Table 1 Historical references (1550–1724) to the use of charcoal and black stone in drawing and paintings, and to the binder and structure of intermediate layers in panel paintings with white or off-white grounds

From: Charcoal or black stone? Reconstructions as a tool to study the behaviour of dry underdrawing materials within the paint structure of sixteenth century panel paintings

Historical sources

Drawing media

Binder of intermediate layers

Position of the under-drawing

Bibliographic sources

Author

Date

Title

Charcoal

Black stone

Isolation

Imprimatura

On paper

Over prepared panel

On paper

Over prepared panel

G. Vasari

Firenze 1550

Le vite de’ più eccellenti architetti, pittori et scultori italiani, (…)

Drawing transfer

5 coats: sizea (applied with a sponge)

Over the size 1 layer: no reference to binder

Over the imprimatura

Maclehose 1960 (English transl.) (Original version)

G. B. Armenini

Ravenna 1586

De’ veri precetti della pittura

Olszewski 1974 (English transl.)

Anonymous (Spanish)

End of sixteenth century

Reglas para pintar

Transfer

Bruquetas-Galán 1988 (Original version, transc.; Manuscript in Santiago de Compostela)

K. Van Mander

Haarlem 1604

Het Schilder-Boeck

1 layer: no reference to binder

Under the imprimaturab

Noldus 2008 (French translation) Davaco Publ. 1969 (Original version, transcr.)

F. Nunes

Lisboa 1615

Arte Poetica, e da Pintura, e Symmetria, e Perspectiva

1 layer: oil with its drier

Over the imprimatura

Ventura 1982 (Original version)

V. Carducho

1633

Diálogos de la Pintura, su defensa, origen, essência, definicion, modos y diferencias

1 layer: no reference to binder

Veliz 1986 (English transl.)

P. Le Brun

1635

Recueil des essaies des merveilles de la Peinture

Merrifield (1849) 1999 (Original version, transcr.  +  English transl.; Manuscript in Brussels)

Anonymous (Portuguese Monk of the Order of Christ)

< 1640

Breve Tratado de iluminação

2 layers: no reference to binder

Over the imprimatura

Monteiro and Cruz 2010 (Original version, transcr.)

T. T. de Mayerne

Lyon 1620–46

Pictoria Sculptoria and quæ subalternarum artium

c

1 layer: no reference to binder

Fels 2001 (English transl.)

F. Pacheco

Sevilla 1649

Arte de la pintura: su antiguedad (…)

1 layer: linseed oil

Over the imprimatura

Hugas 2009 (Original version, transcr.)

Anonymous (Spanish)

c. 1656

Tractado del Arte

Veliz 1986 (English transl.)

G. B. Volpato

> 1670

Modo da Tener nel Dipinger

Merrifield (1849) 1999 (Original version, transcr.  +  English transl.; Manuscript in Bassano)

A. Félibien

Paris 1676

Des Principes de l’Architecture, de la Sculpture, de la Peinture, et des autres arts (…)

1 layer: oil

(Original version)

J-H De La Fontaine

Paris 1679

L’Academie de la Peinture

Sizing twice or …

… 1 layer: oil

Massing 1998 (Original version, transcr.)

F. Baldinucci

Firenze 1681

Vocabolario Toscano dell’Arte del Disegno (…)

(Original version)

R. de Piles

Paris 1684

Les Premiers Elements de la Peinture (…)

(Original version)

H. Gautier De Nismes

Lyon 1687

L’Art de Laver, ou la Nouvelle Maniere de Peindre sur le Papier (…)

(2nd ed. Bruxelles, 1708)

J. G. Hidalgo

Madrid 1693

Principios para estudiar el nobilisimo y real Arte de la Pintura

Veliz 1986 (English transl.)

T. Corneille

Paris 1694

Dictionnaire Universel des Termes des Arts et des Sciences (2 vols.)

(Original version)

B. D. du Grez

Toulouse 1699

Traité sur la Peinture pour en apprendre la Teorie, & se perfectionner (…)

(Original version)

A. Palomyno Y Velasco

Madrid 1715–24

El museo pictórico y la escala óptica (Books V, VII and IX)

1 layer: size

Over the size 1 or 2 layers: no reference to binder

 Veliz 1986 (English transl.)

  1. Data presented in this table refers exclusively to the practice of drawing on paper (including cartoons) and oil painting on panel with an aqueous ground. In these texts, charcoal and black stone are also mentioned as pigments or drawing materials in other artworks such as drawing on parchment, illuminating manuscripts, fresco painting, tempera painting, masonry, carpentry, etc., but these references were not included in the table as they are not relevant to the subject of this investigation
  2. The data was gathered as part of Melo PhD Thesis [1], updated for this paper and confirmed by research carried out by Stols-Witlox [31]
  3. aSize: layer of animal glue
  4. bThe author is referring to the practice of his predecessors or early painters
  5. cThe author does not specify the nature of the support and uses the generic term “tableau” to designate a painting. However, in the entries just before [34: entry 214, p. 229], he describes the preparation of canvas, wood, cartoons and other materials, so it is possible to conjecture that both supports, canvas and wood, are considered