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Works of Art and Crop History: Grapevine Varieties and the Baroque Altarpieces

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Works of Art and Crop History: Grapevine Varieties and the Baroque Altarpieces Works of Art and Crop History: Grapevine Varieties and the Baroque Altarpieces P. Gago, S. Boso, V. Alonso-Villaverde, J. L. Santiago & M. C. Martínez Economic Botany ISSN 0013-0001 Econ Bot DOI 10.1007/s12231-014-9265-8 1 23 Your article is protected by copyright and all rights are held exclusively by The New York Botanical Garden. This e-offprint is for personal use only and shall not be self- archived in electronic repositories. If you wish to self-archive your article, please use the accepted manuscript version for posting on your own website. You may further deposit the accepted manuscript version in any repository, provided it is only made publicly available 12 months after official publication or later and provided acknowledgement is given to the original source of publication and a link is inserted to the published article on Springer's website. The link must be accompanied by the following text: "The final publication is available at link.springer.com”. 1 23 Author's personal copy Works of Art and Crop History: Grapevine Varieties and the Baroque Altarpieces1 P. GAGO,S.BOSO,V.ALONSO-VILLAVERDE,J.L.SANTIAGO, AND M. C. MARTÍNEZ* Misión Biológica de Galicia (CSIC), Carballeira 8, 36143, Salcedo, Pontevedra, Spain *Corresponding author; e-mail: [email protected] This study compares the ampelographic characterization of adult leaves and clusters from real grapevine varieties with those present in Solomonic columns of Baroque altarpieces. In a previous preliminary work, the authors concluded that sculpted grapevine leaves in Baroque altarpieces were represented with botanical accuracy and may represent real varieties. Grapevines are a very important decorative feature of these art works, in particular as ornamentation on Solomonic columns. The present work examines more of these carved leaves and includes also the clusters. Six real grapevine varieties were identified on as many altarpieces, enriching their cultural value and pointing to their existence in the wine-growing zone by the 17th century. Further varieties may be identifiable on Baroque altarpieces in other winemaking areas using the same methods. These results encourage other researchers to use unconventional sources for the study of the evolution of agriculture and crop history. El presente trabajo compara a nivel ampelográfico las hojas adultas y los racimos de variedades de vid reales con aquellos que aparecen representados en las columnas salomónicas de ciertos retablos barrocos. En un trabajo preliminar publicado anteriormente los autores habían concluido que las hojas esculpidas en estos retablos barrocos están representadas con una gran precisión botánica y por lo tanto podrían estar representando a variedades reales. La vid es un elemento decorativo muy importante en este tipo de obras de arte, en particular como decoración de las columnas de estilo salomónico. El presente trabajo examina un mayor número de retablos e incluye el estudio de los racimos. Seis variedades reales de vid han sido identificadas en otros tantos retablos lo que les aporta nuevos valores culturales y permite demostrar su existencia en la zona vitícola en el siglo XVII. Otras variedades podrían ser también identificadas en retablos barrocos localizados en otras zonas vitícolas diferentes siguiendo la misma metodología. Estos resultados podrían abrir las puertas para que otros investigadores utilicen fuentes de información menos convencionales en el estudio de la evolución de la agricultura y la historia de los diferentes cultivos. Key Words: Vitis vinifera L, ampelography, Baroque sculpture, Solomonic columns, viticulture history, ethnobotany, plants in works of art. Introduction the history of agriculture and plant use, and to Renderings of plants in paintings and murals demonstrate the existence of certain species at have been used by many authors to investigate particular times and places (Chapman et al. 2012; Daunay and Janick 2007; Paris and Janick 2005). 