Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)

Not many manuscript maps have been the object of material analysis so far. A portolan chart, signed and dated by Juan Vespucci in 1520, was studied in this research, conserved at the Archivo General de Indias in Seville (Spain). It is made on parchment and depicts the coasts and islands of Europe an...

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Autores: Kriznar, Anabelle, Ager Vázquez, Francisco José, Robles Macías, Luis, Ortega-Feliú, Inés, Gómez-Tubio, Blanca María, Respaldiza Galisteo, Miguel Ángel
Tipo de recurso: artículo
Estado:Versión publicada
Fecha de publicación:2022
País:España
Institución:Universidad de Sevilla (US)
Repositorio:idUS. Depósito de Investigación de la Universidad de Sevilla
OAI Identifier:oai:idus.us.es:11441/146374
Acceso en línea:https://hdl.handle.net/11441/146374
https://doi.org/10.3390/colorants1040026
Access Level:acceso abierto
Palabra clave:Juan Vespucci
Portolan charts
Pigmentos
Tintas
Dorado
Portulano
Juan Vespucio
Gilding
Ink
Pigments
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spelling Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)Kriznar, AnabelleAger Vázquez, Francisco JoséRobles Macías, LuisOrtega-Feliú, InésGómez-Tubio, Blanca María Respaldiza Galisteo, Miguel ÁngelJuan VespucciPortolan chartsPigmentosTintasDoradoPortulanoJuan VespucioGildingInkPigmentsNot many manuscript maps have been the object of material analysis so far. A portolan chart, signed and dated by Juan Vespucci in 1520, was studied in this research, conserved at the Archivo General de Indias in Seville (Spain). It is made on parchment and depicts the coasts and islands of Europe and Africa. It is the oldest portolan chart made in Seville, being unusual in applying hand stamp for decorative figures. The map was analysed by different non-invasive techniques: infra-red and ultraviolet light, digital microscope and X-ray fluorescence (XRF). The main goals of this study were to identify the materials used, as well as to detect retouching or restoration work. Results showed that the entire parchment was first covered with a white layer made of lead white (Pb), calcite or gypsum (Ca). The principal pigments used were vermilion (Hg), yellow ochre (Fe), azurite (Cu) and a copper-based green pigment (Cu) and carbon black. The letters were probably written with an iron-gall ink (Fe, Cu). Very thin golden leaves were applied on a mixtion glue for gilded wind roses. Several retouches from the 19th/20th centuries were found using zinc and titanium whites and probably cobalt blue.MDPIFísica Aplicada IFísica Aplicada IIIFísica Atómica, Molecular y NuclearEscultura e Historia de las Artes Plásticas2022info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfapplication/pdfhttps://hdl.handle.net/11441/146374https://doi.org/10.3390/colorants1040026reponame:idUS. Depósito de Investigación de la Universidad de Sevillainstname:Universidad de Sevilla (US)InglésColorants, 1, 411-423.info:eu-repo/semantics/openAccessoai:idus.us.es:11441/1463742026-06-17T12:51:07Z
dc.title.none.fl_str_mv Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)
title Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)
spellingShingle Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)
Kriznar, Anabelle
Juan Vespucci
Portolan charts
Pigmentos
Tintas
Dorado
Portulano
Juan Vespucio
Gilding
Ink
Pigments
title_short Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)
title_full Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)
title_fullStr Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)
title_full_unstemmed Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)
title_sort Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)
dc.creator.none.fl_str_mv Kriznar, Anabelle
Ager Vázquez, Francisco José
Robles Macías, Luis
Ortega-Feliú, Inés
Gómez-Tubio, Blanca María
Respaldiza Galisteo, Miguel Ángel
author Kriznar, Anabelle
author_facet Kriznar, Anabelle
Ager Vázquez, Francisco José
Robles Macías, Luis
Ortega-Feliú, Inés
Gómez-Tubio, Blanca María
Respaldiza Galisteo, Miguel Ángel
author_role author
author2 Ager Vázquez, Francisco José
Robles Macías, Luis
Ortega-Feliú, Inés
Gómez-Tubio, Blanca María
Respaldiza Galisteo, Miguel Ángel
author2_role author
author
author
author
author
dc.contributor.none.fl_str_mv Física Aplicada I
Física Aplicada III
Física Atómica, Molecular y Nuclear
Escultura e Historia de las Artes Plásticas
dc.subject.none.fl_str_mv Juan Vespucci
Portolan charts
Pigmentos
Tintas
Dorado
Portulano
Juan Vespucio
Gilding
Ink
Pigments
topic Juan Vespucci
Portolan charts
Pigmentos
Tintas
Dorado
Portulano
Juan Vespucio
Gilding
Ink
Pigments
description Not many manuscript maps have been the object of material analysis so far. A portolan chart, signed and dated by Juan Vespucci in 1520, was studied in this research, conserved at the Archivo General de Indias in Seville (Spain). It is made on parchment and depicts the coasts and islands of Europe and Africa. It is the oldest portolan chart made in Seville, being unusual in applying hand stamp for decorative figures. The map was analysed by different non-invasive techniques: infra-red and ultraviolet light, digital microscope and X-ray fluorescence (XRF). The main goals of this study were to identify the materials used, as well as to detect retouching or restoration work. Results showed that the entire parchment was first covered with a white layer made of lead white (Pb), calcite or gypsum (Ca). The principal pigments used were vermilion (Hg), yellow ochre (Fe), azurite (Cu) and a copper-based green pigment (Cu) and carbon black. The letters were probably written with an iron-gall ink (Fe, Cu). Very thin golden leaves were applied on a mixtion glue for gilded wind roses. Several retouches from the 19th/20th centuries were found using zinc and titanium whites and probably cobalt blue.
publishDate 2022
dc.date.none.fl_str_mv 2022
dc.type.none.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv https://hdl.handle.net/11441/146374
https://doi.org/10.3390/colorants1040026
url https://hdl.handle.net/11441/146374
https://doi.org/10.3390/colorants1040026
dc.language.none.fl_str_mv Inglés
language_invalid_str_mv Inglés
dc.relation.none.fl_str_mv Colorants, 1, 411-423.
dc.rights.none.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
application/pdf
dc.publisher.none.fl_str_mv MDPI
publisher.none.fl_str_mv MDPI
dc.source.none.fl_str_mv reponame:idUS. Depósito de Investigación de la Universidad de Sevilla
instname:Universidad de Sevilla (US)
instname_str Universidad de Sevilla (US)
reponame_str idUS. Depósito de Investigación de la Universidad de Sevilla
collection idUS. Depósito de Investigación de la Universidad de Sevilla
repository.name.fl_str_mv
repository.mail.fl_str_mv
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score 15,300719

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