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primer underneath was finished off with a layer of glaze, imbuing it with a richer, more sophisticated colour palette. These semi- transparent layers and lakes were made using a variety of shades of red colourants and green pigments, which were probably ground up and mixed into linseed oil.” These were applied over opaque bases in a variety of hues (including whites, reds and blue-greens). bases opaques de tonalitats diverses (blan- ques, vermelles, verd-blavoses).

Figure 8 primer underneath was finished off with a layer of glaze, imbuing it with a richer, more sophisticated colour palette. These semi- transparent layers and lakes were made using a variety of shades of red colourants and green pigments, which were probably ground up and mixed into linseed oil.” These were applied over opaque bases in a variety of hues (including whites, reds and blue-greens). bases opaques de tonalitats diverses (blan- ques, vermelles, verd-blavoses).

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és favorable el seu emplacament, ja que el mo- nestir esta allunyat del centre de la ciutat ila capella ocupa un espai protegit de l’ambient extern, que resulta molt estable a nivell clima- tic. En bona mesura aixo és gracies al fet que Vestanca se situa a nivell de planta baixa, ocu- pant l’espai entre dos contraforts de l’església, de tal manera que queda aillada de l’exterior per murs molt solids i pels espais que l’envol- ten: la galeria del claustre, l’església a la qual esta adossada i el pis superior. Malgrat tot, les alteracions hi son presents, i els prop de set- cents anys d’historia han deixat empremtes significatives. floor between two buttresses supporting the church; consequently, it was isolated from the outside by highly solid walls and by the spaces surrounding it, which included the gallery of the cloister, the church to which it is attached, and the upper floor. Despite these factors, nearly seven hundred years of history left their mark, and numerous alterations can be seen in the chapel.
és favorable el seu emplacament, ja que el mo- nestir esta allunyat del centre de la ciutat ila capella ocupa un espai protegit de l’ambient extern, que resulta molt estable a nivell clima- tic. En bona mesura aixo és gracies al fet que Vestanca se situa a nivell de planta baixa, ocu- pant l’espai entre dos contraforts de l’església, de tal manera que queda aillada de l’exterior per murs molt solids i pels espais que l’envol- ten: la galeria del claustre, l’església a la qual esta adossada i el pis superior. Malgrat tot, les alteracions hi son presents, i els prop de set- cents anys d’historia han deixat empremtes significatives. floor between two buttresses supporting the church; consequently, it was isolated from the outside by highly solid walls and by the spaces surrounding it, which included the gallery of the cloister, the church to which it is attached, and the upper floor. Despite these factors, nearly seven hundred years of history left their mark, and numerous alterations can be seen in the chapel.
feréncia dels anteriors, és un enva fet de maé massis d’uns vuit centimetres de gruix.
feréncia dels anteriors, és un enva fet de maé massis d’uns vuit centimetres de gruix.
percentages of impurities (mica) as a result of the source of the aggregate. Our study revealed that the paintings were spread out over 113 giornate.° Afterwards, a second a secco layer was added using a variety of techniques (tempera, drying oils, and other techniques and combinations we have yet to identify) and gold and silver metal leaf was applied. The decoration reflects a perfectly planned design whereby some portions of the paintings would be painted using the fresco
percentages of impurities (mica) as a result of the source of the aggregate. Our study revealed that the paintings were spread out over 113 giornate.° Afterwards, a second a secco layer was added using a variety of techniques (tempera, drying oils, and other techniques and combinations we have yet to identify) and gold and silver metal leaf was applied. The decoration reflects a perfectly planned design whereby some portions of the paintings would be painted using the fresco
Tipus de lamines / Type of leaves Maneres de treballar les lamines / Different techniques for working on metal leaf
Tipus de lamines / Type of leaves Maneres de treballar les lamines / Different techniques for working on metal leaf
