Selective use of egg yolk binder
Artists' Materials
Egg yolk is present in areas painted with red lead, and probably also with vermilion, in the two initials painted by Don Silvestro dei Gherarducci (see Artists).
The image of St Laurence also contains small amounts of egg yolk in orange and red areas, but the same binder was also employed in the initial and border ornament, irrespective of the pigments used. In all three cases, the spectral signature which identifies the binder is not as intense as would be expected if egg yolk had been used alone. It is possible that whole egg was used, or else that a small amount of egg yolk was added to another type of binder, perhaps to improve the handling properties of the paint.
The spectral signature is stronger in the fourth initial, where only the figure of Christ was painted with egg yolk. Egg yolk was not used in the initial and its ornamentation. This paradigm is consistent with the results of technical analyses carried out on other contemporary books from the Santa Maria degli Angeli set and on the Acciaiuoli Missal (MS 30). These are all linked to the work of the later generation of Florentine artists led by the celebrated panel painter and illuminator Lorenzo Monaco.
Detail of St Clement’s white robe under magnification (60x). Numerous blue particles can be seen and identified as ultramarine by a small peak at 539 cm<sup>-1</sup> in the Raman spectrum (below). The more intense peak at 1050 cmcm<sup>-1</sup> is characteristic of lead white.
St Clement
Historiated initial D from a Gradual, 1370-1375
The initial D opened the Mass for St Clement’s feast (23 November) in Corale 2, a Gradual made in 1370-1375 and illuminated by Don Silvestro dei Gherarducci. The individualised physiognomy, emulating the facial types of Simone Martini and paralleled in works by his followers, demonstrates Don Silvestro’s familiarity with Sienese painting.
Typically Florentine, however, is the use of a mixture of blue and yellow to obtain green, while in Siena artists favoured the green copper mineral malachite. Here, azurite blue was probably mixed with a lead oxide yellow (hotspot 1). This same pigment was also used in the yellow highlights over the green leaves and in the book held by the Saint. The yellow initial, however, was painted with lead-tin yellow, as can be seen by selecting the elemental map for tin (Sn, layer ‘elemental map Sn’). The same map also shows that a small section of the blue mantle’s gilded border was painted with mosaic gold (tin sulphide), perhaps as an afterthought. Mosaic gold was also used for the small yellow dots which decorate the mantle, and for the shiny ornaments and leaf outlined in a dark red iron oxide pigment (Fe, layer ‘elemental map Fe’).
The pink leaves and the yellow initial, as well as the white highlights over the orange leaves and ornaments, have darkened significantly (hotspot 2). This is most likely linked to the presence of lead white. In the pink and yellow areas the discoloration appears to have started not on the surface but rather in the lower portion of the paint layers. If this is indeed the case, the degradation process may have been catalysed by the materials used to glue the fragment to its modern cardboard support.
Microscope images acquired in raking light provide evidence of the previous existence on the front side of the image of a brown cardboard mat, stamped with flowers and other decorative elements, similar to the one still visible around the Presentation in the Temple. The impressions left by these flowers are still visible especially along the lower edge of the fragment (hotspots 3 and 4).
Related content: Initials from Choir Books
- Artists: Don Silvestro dei Gherarducci (1339-1399)
- Texts and Images: St Clement
- Description and Contents: Physical Description
- Description and Contents: Script and Textual Contents
- Artists' Materials: Differences in palette
- Artists' Materials: Selective use of egg yolk binder
- Artists' Techniques: Gold tooling
- Artists' Techniques: Painting the flesh