Bramante in Milan Studies in Conservation

Bramante in Milan: The Cascina Pozzobonelli.
Technical Examination and Restoration

Author(s): G. Alessandrini, R. Bonecchi, R. Bugini, E. Fedeli, S. Ponticelli, G. Rossi and L.
Toniolo
Source: Studies in Conservation, Vol. 34, No. 2 (May, 1989), pp. 53-66
Published by: Taylor & Francis, Ltd. on behalf of the International Institute for
Conservation of Historic and Artistic Works
Stable URL: https://www.jstor.org/stable/1506266
Accessed: 01-04-2019 22:53 UTC
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
Taylor & Francis, Ltd., International Institute for Conservation of Historic and
Artistic Works are collaborating with JSTOR to digitize, preserve and extend access to
Studies in Conservation
This content downloaded from 194.81.203.94 on Mon, 01 Apr 2019 22:53:56 UTC
All use subject to https://about.jstor.org/terms
BRAMANTE IN MILAN: THE CASCINA POZZOBONELLI.
TECHNICAL EXAMINATION AND RESTORATION
G. Alessandrini, R. Bonecchi, R. Bugini, E. Fedeli, S. Ponticelli,

and L. Toniolo.
Abstract-Plaster from the 'Cascina Pozzobonelli'

Terzaghi's opinion [11] that the work dates
(Milan), probably built by Bramante (15th century),
the last years of the fifteenth century, duri
was analyzed to find the raw material composition,
period of Bramante's activity in Milan
the working techniques and the causes of decay so that
(1478-1499). There are even some doubts as to
conservation work could be carried out. The plasters
whether Bramante designed the building: Baroni
are of two kinds: decorated graffito and plain,
[12], for example, thought that it pre-dated the
finishing plaster. The graffito consists of two layers,
arrival of Bramante in Milan.
the first with lime, sand and charcoal, the second with
gypsum. The second layer was applied after drying Theoforiginal house consisted of three build-
ings
the first and then engraved whilst still damp to obtainand two courtyards connected to the Chapel
the graffito. The plain plaster consists of two by a ten-arched portico [13] but, following the
layers,
the first made from lime, sand and crushed brick,death
the of Giuseppe Pozzobonelli, Archbishop of
second made of gypsum. The decay was caused Milan, by the in 1783, it deteriorated into a simple
high humidity of the environment. The restorationfarmhouse. The greater part of the building, with
was carried out by sealing the detached areas
theand
exception of the Chapel and four arches of
consolidating the disintegrated areas with acrylic
the portico, was demolished as part of Milan's
resin.
Urban Development Plan of 1885. The Chapel
building is in perfect harmony with Renaissance
1 Introduction
thought; it is square in plan and rising as a
parallelepiped, with semicircular apses on three
Milan has some notable works by Bramante
sides linked to the dome by means of four
(1444-1514), including the Church of Santa
curved-sided triangles limited by the same num-
Maria delle Grazie (whose Convent houses ber of circles. The dome, topped by a skylight
Leonardo da Vinci's 'Last Supper'), the Church
turret, has an octagonal base and is formed by
of Santa Maria presso San Satiro and the clois-
eight rising arches, each creating a span that
ters of Sant' Ambrogio. Buildings attributed to
encloses a circular window.
Bramante include the Chapel and four-arched The internal decoration of the Chapel is of
portico that are all that remains of what is
particular interest from an artistic point of view,
known today as the 'Cascina Pozzobonelli', the
including as it does graffito and geometric
suburban country seat of the Milan family of the
designs intersected by embellishments, figures,
same name and part of the Court of Gian
architectural themes and perspective views,
Galeazzo Sforza [1-3].
white painted terracotta mouldings and pink
The date of construction of the Cascina has
Angera keystones in the vault. The graffito work,
been the subject of much debate because of the
a very old technique and much used in that
lack of good documentary sources. Beltrami
period*, is of particular note in the case of the
[4-7] dated it as 1498, and was so sure of this
Cascina Pozzobonelli because it is enriched with
that, at the beginning of the century, he hadchiaroscuro in watercolour and dark, vine-black
the following epigraph mounted 'JOH. fresco backgrounds. On the exterior of the build-
PUTEOBONELLUS-EREXIT AN. 1498'.
ing there are delicate cornices in terracotta, in
Malaguzzi Valeri [8] places the construction
part coloured white, that are worth noting.
after that of the Church of Santa Maria presso
San Satiro, which was built under the direction
of Bramante before 1495 [9]. Bruschi [10] shares
*Graffito work is done by cutting through a surface
finish (usually white) that has been applied to a dark
Received 4 May 1988 base, so revealing the dark colour of the underlayer.
Studies in Conservation 34 (1989) 53-66 53
G. Alessandrini et al.
In 1986, the Soprintendenza decided to restore sites from which the samples were taken are
the building because of the beauty of the graffito shown in Figure 1. The samples taken are
work, the importance of the artist in question described in Table 1.
and the very poor state of conservation. The
restoration was preceded by extensive labora- Table 1 Sampling
tory investigations into the characteristics of the
materials used for the plain and decorated plas- Sample no. Height from the floor in
ter and graffito work, the techniques employed metres
and the causes of the decay.

