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| Katkey: | 7300918 |
| Volltext: | Note: Page numbers in italics refer to captions. Austria, praunierte Vergoldung technique, 292 Avisse family, 90 Abrasion, susceptibility of leaf, 21-22 Académy de St. Luc, 94 Acetate patterns, 333, 334, 334 Acrylic emulsions, for regilding, 222, 223, 224 Acryloid B-72, 218, 222, 271, 350 Adam, James, 114 Adam, Robert, 99, 103-5, 114, 114, 243, 244, 309 Adamson, David, 103 Adhesives, relationship to original techniques, 75. See also Glues, animal; Rabbit-skin glues Agence Royale d'Architecture et des Menus Plaisirs, 88 Agricola, Georgius, 139 Albrecht Master, 405 Albumin, chemistry of, 158 Alloys: ancient Egypt, 30-33, 44; composition, and dating, 30-33, 44; imitation leafs, 226; metal leafs used in Europe, seventeenth century to nineteenth century, 72; "red gold, " seventeenth-century Russia, 184-85 Altarpiece of Blaubeuren, 72 Altarpieces: baroque, cleaning of, 294; brocade technique, 68, 70, 70, 72; Europe, late nineteenth century, 73; high baroque, 293, 296; polychromy and gilding techniques, fourteenth-century Europe, 67-68; Spanish, 72 Altar table, early nineteenth-century oil-gilded and polychromed, 343, 350 American Institute for Conservation, 236, 338 Amino acids, 155-57, 158 Ancona con le Storie della Vergine, Church of St. Lorenzo at Mortara, 193, 195-96, 195, 197 Ancona dell' Assunta, Church of the Virgin Assunta, Morbegno, Sondrio, 193, 194, 195, 196, 197-98, 197 Ancona di S. Abbondio, Como, 193, 195, 195, 197 Angel (1160-70), Berlin Museum, 65 Annunciation Altarpiece, 75 Apostle John, Bodensee region, 79, 80, 81 Apprentice system, 239 Apsley House, England, 99, 105, 106, 105-7, 116 Arbuthnot, Harriet, 105-6 Archangel Michel, 185, 189 Architectural carvings, 135-36, 135 Armchairs: auricular style, 94; eighteenth-century American, 408; eighteenth-century English, 104; eighteenth-century French, 392; régence, 90, 90 The Art of Painting (1638), 209 Assaying, 22 L'art du peintre, doceur, et vernisseur, 91-92 Assumption Cathedral, Moscow, 184, 185 Athos Monastery, Greece, 185 Atz, Karl, 120 Audran, Claude, 88 Aussparungen, 291 Babel, Pierre-Edme, 97 Baroque: restoration of richly gilded elements in castles and churches, 297; use of semiprecious metals, 293-94 Bayerisches Nationalmuseum, Munich, 122 Bed, eighteenth-century France, 95 Belgium, applied brocade techniques, 70 Bella, Stefano della, 87 Benedictine church, Menk, Lower Austria, 293 Benedictine Convent, Melk, Lower Austria, 297, 298 Bérain, Jean, 88 Berlin Gemäldegalerie, 119 Berruguete, Alonso, 72 Bielefeld and Haselden, 331 Bigelow, Deborah, 164 Binders, ancient Egypt, 38, 41-44 Biringuccio, Vannoccio, 139 Blondel, Jean François, 94 Bode, Wilhelm von, 119, 125 Bohnagen, Alfred, 124 Bole: ancient Egypt, 34, 39-40, 45; Armenian, and polyvinyl alcohol, 282, 287; ceiling, Italian Renaissance, 306; colors, 240, 242; colors, late medieval and baroque, 291; harp, early nineteenth-century, 323; Kölner Burnishing Clay, 225-26, 226; polyvinyl, gilding of, 225; reactivation of elasticity, 297; Russian icons, 185, 188; silver gilding, 207; synthetic restoration systems, 218-19 Bonds, hydrogen and covalent, 157 Bonnemaison, Chevalier, 107 Book of the Dead, 29 Books. See Primary sources Border gilding, 147, 332 