THE PRODUCTION AND COLLECTING OF PLASTER AND SULPHER PASTE “IMPRONTE” AS GRAND TOUR SOUVENIRS IN THE 18TH AND 19TH CENTURIES

Sep 2, 2026

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This thesis addresses key questions about impronte that emerged from an academic assignment during 1995/96 in Museums and Gallery Studies. Research into their origins shows that, although not rare, impronte were widely abundant yet insufficiently understood as artworks, with typical readings treating them as representations of gemstones. The study argues that broader dimensions shape what impronte depict. It surveys historical gem-collecting contexts, examines manufacturing and conservation practices, and explains how forgeries undermined authenticity and weakened the market.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages197

Reading Time8 h 16 min

AccessFree to download

Abstract

Historical context of gem collecting

Manufacturing processes and materials

Conservation, storage, and cleaning in museum settings

# THE PRODUCTION AND COLLECTING OF PLASTERAND SULPHER PASTE "IMPRONTE"AS GRAND TOURSOUVENIRS IN THE18TH AND 19TH CENTURIES K.Scott Marchand # A Thesis Submitted for the Degree of MPhilat theUniversity of St Andrews 1998 Full metadata for this item is available inSt Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/15337 This item is protected by original copyright # THE PRODUCTION AND COLLECTING OF PLASTER AND SULPHER PASTEIMPRONTE AS GRAND TOUR SOUVENIRS IN THE 18TH AND 19THCENTURIES K.Scott Marchand M.Phil.in Art HistorySeptember 30,1997 _ ProQuest Number:10167303 All rights reserved INFORMATION TOALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscriptand there are missing pages,these will be noted.Also,if material had to be removed,a note will indicate the deletion. ProQuest 10167303 Published by ProQuest LLC(2017).Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17,United States CodeMicroform Edition ProQuest LLC. ProQuest LLC.789 East Eisenhower ParkwayP.O.Box 1346Ann Arbor,MI 48106-1346 会 1C I,Scott Marchand,hereby certify that this thesis,which is approximately 40,000....words in length,has been written by me,that it is the record of workcarried out by me and that it has not been submitted in any previous applicationfor a higher degree. date September 30,1997 signature of candidate, (ii)I was admitted as a research student in September,1995 and as a candidate for thedegree of Mphil in Art History in September,1996;the higher study for which this isa record was carried out in the University of St.Andrews between 1996 and 1997. date September 30,1997signature of candidate .… (iii)I hereby certify that the candidate has fulfilled the conditions of theResolution and Regulations appropriate for the degree of in the University of St.Andrews and that the candidate is qualified to submit thisthesis in application for that degree. date zl:/s2 signature of supervisof A Unrestricted In submitting this thesis to the University of St.Andrews I understand that I amgiving permission for it to be made available for use in accordance with theregulations of the University Library for the time being in force,subject to anycopyright vested in the work not being affected thereby.I also understand that the.title and abstract will be published,and that a copy of the work may be made andsupplied to any bona fide library or research worker. date:September,301997 signature of candidate ate ACKNOWLEDGEMENTS: I would like to thank the following individuals whose kind assistance wasinvaluable to the completion of this thesis:in Oxford,Professor Sir JohnBoardman,Dr.Donna Kurtz,Professor Francis Haskell,Professor R.R.R.Smith,Professor Martin Henig,Mr.Daniel Bone and the staff of the Cast Gallery of theAshmolean Museum,Mrs.Veronique Davis,Florence,Ian,Paul and Jane.InLondon,Ms.Helen Dorey,Deputy Curator at Sir John Soane's Museum,Ms.Virginia Smithson at the British Museum,Ms.Lucy M.Cullen Assitant Curatorof Sculpture at the V&A,John P.Smith of Mallet &Sons.Elsewhere,Dr.SilviaMeloni,Director of Research at the Uffizi Gallery,Florence,Professor EugenioLaRocca at the Museo di Roma,the Eleventh Lord Elgin,Mr.Barry Agnew,Curator of Military History and Ms.Sandra Morton-Wiseman,Curator ofCultural History,and Ms.Heather Dumka,Conservation Officer,at the GlenbowMuseum,Calgary,Canada,and help with Italian from Mrs.Teresa Foccione.In StAndrews,Ms.Dawn Waddell,Ms.Jean Philip and Dr.Ian Carradice. Lettor,se truovi cosa che toffenda inquesto modestissimo librino non temaraviglar.Perche Divino,et nonhumano,equel ch'e senza Menda. Anon,Italian 17th century book. ## ABSTRACT T

FAQs

What questions does the thesis raise about impronte?

The thesis stems from questions about where, how, and why impronte were made, and from the realization that existing work was limited in explaining them as artworks rather than only as gemstone representations.

How does the thesis describe the historical development of impronte?

It links impronte to the 18th-century revival of interest in classical knowledge, which renewed demand for collections of ancient-style gemstones and also fostered widespread forgeries.

What materials and issues are examined in relation to impronte production and preservation?

The thesis focuses on practical matters of materials and manufacture—especially plaster and sulphur paste—and also covers conservation, storage, and cleaning problems within museum environments.

Sep 2, 2026

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