1. The Master of the
Fogg Pietà Pilot Project
Austin Nevin, Aviva Burnstock,
Caroline Cam pbell & Joanna Cannon
Courtauld Institute of Art
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2. An online research tool
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3. w w fpm
w .m fp.org
Master of the Fogg Pieta ~ Maestro di Figline Project
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

4. Aim & Goals
s
• Create a m odel for international collaborative
research
• Initiation of newtechnical research and
engaging partners
• Create a dynam online archive
ic
• Collaborative w space
ork
• Gather and share research m aterials and add
newm aterial
• Include participants from scholarly and
education com unities
m
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5. Technical and Historical Research
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6. S Lawrence, London Bishop Saint, London
Fogg Pietà, Harvard
God the Father,, Avignon
S Lucy & S Paul, ‘s Heerenberg
S John the Baptist, Parma
S Francis Worcester S Phillip, Worcester
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7. Original Sale Catalogue
Rome panels
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8. Other possible associated panels
(from Offner)
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9. The Courtauld Gallery
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10. W orcester
Art Museum
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11. The Fogg Pietà,
Harvard Art Museum s
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

12. Jan Herm Van Heek Collection
an
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

13. God the Father,
Musée du Petit Palais, Avignon
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14. Saint John the Baptist,
Fondazione Magnani Rocca, Parm a
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

15. Making disparate research materials available on line
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16. Santa Croce Crucifix & Figline Maestà
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

17. Consultation and exchange w project participants
ith
Me e ting at the Co urtauld
Septem 15th 2009
ber
•best practices for the sharing of technical information
•discuss m ethods of collaborative research
•plan m ethods for further interpreting and dissem inating
conservation inform ation
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

18. Our approach
Adapt standard
components
12 open-source packages, each is (in our
opinion) the best available in its class
Minim softw
ise are
developm ent
Developm w on IIPIm
ent ork age to allow
panning, browsing and overlaying
Newplugins have been released under
an open-source license
Our ow server
n
M M running Ubuntu Server,
ac ini
connected to a large hard disc and a fast
internet connection, regularly backed up
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19. Benefits
Rapid development
Sim assem of standard com
ple bly ponents 
lowmaintenance costs
Cheap, prototype driven
design
We are currently on prototype 6. The
next version w be the launch design and
ill
w be online at w w fpm
ill w .m fp.org
Several m revisions w be carried out during
ore ill
the project –these w be m
ill otivated by end-
user feedback throughout the duration of the
project
Easy to share
All parts of the system are free and open;
technical docum entation on the site freely
available
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20. XRF analysis  pigm identification
ent
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21. Scans of curatorial files
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22. Conservation records
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23. Online comparison of punch-work
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

24. Scholarly discourse
• Exchange
betw een users has
been initiated to
discuss central art
historical
questions
• Exam ple:
interpretation of
the scroll which
Saint Francis
Holds
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25. Online discussion and exchange
The water-gilded
punched borders
and use of pigment
over water gilding...
are the key issues
.. Philip’s garments
are paint over water Are the borders on St. Philip’s
gilding garment executed in
Sgraffito?
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

26. Eg o e ni(m)
S tig mata
domini n
os tri y h(e s )u
xpi in cor
pore me
o porto
g ratia d(omi)ni
n(os t)ri y h(e s )u xp(i)
cum s piri
tu v e s tro
Galatians 6: 17-18
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27. • The carefully arranged positioning of each finger, and bend in the scroll,
reveal the upper half of the w ords Saint Francis has just finished reading
out: ‘ spiritu vestro’
cum .
• Franciscans seeing this w ould knowthat Francis w ould nowbe saying,
inviting their active participation:
‘fratre s . Ame n ’
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28. • First tw lines at the top of the scroll w initially ruled, allow for a full-
o ere ing
height line of text in each row
• Ruling w then painted out and repositioned, leaving space for the
as
carefully-executed, half-obscured line of text
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29. High resolution X-rays
n l y pa n e l in t he e n s e mbl e w it h t he o r ig in a l e n g a g e d f r a me
Wo o d g r a in is c l e a r l y vis ibl e a n d ma t c h e s t ha t o f t he Fo g g Pie t à
l o s e r e xa min a t io n hig h l ig h t s s imil a r it ie s in t e c hn iq ue w it h Wo r c e s t e r pa n
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

30. High resolution X-rays
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

31. Rig tag liare – lead white
the borde r be twe e n fig ure a nd g old ba ckg round is ma rke d by a broa d
contour of le a d white in g lue following g ilding a nd prior to pa inting the
fig ure (Ce n n in i)
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32. Losses prior to reintegration - 1987
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33. Ritag liare
• RItag liare is indeed one of the areas m likely to be lost as can be seen in
ost
this X radiograph
• Characteristic use of free hand incisions around the edges of figures
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34. Ritagliare around the figures of Lucy and Paul, use of lead white for highlights, presence
of cloth, wormholes and nails
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35. • It has been suggested that the panels can be dated to ca. 1340,
• The technique of freehand incised patterns, reserved against a
granulated background, and the repertoire of geom etrical shapes,
m point to the influence of Lippo M m and Sim
ay em i one M artini, in
their w from ca. 1320.
ork
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36. . . . by inte g rating s ty lis tic and te chnical
analy s is and apply ing combine d
dis cipline s tow ard s olv ing difficult
Tre ce nto proble ms w e can anticipate
ne w and important dis cov e rie s in the
y e ars ahe ad.”
N. E. Muller.
w w fpm
w .m fp.org
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37. Future and wider impact
While the pilot project has focussed on a sm all
ensem of paintings by an anonym
ble ous M aster,
the tools developed could and w be extended
ill
to focus on scholarly projects in the future
• Bernardo Daddi
• Paul Cézanne
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38. Bernardo Daddi, Florence 1338
Courtauld Gallery
Nelson Atkins Museum, Kansas
Lindenau Museum Altenberg
Address questions of quality and production, develop further the applications of the
research tool and foster new research
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39. A closer look:
Has Daddi, a supreme practitioner, left any signs of planning?
Did he employ any mechanical methods to facilitate repetition
in his own work or in that executed by his assistants?
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40. A great leap forward: Paul
Cézanne
• Investigate the relationship between his drawing
and painting technique
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41. Support from the
Andrew W. Mellon Foundation
is gratefully acknowledged
Austin Nevin, Coordinator & M ellon Fellow Aviva Burnstock, Joanna Cannon,
,
Caroline Cam pbell, Clare Richardson, (The Courtauld Institute of Art)
John Cupitt (external consultant)
Lauren Cox, Teri Hensick, Narayan Khandakhar, Henry Lie, Katherine Olivier,
Stephan W olohojian (Harvard Art M useum s)
Rita Albertson, Philip Klausm eyer, W inifred Murray, Birgit Strähle (W orcester Art
M useum )
Luc M egens, Klaas Jan Van den Berg, (Instituut Collectie Nederland)
Roberto Bellucci, Ciro Castelli, Cecilia Frosinini (Opificio delle Pietre Dure)
Stefano Roffi (Fondazione M agnani Rocca)
Dom inique Vigntain (M usée du Petit Palais)
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

42. Consultation and exchange w project participants
ith
Me e ting at the Co urtauld
Septem 15th 2009
ber
•best practices for the sharing of technical information
•discuss m ethods of collaborative research
•plan m ethods for further interpreting and dissem inating
conservation inform ation
austin.nevin@ courtauld.ac.uk
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9