Original scientific paper
https://doi.org/10.17018/portal.2020.6
Peter Kuster's Ewer and Basin from the Treasury of Dubrovnik Cathedral: Scientific and Technological Analysis
Valentina Ljubić Tobisch
orcid.org/0000-0002-0881-3263
Abstract
Ragusina was exhibited as part of the “Making Marvels: Science and Splendor at the Courts of Europe” exhibition (November 25, 2019 – March 1, 2020) at The Metropolitan Museum of Art in New York, USA. These two Renaissance examples of goldsmith art from the German city of Nuremberg were made around 1550 by Peter Kuster. Although these are the only objects with no apparent liturgical purpose, before this project, the ewer and basin were stored in the treasury of the Cathedral of the Assumption of the Blessed Virgin Mary in Dubrovnik. When they return from New York, the Renaissance basin and ewer will become part of the exhibition at the Sorkočević Palace or the Bishop’s Palace in Dubrovnik.
The basin and ewer were loaned for the exhibition as an opportunity and motivation for a comprehensive scientific and technological analysis of the materials and techniques used to manufacture these exceptional works of Nuremberg Renaissance goldsmith art. In order to learn more about the production technique, as well as the nature of the surface and its ageing phenomena, a systematic examination of the entire surface was carried out. Based on the information obtained through the research, a concept for the necessary conservation was drawn up.
Images from an optical microscope in combination with z-scan techniques allowed precise characterization of the surface topography as well as insights into the construction, preparation of animals and the casting technique. The colours of the natural casts as well as later layers of overpaint were identified and dated through energy dispersive X-ray microanalysis in the scanning electron microscope. The use of micro-computer tomography on several animal and plant figures provided interesting insights about the construction and techniques used to make this outstanding Renaissance artwork, since only a few comparable objects have been preserved and researched worldwide.
Scientific and technological research also showed the skilled craftsmanship involved in making such unique creations of silverware destined for the cabinets of curiosities. It takes months of intensive work to make this type of item, during which the master must anticipate countless details and have a very broad knowledge of materials and techniques. In many cases he must also be lucky, especially in working with new techniques such as natural casts. The production of natural casts of plants and animals has been a great challenge, starting with catching and collecting the animals and plants for casting, making moulds, preparing the animals, casting in metal, colouring and imitating their appearance.
Although Peter Kuster's ewer and basin seem to lag behind the elegant works of Wenzel Jamnitzer in the sophistication of composition, this work combines an emblematic Renaissance approach to science and luxury at the same time. At the beginning of his career, the young goldsmith Kuster attempted to compete with, or even surpass, his well-known and respected neighbour Jamnitzer with an incomparable number of natural casts of flora and fauna. Kuster deviated from Jamnitzer's symmetry and tried to integrate elements of flora and fauna into the natural environment.
As this is Kuster’s only known work, it is difficult to compare his creativity and the quality of his craftsmanship with Jamnitzer’s. Kuster never used a mould twice - all his natural casts of animals are unique, which can be attributed to the difficult production of negative moulds. However, even after very extensive research, it is not possible to judge why a small number of the naturalistic outflows are technically less accurate than others. The fact that only a few animals were gilded before painting may be an indication of a change in the aesthetic concept during the long-term production of this series. Furthermore, it is possible that part of the casting was made later, during a different stage, or under different working conditions. In the case of turtles that were cast after he had carved the wooden models, it cannot be said with certainty whether Kuster tried to simplify his work, or whether these animals were made by someone else.
Keywords
Treasury of the Cathedral of the Assumption of the Virgin Mary in Dubrovnik; ewer and basin; Peter Kuste; Nuremberg; naturalistic castings of animals and plants; silver; ormolu
Hrčak ID:
250634
URI
Publication date:
20.12.2020.
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