Image processing methods integrated to imaging and material characterisation for the study of incunabula illustrations: an innovative multi-analytical approach on a case-study
Abstract
This study focuses on the application of a multi-analytical approach combining image processing techniques, imaging studies and material characterisation of a French late fifteen-early sixteen century incunabulum – the BPE, Inc.438. The first study goal was to verify the potential of computational methods in NIR imaging to retrieve accurate reconstructions of the engraving printings by Germain Hardouyn. For this aspect, two representative scenes were chosen: Trinity, f.8r; Saint Anthony the Abbot, f.61v. The applied methodology allowed faster creation of digital reconstructions while the material analysis proved the use of azurite, malachite, vermilion, lead white and ochres, and their NIR response was assessed in the context of the digital processing. The second goal was to make a comparison between chosen illuminations and engraved references of the same representations from two incunabula of the British Library, unravelling the illuminator’s intentional iconographic alteration based on visual and theological criteria.
Downloads
References
RAÚJO, R. et al. (2015). “Ethical and technical concerns during the conservation process of a religious book, the book of hours from the library of Palácio Nacional de Mafra”, European Journal of Science and Theology, 11(2): 129-40.
BLOOMFIELD, M. (1952). The Seven Deadly Sins. Lansing: Michigan State College Press.
BROWN, M. (1994). Understanding Illuminated Manuscripts. A Guide to Technical Terms. Los Angeles: Getty Publications.
BURGIO, L. et al. (1997). “Pigment identification on medieval manuscripts, paintings and other artefacts by Raman microscopy: applications to the study of three German manuscripts”, Journal of Molecular Structure, 405(1): 1-11, https://doi.org/10.1016/S0022-2860(96)09422-7.
BURGIO, L. et al. (2010). “Raman Microscopy and X-Ray Fluorescence Analysis of Pigments on Medieval and Renaissance Italian Manuscript Cuttings”, Proceedings of the National Academy of Sciences, 107(13): 5726-5731, https://doi.org/10.1073/pnas.0914797107.
CENNINI, C. (1899). The Book of Art of Cennino Cennini: A Contemporary Practise Treatise on Quattrocento Painting, Translated from the Italian, with Notes on Mediaeval Art Methods by Christiana H. Herringam. London: George Allen.
CHADWICK, O. (2001). The Early Reformation on the Continent. New York: Clarendon Press Oxford.
COHEN, S. (2008). Animals as Disguised Symbols in Renaissance Art. Leiden: Brill.
COHEN, S. (2010). “The Animal Triad of Capital Sins in Franciscan Iconography”, Ikon, 3: 189-198, https://doi.org/10.1484/J.IKON.3.76.
COHEN, S. (2014). “Review Essay: Animal Imagery in Renaissance Art”, Renaissance Quarterly, 67(1): 164-180, https://doi.org/10.1086/676155.
COSENTINO, A. (2014). “FORS Spectral Database of Historical Pigments in Different Binders”, E-conservation Journal, 2:57-68, http://dx.doi.org/10.18236/econs2.201410.
CROSS, F. L. and LIVINGSTONE, E. L. (2005). The Oxford Dictionary of the Christian Church. 3° ed. Oxford: Oxford University Press.
DIDRON, A. N. and STOKES, M. (1886). Christian iconography or The history of Christian art in the Middle Ages. London: G. Bell.
DRUCKER, C. B. (2008). “Ambroise Paré and the Birth of the Gentle Art of Surgery”, Yale Journal of Biolology and Medicine, 81(4): 199–202, https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2605308.
DUPLESSIS, G. (1861). Histoire de la gravure en France. Paris: Rapilly.
EARLS, I. (1987). Renaissance Art: A Topic Dictionary. New York-Westport, Connecticut-London: Greenwood.
EASTON, R. L. et al (2003). «Multispectral imaging of the Archimedes palimpsest”. In IEEE Conference: Washington: 111-116, https://doi.org/10.1109/AIPR.2003.1284258.
ELIAS, M. et al. (2006). “The Colour of Ochres Explained by Their Composition”, Materials Science and Engineering B, 127: 70–80, https://doi.org/10.1016/j.mseb.2005.09.061.
FARIES, M. (2000). “Some thought on the Infrared Reflectography Workshop Experience”, Record of the Art Museum, 59(1/2): 33-37, https://www.jstor.org/stable/3774800.
GAGE, J. (1999). Color and Meaning: Art, Science, and Symbolism. Berkeley-Los Angeles: University of California Press.
GETTENS, R. J. and STOUT, G. L. (1966). Painting materials: a short encyclopaedia. Courier Corporation.
GUELI, A. M. et al. (2017). “Effect of particle size on pigments colour”, Color Research & Application, 42(2): 236-243, https://doi.org/10.1002/col.22062.
GUILEY, R. E. (2001). Encyclopedia of Saints. New York: Facts on Fire.
JACOBS, V. and JACOBS, W. (1958). “The Color Blue: Its Use as Metaphor and Symbol”, American Speech, 33(1): 29-46, https://www.jstor.org/stable/453461.
