Analisys Of Nashrid Polychrome

Archaeometry 50, 00 (2008) 000– 000

doi: 10.1111/j.1475-4754.2008.00438.x

C. Cardell Nasrid ORIGINAL XXX © University 0003-813Xet ARTICLE Archaeometryal. ARCH UK of Oxford, 2008 Oxford,polychrome carpentry at the Mexuar Palace (Granada, Spain) Blackwell Publishing Ltd

ANALYSIS OF NASRID POLYCHROME CARPENTRY AT THE HALL OF THE MEXUAR PALACE, ALHAMBRA COMPLEX (GRANADA, SPAIN), COMBININGMICROSCOPIC, CHROMATOGRAPHIC AND SPECTROSCOPIC METHODS*†
C. CARDELL
Department of Mineralogy and Petrology, Faculty of Science, University of Granada, Avenida Fuentenueva s/n, 18071 Granada, Spain

L. RODRIGUEZ-SIMON
Department of Paint and Restoration, Faculty of Fine Arts, University of Granada, Avenida de Andalucía s/n, 18071 Granada, Spain

I. GUERRA
Scientific Instrumentation Centre,Avda. Campus Fuentenueva, University of Granada, 18071 Granada, Spain

and A. SANCHEZ-NAVAS
Department of Mineralogy and Petrology – I.A.C.T., Faculty of Science, University of Granada, Avenida Fuentenueva s/n, 18071 Granada, Spain

The pigments, binders and execution techniques used by the Nasrids (1238–1492) to polychrome carpentry in the Hall of the Mexuar Palace at the Alhambra (Granada,Spain) were studied using optical microscopy, scanning electron microscopy with EDX analysis, selective staining techniques and gas chromatography – mass spectrometry. This pioneering investigation presents the first results of a research project devoted to filling gaps in the knowledge of Nasrid art, traditionally approached by stylistic studies. Moreover, it is essential for the polychromyconservation of the studied artworks, and will help to clarify historical and painting uncertainties in the Alhambra monument. The palette consists of a limited range of colours: white (lead-base pigment), red (cinnabar and red lead), blue (lapis lazuli), black (carbon-based) and false gold (golden tin). Tempera grassa was the painting technique identified. Two types of grounds were used: (i) gypsum incalligraphy decoration for the false gold technique, and (ii) synthetic minium in geometric drawings in carpentry. Organic insulating layers of linseed oil were used between paint strata. Artists applied synthetic minium to protect the wood (Juglans regia and conifer) against attack by xylophages. To lighten the surface darkened by this ground layer, powdered tin was added to achieve a metallic lustre.KEYWORDS: ALHAMBRA, ISLAMIC, AL-ANDALUS, PIGMENTS, BINDERS, CARPENTRY, SEM −EDX, GC−MS, OPTICAL MICROSCOPY
© University of Oxford, 2008 *Received 4 February 2008; accepted 1 July 2008

* Received 4 February 2008; accepted 1 July 2008 † This paper is dedicated to the memory of Carmen Navarrete. © University of Oxford, 2008

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C. Cardell et al.
THE ARCHAEOMETRIC QUESTION

The Alhambramonument is a palatial citadel built over three centuries, with extensive undocumented reuse and redecoration of woodwork among palaces (Velasco-Gómez 1993). One of the main challenges for experts is to date, or ascribe to a particular Nasrid period, non-contextual and other woodwork of uncertain chronology. Yet scientific publications on composition and painting techniques used by the Nasrids topolychrome carpentry in the Alhambra are sparse (Cardell et al. 2004). To shed light on this issue, this pioneering research focused on scientific analysis of some of the oldest preserved polychromed carpentry in the Alhambra (dated from the period of Ismail I, 1314–25), originally situated in the Hall of the Mexuar, part of the lost Mexuar Palace, and currently housed in the Alhambra Museum. Acomparative study of these data (a potential benchmark for further archaeological investigations) is presented with in- and out-ofcontext polychromed pieces located in this same room, which was profoundly transformed by both Muslim and Christian monarchs. Thus, the final goals of the work are: (1) to characterize the painting materials and techniques of Nasrid polychrome carpentry in the Hall of the...