Italian scagliola top, second half of the 18th century
Scagliola (from the Italianscaglia, meaning "chips") is a type of fine plaster used in architecture and sculpture. The same term identifies the technique for producing columns, sculptures, and other architectural elements that resemble inlays in marble.[1] The scagliola technique came into fashion in 17th-century[2] Tuscany as an effective substitute for costly marble inlays, the pietra dura works created for the Medici family in Florence. The use of scagliola declined in the 20th century.[3]
Scagliola is a composite substance made from plaster of Paris, glue and natural pigments, imitating marble and other hard stones. The material may be veined with colors and applied to a core, or desired pattern may be carved into a previously prepared scagliola matrix. The pattern's indentations are then filled with the colored, plaster-like scagliola composite, and then polished with flax oil for brightness, and wax for protection. The combination of materials and technique provides a complex texture, and richness of color not available in natural veined marbles.
A comparable material is terrazzo. Marmorino is a synonym, but scagliola and terrazzo should not be confused with plaster of Paris, which is one ingredient.
Batches of pigmented plaster, modified with animal glue are applied to molds, armatures and pre-plastered wall planes in a manner that accurately mimics natural stone, breccia and marble. In one technique, veining is created by drawing strands of raw silk saturated in pigment through the plaster mix. Another technique involves trowelling on several layers of translucent renders and randomly cutting back to a previous layer to achieve colour differential similar to jasper.
When dry, the damp surface was pumiced smooth, then buffed with a linen cloth impregnated with Tripoli (a siliceous rottenstone) and charcoal; finally it was buffed with oiled felt; beeswax was sometimes used for this purpose. Because the colours are integral to the plaster, the pattern is more resistant to scratching than with other techniques, such as painting on wood.
There are two scagliola techniques: in traditional 'Bavarian scagliola' coloured batches of plaster of Paris are worked to a stiff, dough-like consistency. The plaster is modified with the addition of animal glues such as isinglass or hide glue. 'Marezzo scagliola' is worked with the pigmented batches of plaster in a liquid state and relies mainly on the use of Keene's cement, a unique gypsum plaster product in which plaster of Paris was steeped in alum or borate, then burned in a kiln and ground to a fine powder; invented around 1840, it sets to an exceptionally hard state.[4]
It is typically used without the addition of animal glues. Marezzo scagliola is often called American scagliola because of its widespread use in the United States in the late nineteenth and early twentieth century. Slabs of Marezzo scagliola may be used as table tops. When set, scagliola is hard enough to be turned on a lathe to form vases, balusters and finials.
While there is evidence of scagliola decoration in ancient Roman architecture, scagliola decoration became popular in ItalianBaroque buildings in the 17th century, and was imitated throughout Europe until the 19th century. Superb altar frontals using this technique are to be found at the Certosa di Padula in the Campania, Southern Italy.
An early use of scagliola in England is in a fireplace at Ham House, Surrey, which was brought from Italy along with the window sill in the reign of Charles II. This employs the use of a scagliola background which was then cut into to lay in the design.
In 1761, a scagliolista, Domenico Bartoli, from Livorno arrived in London and was employed by William Constable of Burton Constable in Yorkshire. Here he produced two chimneypieces in white marble inlaid with the scagliola embellishments directly into cut matrices in the marble. Apart from the protective edges of altars at Padula this seems to be the first use of this technique.
In 1766 he went into partnership with Johannes Richter, possibly from Dresden, who may have brought a young Pietro Bossi with him. The name Bossi is associated with a family of Northern Italian scagliolisti. Bartoli supplied table tops to Ireland and one chimneypiece at Belvedere House in Dublin could be attributed to Richter. Their styles are very different. There is little evidence that either of them came to Ireland.
Pietro Bossi arrived in Dublin in 1784 and probably died there in 1798. He produced a number of chimneypieces in Dublin of very good quality. Scagliola inlay proved to be desirable in Ireland and there appears to be a continuation long after it became unfashionable in England.
In 1911, Herbert Cescinsky, in English Furniture remarked that scagliola had been popular in Dublin fifty years before. This would explain one at 86, Stephen's Green, clearly an 18th. Century chimneypiece, which has been later embellished in the mid 19th. Century for Crofton Vanderleur, formerly at 4, Parnell Square. A later firm, Sharpe & Emery, Pearce St., Dublin produce a number of examples in the neo-classical Bossi style, sometimes using original chimneypieces.
