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DOI Artikel:Miziołek, Jerzy: The story of Lucretia on an Early-Renaissance "Cassone" at the National Museum in Warsaw
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18943#0042
7. The death of Lucretia, detail of the Warsaw cassone after conservation
(Photo P. Grochowski)
As in the case of most cassoni, and especiaily those adorned with the gilt gesso
decoration, the Warsaw cassone is marked by numerous damages. As a result of
prolonged use, the very thin layer of gold leaf has been removed in various places to
reveal the underlying bole clay. Both the painted faces and hands — with the notable
exceptions of Lucretia have also worn away.4 The gesso decoration has been worn
down in many places, including at the level of the Justitia's head and around the key
opening. A photograph taken with the use of ultra-violet light has revealed that,
before finding its way onto the art market, the cassone was extensively filled in during
the 1 9th century (Fig. 2).5 While the unknown conservators should be recommended
in their attempts to make the alterations as inconspicuous as possible, the use of
fake-gold-foil instead of gold leaf, as well as obvious oversimplifications, especiaily to
the feet, give this much later conservation work away. Our cassone, today in such
a poor State of repair, undoubtedly madę an impressive sight with its decorative
moulding, punchwork and the shine of gold leaf, making the cassoni in pastiglia
dorata considerably morę costly than the painted ones.6 Continued detailed conser-
vation of this art-object which is still in progress is expected to partiaIly restore its lost
beauty (Figs. 7, 9).
The questions arising from this art treasure are as follows: what is the subject
presented on the Warsaw cassone when and in which region of Italy was the chest
madę and, finally; what were the ideological contents? Bearing in mind that early
- Renaissance cassoni- especiaily those decorated with gilt gesso - have remained
36
(Photo P. Grochowski)
As in the case of most cassoni, and especiaily those adorned with the gilt gesso
decoration, the Warsaw cassone is marked by numerous damages. As a result of
prolonged use, the very thin layer of gold leaf has been removed in various places to
reveal the underlying bole clay. Both the painted faces and hands — with the notable
exceptions of Lucretia have also worn away.4 The gesso decoration has been worn
down in many places, including at the level of the Justitia's head and around the key
opening. A photograph taken with the use of ultra-violet light has revealed that,
before finding its way onto the art market, the cassone was extensively filled in during
the 1 9th century (Fig. 2).5 While the unknown conservators should be recommended
in their attempts to make the alterations as inconspicuous as possible, the use of
fake-gold-foil instead of gold leaf, as well as obvious oversimplifications, especiaily to
the feet, give this much later conservation work away. Our cassone, today in such
a poor State of repair, undoubtedly madę an impressive sight with its decorative
moulding, punchwork and the shine of gold leaf, making the cassoni in pastiglia
dorata considerably morę costly than the painted ones.6 Continued detailed conser-
vation of this art-object which is still in progress is expected to partiaIly restore its lost
beauty (Figs. 7, 9).
The questions arising from this art treasure are as follows: what is the subject
presented on the Warsaw cassone when and in which region of Italy was the chest
madę and, finally; what were the ideological contents? Bearing in mind that early
- Renaissance cassoni- especiaily those decorated with gilt gesso - have remained
36