Finishing plaster
1 0-20
2 1.00
3 1-50
-0419-20
:* ?
4 1-30
5 1.00
?.: 6 1.00
( 21-23
7 0.50
- .418 158 0.50
1-80
Graffito
- 4 1 4 9 1-20
.'
10 1.00
11 1-30
12 1-20
13 1-50
14 2-00
-4916-17 16 2-00
. :
...-' 17 1-30
18 1-30 Restoration
19 1.50
... A
.12 12
. 4 ..
20
21 2-30
1.50
1o '-.* .. .. - ? 22 2-00 Restoration
10
23 2-00 Restoration
11 Graffito - Church of S. M
24, 25 apse
26, 27 dome
*15
010 oo:. .
3 State of conservation
14 13
Raccomandazione NORMAL 1/80 [15] was fol-
lowed in evaluating the state of conservation of
the work. The plaster in both the Chapel and the
Figure 1 Cascina Pozzobonelli: planbecause
portico was in very poor condition of the the
and the portico; the walls
pointsand vaults
ofhad been subject to the long-
sampling are sh
term continuous infiltration of rainwater due to
the poor repair of the roof, gutters and down-
2 Sampling pipes, in addition to the lack of suitable drain-
age. Many gaps existed in the plaster, as well as
The samples areas that had become
required for detached
the from the brick-
labora
investigations were work. Superficial
taken erosionin
was noted along with
accordan
Raccomandazione NORMAL 3/80 [14]. The moulds and microorganisms in the space
54 Studies in Conservation 34 (1989) 53-66
Bramante in Milan: the Cascina Pozzobonelli
Figure 2a Graffito in the Chapel (central apse). Figure 2b Graffito in the Chapel (right apse).
between the detached plaster and the brickwork, diameter using a mercury porosimeter, fol-
and damp marks on the surface (Figures 2a, b, lowing Raccomandazione NORMAL 4/80
c; 3a, b; 4a, b). Beltrami had repaired the plaster [17].
(6) Measurement of the quantity of water-
during the restoration undertaken in the early
1900s and it was later patched up again with soluble salts, according to Rac-
coarse mortar. comandazione NORMAL 13/83 [18].
(7) Scanning electron microscope examination
4 Experimental investigation of surfaces and cross-sections, as well as
micro-analyses using an energy dispersive
4.1 Analysis X-ray spectrometer, according to Rac-
The following methods were used: comandazione NORMAL 8/81 [19].
(1) Observation of polished cross-sections (8) Infrared spectrophotometric analysis. The
using a stereoscopic microscope. ground-up samples were extracted in chlo-
roform:
(2) Mineralogical-petrographic analyses of methanol 2:1. In order to eliminate
thin sections, using a polarizing micro-
the hydrolyzed compounds the extract was
scope, following Raccomandazione NOR-
then further extracted in chloroform only.
MAL 12/83 [16].
(3) Evaluation of the binder-filler ratio by
modal analysis*.
*Modal analysis is a method used by petrographers to
(4) Mineralogical analyses using X-ray measure the relative amounts of various mineral com-
diffractometry (Tables 2, 3). ponents in rock (or in this case, plaster). It was done
(5) Measurement of the total porosity and its
by point counting on thin-sections observed with
distribution as a function of the pore polarizing microscope.
5 Results - classification of the materials
In order to make the findings clearer, the results

obtained on the graffito plaster and those for the
other plasterwork are given separately.
5.1 Graffito
The plaster consists of two layers with a total
thickness of not more than 10mm (Figure 5).
The adhesion to the brickwork is very poor. The
first layer (in contact with the brickwork) is for
A? I
the most part gray and is a little less than 10mm

. .. ....
thick. It has a coarse, sandstone appearance

...................
(grain size up to 3mm) and poor adhesion. It is

......
composed of a mixture of magnesian lime and

pt M
sand with the addition of vegetable-based char-

coal (Figure 5). The ratio of lime to sand +
..........
charcoal is approximately 1:1 while that of char-

coal to sand is 1:4. The lime consists chiefly of
calcium carbonate (calcite) with a smaller quan-
tity of magnesium carbonate (magnesite). It has
a microcrystalline structure and uneven texture
with lumps. Capillary micro-cracks are evident
throughout the structure.
The sand has the characteristic morphology of
river sand of medium sorting (the grains are not
all of similar dimensions but nor are they widely
Figure 2c
different). It consists Gr
for the most part of meta-
morphic rock fragments (micaschists: associ-
ation of polycrystalline quartz and muscovite;
The grain size 0-2-3mm) and single quartz crystals
infrar
the with slightly wavy extinction (size 0-1-0-6mm)
same w
and the chloroform and non-chloroform when observed under the polarizing microscope.
soluble fractions of the chloroform: meth- Crushed brick is also present, but in such small
anol extract. quantities as to exclude its intentional addition
(9) Gas chromatographic analyses of the chlo-
to the mixture. The charcoal is of porous wood
roform soluble fractions after trans- origin, as evident from the structure of the ves-
methylation of the extract. sels (Figure 6). The total porosity of the layer
varies from 33% to 34%, with a bimodal distri-
4.2 Environmental studies bution, most pores being of two classes, pore
The laboratory analyses were done at thediameter
same 0-2-0-6im and 1-10Om.
The second laier (outer layer) is white in col-
time as the hygro-thermographic measurements
were taken on site. The following were recorded:
our and 0-2mm thick. It is fine-grained, silty, and
(1) Temperature (T) and relative humidity has very good adhesion. It consists only of gyp-
(RH) in the Chapel and portico compared sum (dihydrated calcium sulphate), without the
with the external parameters. addition of binding agents or other substances
(2) Water content (U) of the brickwork and thethat might have been used to improve its adhe-
plaster using a balance with an infrared sion [20-22].
oven. The IR spectra in fact showed glycerides and
(3) Temperature of the surface (Tc) absorption
of the bandsplas-
due to unidentified nitrogen
ter at various heights from thesubstances in addition to nitrates in notable
floor, using
a contact thermometer. quantities (approximately 1%). The gas-
Figures 3a, 3b Detail of the surface of the graffito.
Figures 4a, 4b Detail of the finishing plaster.
Figure 5 Graffito (polished cross-section, x 10): the

