Raimondo di Sangro (1710–1771), Prince of Sansevero, is renowned for having made experiences on mineral palingenesis, among other things. This multidisciplinary article brings together approaches and methodologies of the history of science and of mineralogy, and presents innovative results obtained during two distinct surveys at the Museo Cappella Sansevero. It focuses on the techniques Raimondo implemented to create the blue and red pigments which he used to adorn the family chapel, as well as on his choice to use fluorite as a sculptural material. Our analyses confirm for the first time that the Prince of Sansevero was able to create artificial ultramarine. As of today, this seems to be the earliest ever recorded example of the production of this artificial pigment. Consequently, this study suggests that historical sources documenting di Sangro’s experiences should be seriously reconsidered. This article also contextualises Raimondo’s efforts within the Neapolitan networks of Freemasons, engravers and antiquarians.
De Ceglia, F.P., Maraschi, A., Monno, A., Tempesta, G. (2024). In Search of the Phoenix in Eighteenth-Century Naples. NUNCIUS, 39(2), 451-485 [10.1163/18253911-bja10097].
In Search of the Phoenix in Eighteenth-Century Naples
De Ceglia Francesco Paolo;Maraschi Andrea;
2024
Abstract
Raimondo di Sangro (1710–1771), Prince of Sansevero, is renowned for having made experiences on mineral palingenesis, among other things. This multidisciplinary article brings together approaches and methodologies of the history of science and of mineralogy, and presents innovative results obtained during two distinct surveys at the Museo Cappella Sansevero. It focuses on the techniques Raimondo implemented to create the blue and red pigments which he used to adorn the family chapel, as well as on his choice to use fluorite as a sculptural material. Our analyses confirm for the first time that the Prince of Sansevero was able to create artificial ultramarine. As of today, this seems to be the earliest ever recorded example of the production of this artificial pigment. Consequently, this study suggests that historical sources documenting di Sangro’s experiences should be seriously reconsidered. This article also contextualises Raimondo’s efforts within the Neapolitan networks of Freemasons, engravers and antiquarians.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
