The wall paintings at the entrance hall of Verdala Palace, Buskett : an investigation into their original technique and condition

Abstract

The wall paintings at the Entrance Hall of Verdala Palace consist of four allegorical figures and two lunette paintings which are attributed to the Florentine artist Filippo Paladini (c.1544-c.1614). This research was primarily aimed at investigating the original technique and the present condition of these wall paintings, while leading to a better understanding of their artistic attribution. All the wall paintings were visually examined, however, a representative section was chosen for detailed non-invasive and invasive investigations. Photographic and graphic documentation, ultra-violet fluorescence and infrared reflectography were carried out. A moisture survey was also undertaken for an indication of the distribution of moisture at surface level. The samples taken, in order to identify inorganic and organic original materials, but also non-original materials, were analysed using Optical Microscopy (OM), Scanning Electron Microscope Energy Dispersive Spectrometry (SEM-EDS), microchemical and histochemical tests and Fourier transform infrared spectroscopy (FTIR). Investigations revealed technological features of the original technique namely stone tooling, the application of one plaster layer, the use of preparatory techniques and particular characteristics of the paint layer. However, it could be deduced that the current painted fictive architecture which surrounds the allegorical figures was executed at a later stage than the original painting scheme. There was also clear evidence of extensive restoration intervention/s. The most serious form of deterioration present today is the plaster delamination. Of particular interest were also the types of pigment alteration present. The study of the physical history of the building, its structure and the manufacturing technique led to a better understanding in the present condition of these paintings. The outcome of this study is the first essential step in understanding the conservation problems of these wall paintings.