two layers can be seen. The outer layer is very thin; the
charcoal particles in the inner layer are indicated.
chromatography examination of the glycerides,

Figure 6 Graffito (fractured surface, SEM x 300).
after transmethylation, showed the presence of the typical vessels ofa porous wood can be seen in this
large quantities of unsaturated acids and peaks
charcoal particle.
Table 2 X-ray diffraction: finishing plaster*
Sample no. Calcite Magnesite Gypsum Quartz Plagioclase Orthoclase Clays
l(I) +++ + + ++ + - ++
1 (II) + - +++ + - - -
2 (I) +++ + - ++ + - +
3 (I) +++ + - ++ - - ++
4 (I) +++ + + ++ + - ++
4 (II) + - +++ + - - -
5 (I) +++ + + +++ - - ++
5 (II) + - + 4-+ +- -
6 (I) +++ + + ++ - + ++
6 (II) + - +++ + - - -
15 (I) +++ + - +++ + - ++
15 (II) + - + + + + - - -
*I = inner layer; II = outer lay
Table 3 X-ray diffraction: gr
Sample no. Calcite Magnesite Gypsum Quartz Plagioclase Orthoclase Clays
9 (I) + + - +++ - -
9 (II) + - +++ + - - -
10 (II) + - + + + - - -
11 (I) +++ + - +++ + - +
12 (II) + - + + - -
13 (II) + - + + + - - -
14 (I) +++ + + +++ + -
16 (II) + - + + - - + -
17 (I1) - - +++ + - -
18 ++ - + +++ + +
19 (II) + + +++ + - - -
20 (II) + - + + - - -
21 (I) +++ + - +++ + + ++
21 (11) - - +++ - - -
22 (I) ++ - - +++ + - -
22 (II) + + + - +
23 (I) ++ - - +++ - -
23 (II) + + + -
24 (II) + + + - + - - -
25 (II) + + + - + + - - -
26 (II) + + - + ++ - - -
27(II) + + - + + -
*I = inner layer; II = outer la
due to branched isomeric acids. The low quan-

tity of extracts (present at 0-03-0-04% by
weight) and the ratios between the acids,
identified by gas chromatography, exclude the
presence of substances usually used as binding
agents or additives, and so have to be attributed
to lipids of animal origin or other organic detri-
tus. The adhesion to the lower gray layer is, on
the whole, good, while the demarcation line
between the two layers is always very clear (Fig-
ure 7). Examination of the surface under the
scanning electron microscope showed the char-
acteristic felt-like structure of interpenetrating
gypsum crystals (Figure 8).
5.2 Finishing plaster

The plasterwork consists of two layers, not more
than 4mm thick. The adhesion to the brickwork
is poor. The first layer is pinkish and a little less
than 4mm thick. It has a silty texture (grain size Figure 8 Graffito (surface, SEM x 500): the typical
felted' structure of the gypsum crystals of the outer
up to 1mm), good cohesion characteristics and
layer can be seen.
consists of a mixture of magnesian lime, sand
and crushed brick. The ratio of lime to sand +
crushed brick is approximately 2:1. The ratio of grinding of brick having a substantial quartz
crushed brick to sand is 1:2; its addition in the base.
mixture was therefore intentional. Both the lime The second layer is white, 0-2mm thick, and
and the sand have the same characteristics as consists only of gypsum. It has a silty texture, is
very compact and has very good tenacity. The
those described above for the graffito. The
adhesion to the loWer layer is good and there is
crushed brick is present in very small rounded
a sharp demarcation line between the two layers.
fragments (0-02-1mm) and is the product of the
The scanning electron microscope exam-
inations confirmed the similarity of this layer to
the second layer of the graffito. The distribution
of sulphur, detected by X-ray spectrometer
examination, confirms not only the homogeneity
of this layer but also that, in light of the uniform
thickness, compactness and adhesion to the
layer, the presence of the gypsum is not due to
degradation (Figures 9a, b). We can exclude in
this plaster the deliberate addition of organic
materials (binding agents or additives), as with
that above. Both the IR and the gas-
chromatographic examinations gave similar
results to those obtained from the graffito work
and, as a result, the same conclusion can be
drawn: the organic content (0-03-0-04%) has to
be attributed to animal waste.
6 The origin of the raw materials

