panels ◽

Production Period ◽

Oxide Pigment

Abstract This work presents the first results of the iconographic study and analytical characterisation of a set of four stained-glass panels that are part of the collection of National Palace of Pena (Sintra, Portugal). These panels were collected by the King Ferdinand II in the mid-19th century, for his main residence the Palace of Necessidades (Lisbon, Portugal), and only first presented to the general public in 2011. This study contributes with the knowledge of Technichal Art History and Heritage Science to a better and deeper understanding of their history, materials and techniques used in the production, where an art-historical and a scientific approach are applied to attribute their origins. Based on the analysis of the formal and stylistic characteristic of the panels, it is proposed that the drawings used for the production of three of these panels may be based on the design and painting being carried out in the same workshop, and that the four panels have the same provenance (Germany). The composition of the glass and grisaille was determined and colourising elements were identified. Through this approach, conclusive correlation among the analysed glasses was possible: all are calcium rich or calcium-potassium rich types, and the results also suggest that the same source of silica was used for their production. A typical mixture of glass and lead oxide was found on the grisaille applied on the painted panels. However, less usual was the use of a copper oxide pigment for the black grisaille. All these findings support the proposals made regarding provenance and production period (15th century).

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