Unmasking a wild man: scientific analysis of Bertoldo di Giovanni\u2019s Shield Bearer in The Frick Collection

Elena Basso,Julia Day,Federica Pozzi,Linda Borsch

doi:10.1186/s40494-020-00453-5

Abstract

Bertoldo di Giovanni (ca. 1440–1491) was the primary sculptor and medal worker for Lorenzo the Magnificent (1449–1492). Despite being one of the most prominent Italian Renaissance artists working in Florence, little is known about his workshop and practice. The Frick Collection, New York, owns a Shield Bearer, one of a small number of bronze statuettes attributed to Bertoldo predominantly based on stylistic grounds. This article presents the results obtained from the scientific analysis of The Frick statuette, including a detailed technical characterization of the casting alloy, gilding, solder, organic coatings, and other later alterations. An array of analytical techniques was employed, including X-radiography, micro- and portable X-ray fluorescence (μXRF and pXRF) spectroscopies, scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM/EDS), Raman and Fourier-transform infrared (FTIR) spectroscopies, and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS). This work supported a larger technical study of Bertoldo’s statuettes and reliefs related to an exhibition organized by The Frick, which brought together a select group of medals, as well as eleven bronzes ascribed to the artist, including the museum’s statuette. Close collaboration between conservators, curators, and scientists was critical throughout the study of the Shield Bearer, which also included extensive visual examination of the object in order to understand details of manufacture, identify sampling sites, and interpret the collected data. This study confirmed that The Frick figure was cast from the same brass alloy as a second very similar Shield Bearer in the Liechtenstein Collection, Vienna, suggesting that the two are a pendant pair that was likely cast simultaneously. In addition, analysis supported the assertion that the copper base on The Frick sculpture is original and assisted in identifying later alterations in both works. This focused research has expanded the current knowledge of the sculptor’s materials and methods, enabling scholars to better contextualize his artistic production within the framework of Italian Renaissance sculpture.

Highlights

In the 15th century, between late 1460 and early 1470, a new kind of artwork appeared in the Florentine artistic milieu
The attribution of Italian Renaissance bronze statuettes, whose popularity rose during the 15th century and continued to thrive until the late 17th century, poses several challenges from an art historical point of view, most notably due to the significant loss of many of these bronzes and related archival documentation
The technical examination and scientific analysis of bronzes continues to be a useful and valuable approach in possibly answering materials-related questions, as well as in dating and in the identification of later alterations; the amount of data published on 15th-century casts remains limited

Summary

Introduction

In the 15th century, between late 1460 and early 1470, a new kind of artwork appeared in the Florentine artistic milieu. In conjunction with radiography, confirmed that the copper base on The Frick statuette is original, while visual examination and radiographs provided additional evidence of later alterations to other areas of the cast.

Results

Conclusion