Figure 7 Graffito (polished cross-section, SEM
x 300): the demarcation line between the two layers is The materials used for the first layer of all the
very clear. plasterwork examined are of local origin (as
Figure 9a Finishing plaster (polished cross-section, Figure 9b Finishing plaster (as in Figure 9a): the
SEM x 100): the outer layer is marked by an arrow. distribution of sulphur in the same area as Figure 9a.
shown by technical data, petrographic charac- insoluble anhydrite (anhydrite II, CaSO4),
teristics and historical data). The presence of obtained by heating the material at over 3000C,
magnesite in the lime allows the site of origin of or of mineral anhydrite. Such products require
its raw materials to be identified as the Prealpi of the addition of accelerators for the binding reac-
Varese (some 40km north of Milan). This area tion (potassium sulphate, alum, etc.) [20-22] that
has large outcrops of dolomite and limestone were not found in this case. The suggestion that
that have been used for centuries for the prepa- mineral anhydrite might have been used was
ration of lime for building in Lombardy [23-26]. based on the presence of a large deposit of this
Judging by its petrographic composition (the material, quarried for some time, near Bergamo,
presence of micaschists, the lack of calcareous some 50km north-east of Milan. In the case
rocks, etc.), the sand came from the River Ticino
under investigation, the raw material probably
which has a basin composed of this type of rock came from the northern Appennines, where
(the river is a few km west of Milan and has been there is a Gessoso-solfifera outcrop of the Mio-
linked to the city by a navigable canal since the cene period. In particular, literature records the
fifteenth century). fine quality of gypsum quarried near Bologna
'Plaster of Paris' was used for the second layer. and Rimini [28, 29].
This material is hemihydrated calcium sulphate
(2CaSO4-H20), the product of heating mineral 7 Manufacturing techniques
gypsum (CaSO4 2H20) at temperatures of not
more than 1600C. This material has been in use 7.1 Graffito - general discussion
for centuries (pre-dynastic Egypt) [20, 21, 27]*. No particular comment is required on the first
Laboratory tests disproved the use of layer, which reflects the methods reported by
both the classical authors [30] and the more
recent literature [21, 31]. The material is lime and
sand mortar with added charcoal giving the dark
colour that can be seen through the engraving of
*The presence of soluble anhydrite (anhydrite III,
CaSO4) cannot be excluded, given that the ovensthe
usedtop layer. The same cannot be said of the
composition of the second white layer that is cut
in the fifteenth century could not guarantee either
to create the graffito. Normally this is calcium
uniformity of temperature or exact humidity control
carbonate or, as Vasari [30] calls it: 'bianco della
and were fed with minerals of mixed size [20, 27].
calce di trevertino' (travertine calcium white). In