Borra, Giambattista, 103 Boston, Massachusetts, carving and gilding trades in prerevolutionary, 127-36 Boulle, André Charles, 88 Boys, Thomas Shotter, 105 Bradshaw, Richard, 103 Bramante, Donato, 193 Branson, H. R., 157 British Museum, 34, 39 Brocades, applied: late medieval and baroque, Central Europe, 291; silver, 207-8; technique, 68 Bronze-powder stenciling, 148, 226, 332, 335-36, 336, 411; cross section analysis, 333; New York pier table, 146; 1950s restoration, 360 Brooklyn Museum, 210 Buddha: Heian period, 60, 60, 61; Kamakura period, 61-62, 61 Bull, Marcus, 140 419 Gilded Wood Lannuier, Charles Honore, 143, 331 Lansdowne House, London, 309 Lascelles, Edwin, 112 Latin America, silver gilding, 209-10 Lauriat, Lewis A., 140 Lead, gilded, 244-45 Le Brun, Charles, 88, 90 Le l'autre, Jean, 88 Le Sage, John, 116 Levasseur, Franyois-Noel, 367, 368, 414 Lighting and lighting equipment, photodocumentation, 254-61, 258, 259, 260 Lime, slaked, 34, 36 Linnell, John, 104, 104, 114, 115 Linnell, William, 127 Living Room of Ludwig von Schwanthaler, 395 Longueuil, Quebec, 343 Looking glasses: examination of previous conservation treatments, 263-68; finish stratigraphy, 404 Lorimer, Alma, 309 Thomas Loud Brothers, 398 Louis XIV, 87-88 Louis XVI, 97 Louvre, 87 Lucas, A., 30, 34, 38, 39 Lucas, John, 130 Luster coatings, medieval sculpture, 81-83 MicroÂnalytical Laboratory, 40 Mikhaylovich, Czar Alexis, 184 Mills, John Fitzmaurice, 363 Mirror frames. See Frames Mitchell, David, 338 Moisture effects: cracking of gilding, modeling, 171— 80; dimensional responses of glue and gesso to humidity, 166-68; on gesso, 160, 161, 163-64, 174, 180; gesso stress testing in humidity, 168-70; maintaining objects, 376-77 Moldings, architectural, 135, 135 Mold making, 243 Molds and casts: nontraditional materials, 220; picture frame ornament, nineteenth-century, 123-25; testing of synthetics, 286-87 Montefeltro, Federigo da, 301 Moore, Nicholas, 99, 101 Mordant, nontraditional, 222 Motifs: punched, 298; late medieval and baroque, central Europe, 291 Multscher, Hans, 122 Mummies, 28, 29, 34, 386 Murray, William, 99, 107 Musée du Québec, 367 Museums: identifying conservation needs, 236; use of frames, 119-20 Mussey, Robert, 338 Musical instruments. See Harp; Piano Mcl'arland, Edward, 359 Madonna and Child, Strassburg, 85 Maintenance, routine, 375-81 Maitland, John, 101 Mansard, Jules, 88 Mantegazza, Andrea, 193 Manufacture Royale des Gobelins, 88, 309 Maria Verkündigung, 405 Marie Antoinette, 97 Maringy, Marquis de, 94 Marot, Daniel, 88 Marquetry, 113 Masks, ancient Egypt, 34, 35, 36, 37, 38-40 Masschelein-Kleiner, Liliane, 44 Mass production: of furniture parts, nineteenth-century, 331-32; machine-pressed ornament, 124 Master de Flémalle, 68 Materia Medien, 28 Maurus, Lux, 84 Mecklenburg, Marion, 161, 176-77, 179 Medallion, 89 Meissonier, Juste Aurèle, 92 Melbourne, Lord, 103, 115-16 Melbourne House, Piccadilly, 115-16 Metal, gilded, 244-45 Metal-foil papers, 324, 325, 326 Metropolitan Museum of Art, 301, 333 Nash, Joseph, 106 National Gallery of Canada, 345-46, 350, 353-54 Nevsky, Alexander, 183 New York City, furniture, 331-38 Night Watch, 120 Nimbi, gilded, 184 Nix, George, 103 Norman, Samuel, 116 Normandie, Anthony de, 135 Northumberland House, 244 Norway, silver gilding, 207 Nostell