Crucifix



In the style of The Master of Assisi





This is in its way is far more authentic than St Anthony. The pine baseboard was carefully planned and formed. This base was covered back and front with gesso grosso and allowed to dry. The front was then covered with gesso sotto and rubbed down and polished to a fine finish. The main design was worked into the surface. Outside the main design a base of soft red clay was applied in the form of asit-a-dura to provide a soft base which enabled the goldleaf to be properly burnished using an agate burnishing tool or "dog's tooth". The goldleaf applied and fixed by using "glair" an adhesive made from beaten egg white. Gilding is always completed prior to the painting. The pigment was applied in the form of egg tempera, the media being egg yolk and rainwater. All of the pigments in this painting are, despite their brilliance, from natural sources. And were ground by hand from coarser grains, this is also part of the mixing process. The painting as seen here is unfinished lacking both inscription and matt varnish. The process was followed according to the instruction left by Cellino Cellini in his (15th century) "Artist's Handbook" republished by The Dover Press. The painting stands about 4' 6" high and was stolen prior to completion. An X-ray would produce a nasty shock for the owner, my name and a date were written on it in heavy lead pencil prior to the application of the gesso.

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