our case, instead, the layer was obtained by mix-
ing setting gypsum with water. Our laboratory
tests have shown that it is possible to spread such
a paste with a brush and that it will remain
sufficiently liquid for about 15 minutes. It is easy
to apply in very thin layers that at the same time
cover well. Retardants, be they organic (keratin,
fish glue, etc.) or inorganic (hydrates, carbon-
ates, alkali phosphates, etc.), are not required; it
is sufficient to add water in almost equal quan-
tities by volume to the gypsum. This finding
agrees with the classical literature on the use of
gypsum [28, 29, 32, 33].
There are very few studies on the techniques
used in graffito plasterwork [31, 34]. The only
manuscript that mentions the matter, by Vasari,
does not agree with findings from the
investigations at the Cascina Pozzobonelli. To
help in the clarification of this matter it wasFigure 10b Graffito, outer layer (Beltrami restora-
decided to compare the Bramante graffiti in the tion): the inner surface is more compact and uniform
Chapel with those in the Church of Santa Maria (SEM x 600).
delle Grazie in Milan and those restored by Bel-
trami, in the portico of the Cascina Pozzo- cium carbonate. There are small, unevenly
bonelli, in the early years of this century. distributed quantities of gypsum, that may
(1) The dome and apse of Santa Maria delle well be due to degradation of the calcium
Grazie: the second layer of plaster is cal- carbonate by the sulphuric acid present in
the atmosphere of Milan [35].
(2) Cascina Pozzobonelli, Beltrami restoration:
the second layer is calcium carbonate with
traces of gypsum that are also in this case to
be seen as a product of degradation. This is
confirmed by the very porous structure of
the external surface on which gypsum crys-
tals are present, noted in the microprobe
examination, compared with the much
more compact and even structure of the
inner surface of the same layer where there
is no gypsum present (Figures 10a, b). Bel-
trami, therefore, not having analyzed the
white layer of the original graffiti, based his
restoration work on the findings of Vasari.
It is not clear why, in the case of the Cascina
Pozzobonelli, Bramante used gypsum and not
lime. As there is no documentation on the origi-
nal methods used, the following hypotheses can
be advanced:
(a) The work is not by Bramante, but by a less
skilled artist. This seems to be discredited
Figure lOa Graffito, outer layer (Beltrami restora-
tion): the very porous structure and the presence of on the grounds of style, in particular in the
gypsum crystals on the external surface can be seen light of the treatment of the vaults and the
(SEM x 600). care taken with the decorative details.
(b) Bramante used a different plaster technique two-layered plaster was prepared using, for the
for the Cascina Pozzobonelli graffiti from first layer, a mixture of lime, sand and charcoal
that which he adopted for the dome and with the same characteristics and in the same
apse of Santa Maria delle Grazie for aes- proportions as those found in the Cascina Pozzo-
thetic reasons, for example to achieve a bonelli and, for the second layer, a mixture of
greater smoothness or particular surface plaster of Paris and water (1:1) that was easy to
luminosity. spread with a brush.
(c) Bramante chose to use gypsum in order to The following methods of application were
finish the work more quickly. used:
There is another possibility which is that the (a) The spreading and smoothing of the first
use of gypsum as an alternative to lime was wide- layer, the immediate spreading of the plas-
spread in the production of graffiti, in con- ter of Paris and the scribing of the wet plas-
tradiction to Vasari. Whatever the answer to ter with a metal stylus.
these questions, the work was done by someone (b) The spreading and smoothing of the first
with sufficient expertise to be able to judge the layer which was then left to dry, followed by
right ratio of water to gypsum powder, to obtain the spreading of the plaster of Paris and the
a mixture that could be spread by brush (as can scribing of the latter while still wet.
be seen from the many fine brush marks on(c) theThe spreading and smoothing of the first
surface, especially when viewed in raking light), layer, the immediate spreading of the
in a very thin layer and with the required settingplaster of Paris and the scribing of the dry
time. There remains a final question: what tech- plaster.
nique was used to create the graffiti in the Cas-(d) The spreading and smoothing of the first
cina Pozzobonelli? Given that there are different layer which was left to dry, followed by the
compositions, it is reasonable to think that tech- spreading of the plaster of Paris which, in
niques were used that differ from those described turn, was left to dry and scribed.
by Vasari. In the case of (a), the external layer, worked
when wet, became grayish-white (Munsell
7.2 Finishing plaster notation N/8-25), very different to the clear
No special comment has to be made on the first white that is characteristic of the graffiti in the
layer. The crushed brick was added to give the Cascina Pozzobonelli (Munsell notation N/9
plaster hydraulicity,* given the exposed position after cleaning). The plaster was very easy to cut
of the work in question. This technique was in and the edges were clean. The lower layer was
use in Lombardy in the fifteenth century, as is also penetrated in the cutting. Scanning electron
seen in the Church of Santa Maria presso San microscope observations showed diffusion of the
Satiro, which also has some plasterwork by plaster of Paris into the lower layer, and there
was not therefore the clear demarcation line that
Bramante [24].
The second layer, with characteristics similar is typical of the Bramante graffiti.
to those of the graffiti, was applied in the same In the second case (b), the external layer had
the same luminous white colour as the Bramante
way. This confirms that the finishing plas-
terwork and the graffiti were done at the same graffiti (Munsell notation N/9). Scribing was
time and by the same hand. again easy and the edges were clean. Only the
white layer was cut. There was a clear
8 Experimental work on the technique of the demarcation line between the two layers.
graffito plaster In cases (c) and (d), the same external layer
characteristics as for (a) and (b) were obtained.
A series of laboratory tests was carried out in an Scribing, however, was very difficult in order to
obtain the fine decoration which was character-
attempt to reproduce the original technique. A
istic of the Bramante graffiti in the Cascina
*Hydraulic lime (from siliceous or argillaceous lime- Pozzobonelli, and it was impossible to obtain the
stones) sets under water. The addition of crushed different groove sizes. It is therefore held that the
brick to a plaster made from non-hydraulic lime gives Cascina Pozzobonelli graffiti were made using
the plaster better durability in damp conditions. method (b).
9 The causes of decay dissolution of gypsum. It must be pointed out

that the phenomena usually associated with gyp-
The rather poor state of conservation of both thesum dissolution are not present, that is, surface
finishing plasterwork and the graffito is due topulverization, diffusion of gypsum in the lower
local environmental conditions. In addition to layer, or formation of a chalky efflorescence.
being in a particularly damp position (scanty Clearly, if there is dissolution (a process that has
insolation, owing to the tall buildings which cut
yet to be understood), the environmental, chem-
off solar radiation, and a walkway lower than
ical and physical conditions required to cause
the road), the plasterwork has no protection
these phenomena do not exist in this building.
from the external environment. Because of the
The generally high levels of humidity have
above, it was considered useful to measure resulted in the growth of mould and the presence
the most important thermo-hygrometric para-of microorganisms.
meters.
The measurements showed that: 10 Restoration
-the air temperature and relative humidity in
The restoration of the plaster and graffito was
both the Chapel and portico are always
preceded by the restoration of the site. This
greater than those at road level. For exam-
involved the resurfacing of the roofing, repair of
ple, in spring:
the rainwater drainage system, and the construc-
T(road) = 17'C;
tion of an external platform to insulate the build-
T(chapel/portico) = 19'C;
RH(road) = 71%; ing from the ground, thus stopping the rising
damp. The restoration of the plaster was done
RH(chapel/portico) = 75%.
using various techniques according to the age
-the temperature of the surface of the plas-
and condition of the particular material.
terwork, in both the Chapel and the portico,
above all at the higher points, was shown to
10.1 Original graffito and finishing plasterwork
be less than the temperature of the sur- The method used was as follows:
rounding air in autumn and spring. In par- -the areas of raised plaster were fixed by the
ticular, at a height of im, average values are injection of a mixture of lime, marble pow-
Tc = 15-7'C (in spring) and Tc = 8-8'C (in der and acrylic resin emulsion (Primal
autumn), compared with an air temperature AC33). The ratio of these products varied
of 19' and 18-8'C, respectively. according to the penetration of the mixture
-the water content of the brickwork in the and the depth of penetration needed to fill
Chapel was some 5% up to a height of 30cm the gaps;
from the floor and fell to 1% at a height of -the edges were sealed by a lime and sand
Im. mortar with the same characteristics as the
-the water content of the plaster at the same original plaster;
points was some 11% at a height of up to -the surface was cleaned using cotton pads
30cm from the floor and fell to 4% at a with water, ammonium bicarbonate and
height of Im. carboxymethylcellulose. In the areas where
-the water content of the brickwork and that the dirt was more resistant, mechanical air-
of the plaster in the portico did not vary brasive cleaning was used;
notably, with a value of 8% up to a height -where previous restorations covered parts
of approximately 30cm from the floor and of the original graffito they were removed
reducing to around 6-7% at a height of im. using a lancet and spatula;
These data prove that there is rising damp to -the monochrome fresco work (which pro-
a height of some 30cm and that water conden- vides the background for the medallions
sation exists on all the wall surfaces. The rising with figures) was cleaned with ammonium
damp is responsible for the complete detachment bicarbonate compresses;
of the plasterwork, while the condensation has -some slight consolidation work was done
removed the white external layer. on the areas showing the worst dis-
It is not possible to judge if the removal took integration, using acrylic resin emulsion
place by detachment of the plaster layer or by (Primal AC33).
10.2 Beltrami's restored graffito Suppliers of materials