the Triumph of the Virgin. The layer under the gold leaf used to write the names of the saints was comprised basically of white lead, with which the letters were traced out in Gothic calligraphy against a blue background. We were unable to determine which binding agent had been used with the pigment. Most of the gold used to create the aureoles for holy figures — predominantly those located in the upper register — was placed over an underlying ochre-coloured base; in the case of the other figures, the metal was affixed to the white mortar. Finalment, les lamines metal-liques poden ser policromades, com és el cas de la sanefa decorativa de l’escena dels Improperis 0 de les ales de ’arcangel Gabriel en ’Anunciacio i algunes de les ales dels angels a l’escena del Triomf de la Verge, decorades in situ amb la técnica de l’esgrafiat. les ales de ’arcangel Gabriel en l’Anunciacid
the Triumph of the Virgin. The layer under the gold leaf used to write the names of the saints was comprised basically of white lead, with which the letters were traced out in Gothic calligraphy against a blue background. We were unable to determine which binding agent had been used with the pigment. Most of the gold used to create the aureoles for holy figures — predominantly those located in the upper register — was placed over an underlying ochre-coloured base; in the case of the other figures, the metal was affixed to the white mortar. Finalment, les lamines metal-liques poden ser policromades, com és el cas de la sanefa decorativa de l’escena dels Improperis 0 de les ales de ’arcangel Gabriel en ’Anunciacio i algunes de les ales dels angels a l’escena del Triomf de la Verge, decorades in situ amb la técnica de l’esgrafiat. les ales de ’arcangel Gabriel en l’Anunciacid
that had been applied over virtually the whole surface. It appears to be a natural gum, most likely gum arabic. These two materials have a main role in conservation because they aggravate the alterations related to the painting technique. Relacio entre la técnica d’execucid iles alteracions Un cop coneixem en profunditat la tecnica i els materials de la pintura mural es poden entendre millor les alteracions que presenta. Els murs de l’església i la bona factura dels morters han estat una garantia de bona con- servacio. Tot i aixi, la darrera capa de morter c intonaco, aplicada sobre els murs de la capella per pintar directament al fresc, es troba forca bufada i separada de l’enlluit preexistent que feia de primer revestiment i que va ser conser- vat per la seva funcié com a pla anivellat. Amb tot, després de passar per diverses vicissituds, relacionades amb obres i remodelacions, la pintura no presenta grans perdues per despre- niment i els bufats més greus es limiten a les arees intervingudes, que representen uns deu metres quadrats de la superficie total.
that had been applied over virtually the whole surface. It appears to be a natural gum, most likely gum arabic. These two materials have a main role in conservation because they aggravate the alterations related to the painting technique. Relacio entre la técnica d’execucid iles alteracions Un cop coneixem en profunditat la tecnica i els materials de la pintura mural es poden entendre millor les alteracions que presenta. Els murs de l’església i la bona factura dels morters han estat una garantia de bona con- servacio. Tot i aixi, la darrera capa de morter c intonaco, aplicada sobre els murs de la capella per pintar directament al fresc, es troba forca bufada i separada de l’enlluit preexistent que feia de primer revestiment i que va ser conser- vat per la seva funcié com a pla anivellat. Amb tot, després de passar per diverses vicissituds, relacionades amb obres i remodelacions, la pintura no presenta grans perdues per despre- niment i els bufats més greus es limiten a les arees intervingudes, que representen uns deu metres quadrats de la superficie total.
d’envelliment, han sortit a la lum. Ens referim ales zones amb pigments pulverulents, coin- cidint practicament amb el color vermell oxid de ferro que s’aplica com a fons a l’intradés i en alguns punts de les bandes vermelles que emmarquen les escenes. Aquests tracos finals de color intens i saturat, exempt d’hidroxid calcic, es degueren aplicar, sobre un intonaco ja forca sec que no va permetre la correcta car- bonatacié dels pigments al morter, de manera que aquests, dipositats sobre la superficie més que no pas englobats en la matriu de calc, s’>han anat desprenent. binding agent needed for frescoes to carbonate. Yet even in these best-preserved parts of the work, we can pinpoint small signs which demonstrate that the technique may have been followed less strictly; these only came to light after years of the natural ageing process. Concretely, this was the case in areas with powdery pigments, generally those where the iron oxide red colour was applied as a background on the soffit and in some parts of the red borders framing the scenes. These lines of intense, saturated colour, which did not contain calcium hydroxide, must have been applied at the final stage of the process onto relatively dry intonaco. As this mortar was too dry for the pigments to carbonate properly, they ended up deposited on the surface rather than embedded into the lime, and therefore were ost over the vears.