Priory, Yorkshire, 114, 134, 394 Oddy, W. A., 34 Ohmenhaasem Altar, 82, 83 Oil gilding: early nineteenth-century American furniture, 337-38; early nineteenth-century harp, 323; frames, English, 112; late eighteenth-century chair, 312; nineteenth-century description, 140- 41; nineteenth-century restoration practices, 117, 117; nontraditional alternatives, 221-24, 223; Quévillon altar table, 352; synthetic surface coatings, 227 Oklady frames, 186 424 Index Oppenord, Gilles-Marie, 92 Ormolu, 116, 242, 332 Ornament: balls, gilding techniques, 242, 404; casting problems, 278; cleaning of carved and gilded, Quevillon altar table, 352; commissions to gild, prerevolutionary Boston, 130; direct gilding technique, 222; fills for composition, 220; gesso shrinkage problems, 278; Louis Quatorze, 107; on mummy masks, 39-40; paper, early Philadelphia, nineteenth-century, 399; picture frame, nineteenth-century, 123-25; pressed and modeled, fourteenth-century Europe, 68; pressing machine, 395; restoration of, 243; synthetic, 286-87, 403 Osiris, Late Period, 27, 39 Osterley Park, England, 99, 103-4, 103, 104 Overpaint removal: altarpieces, 197-98, 337, 373; damage, 84; Jourdain tabernacle, 348-49; Quévillon altar table, 350 Oxidation. See Tarnish Pacheco, Francisco, 209 Paint: chrome yellow imitation gilding, 145; iridescent, for repairs, 227 Palais Royal, Brussels, doors, 73 Papers, metal-foil, 324, 325, 326 Papier mâché, 135 Papyrus, 34 Panama wood (Quillaia bark), 240 Panel paintings: ancient Egyptian, 386; detection of silver leaf, 207; and gold coin emission, 183; protective coating, 297; sgraffito, 402; silver leaf use, Italy, 207; sixteenth-century technology, 199; wax fills, 224 Paraloid B-72, 74, 76, 197, 198 Parchment size, 218-19, 241, 246 Parham House, Sussex, 112 Parker, George, 109, 111, 128, 324 Party gold. See Twin gilding Passion Altar pie ce, 72 Patina: artificial, Europe 1400, 68; nineteenth-century, 73 Paudevin, John, 103 Pauling, Linus, 157 Payne, Albert W., 239 Peale, Charles Willson, 133 Peel Away, 312 Pelham, Henry, 131 Pelletier, Jean, 116 Pellicioli, Mauro, 193 Pennery, Walter, 149 Penwork, on furniture, 147 Percier, Charles, 331 Percy, Hugh (Smithson), 244 Peter I, 183 Petit, Paul, 357 Petworth House, 116 Philadelphia Museum of Art, 20, 309 Photodocumentation guidelines, 249-68 Phyfe, Duncan, 331 Physicia et Mystica, 28 Piano, nineteenth-century American, 398 Pier glass, 134 Pier tables, 143, 144, 146, 148, 411 Pietâ, 293, 295 Pigment: analysis in restoration, 199, 304; in achinado glazes, eighteenth century, 210; chrome compounds and polyvinyl alcohol, 282; European, eleventh to thirteenth centuries, 65; iridescent, 226-27; Italian Renaissance, 303; nineteenth-century, 303- 4, 331; powdered gold, Russia, 184; sixteenth-century Italian, 200-202 Pigment volume concentration, 173, 180 Pinakothek, Neue, 120 Pineau, Nicolas, 92 Polishing synthetics, 287 Polychromy, 391; ancient Egypt, 38; consolidation of, 74; early nineteenth-century, 348, 352; eleventh to thirteenth century Europe, 65-66; fifteenth century, 401; Italian Renaissance ceiling, study, 301; pigment analysis, sixteenth-century Italian, 200-12; sgraffito technique, 196; wax fills, 224 Polychromy/gilding combinations, 292, 298 Polymers, chemical properties of, 155 Polyvinyl acetate, 369 