JØRGENSEN, A. D. (1899). Mårkær Kloster i Angeln. Historiske Afhandlinger. Copenhagen: Ernst Bojesen.
KLEIN, C. et al. (2007). Manual of mineral science. Hoboken (New Jersey): John Wiley.
MACFARLANE, J. (1900). Antoine Vérard. London: Bibliographical Society at the Chiswick Press.
MAJESKI, A. (2012). The printed books of hours of Thielman Kerver: exploring printer, shop, community and book, Tufts University: Somerville/Medford (Boston).
MANSO, M. et al. (2013). “Spectroscopic characterization of a masterpiece: the Manueline foral charter of Sintra”, Spectrochimica Acta A, 105: 288-296, https://doi.org/10.1016/j.saa.2012.11.110.
MARTENS, W. N. et al. (2004). “Single crystal Raman spectroscopy of cerussite”, American Mineralogist, 89(2-3): 352-358, https://doi.org/10.2138/am-2004-2-314.
MELO, M. J. et al. (2014). “A Spectroscopic Study of Brazilwood Paints in Medieval Books of Hours”, Applied spectroscopy, 68(4): 434-443.
MIGUEL, C. et al. (2008). “A study on red lead degradation in a medieval manuscript Lorvão Apocalypse (1189)”, Journal of Raman Spectroscopy, 40(12): 1966-1973, https://doi.org/10.1002/jrs.2350.
MIGUEL, C. et al. (2012). “Combining infrared spectroscopy with chemometric analysis for the characterization of proteinaceous binders in medieval paints”, Chemometrics and Intelligent Laboratory Systems, 119: 32-38, https://doi.org/10.1016/j.chemolab.2012.09.003.
MIGUEL, C. et al. (2019). “Unveiling the underprintings of a late-fifteenth-early-sixteenth century illuminated French incunabulum by infrared reflectography”, Journal of Cultural Heritage, 40(1): 34-42, https://doi.org/10.1016/j.culher.2019.05.014.
PESSANHA, S. et al. (2012). “Application of spectroscopic techniques to the study of illuminated manuscripts: a survey”, Spectrochimica Acta B, 71: 54-61, https://doi.org/10.1016/j.sab.2012.05.014.
REINBURG, V. (2012). French Books of Hours: Making an Archive of Prayers c.1400-1600. Cambridge: Cambridge University Press.
RENOUVIER, J. (1862). Des gravures sur bois dans les livres de Simon Vostre librarie d’heures. Paris: A. Aubry.
SCHILLER, G. (1972). Iconography of Christian Art. London: Lund Humphries.
SHERMAN, D. M. and WAITE, T. D. (1985). “Electronic spectra of Fe3+ oxides and oxide hydroxides in the near IR to near UV”, American Mineralogist, 70: 1262-1269.
SILVESTER, B. (1924). Commentum Bernardi Silvestris super sex libros Eneidos Virgilii: Nunc primum edidit Guilielmus Riedel. Gryphiswaldae: s.n.
SPARAVIGNA, A. (2009). “Digital restoration of ancient papyri”, arXiv preprint arXiv: 0903.5045.
TOMASINI, E. et al (2011). “Micro-Raman spectroscopy of carbon-based black pigments”, Journal of Raman Spectroscopy, 43: 1671–1675, https://doi.org/10.1002/jrs.4159.
TORRENT, J. and BARRÓN, V. (2002). “Diffuse reflectance spectroscopy of iron oxides”, Encyclopedia of surface and Colloid Science, 1: 1438-1446, https://doi.org/10.1081/E-ESCS3.
WIECK, R. S. (1997). Painted prayers: the book of hours in medieval and Renaissance art. New York: George Braziller.
WINN, M. B. (2009). “Gathering the Borders in Hardouyn’s Hours: From the ‘Accidents de l’homme’ to the ‘Dis des Estas’”, The Papers of the Bibliographical Society of America, 103(2): 141-197.
ZÖHL, C. (2004). Jean Pichore: Buchmaler, Graphiker und Verleger in Paris um 1500. Turnhout: Brepols Publishers.
- Copyright and intellectual property belongs to author. Author guarantees editing and publishing rights to Ge-Conservación Journal, under a Creative Commons Attribution License. This license allows others to share the work with authorship and the original source of publication acknowledgement.
- Articles can be used for scientific and educational purposes but never for commercial use, being sanctioned by law.
- The whole content of the article is author’s responsibility.
- Ge-Conservación Journal and authors may establish additional agreements for non-exclusive distribution of the work version published at the Journal (for example, on institutional repositories or on a book) with acknowledgment of the original publication on this Journal.
- Author is allowed and encouraged to disseminate his works electronically (for example, on institutional repositories or on its own website) after being published on Ge-Conservación Journal. This will contribute for fruitful interchanges as also for wider and earlier citations of the author’s works.
- Author’s personal data will only be used for the Journal purposes and will not be given to others.