The same methods and materials were used as in
10.1. Special care was taken with the consoli- Primal AC33, Paraloid B-72: Rohm and Haas
dation work which was done using a mixture of pany, Philadelphia, PA 19105, USA.
lime, marble powder and acrylic resin to fill the References
space between the plaster and its support.
1 MEZZANOTTE, P., and BASCAPt', G. C., Milano
10.3 Recent repairs nell'arte e nella storia, Bestetti, Milan (1948).
The overlying washes were removed and the 2 BAGNOLI, R., Le strade di Milano, Effeti, Milan
mortar surfaces consolidated with Paraloid (1970).
B-72, 2% in xylene. A lime wash toning with 3 GRASSI,
the L., 'Trasmutazione linguistica
other surfaces was applied. Where necessary, dell'architettura sforzesca: splendore e pre-
new plaster was applied in two layers, the first sagio al tempo di Lodovico il Moro' in Pro-
ceedings of the International Congress Milano
using lime, sand (1 to 3 mix) and crushed brick
nell'eta di Ludovico il Moro, Milan (1983).
(added in the ratio of 1:3 to the sand). For the
4 FUMAGALLI, C., SANT'AMBROGIO, D., and
outer layer, crushed marble was used in place ofBELTRAMI, L., Reminiscenze di storia ed arte nel
the brick, coloured as required, in a ratio of 1:4suburbio e nella citta di Milano, I, Pagnoni,
to the sand.
Milan (1891).
5 BELTRAMI, L., Prima relazione annuale dell'Ufficio
11 Conclusions
Regionale per la Conservazione dei Monumenti
in Lombardia, Bortolotti, Milan (1893).
(a) The graffito in the Cascina Pozzobonelli
6 BELTRAMI, L., Seconda relazione annuale
was created from two layers, the first ofdell'Ufficio Regionale per la Conservazione dei
which was based on lime, sand and charcoal monumenti in Lombardia, Bortolotti, Milan
and the second on gypsum. (1894).
7 MORETTI, G., La conservazione dei monumenti
(b) The finishing plasterwork is in two layers,
the first of which is based on lime, sand and della Lombardia dal 1 luglio 1900 al 31 dicembre
crushed brick and the second on gypsum. 1906, Allegretti, Milan (1908).
8 MALAGUZZI VALERI, F., La corte di Lodovico il
(c) The raw materials used have different ori-
Moro, III, Hoepli, Milan (1915).
gins. The sand and lime are local, while the
9 AULETTA, R., La Prospettiva bramantesca di S.
gypsum comes from the Appennines. Maria presso S. Satiro: storia, restauri, inter-
(d) The similarity of composition, thickness,vento conservativo, Banca Agricola, Milan
mechanical characteristics and method of (1987).
application would seem to date all the plas- 10 BRUSCHI, A., Bramante architetto, Laterza, Bari
terwork to the same period. (1969).
(e) The graffito was cut, or scribed, using a 11 TERZAGHI, A., 'Indirizzi di classicismo
nell'architettura del tardo 400 nelle Marche' in
metal stylus on a wet layer of gypsum that
Atti del XI Congresso di Storia dell'Architettura,
had been applied after the lower layer had
dried. Rome (1963).
12 BARONI, C., Bramante, Ist. It. Arti Grafiche, Ber-
(f) The poor state of conservation of the work
gamo (1944).
before restoration was due to the local
13 BOITO, C., RICCIARDI, G., and MORETTI, G., La
thermo-hygrometric conditions. Cattedrale di Nardd, la Cascina Pozzobonelli in
(g) The restoration work involved roof Milano, Milan (1898).
resurfacing, renewal of the rainwater drain- 14 'Materiali lapidei: campionamento', Rac-
age system, the fixing of the detached plas- comandazione NORMAL 3/80, C.N.R. -
terwork to the brickwork below, and I.C.R., Rome (1980).
consolidation of the more disintegrated 15 'Alterazioni macroscopiche dei materiali lapidei:
areas. lessico', Raccomandazione NORMAL 1/80,
C.N.R. - I.C.R., Rome (1980).
Acknowledgements 16 'Aggregati artificiali di clasti e matrice legante
non argillosa: schema di descrizione', Rac-
The authors wish to thank Mr Brillo of thecomandazione 'Stazione NORMAL 12/83, C.N.R. -
Sperimentale Olii e Grassi' for his technicalI.C.R., Rome (1983).
assistance.
17 'Distribuzione del volume dei pori in funzione del in the Conservation of Stone and Wall Paint-
loro diametro', Raccomandazione NORMAL ings, IIC, London (1986) 27-33.
4/80, C.N.R. - I.C.R., Rome (1980). 32 CENNINI, C., II libro dell'arte o Trattato della Pit-
18 'Dosaggio dei sali solubili', Raccomandazione tura, chap. 115, 116, Longanesi, Milan (1975).
NORMAL 13/83, C.N.R. - I.C.R., Rome 33 MILIZIA, F., Principi di architettura civile, part 3,
(1983). book 1, chap. 6, Milan (1853).
19 'Esame delle caratteristiche morfologiche al 34 FERRAGNI, D., FORTI, M., MALLIET, J., MORA, L.,
microscopio elettronico a scansione (SEM)', MORA P., and TORRACA, G., 'La conservazione
Raccomandazione NORMAL 8/81, C.N.R.- degli intonaci sgraffiti - Un esempio: la fac-
I.C.R., Rome (1981). ciata cinquecentesca in via della Fossa a
20 MORA, P., MORA, L., and PHILIPPOT, P., La con- Roma', Ricerche di Storia dell'Arte 24 (1984)
servation des peintures murales, Compositori, 33-43.
Bologna (1977). 35 CAVALLARO, A., GUALDI, R., and TEBALDI, G.,
21 DAVEY, N., A History of Building Materials, Lon- Studi per la valutazione della qualita dell'aria,
don (1965). Provincia di Milano, Milan (1985).
