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In Europe, the chalk or gypsum based ground preparations for panel paintings common in the Middle Ages were replaced by clayey-earth ground preparations especially in the Baroque paintings (seventeenth eighteenth centuries) [19, 20].
The elements of the ground preparations such as anhydrite are also part of the spectrum as indicated by calcium and sulphur.
The nature of ground preparations is of critical interest to those engaging in the study of historical painting techniques, as certain materials can be identified with specific regions and school of painting.
By comparing the morphology, texture and composition of calcite pseudomorphs in laboratory ash to the ground preparations in three Baroque paintings, we provide additional, unequivocal tools to identify calcite particles from ashes in paint cross sections.
The ashes in the ground preparations of the three paintings studied have slightly different chemical compositions, with the amounts of Si, Al, Mg, K, Sr and Fe being the most variable.
This is the case of a particular ash-based, calcite-rich material obtained as a byproduct of lye production, recently identified for the first time in ground preparations by means of chemical analysis, and which is considered specific to Baroque artists of Spanish school.
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First some ground preparation.
Anthony Snell, a soft fruit farmer in Herefordshire, said that while it was good for his crops to have chill during the winter, planting and ground preparation was "way behind".
When decorated with paint, wood will respond to heat and moisture with greater movement, destroying the bond between the wood and the less elastic paint and ground preparation, resulting in the painted decoration's flaking away from the surface.
Therefore such slope must be supported by special ground preparation before dumping and/or any type of stabilization method [48].
The second sample cross-section removed from the tabletop is missing the ground preparation layer (Fig. 7c, d).
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