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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Main Authors: Anabelle Kriznar, Francisco Ager, Luis Robles Macías, Inés Ortega Feliu, Blanca Gómez Tubío, Miguel Ángel Respaldiza
Format: Article
Language:English
Published: MDPI AG 2022-12-01
Series:Colorants
Subjects:
Online Access:https://www.mdpi.com/2079-6447/1/4/26
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author Anabelle Kriznar
Francisco Ager
Luis Robles Macías
Inés Ortega Feliu
Blanca Gómez Tubío
Miguel Ángel Respaldiza
author_facet Anabelle Kriznar
Francisco Ager
Luis Robles Macías
Inés Ortega Feliu
Blanca Gómez Tubío
Miguel Ángel Respaldiza
author_sort Anabelle Kriznar
collection DOAJ
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 <i>mixtion</i> glue for gilded wind roses. Several retouches from the 19th/20th centuries were found using zinc and titanium whites and probably cobalt blue.
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spelling doaj.art-65f689ae01d94e4dac101eb256e1d7932023-11-16T19:52:40ZengMDPI AGColorants2079-64472022-12-011441142310.3390/colorants1040026Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)Anabelle Kriznar0Francisco Ager1Luis Robles Macías2Inés Ortega Feliu3Blanca Gómez Tubío4Miguel Ángel Respaldiza5Departamento de Escultura e Historia de las Artes Plásticas, Facultad de Bellas Artes, Universidad de Sevilla, C/Laraña 3, 41003 Seville, SpainCentro Nacional de Aceleradores, Universidad de Sevilla-CSIC-Junta de Andalucía, C/Thomas A. Edison 7, 41092 Seville, SpainHistory Department, Université Libre de Bruxelles, Avenue Adolphe Buyl 87, 1050 Brussels, BelgiumCentro Nacional de Aceleradores, Universidad de Sevilla-CSIC-Junta de Andalucía, C/Thomas A. Edison 7, 41092 Seville, SpainCentro Nacional de Aceleradores, Universidad de Sevilla-CSIC-Junta de Andalucía, C/Thomas A. Edison 7, 41092 Seville, SpainCentro Nacional de Aceleradores, Universidad de Sevilla-CSIC-Junta de Andalucía, C/Thomas A. Edison 7, 41092 Seville, SpainNot 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 <i>mixtion</i> glue for gilded wind roses. Several retouches from the 19th/20th centuries were found using zinc and titanium whites and probably cobalt blue.https://www.mdpi.com/2079-6447/1/4/26portolan chartsJuan Vespuccimaterial analysispigmentsinkgilding
spellingShingle Anabelle Kriznar
Francisco Ager
Luis Robles Macías
Inés Ortega Feliu
Blanca Gómez Tubío
Miguel Ángel Respaldiza
Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)
Colorants
portolan charts
Juan Vespucci
material analysis
pigments
ink
gilding
title 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_short Pigments and Inks Applied in Juan Vespucci’s Portolan Chart (1520)
title_sort pigments and inks applied in juan vespucci s portolan chart 1520
topic portolan charts
Juan Vespucci
material analysis
pigments
ink
gilding
url https://www.mdpi.com/2079-6447/1/4/26
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AT inesortegafeliu pigmentsandinksappliedinjuanvespuccisportolanchart1520
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