Medieval Painting in Northern Europe
Jilleen Nadolny (ed.) with Kaja Kollandsrud, Marie Louise Sauerberg and Tine Froysaker

ISBN: 1-904982-21-2• $150 • Hardcover • 2006

This book on medieval painting and polychromy in Scandinavia and England celebrates the work of Unn Plahter, Professor at the University of Oslo, on the occasion of her 70th birthday. It contains definitive studies by some of the most prominent scholars of medieval painting and entirely new technical investigations of a number of important medieval objects. During her long career as the chemist of The Museum of Cultural History (KHM) and lecturer for the Department of Conservation Studies at the University of Oslo, Unn Plahter published extensively on many aspects of medieval painting. This is reflected in the contents of this volume which encompasses technical studies of individual objects, analysis and art history. It provides a much-needed entry into the rich Scandinavian scholarship, which is largely unavailable in English. This material is complemented by new technical studies of several key examples of English painting, broader explorations of medieval painting and critical studies of past analytical work, all extensively illustrated with colour reproductions. This volume is essential reading for scholars interested in both the technical as well as the historical aspects of painting in the Middle Ages..

CONTENTS
REPRINTS
The Crucifix from Hemse
Peter Tångeberg
The Crucifix from Hemse: Analyses of the Painting Technique
Unn Plahter
The St Olav from Fresvik and the St Paul from Gausdal: Two Medieval Polychromed Sculptures. Part 1: Form and Polychromy
Svein A. Wiik
The St Olav from Fresvik and the St Paul from Gausdal: Two Medieval Polychromed Sculptures. Part 2: Painting Technique, Materials and Structures
Unn Plahter

TECHNICAL STUDIES
Painted Wood from the Eleventh Century: Examination of the Hørning Plank
Mads Chr. Christensen
The Calvary Group in Urnes Stave Church, Norway: A Technological Examination
Tine Frøysaker and Kaja Kollandsrud
The Enthroned Virgin of Stora Malm, Södermanland, Sweden
Peter Tångeberg
New Light on the Virgin from Veldre, the Virgin from Østsinni and the Crucifix from Tretten
Kaja Kollandsrud
Wall Painting Technology at Westminster Abbey c. 1260–1300: A Comparative Study of the Murals in the South Transept and the Chapel of St Faith
Emily Howe
The Materials and Techniques of the c. 1307 Westminster Abbey Sedilia
Lucy Wrapson
The Original Technique of the Westminster Abbey Portrait of Richard II
Jilleen Nadolny and Ashok Roy

TECHNICAL ART HISTORY AND ANALYSIS All that’s Burnished isn’t Bole. Reflections on Medieval Water Gilding Part 1: Early Medieval to 1300
Jilleen Nadolny
A Brief Tale of Incompatibilities
Patricia Stirnemann
Copies, Reworkings and Renewals in Late Medieval Recipe Books
Inès Villela-Petit
Preliminary Notes on Parchment, Canvas and Fibres as Structural Components Related to the Grounds of Medieval and Renaissance Panel Paintings
Erling Skaug
Shells as Palettes and Paint Containers in England
Helen Howard
Some Observations on the Binder and Dyestuff Composition of Glaze Paints in Early European Panel Paintings
Raymond White and Jo Kirby
Analyses Reconsidered: The Importance of the Pigment Content of Paint in the Interpretation of the Results of Examination of Binding Media
Marika Spring and Catherine Higgitt

ART HISTORY Matthew Paris in Norway: The Fåberg St Peter
Paul Binski and Marie Louise Sauerberg
Danish Panel Painting until c. 1300
Ebbe Nyborg
The Norwegian and Swedish Crucifixi Dolorosi c. 1300–50 in their European Context
Nigel J. Morgan