d’envelliment, han sortit a la lum. Ens referim ales zones amb pigments pulverulents, coin- cidint practicament amb el color vermell oxid de ferro que s’aplica com a fons a l’intradés i en alguns punts de les bandes vermelles que emmarquen les escenes. Aquests tracos finals de color intens i saturat, exempt d’hidroxid calcic, es degueren aplicar, sobre un intonaco ja forca sec que no va permetre la correcta car- bonatacié dels pigments al morter, de manera que aquests, dipositats sobre la superficie més que no pas englobats en la matriu de calc, s’>han anat desprenent. binding agent needed for frescoes to carbonate. Yet even in these best-preserved parts of the work, we can pinpoint small signs which demonstrate that the technique may have been followed less strictly; these only came to light after years of the natural ageing process. Concretely, this was the case in areas with powdery pigments, generally those where the iron oxide red colour was applied as a background on the soffit and in some parts of the red borders framing the scenes. These lines of intense, saturated colour, which did not contain calcium hydroxide, must have been applied at the final stage of the process onto relatively dry intonaco. As this mortar was too dry for the pigments to carbonate properly, they ended up deposited on the surface rather than embedded into the lime, and therefore were ost over the vears.
aixo, la pintura feta amb aglutinants organics no sempre esta abocada al maxim deteriora- ment. La seva resistencia esta supeditada a la forca i durabilitat de l’aglutinant mateix, als efectes que aquest introdueix en la porositat de l’intonaco ia les condicions d’humitat i temperatura a les quals ha estat exposat i que poden desencadenar processos fisics i quimics o propiciar l’atac microbiologic. As noted above, works made with a mixed technique are vulnerable because organic materials are used to paint on dry surfaces, whereas fresco painting is done with completely inorganic substances, which stood up better to the test of time. A quick glance at the murals in Saint Michael’s Chapel shows how different parts of the work evolved differently despite facing identical environmental conditions. However, it should be noted that the parts of the painting done with organic binding agents did not necessarily face serious deterioration. The conservation of these sections depended on the strength and durability of the binding agent, how it affected the porousness of the intonaco, and the humidity and temperature to which the section was subjected, which could have a bearing on the physical or chemical processes at play or create a favourable environment for microbiological attacks.
aixo, la pintura feta amb aglutinants organics no sempre esta abocada al maxim deteriora- ment. La seva resistencia esta supeditada a la forca i durabilitat de l’aglutinant mateix, als efectes que aquest introdueix en la porositat de l’intonaco ia les condicions d’humitat i temperatura a les quals ha estat exposat i que poden desencadenar processos fisics i quimics o propiciar l’atac microbiologic. As noted above, works made with a mixed technique are vulnerable because organic materials are used to paint on dry surfaces, whereas fresco painting is done with completely inorganic substances, which stood up better to the test of time. A quick glance at the murals in Saint Michael’s Chapel shows how different parts of the work evolved differently despite facing identical environmental conditions. However, it should be noted that the parts of the painting done with organic binding agents did not necessarily face serious deterioration. The conservation of these sections depended on the strength and durability of the binding agent, how it affected the porousness of the intonaco, and the humidity and temperature to which the section was subjected, which could have a bearing on the physical or chemical processes at play or create a favourable environment for microbiological attacks.
paint loss, especially in cases of sudden, significant changes in relative humidity.” pella hi han tingut un paper decisiu. Malgrat tot, l’us de l’espai al larg dels anys (obertura i tancament de la porta d’accés i les finestres, engrandiment de finestres i obertura de noves al pany d’entrada, preséncia de persones a l’in- terior) ha hagut d’incidir forgosament en les condicions ambientals. A més a més, a l’embi- gat es detecten rastres d’alguns incidents, com ara regalims i taques d’humitat antigues que podrien haver estat produides en el curt perio- de que la capella va estar sota teulada, 0 pocs anys després, quan aquesta teulada s’elimina i es dota el primer pis d’un forjat pla. També hi
paint loss, especially in cases of sudden, significant changes in relative humidity.” pella hi han tingut un paper decisiu. Malgrat tot, l’us de l’espai al larg dels anys (obertura i tancament de la porta d’accés i les finestres, engrandiment de finestres i obertura de noves al pany d’entrada, preséncia de persones a l’in- terior) ha hagut d’incidir forgosament en les condicions ambientals. A més a més, a l’embi- gat es detecten rastres d’alguns incidents, com ara regalims i taques d’humitat antigues que podrien haver estat produides en el curt perio- de que la capella va estar sota teulada, 0 pocs anys després, quan aquesta teulada s’elimina i es dota el primer pis d’un forjat pla. També hi
has worn off completely, leaving the intonaco visible. The cloak worn by one of the figures in the scene depicting the Ascension of Christ is one of the most deteriorated areas. This same situation was also visible in other parts of the painting where we believe the same pigment or technique was used. transparent. Pel que fa a la capa transparent superficial, es tracta d’una laca, possiblement un oleat de coure, perqué s’ha detectat presén- cia d’oli de llinosa. Voli de Ilinosa és l’agluti- nant de totes les capes pictoriques.
