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Coversheet for Thesis in Sussex Research Online A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details COLOUR AND LIGHT IN THE SEVENTEENTH-CENTURY CHURCHES OF ARBANASSI, BULGARIA Elza Tantcheva-Burdge MA (Sofia), MSc (Plovdiv), MA (Sussex) A thesis presented for the degree of Doctor of Philosophy, University of Sussex May 2013 ii DECLARATION I hereby declare that this thesis, whether in the same or different form, has not been previously submitted to any other University for a degree. <<<<<<<<<<<<<<<<<<<<<<. iii UNIVERSITY OF SUSSEX ELZA STOYANOVA TANTCHEVA-BURDGE THIS THESIS IS PRESENTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY COLOUR AND LIGHT IN THE SEVENTEENTH-CENTURY CHURCHES OF ARBANASSI, BULGARIA SUMMARY This thesis evaluates the use of colour and light in four seventeenth-century church in- teriors in Arbanassi, Bulgaria. The aim is to elucidate the appearance of the wall paintings in these churches in the context of the specific use of colour and in the light- ing conditions pertaining when they were painted. The investigation both uses existing methods and also creates new scientifically-based ones to address questions concern- ing the extent to which colour and light were intentionally employed in ways evidenced by common patterns. The underlying hypothesis is that the decoration can be asserted as an embodiment of the ways colour and light were employed in Eastern Church decoration at that period in the Bulgarian province of the Ottoman Empire. In all the churches examined the artists used palettes restricted to a small but constant number of hues. I discuss how they used light and colour contrast to manipulate the appearance of the images. As present the interiors are lit by electric light. The investi- gation into the interior lighting reveals that the natural lighting is of an even but low intensity, allowing the artificial lighting to dominate. I devised a methodology to assess the effect of the original interior illumination on the appearance of the naves in the con- text of Professor Chalmers and others in the computer reconstruction of historic sites under their original illumination. By departing from conventional art-historical assessments, without merely accumulat- ing technical data, my research challenges previously accepted presumptions and offers a means of revealing the optical complexity of the interiors. While this provides increased knowledge and understanding of the visual practices employed by the art- ists, the wider significance of this thesis lies in the way it bridges the existing division between science and the humanities and in its development of new methods for art his- torical research. iv CONTENTS DECLARATION <<<<<<<<<<<<<<<<<<<<<<<<<<<. ii SUMMARY <<<<<<<<<<<<<<<<<<<<<<<<<<<<<. iii CONTENTS <<<<<<<<<<<<<<<<<<<<<<<<<<<<< iv ACKNOWLEDGMENTS <<<<<<<<<<<<<<<<<<<<<<<. viii LIST OF ABBREVIATIONS <<<<<<<<<<<<<<<<<<<<<< x LIST OF ILLUSTRATIONS <<<<<<<<<<<<<<<<<<<<<<. xii LIST OF TABLES <<<<<<<<<<<<<<<<<<<<<<<<<<... xviii CHAPTER ONE INTRODUCTION <<<<<<<<<<<<<<<<<<<<<<<<<<.. 1.1 Aim and Scope <<<<<<<<<<<<<<<<<<<<<<.. 1 1.2 Historical Background <<<<<<<<<<<<<<<<<<<. 9 1.3 Arbanassi in the Seventeenth Century <<<<<<<<<<<< 14 1.4 Previous Bulgarian Scholarship on Arbanassi <<<<<<<<... 21 1.5 Methodology <<<<<<<<<<<<<<<<<<<<<<<. 27 PART I COLOUR 43 CHAPTER TWO QUESTIONS OF DATING <<<<<<<<<<<<<<<<<<<<<<.. 48 2.1 Church of the Nativity of Christ <<<<<<<<<<<<<<.. 55 2.2 Church of the Archangels Michael and Gabriel <<<<<<<< 58 2.3 Church of St Atanass <<<<<<<<<<<<<<<<<<< 61 2.4 Church of St Dimitr <<<<<<<<<<<<<<<<<<<< 63 v CHAPTER THREE THE ARBANASSI PALETTES: A VISUAL ASSESSMENT <<<<<<<< 67 3.1 The Authenticity of Colour <<<<<<<<<<<<<<<<< 69 3.2 Interior Decoration – An Historic Introduction <<<<<<<< 72 3.3 Locating Colour <<<<<<<<<<<<<<<<<<<<<< 88 3.3.1 Church of the Nativity of Christ <<<<<<<<<<<<.. 90 3.3.2 Church of the Archangels Michael and Gabriel <<<<<< 93 3.3.3 Church of St Atanass <<<<<<<<<<<<<<<<<. 95 3.3.4 Church of St Dimitr <<<<<<<<<<<<<<<<<< 97 3.3.5 Summary <<<<<<<<<<<<<<<<<<<<<<.. 99 CHAPTER FOUR THE PIGMENTS OF ARBANASSI <<<<<<<<<<<<<<<<<<< 104 4.1 The Pigments: An overview <<<<<<<<<<<<<<<<... 106 4.2 Method and Results <<<<<<<<<<<<<<<<<<<<. 115 4.2.1 Reds <<<<<<<<<<<<<<<<<<<<<<<< 121 4.2.1.1 Bright Reds <<<<<<<<<<<<<<<<<< 122 4.2.1.2 Dark Reds <<<<<<<<<<<<<<<<<<... 126 4.2.2 Yellows <<<<<<<<<<<<<<<<<<<<<<< 129 4.2.3 Blue <<<<<<<<<<<<<<<<<<<<<<<<... 133 4.2.4 Greens <<<<<<<<<<<<<<<<<<<<<<<.. 