Polyvinyl alcohol, 403; convenience of use, 281; rabbit-skin glue substitute, 278; reversibility, 281-82, 288; synthetic gessoes, 220-21; testing of Rhodoviol, 280-89 Pompadour, Madame de, 94 Pöppingshausen, Rudolf von, 120 Portugal, altarpieces, 72, 294 Pössenbacher, Anton, 122 Powdered gold: in conservation of Italian Renaissance ceiling, 306; nineteenth-century methods, 143—44; as pigment, Russia, 184; use in restorations, 242 Powders, metallic: use in American furniture decoration, 128, 147-48, 148, 149, 398, 399; use in Europe, eighteenth-century, 72-73 Practical Canvr ami Gilders' Guide and Picture Frame Makers' Companion, 117 Prechtl, Johann J., 120, 122, 123 "Presbyter Martinas" Virgin, 66 Primary sources: ancient Egypt, 28; English gilding techniques, 109-18; French gilding techniques, 91- 92, 277-78; gold ornamentation on furniture, 139; picture frames, nineteenth-century, 119-20, 122; Russian gilding, 186; silver gilding, 207, 209; twin-gold, 66; water and oil gilding, nineteenth-century, 140-44 Prophets Row, Therapontius Convent, 185 Punchwork, 297, 298; altarpieces, 68, 196; Brussels, sixteenth century, 70; patterns, eleventh to 425 Gilded Wood thirteenth centuries in Europe, 66; pointillé, 88; on Russian icons, 186; silver, 210 Quévillon, Louis, 242, 444 Rabbit-skin glue: gesso consolidation using, 269-72, 222; relative humidity dimensional responses, 166— 68; in restoration work, 218-19; synthetic substitute for, 278-89; technical problems with, 278; tensile strength, 164-66 Rändle, William, 127, 121, 496 Randolph, Benjamin, 125 Redner, Lewis, 498 Red gold, 40, 41, 44 Rembrandt, 120 Reni, Guido, 114, 494 Reparure (remitting), 278: French furniture, 87-88, 90, 92, 94, 95; synthetics, 286 Resins: dammar, as protective coating, 86; early nineteenth-century harp, 224; in gesso consolidation, 271; gum, 128; nineteenth-century imports, 221; nontraditional, for restoration, 218; synthetic, 279-89; wax, 74 Restorations, past: eighteenth-century frame, 260; in eighteenth-century France, 92; nineteenth-century, 1 16-17, 197-98, 204, 404, 405 Retable tl'Assens, 72 Retable du Christ, 72 Retable de la Passion, 72, 74 Retable de hi Passion d'Oplinter, 69, 70, 70, 74 Retable de Saint Anne, 70 Retable de Salaces, 70, 490 Retable de San llenita, 72 Reversibility, 277; polyvinyl alcohol, 281-82, 288; preservation standards, 279; restoration of fragile surfaces, 217; repeated use of products similar to original, 277 Reynolds, James, 122, 144 R e y n o l d s , J o s h u a , I I I Roberts, Thomas, 102 Ruins of I'alynua, 102 Russ, Jakob, 84 Russian icons, 182-91, 400 Saint-Antoine de-Longueuil church, 242 Saint Augustine, 267, 268, 269, 471, 472, 414 Saint Corneille, 74, 75, 76 Saint dearie, 401 Sainte Helene, 71, 76 Saint Eveijiie en Majeste de Sehaarhoven, 66, 66, 75, 76 Saint Faith of Comptes, 65 Saint George, 207, 401 St. James Palace, 99 Saint-Jean, Liège, 389 Saint Sebastian, 83, 84 Saint Silvester Gozzolini, 402 St. Wolfgang, Upper Austria, 293, 294, 296 Sanding, testing of synthetics, 286 Sandwell, William, 101 Savory, Charles H., Ill, 116, 117 Schinkel, Karl-Friedrich von, LL9, 120, 123 Schloss Tegernsee, 123 Schorsch, Deborah, 40 Schwanthaler, Johann Peter, the Younger, 293, 293, 295 Schwanthaler, Thomas, 73, 293, 296 Scottow, John, 396 Sculpture, medieval, deterioration