ICOM-CC Working Group: Sculpture, Polychromy, and Architectural Decoration
Polychrome Sculpture: Decorative Practice and Artistic Tradition
Tomar, May 28-29 2013
Applied Brocade in the altarpiece of the Coronation of the Virgin of Errenteria (Gipuzkoa, Spain)
Barrio Olano, Maite* and Berasain Salvarredi, Ion
The wooden carved and polychromed altarpiece of the Coronation of the Virgin of Errenteria originates from Brussels. It is one of the many high quality Brabantine altarpieces that were exported across Europe during the sixteenth century. It comprises three main compartments, in which are elaborative painted and gilded sculptures of the Coronation of the Virgin (central), the Last Supper (right hand side) and the Virgin Mary Seat of Wisdom presiding over Apostles at Pentecost (left hand side). The central compartment is separated from each side-compartment by a three-tiered column of arcades containing smaller reliefs. Regrettably some of these smaller reliefs are incomplete due to historic loss. The whole structure measures 169 cm in height by 296 cm wide.
While the polychromy on the Coronation of the Virgin of Errenteria altarpiece is in general consistent with traditional Brabantine guidelines, it does however show a degree of individualism. It presents as a refined, balanced and colourful piece, dominated extensively by gilding for the most part burnished, harmoniously contrasting with a preponderance of brilliant red-toned lacquer (glazes) and deep azurite blues. There are abundant decorative touches that alternate across the applied brocade, with sgrafitto decorations, and pencil-thin designs on the azurite and punchwork which, combined together, add texture and colour to the whole.
The use of applied brocade on the altarpiece is profuse, particularly in the depiction of the Last Supper. This scene whilst in general the most elaborately carved, is also the scene most decorated in the technique. This includes both areas of continuous applied brocades (produced in tin foil sheets which are glued onto the support layer edge to edge) and local sections (sheets trimmed to closely follow the shape of the motif and tending to be arranged at regular or random intervals on a painted surface). The fill material for all the brocades is wax with abundant use of minium. The technique of the continuous press brocade is quite unique, beginning from a sheet in uniform relief of parallel grooves lacking any plain sections or borders. Over these striated golden grooves is placed a design as if drawn in free hand. The sheets of brocade are cut into numerous fragments and are set upon the sculpture in different directions (horizontally, vertically and obliquely), supposedly intended to create the effect of threads in clothing, and which itself is an unusual application of the technique. Consequentially, this constant cut of the brocade makes it difficult to determine the size of the corresponding sheets. However, despite the constant cuts and the overall poor condition of the brocade, it is possible to distinguish two different designs, each of different size and degree of striation, although both have similar highlighting in red or blue.
With regard to the local applied sections of brocade sheets, it has been possible to identify three types of vegetation-inspired design, which copy the decoration of the period for cloth borders and hems. One of these is a motif formed by three independent branches, which unite with each other as the space allows, thus giving further variety to the overall appearance.
It appears obvious that these brocades share certain analogous forms with those brocades influenced or designed by the master I*T and his workshop (polychromers operating in Brussels circa 1500 – 1522) even though they differ in their morphology and technique of execution. Hence, it seems that the Errenteria polychrome piece presents a specific style and could be the work of a master who was close to the Brabant/Borman circles yet nevertheless had his own ideas. In the absence of any documentation regarding the sale and commissioning of the altarpiece, it is not possible at present to identify its author, though the door remains open for further investigation and research.