134 4.2.5 Browns <<<<<<<<<<<<<<<<<<<<<<<. 137 4.2.5.1 Light Browns <<<<<<<<<<<<<<<<<. 138 4.2.5.2 Other Browns <<<<<<<<<<<<<<<<.. 139 4.2.6 Blacks <<<<<<<<<<<<<<<<<<<<<<<< 141 4.2.7 White <<<<<<<<<<<<<<<<<<<<<<<< 143 4.3 Contextualising the Pigments of Arbanassi <<<<<<<<<. 148 CHAPTER FIVE COLOURS IN THE NAVES OF ARBANASSI <<<<<<<<<<<<<< 163 5.1 Describing the Colours of Arbanassi <<<<<<<<<<<<... 165 5.2 Examination, Procedure and Results <<<<<<<<<<<<< 169 5.3 The Colours of Arbanassi in their Compositional Context <<<. 173 vi PART II LIGHT 185 CHAPTER SIX NATURAL ILLUMINATION IN THE SEVENTEENTH-CENTURY ARBANASSI NAVES <<<<<<<<<<<<<<<<<<<<<<<<< 187 6.1 Fenestration in the Seventeenth Century <<<<<<<<<<< 188 6.2 Methodological Concerns <<<<<<<<<<<<<<<<<... 194 6.3 Computation of the Illuminating Surface Areas <<<<<<<... 200 6.3.1 Church of the Nativity of Christ <<<<<<<<<<<<.. 201 6.3.2 Church of the Archangels Michael and Gabriel <<<<<< 202 6.3.3 Church of St Atanass <<<<<<<<<<<<<<<<<. 203 6.4 Architectural Design and Natural Illumination . <<<<<<<... 209 6.5 Computation of the Relative Brightness of the Naves <<<<<. 221 CHAPTER SEVEN SEVENTEENTH CENTURY INTERIOR ILLUMINATION OF THE NAVES AND THE APPEARANCE OF THEIR DECORATION <<<<<<<<<<. 228 7.1 Seventeenth Century Artificial Lighting <<<<<<<<<<<. 231 7.2 Differences between Present and Historic Artificial Lighting and the Likely Transformation of the Arbanassi Colours <<<<<< 237 7.3 Choice of Methodology <<<<<<<<<<<<<<<<<<< 241 7.4 The Likely Transformation of the Naves under the Original Illu- mination and Evaluation of their Appearance in the Context of the Nave Decoration <<<<<<<<<<<<<<<<<<<< 247 7.4.1 Experimental settings <<<<<<<<<<<<<<<<< 248 7.4.2 Church of the Nativity of Christ and the other vaulted Arba- nassi churches <<<<<<<<<<<<<<<<<<<<. 251 7.4.3 Church of the Archangels Michael and Gabriel <<<<<< 266 CONCLUSION <<<<<<<<<<<<<<<<<<<<<<<<... 278 vii APPENDIX I SPECTRAL CHARACTERISTICS OF THE ARBANASSI PIGMENTS 284 APPENDIX II COLOURIMETRIC COORDINATES AND MUNSELL MATCHES OF THE ARBANASSI COLOURS 292 APPENDIX III SEASONAL HOURS 296 BIBLIOGRAPHY <<<<<<<<<<<<<<<<<<<<<<<< 301 ILLUSTRATIONS viii ACKNOWLEDGEMENTS During the research for and writing of this thesis I enjoyed assistance and en- couragement from numerous people, to all of whom I am most grateful. There were so many that some will inadvertently have been omitted from these acknowledgements, for which I apologise. I am indebted to many Bulgarian scholars, but first and foremost to Professors Lyuben Prashkov and Bisera Penkova from the National Academy of Art and Professor Gyorgi Gerov of the Crypt Museum of the Alexander Nevskii Cathe- dral, Sofia, for their encouragement and for the wealth of information they provided; to Dimitr Russev and Rositza Petrova from the Institute of National Monumental Arts, Sofia, and especially to the Institute’s then director for providing the much-needed permission to carry out fieldwork in the churches of St Atanass and St Dimitr that are closed to the public and to Dimitrina Koseva for being a great support in my struggles with the Turnovo Museum Authority. Thanks are also due to the late Isaak Isaakov, geologist, for providing data on the reflectivity of the building stone used in Arbanassi; to Dr Rositza Rutževa, for allowing me to consult the text of her doctoral thesis on the Church of St At- anass; to Dr Ivan Todorov and Dr Rositza Gradeva from the Institute of History of the Bulgarian Academy of Science, who helped me navigate through the In- stitute’s enormous library; to Professor Lyuben Gyuzelev of the Institute for sharing his knowledge and vast experience; to the research section of the Na- tional Library ‘Cyril and Methodius’ in Sofia for preparing for me a comprehensive bibliography on Arbanassi and Turnovo; to the secretary of the Sofia Metropolitan who procured permission for me to visit the archives of the Bulgarian Patriarchy; to Father Petkov from the Plovdiv seminary, who pro- vided guidance on aspects of the history of the Bulgarian Church and finally to Kremena Argirova, for helping me work through a number of issues that arose during my research. I also owe special thanks to the Konica Minolta company for helping me to lo- cate a spectrophotometer and for advising on the type of equipment I needed for my fieldwork. This led me to two people without whose encouragement and help this research could not have been completed: Professor Stephen Westland and Dr Vien Cheung from the University
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