of coatings, 79-86 Seiles Sapientiae, 65, 66, 67, 75, 76, 389 Seeberger, Gustav, 395 Serck-Dewaide, Miriam, 72, 207 Sgraffito, 67, 70, 71, 72, 402; altarpieces, 196; medieval sculpture, 81; silver, 207, 209. See also Estofado Shellac, french-polish application of, 335, 337; pier tables, 336, 337 Sheraton, Thomas, 241, 331 Silver gilding, 205-14, 401; acorn and oak-leaf pattern frames, 112; Chippendale furniture, 112-13; cleaning, 75; eleventh to thirteenth centuries, Europe, 65-66; luster, 81, 83; retouching, 75; Russian experimentation, 184; twin-gold leaf, 184; nineteenth-century American furniture, 145; use in Europe, seventeenth to nineteenth centuries, 72, 73; use in japanning, 128 Sippenaltar, 72 Sizes: Russian, until late sixteenth century, 185; synthetics, testing, 284; yellow-ocher and polyvinyl alcohol, 282, 287 Slavic decorative technique, 70-71 Small, Sophie, 220 Smith, George, 331 Smithsonian Institution Conservation Analytical Laboratory, 170 Sobré, Judith Berg, 209 Society for the Preservation of New England Antiquities, 338 Solaro, Gentina, 73 Solidi, and Russian gilding, 183 Soluvar, 218, 227, 271 Souza e Holstein, Don Pedro de, 243 Spain: estofado, 208, 209, 292; gilding techniques, sixteenth-century, 72; relief panel, seventeenth-century, 208; seventeenth and eighteenth century religious sculpture, 209 Spindler, Hans, 292 Spon, Ernest, 117 Staining tests, identification of organic binding media, 198, 199 426 Index Stairs, gilded, 99, 100 Stalker, John, 109, 111, 112, 128, 324 Stammel, Johann, 293 Stella, Fermo, 193, 194 Stenciling, 398; bronze-powder, 332, 335-36, 411; mass production, 332; nineteenth-century American furniture, 147, 149 Stockei, Hartmut, 292 Storage, gilded objects, 377 Stôs-Fertner, Z., 30 Strauss, Caspar, 81, 83, 391 Streeter, Robert, 101 Studiolo (study), Ducal Palace, Gubbio, Italy, 301, 302, 406, 407 Stumpft, George, 319 Stumpft, J. A., 409, 410 Stumpwork, 333, 335-36 Syrer, Hans, 82, 83 Syrlin, Jörg, the elder, 72 Tabernacle, mid-eighteenth-century water gilded, 343- 50, 412 Tables: console, eighteenth-century France, 96; dressing, Boston, 1700-1730, 128, 397; eighteenth-century French, 93; nineteenth-century American, 145 Tarnish: corrosion resistance of alloys, 22; overgilding, 113; silver, 207, 211; treatment of silver sulfide, 213-14 Technologische Enclopädie, 120 Temple and Son, 116 Temple Newsam House, Leeds, 309 Tensile tests, glue and gessos, 165-66, 176, 179 Textiles: fabric imitation motifs, 69, 70; use in ancient Egyptian gilding, 38-39 Theatre Museum, Covent Garden, 245 Theophilus, 66, 70, 207 Thomas, John, 140 Thronende Muttergattes, 122 Tilliard family, 90 Tin gilding, 207; Russian experimentation, 184 Todd, James, looking glass, 232, 234, 235 Tokyo National University of Fine Arts and Music Sculpture Conservation Laboratory, 60 Tollemache, Sir Lionel, 101, 103 Tools: burnishing, 292-93; 293, 294; fabrication of special, 373; sgraffito, 196 Tomb paintings, Egypt, 28 Tracings, acetate, 333-35, 334 Trade catalogues, 120 Treatise of Japanning and Varnishing ( 1688), 128 Trinity College, Dublin, 357, 358, 359, 364 Triumph of Chaste Love, 209 Trois Rois Mages, 68 Troitse-Sergievsky monastery, 184 Trompe l'oeil: borders, 332; freehand gilding, 332 Turin Papyrus, 29 Tutankhamen, 38, 40 Twin