22 DIMos, Tecniche di esecuzione e materiali cos-
titutivi, parte I, modulo 1, Rome (1978). GIOVANNA ALESSANDRINI, graduated in chemistry.
23 ALESSANDRINI, G., BONECCHI, R., BUGINI, R., Since 1960 researcher of the National Research Coun-
FERRARI DA PASSANO, C., GALLETTI, G., and cil at Centro 'Gino Bozza' per lo studio delle cause di
PERUZZI, R., 'Basilica di S. Ambrogio in Mil- deperimento e dei metodi di conservazione delle opere
ano: tecniche costruttive della cupola del sac- d'arte, Milan. Since 1987 director of the same.
ello di S. Vittore in Ciel d'Oro' in Atti del Author's address: Centro CNR 'Gino Bozza',
Convegno Scienza e Beni Culturali, p. Leonardo da Vinci 32, 20133 Milan, Italy.
Bressanone-Padua (1985) 291-310.
24 ALESSANDRINI, G., AULETTA, R., BROGLIA, E., ROBERTO BONECCHI, since 1964 operator of the
National Research Council at Centro 'Gino Bozza'.
BUGINI, R., and PERUZZI, R., 'Basilica di S.
Author's address: as for Alessandrini.
Satiro in Milano: analisi e studi preliminari su
malte e intonaci antichi' in Atti del Convegno
Scienza e Beni Culturali, Bressanone-Padua ROBERTO BUGINI, graduated in geology. Since 1982
researcher of the National Research Council at Cen-
(1985) 275-290.
25 ALESSANDRINI, G., AULETTA, R., BUGINI, R., tro 'Gino Bozza'. Author's address: as for
NEGROTTI, R., PERUZZI, R., and SIMONI, M., Alessandrini.
'Chiesa di S. Maria presso S. Satiro in Milano
- La prospettiva bramantesca - Indagini sui ENzo FEDELI, graduated in chemistry. Since 1960
materiali e sulle tecniche usate nei restauri' in researcher and since 1977 director of the Stazione
Atti del Convegno Scienza e Beni Culturali, Sperimentale Olii e Grassi, Milan. Author's address:
Bressanone-Padua (1986) 149-160. Stazione Sperimentale Olii e Grassi, via Colombo 79,
26 ALESSANDRINI, G., BONECCHI, R., and BUGINI, 20133 Milan, Italy.
R., 'Basilica di S. Paolo Converso (Milano):
analisi di malte e intonaci della fiancata set- SYLVIA PONTICELLI, graduated in architecture. Since
tentrionale', Centro Gino Bozza, R.P.87/07/ 1970 at Soprintendenza BB. AA. AA., Milan. Since
126 (1987). 1977 Soprintendente Aggiunto. Author's address:
27 FRATINI, N., 'Lo stato attuale delle ricerche sulle Soprintendenza ai Beni Ambientali e Architettonici,
fasi del sistema CaSO4 2H20-CaSO4 e sulla p. Duomo 14, 20121 Milan, Italy.
disidratazione del gesso', C.N.R., Rome
(1972). GIOVANNI RossI, restorer. Working since 1972 for the
28 ALBERTI, L.B., De re aedificatoria, book 2, chap. Museums and Soprintendenze of Milan and Lom-
11, Polifilo, Milan (1966). bardy. Author's address: via Cornaggia 5, 20123
29 SCAMOZZI, V., Dell'idea dell'architettura univer- Milan, Italy.
sale, part 2, book 7, chap. 17, Venice (1615).
30 VASARI, G., Le vite de' piti eccellenti architetti, LUCIA TONIOLO, graduated in chemistry. Since 1986
pittori, et scultori italiani da Cimabue insino a' researcher at Centro 'Gino Bozza'. Author's address:
tempi nostri, Introduction, chap. 26, Florence as for Alessandrini.
(1550).
31 KOLLER, M., PASCHINGER, H., and RICHARD, H.,
'Work in Austria on historic stucco - tech- Resum&---Le platre provenant de la 'Cascina
Pozzobonelli' (Milan), probablement construit par
nique, colouring, preservation' in Case Studies
Bramante au XVe siecle, a 6t6 analyse pour mettre en Bramante (15.Jh.) erbauten 'Cascina Pozzobonelli' in
evidence la composition du produit de base, les tech- Mailand wurden im Hinblick auf ihre Rohstoffe, ihre
niques d'utilisation et les raisons de son d61abrement,Verarbeitung und ihre Verfallsursachen analysiert.
afin d'aider le travail de restauration. Les platres sontDies geschah vor dem Hintergrund geplanter
de deux sortes: un graffito d6cor6 et un platre de Konservierungsmal3nahmen. Die Putze erwiesen sich
finition simple. Le graffito comporte deux couches: laentweder als dekorierter graffito oder als einfacher
premiere faite de calcaire, sable et charbon, et la sec-Feinputz. Der graffito ist in zwei Schichten aufgebaut:
onde de gypse. La seconde couche 6tait appliqube auf einer Schicht aus Kalk, Sand und Holzkohle liegt
apr6s le s6chage de la premiere et ensuite grav~e eine zweite aus Gips. Die obere Schicht wurde dabei
encore humide pour obtenir le graffito. Le plitre sim-nach Abtrocknen der ersten aufgetrageri. Das graffito
ple est 6galement constitu6 de deux couches: la pre-wurde dann in die noch feuchte Schicht eingeritzt. Der
miere faite de calcaire, sable et brique pilee, la secondeeinfache Putz besteht wiederum aus zwei Schichten:
faite de gypse. L'alteration a 6t6 caus6e par I'humiditeeiner Schicht aus Kalk, Sand und zerstol3enen Ziegeln
61ev6e de I'atmosph6re. La restauration a 6te effectube folgt eine, die wieder aus Gips ist. Der Zerfall der
en scellant les parties d6tach6es et en consolidant les Putze wurde durch eine zu hohe Umgebungsfeuchte
r6gions fragiles avec une r6sine acrylique. verursacht. Die Restaurierung wurde unter Sicherung
abgel6ster Partien und Festigung auseinander-
Zusammenfassung-Putze aus der m6glichenfalls vonbr6ckelnder Bereiche mit Acrylharzen vorgenommen.

