The Renaissance Workshop Thursday 10th and Friday 11th May 2012 BP Lecture Theatre, The British Museum CONTENTS Foreword 1 Oral presentations (listed in order in which presented) 3-27 Poster presentations (listed alphabetically by first author) 29-47 LECTURE AND POSTER LIST Oral Presentations Painting and illumination in early Renaissance Florence: the techniques of Lorenzo 5 Monaco and his workshop Paola Ricciardi, Michelle Facini and John K. Delaney Workshop practice as a common feature of several groups of wall paintings in 6 Slovenia (fourteenth and fifteenth centuries) Anabelle Križnar Roccatagliata and the Female Nude 7 Shelley Sturman Bronze statuettes from the workshops of Antonio and Giovanni Francesco Susini: 8 technical investigation of alloy composition and casting technique Dylan Smith The influence of Neutron imaging and diffraction techniques on the study of 9 Renaissance bronze sculptures Robert van Langh The Workshops of Benedetto and Giuliano da Maiano, Giuliano and Antonio da 10 Sangallo and Baccio da Montelupo. A Research on the Construction Techniques of Renaissance Crucifixes Peter Stiberc Rare Portuguese altarpiece’s joinery techniques on the context of sixteenth 11 century European workshop practices Filipa Raposo Cordeiro Materials and Technological Signatures: Early Renaissance Altarpieces in 12 Transylvania Cristina Serendan, David Hradil, Janka Hradilova and Joseph Cannataci The altarpiece of St. Dominic of Silos by Bartolomé Bermejo: An example of 13 painting practices during the early Spanish Renaissance Dolores Gayo, Maite Jover de Celis and Laura Alba The Techniques of the Renaissance Jeweller: Traditions and Transitions 14 Jack Ogden Practical Magic: Gemstones and their Settings in Renaissance Europe 15 Joanna Whalley The St. John Altar from the Baptistery of Florence: the goldsmith workshop 16 through fourteenth and fifteenth centuries Pamela Bonanni, Andrea Cagnini, Natalia Cavalca, Monica Galeotti, PierAndrea Mandò, Alessandro Migliori, Simone Porcinai and Marco Verità Analyses of Renaissance Venetian enamelled glasses of the Louvre Museum 17 Marco Verità, Isabelle Biron, Françoise Barbe and Rosa Barovier Mentasti "Christ carrying the cross", a surviving tüchlein by Luis de Morales, technical 18 examination and workshop practices Rafael Romero and Adelina Illán ‘Sets and the City’ – Workshop practice in Elizabethan and Jacobean London 19 Catherine Daunt and Edward Town The Botteghe degli Artisti: artistic enterprise at the Della Rovere and Medici courts 20 in the late sixteenth century Erma Hermens Some ornamental prints and their links with craftsmanship 21 Antony Griffiths Charismatic Copper: An Examination of the Materials and Practices Used in 22 Northern Renaissance Engraving Angela Campbell Anathomia: A Pair of Sixteenth Century Movable Anatomical Prints 23 Theresa Smith Visual Evidence for the use of carta lucida in Italian Renaissance workshop 24 Maria Clelia Galassi Evidence for workshop practices at the Tudor mint in the Tower of London 25 Justine Bayley and Harriet White Sixteenth Century Life-Casting Techniques, a reconstruction 26 Tonny Beentjes and Pamela H. Smith Bernard Palissy: scientist and ceramist from the Renaissance in France 27 Anne Bouquillon, Françoise Barbe, Patrice Lehuédé, Jacques Castaing, Thierry Crépin Leblond and Odile Leconte Poster Presentations Stylus drawing in the Renaissance workshop – Investigating the appearance of 31 leadpoint and blind stylus in a Leonardo drawing on unprepared paper Jenny Bescoby, Judith Rayner and Joanna Russell Technical analysis and conservation of a Renaissance limestone altarpiece 32 Ana Bidarra, Pedro Antunes, Teresa Desterro, João Coroado and Fernando Rocha Case study of the Mausoleum of Jean V de Hénnin-Liétard at Boussu (B) attributed to 33 Jacques Du Broeucq. Restoration and study of the alabaster sculptures Judy De Roy Neri di Bicci and the Diffusion of Cartoons in Fifteenth-Century Florentine 34 Workshops Jennifer Diorio Research on metallic material in liturgical textiles of the fifteenth-sixteenth 35 centuries. Studies about production technology Livio Ferrazza, David Juanes and Mª Gertrudis Jaén Striptease and dressing-up in Titian’s Workshop: a technical comparison of the 36 Young Ladies in the Galleria Palatina, the Hermitage, the Kunsthistorisches Museum Helen Glanville, Patrizia Riitano and Claudio Seccaroni A precious Renaissance manuscript, Les Vies des femmes célèbres : Laboratory 37 investigations of the miniaturist Jean Pichore’s practices and techniques Hélène Guicharnaud and Alain Duval Grisaille technique and new materials in renaissance painted enamels objects in 38 Europe. “Limoges white” and mediums as part of the interrelationship between crafts as enamelling on metals and printmaking, in