The correspondence between British Resident in Florence Sir Horace Mann and Horace Walpole describes the process of obtaining a prized scagliola table top. Having received his first top from the Irishman Friar Ferdinando Henrico Hugford (1695–1771) around 1740 Walpole had asked his friend Mann to acquire some more... (one of these tables is at The Vyne. That table has the arms of Walpole (with his post 1726 Garter Knight embellishments) impaling Shorter - for Prime Minister Sir Robert Walpole and his first wife Catherine Shorter, who died 20 August 1737. He married Maria Skerret in early 1738, thus The Vyne's table could seem have been ordered before c1736-37).
In a letter dated 26 November 1741 Mann writes to Walpole:
Your scagliola table was near finished when behold the stone on which the stuff is put, opened of itself so that all that was done, to his [Hugford's] great mortification is spoilt. He would have been off for beginning again on account of his eyes etc., but I have begged he will do it and he is about it
and on 15 July 1742:
Your scagliola table is almost finished (you remember the first he [Hugford] undertook broke when near done) and is very handsome, but even in this commission my success is not complete, for I cannot persuade the padre [Hugford] to make its companion
and on 30 October 1742:
Your scagliola table is finished, though I have not got it home. The nasty priest [Hugford] will have 25 zecchins [£12 10s] besides many thanks, for the preference given to me, for some simple English have been tampering with him and offered 30 to get it, though it is by no means such a fine performance. The priest wishes I would not take it, as he would make a present of it to the Pope. He leaves Florence for good
and on 11 July 1747:
You bid me get you two scagliola tables, but don't mention the size or any other particulars. The man who made yours is no longer in Florence. Here is a scholar of his [Don Pietro Belloni?], but vastly inferior to him, and so slow in working that he has been almost three years about a pair for a Mr Leson [Joseph Leeson], and requires still six months more. I will endeavour to get somebody to write to the first friar [Hugford] and to engage him to make two tables in his convent and send them to Florence, of which I hope to be able to give you an account by next post.
and on 10 October 1749:
I am glad your scagliola tables please. You must make the greater account of them, as it is impossible to get any more of the same man [Hugford], nor indeed of his disciple here [Belloni], who is a priest too, and has been four years about a pair I bespoke of him, which he tells me plainly he cannot finish in less than two more. They work for diversion and won't be hurried.
In modern times—Tusmore House, Oxfordshire:
The great triumph of the saloon, however, is the use of scagliola, including the richly coloured and figured Sienna shafts of the eight fluted Corinthian columns...and the urns, entablature and balustrade to the second-floor landing which gives access to four plaster-vaulted ante rooms serving the main bedrooms. All this scagliola was produced by Richard Feroze, England's leading contemporary scagliola-maker.[5]
Scagliola has historically been considered an Ersatz material and an inexpensive alternative to natural stone. However, it has eventually come to be recognised as an exceptional example of the plasterer's craft and is now prized for its historic value as well as being used in new construction because of its benefits as a plastic material suited to molding in ornate shapes.
Scagliola columns are not generally built of the solid material. Instead scagliola is trowelled onto a canvas which is wrapped around the column's core, and the canvas peeled away when semi-hardened. The scagliola is then surfaced in place.[7]
The verd antique columns and pilasters in the Anteroom at Syon House are made out of marble not scagliola as it is widely perceived (a beautiful and rare, predominantly green marble that was quarried in Larissa of Greece since antiquity). These columns are not solid. Round sections of marble were painstakingly cut as a veneer of an approximate thickness of 5–6mm and then glued onto a column core that is hollow and was probably made out of plaster.
On closer inspection the viewer can see the joints of the various sections. The discerning eye will soon realise that they are looking at verd antique veneered marble and not verd antique scagliola. The 3.6 metre high verd antique scagliola columns that can be seen at Dropmore House, Buckinghamshire, are based on the colours and design of this historical work at Syon House. Both research and execution of these new columns were undertaken recently by the contemporary scagliolist Michael Koumbouzis.
Fresco is a technique of mural painting executed upon freshly laid ("wet") lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
Marquetry is the art and craft of applying pieces of veneer to a structure to form decorative patterns or designs. The technique may be applied to case furniture or even seat furniture, to decorative small objects with smooth, veneerable surfaces or to freestanding pictorial panels appreciated in their own right.
Marbleizing or faux marbling is the preparation and finishing of a surface to imitate the appearance of polished marble. It is typically used in buildings where the cost or weight of genuine marble would be prohibitive. Faux marbling is a special case of faux painting used to create the distinctive and varied patterns of marble - the most imitated stone by far.