Bramante in Milan Studies in Conservation

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Bramante in Milan Studies in Conservation

Uploaded by

Copyright:

Available Formats

Bramante in Milan: The Cascina Pozzobonelli.

Technical Examination and Restoration

G. Alessandrini, R. Bonecchi, R. Bugini, E. Fedeli, S. Ponticelli,

Abstract-Plaster from the 'Cascina Pozzobonelli'

Studies in Conservation 34 (1989) 53-66 53

and the causes of the decay.

54 Studies in Conservation 34 (1989) 53-66

Studies in Conservation 34 (1989) 53-66 55

5 Results - classification of the materials

In order to make the findings clearer, the results

the most part gray and is a little less than 10mm

thick. It has a coarse, sandstone appearance

(grain size up to 3mm) and poor adhesion. It is

composed of a mixture of magnesian lime and

sand with the addition of vegetable-based char-

charcoal is approximately 1:1 while that of char-

56 Studies in Conservation 34 (1989) 53-66

Figures 3a, 3b Detail of the surface of the graffito.

Figures 4a, 4b Detail of the finishing plaster.

Figure 5 Graffito (polished cross-section, x 10): the

chromatography examination of the glycerides,

Studies in Conservation 34 (1989) 53-66 57

Table 2 X-ray diffraction: finishing plaster*

Sample no. Calcite Magnesite Gypsum Quartz Plagioclase Orthoclase Clays

*I = inner layer; II = outer lay

Table 3 X-ray diffraction: gr

Sample no. Calcite Magnesite Gypsum Quartz Plagioclase Orthoclase Clays

*I = inner layer; II = outer la

58 Studies in Conservation 34 (1989) 53-66

due to branched isomeric acids. The low quan-

5.2 Finishing plaster

6 The origin of the raw materials

Studies in Conservation 34 (1989) 53-66 59

60 Studies in Conservation 34 (1989) 53-66

calce di trevertino' (travertine calcium white). In

Studies in Conservation 34 (1989) 53-66 61

62 Studies in Conservation 34 (1989) 53-66

9 The causes of decay dissolution of gypsum. It must be pointed out

Studies in Conservation 34 (1989) 53-66 63

10.2 Beltrami's restored graffito Suppliers of materials

64 Studies in Conservation 34 (1989) 53-66

Studies in Conservation 34 (1989) 53-66 65

66 Studies in Conservation 34 (1989) 53-66

You might also like