gilding, 66, 140, 189-90; corrosion, 400; Russia, 184 University of Delaware, 338; Winterthur Museum Art Conservation Program, 319 Upholstery, chair, late eighteenth century, 309-11, 315 Ursuline gilding workshop, 367, 368, 414 Varnishes: conservation philosophy, IRPA, 76; nineteenth-century, 120, 122, 144-45; non-water-soluble, 291; Paraloid B-72, 297; for restorations, 218; seventeenth to nineteenth-century Europe, 73; on silver, 65-66, 113, 209; Soluvar matte, 328-29; temporary, 75; thirteenth-century Europe, 67; vermeil, 145; water soluble protein, 405 Verdun, Nicolas de, 68 Vermeil, 292 Victoria and Albert Museum: conservation and restoration techniques, 239-47; displays, 244 Vierge à l'Enfant, 73, 75 Vierge debout à l'enfant, 67 Villa, Claudio, 73 Vinci, Leonardo da, 193 The Virgin of the Immaculate Conception, 210, 210, 213 Virgin: of Bartem, 65; of Hermalle-sous-Huv, 65; of Namur, 76 Virgin Mary, Bodensee region, 79, 80, 81 Vorlagenhefte f ir Fabrikanten und Handwerker, 123 Waldburger brothers, 292 Walpole, Horace, 103, 104 The War of Charles Durazzo, 206 Washington, George, 332 Water gilding: alternatives to burnished, 224-26, 226; burnished, over sprayed gesso, 403; cleaning, 370; French, written sources, 277-78; isolation of, in restoration work, 218; Italian Renaissance ceiling, 303, 304, 306; late eighteenth-century chair, 312; looking glass, Philadelphia, 399; eighteenth-century tabernacle, 346, 348, 349; moisture effects, 376; nineteenth-century description, 140-42; nineteenth-century picture frames, 120; rejection of restoration regilding, 361; of repairs to oil gilding, 242; synthetics, 287; technique, eighteenth-century France, 91-92 Water stripping, 244 Watin, Jean-Felix, 91, 277, 292 427 Gilded Wood Watts, William, 359 Wayne, Caleb P., 399 Weckmann, Niklaus, 81, 83, 391 Welch, John, 130, 131, 132, 132 Weller, Theodor L., 121, 122 Wells, Henry, 101 Weyden, Roger van der, 68 Wheel stamping, 70 Whitehall Group, 99 Whiting, Stephen, 130, 131, 132, 132 Widmann, Thomas, 293 Eli Wilmer and Company (N.Y.), 210 Winn, Sir Rowland, 113, 114, 134 Winterthur, Henry Francis du Pont, Museum, 263, 333; conservation procedures, 231-36; harp, late nineteenth-century, 319; object treatment philosophy, 319; treatment techniques, 338 Witte, Eddy de, 281 Wolbers, Richard, 324, 338 Wood, Robert, 103 Wood: compatibility with polyvinyl alcohol, 282; fills, 219-20; identification in altarpieces, 199; poplar and fir substrates, 304, 306; routine cleaning, 375; in Russian icons, analysis, 189; tabernacle and altar table, 345 Wood Handbook, 177 The Worldly Man's Conversion, 208, 209 Wreaths, gilded ivy, 39, 40 Württembergischen Landesmuseum, Stuttgart, 79 Wyatt, Benjamin Dean, 99, 105-7, 116 Wyatt, James, 105 X-ray diffraction analysis: of commercial leaf, 21; ground composition, altarpieces, 198, 199; of icons, 186; New Kingdom gold leaf, 40 X-ray emission analysis, gold leaf, 198, 199-200 X-ray fluorescence analysis: altarpieces, 198-99; of arly nineteenth-century looking glass, 265-67, 267; of icons, 187-88, 187, 189; of metal leaf, early nineteenth-century harp, 322-23; Omega Five analyzer, 212 X-ray spectrometry, silver identification, 209, 212 Zanolini, Paola, 193 Zetland, Lady, 309 Zürn brothers, 292 428 |
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