has worn off completely, leaving the intonaco visible. The cloak worn by one of the figures in the scene depicting the Ascension of Christ is one of the most deteriorated areas. This same situation was also visible in other parts of the painting where we believe the same pigment or technique was used. transparent. Pel que fa a la capa transparent superficial, es tracta d’una laca, possiblement un oleat de coure, perqué s’ha detectat presén- cia d’oli de llinosa. Voli de Ilinosa és l’agluti- nant de totes les capes pictoriques.
Discoloured indigo
Discoloured indigo
came about because water leaked into the blue backgrounds surrounding a crack in the southeast wall of the chapel, letting in humidity for a period of time. In others, it was related to the degradation of the pigment, a process the painter himself accidentally caused when painting the murals. This effect is visible around some of the aureoles in the main scene, the Triumph of the Virgin, where the original blue colour was transformed into an intense light green when the artist used a knife to cut the excess bronzed tin leaf from the intonaco. The blue pigment probably came into contact with the humidity in the mortar, transforming it into another copper carbonate, malachite.** Alternatively, this might not be malachite, but rather, copper chloride (atacamite or paratacamite, both of which are light green), which was formed when the pigment came into contact with the CI ion.*
came about because water leaked into the blue backgrounds surrounding a crack in the southeast wall of the chapel, letting in humidity for a period of time. In others, it was related to the degradation of the pigment, a process the painter himself accidentally caused when painting the murals. This effect is visible around some of the aureoles in the main scene, the Triumph of the Virgin, where the original blue colour was transformed into an intense light green when the artist used a knife to cut the excess bronzed tin leaf from the intonaco. The blue pigment probably came into contact with the humidity in the mortar, transforming it into another copper carbonate, malachite.** Alternatively, this might not be malachite, but rather, copper chloride (atacamite or paratacamite, both of which are light green), which was formed when the pigment came into contact with the CI ion.*
pigment, la porositat del morter, els canvis de pH en lestrat pictoric, els productes afegits en restauracions anteriors 0 les combinacions d’alguns d’aquests aspectes. Tal com es fa pales en la bibliografia, la humitat és un factor que cal tenir molt en compte, ja que representa el vehicle ideal per al transport de substancies diverses entre els estrats que composen la pin- tura mural i que podrien tenir una incideéncia en l’alteracié del cinabri. Aquesta podria haver estat la causa que expliqués la transformacid del pigment aplicat en la decoracié d’una sane- fa ala zona just a tocar la junta entre giornate. ening. This might explain the transformation in the pigment applied to a decorative frieze in the area between giornate. The original polychromy was lost mostly in the darker-shaded areas. These were painted over with layers of less permeable red lake, and the excess binding agent caused these areas to become detached. In any case, further research will be necessary to paint a more complete picture of this issue.
pigment, la porositat del morter, els canvis de pH en lestrat pictoric, els productes afegits en restauracions anteriors 0 les combinacions d’alguns d’aquests aspectes. Tal com es fa pales en la bibliografia, la humitat és un factor que cal tenir molt en compte, ja que representa el vehicle ideal per al transport de substancies diverses entre els estrats que composen la pin- tura mural i que podrien tenir una incideéncia en l’alteracié del cinabri. Aquesta podria haver estat la causa que expliqués la transformacid del pigment aplicat en la decoracié d’una sane- fa ala zona just a tocar la junta entre giornate. ening. This might explain the transformation in the pigment applied to a decorative frieze in the area between giornate. The original polychromy was lost mostly in the darker-shaded areas. These were painted over with layers of less permeable red lake, and the excess binding agent caused these areas to become detached. In any case, further research will be necessary to paint a more complete picture of this issue.
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