Pietra dura or pietre dure, called parchin kari or parchinkari in the Indian Subcontinent, is a term for the inlay technique of using cut and fitted, highly polished colored stones to create images. It is considered a decorative art. The stonework, after the work is assembled loosely, is glued stone-by-stone to a substrate after having previously been "sliced and cut in different shape sections; and then assembled together so precisely that the contact between each section was practically invisible". Stability was achieved by grooving the undersides of the stones so that they interlocked, rather like a jigsaw puzzle, with everything held tautly in place by an encircling 'frame'. Many different colored stones, particularly marbles, were used, along with semiprecious, and even precious stones. It first appeared in Rome in the 16th century, reaching its full maturity in Florence. Pietra dura items are generally crafted on green, white or black marble base stones. Typically, the resulting panel is completely flat, but some examples where the image is in low relief were made, taking the work more into the area of hardstone carving.
Castle Coole is a townland and a late-18th-century neo-classical mansion situated in Enniskillen, County Fermanagh, Northern Ireland. Set in a 1,200-acre (490 ha) wooded estate, it is one of three properties owned and managed by the National Trust in County Fermanagh, the others being Florence Court and the Crom Estate.
Vallombrosa is a Benedictine abbey in the comune of Reggello, about 30 km south-east of Florence, in the Apennines, surrounded by forests of beech and firs. It was founded by Florentine nobleman Giovanni Gualberto in 1038 and became the mother house of the Vallumbrosan Order.
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A baluster is an upright support, often a vertical moulded shaft, square, or lathe-turned form found in stairways, parapets, and other architectural features. In furniture construction it is known as a spindle. Common materials used in its construction are wood, stone, and less frequently metal and ceramic. A group of balusters supporting a handrail, coping, or ornamental detail is known as a balustrade.
Plasterwork is construction or ornamentation done with plaster, such as a layer of plaster on an interior or exterior wall structure, or plaster decorative moldings on ceilings or walls. This is also sometimes called pargeting. The process of creating plasterwork, called plastering or rendering, has been used in building construction for centuries. For the art history of three-dimensional plaster, see stucco.
The Idaho State Capitol in Boise is the home of the government of the U.S. state of Idaho. Although Lewiston briefly served as Idaho's capital from the formation of Idaho Territory in 1863, the territorial legislature moved it to Boise on December 24, 1864.
Charles Fane, 2nd Viscount Fane was a landowner in Ireland and England, a Whig Member of Parliament and the British Resident in Florence.
Ignazio Hugford, or Ignatius Heckford (1703–1778), was an Italian painter active mostly in Tuscany in an early Neoclassic style.
Marmorino Veneziano is a type of plaster or stucco. It is based on calcium oxide and used for interior and exterior wall decorations. Marmorino plaster can be finished via multiple techniques for a variety of matte, satin, and glossy final effects. It was used as far back as Roman times, but was made popular once more during the Renaissance 500 years ago in Venice.
Polished plaster is a term for the finish of some plasters and for the description of new and updated forms of traditional Italian plaster finishes. The term covers a whole range of decorative plaster finishes, from the very highly polished Venetian plaster and Marmorino to the rugged look of textured polished plasters. Polished plaster itself tends to consist of slaked lime, marble dust, and/or marble chips, which give each plaster its distinctive look. A lime-based polished plaster may contain over 40% of marble powder.
The art collection of Holkham Hall in Norfolk, England, remains very largely that which the original owner intended the house to display; the house was designed around the art collection acquired by Thomas Coke, 1st Earl of Leicester, during his Grand Tour of Italy during 1712–18. To complete the scheme it was necessary to send Matthew Brettingham the younger to Rome between 1747 and 1754 to purchase further works of art.
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Verd antique, also called verde antique, marmor thessalicum, or Ophite, is a serpentinite breccia popular since ancient times as a decorative facing stone. It is a dark, dull green, white-mottled serpentine, mixed with calcite, dolomite, or magnesite, which takes a high polish. The term verd antique has been documented in English texts as early as 1745.
Hardstone carving, in art history and archaeology, is the artistic carving of semi-precious stones, such as jade, rock crystal, agate, onyx, jasper, serpentinite, or carnelian, and for objects made in this way. Normally the objects are small, and the category overlaps with both jewellery and sculpture. Hardstone carving is sometimes referred to by the Italian term pietre dure; however, pietra dura is the common term used for stone inlay work, which causes some confusion.
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References
John Fleming, "The Hugfords of Florence", The Connoisseur, 1955, cxxxvi. 109.
Conor O'Neill, In Search of Bossi, The Journal of the Irish Georgian Society, Vol. I, 1998, pp.146–175
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