chiaroscuro results Nuria López-Ribalta An exemplification of the Renaissance ideals of urban planning: scientific 39 examination for the investigation of the extraordinary panel painting ‘The Ideal City’ in Palazzo Ducale, Urbino Rocco Mazzeo, Giorgia Sciutto, Maria Letizia Amadori, Sara Barcelli, Silvia Bersani, Irene Bonacini, Brunetto G. Brunetti, Laura Cartechini, Emilio Catelli, Catia Clementi, Marta Quaranta, Melissa Palmieri, Silvia Prati and Manuela Vagnini Reassertion of a Renaissance jewel? : The investigation and interpretation of two 40 enamelled panels from the Wallace Collection Andrew Meek, Jamie Hood and Jeremy Warren Describing the « elusive » : a new Perception of the Practices and the Resources of 41 Illuminators in the North of Europe from the fourteenth to the sixteenth century Sylvie Neven Jacobean workshop practise: a technical investigation into a series of portraits of 42 James I attributed to his Serjeant-painter John de Critz Caroline Rae Towards a history of the techniques of the Tudor artist’s workshop: recent research 43 using a combination of analytical surface microscopy and reconstructions Libby Sheldon, Tarnya Cooper, Sophie Plender and Charlotte Bolland An investigation of distinctive materials in a late sixteenth century Bolognese 44 portrait Libby Sheldon and Gabriella Macaro The Gdansk Painting Workshop at the turn of the sixteenth/seventeenth century 45 Bozena Szmelter-Fausek The Florentine art of painting on tile in the fifteenth-sixteenth century: evidences 46 from the examination of artworks by Fra Bartolommeo Deodato Tapete, Cristina Giannini and Fabio Fratini Sixteenth century Netherlandish Workshop Practices: a Technical Investigation of 47 the Copenhagen Version of Christ Driving the Traders from the Temple Hannah Tempest and Anne Haack Christensen FOREWORD Welcome to the British Museum and to this meeting dedicated to The Renaissance Workshop, which has been organized as part of the networking activities of the CHARISMA project1. The CHARISMA project is funded by the EU Community’s FP 7 Research Infrastructures programme (Grant Agreement 228330) and aims to develop and promote best scientific practice for the study of cultural heritage and to disseminate this knowledge. Through project networking activities, opportunities are provided to share and compare the results obtained by the European scientific community, focusing on identified priority areas. These include approaches to the study of groups of objects from one period, or related by style or technique. Thus the focus of this meeting is on the examination of the making and use of objects at a pivotal moment for European culture – The Renaissance Workshop. This subject provides an opportunity to examine the way in which various types of technical evidence can contribute to the understanding of workshop practices and inter-relationships between different artists and artisans: from the role of scientific examination and analysis in determining the nature and use of materials, through detailed examination of tool marks and imperfections, to the material or documentary evidence for practices, economic driving forces and trading of works of art. Each of these themes is explored in more detail in the contributions to this meeting. A second reason for focusing on The Renaissance Workshop was that it is a subject that allows each of the participants in the CHARISMA project to contribute. The consortium comprises laboratories associated with major European museums and galleries together with universities and other research institutions that have particular interest and expertise in the analysis of works of art; each has experience in the examination of objects from the Renaissance. It is hoped that the topic will promote exchange of knowledge and expertise between both members of the CHARISMA consortium and other researchers and in consequence advance research in this area. We are delighted, therefore, to welcome contributions from a large number of other researchers working in the field and hope that this meeting will provide a forum in which to disseminate, share and compare recent research. This book of abstracts gives summaries of the papers that will be delivered over the next two days and the poster contributions to the conference, providing an overview of the current state of research. To help to achieve the aims of the CHARISMA project and to provide a means to reach the maximum number of the researchers from diverse disciplines who are active in this area, it is planned to publish the proceedings of the meeting. As delegates you will receive a complimentary copy and it is therefore important that we have a contact address for you (and that you keep the organizers informed of any change of address prior to