1 Received 26 August 2013; accepted 1 April 2014; However, no such work has ever involved the published online ___________ grapevine Vitis vinifera L. In a previous work, Gago et al. (2009b) compared real and sculpted Electronic supplementary material The online ver- leaves in Baroque altarpieces from an sion of this article (doi:10.1007/s12231-014-9265-8) ampelographic point of view, and suggested that contains supplementary material, which is available to the artists did indeed use real leaves of grapevine authorized users. as their models. In this paper the dataset has been Economic Botany, XX(X), 2014, pp. 1–16 © 2014, by The New York Botanical Garden Press, Bronx, NY 10458-5126 U.S.A. Author's personal copy ECONOMIC BOTANY [VOL XX increased and the grape clusters were also studied. consecutive years, in the case of real leaves, This provides information to confirm the identi- whereas for the sculpted leaves each carving was fication of six varieties of grapevine depicted on used as a “mean leaf”) and subjecting them to Baroque altarpieces in northern and northwestern analysis using AnalySIS FIVE software (Soft Spain. Such altarpieces might therefore provide Imaging System, Münster, Germany). Finally, information on the varieties grown in other character ratios were calculated using this quan- winemaking regions during this period. titative data. Ampelographic descriptions of both During the 17th and 18th centuries, Baroque types of leaves were made following the Interna- art rose to great importance in Spain, especially in tional Organization of Vine and Wine (OIV) the northwest, where the pilgrimage city of method (OIV 2009). Santiago de Compostela had a well-known school In the previous work the study of clusters was for artisans. Altarpieces were commonly used to not included. For the ampelographic description decorate the inside of Catholic churches, and of the real clusters, during three consecutive years thoseoftheBaroqueperiodareregardedas ten representative clusters from each variety were among Spain’s great contributions to the selected per year according to the norms of the history of art (Martín 1993). Columns are an OIV (OIV 2009). The length (peduncle exclud- important component of altarpieces, and among ed) and width were measured from digital images them Solomonic columns are those most iden- of the clusters using analySIS FIVE software. The tified with the Baroque period (Martín 1993). characteristics “density” (OIV code nº 204), Solomonic columns have a helical shaft decorat- “shape” (OIV code nº 208), and number of ed in plant motifs, usually grapevine clusters and wings of the primary bunch (OIV code nº 209) leaves. were also recorded. For the ampelographic de- The authors’ experience as ampelographers scription of the sculpted clusters the same (ampelos =vine,grafos = description) in the methodology was used. When the same cluster production of typical leaf diagrams for the carving was repeated along one column, just one description of different varieties (Martínez and picture was taken; when there was more than one Grenan 1999; Martínez 2002), and the perfection cluster type, we took as many pictures as clusters with which the leaves on some Solomonic identified as different. columns are depicted, led the authors to suspect A total of 18 varieties were used to compare that certain details of the latter could only have with the grapevines represented on the altarpieces been so faithfully captured if the artist had used (Gago et al. 2009b): Agudelo, Albarello, real plant models (Gago et al. 2009b). It seemed Albariño, Albarín Blanco, Caiño Tinto, Caiño obvious that the next step should be to carry out a Branco, Carrasco, Cascón, Tinta Castañal, Dona more thorough analysis of some carvings in order Branca, Godello, Lado, Loureira, Pedral, to identify real varieties among them. These Silveiriña, Torrontés, Treixadura, and Verdejo carvings might represent not only works of art, Negro. In the preliminary work (Gago et al. but also ampelographic records of the vines 2009b), the variety Serradelo was also included, growing in their vicinity (or in the vicinity of but later research has shown that this is a the carver’s workshop) in the 17th and 18th synonym for the Albarello variety. The centuries. ampelographic and molecular analysis of these varieties has shown that many are unique and Methods and Materials unknown (Gago et al. 2009a; Martínez and Pérez The plant material and the methods for the 2000; Santiago et al. 2005a, 2005b, 2007). Even ampelographic description of real and sculpted if references to some of these varieties were found leaves are described in Gago et al. (2009b). In the in ancient bibliographies, for others we do not present work, the number of sculpted leaves was know when they were first cultivated in the increased to 281 on a total of 101 altarpieces. The region. If these varieties were represented in the quantitative variables—vein lengths and angles altarpiece Solomonic columns, these carvings between veins—necessary for the reconstruction might therefore represent not only works of art, of average leaves were measured following the but also ampelographic records of the vines method of Martínez and Grenan (1999). Quan- growing in their vicinity (or in the vicinity of titative variables were recorded by taking digital the carver’s workshop) in the 17th and 18th photographs (10 leaves per cultivar during three centuries. Author's personal copy 2014] GAGO ET AL.: GRAPEVINE VARIETIES IN BAROQUE ALTARPIECES For the location of the sculpted grapevines, the For example,
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