Historical canvas from the same bolt or roll ?

Historical canvas from the same bolt or roll ?

Highly advanced technology and knowledge is involved in trying to find the answer for this question.

In my research on historical canvases used by Master Painters I notice that some conservators from painting departments write in their technical studies about the canvas. They mention the structure; plain weave, twill or diamond structures, (mantelillo) and sometimes I find a thread count per cm for the warp and the weft.

The specialists in technology and computer engineering , who make digital maps of canvases, are expressing thread count in warp and weft per cm, sometimes up to 2 numbers after the digital point.

I have not found yet more literature from textile conservators about painters canvases than the publication in ICCROM library about the El Greco canvas. Because of lining canvases for conservation, there is no longer access to the original textile.

As a hand weaver, making reconstructions of canvases used in master paintings I find that more aspects might be involved to answer the above question...

..Great Masters have been very important in the process of my research and reconstructions @ Lab O !!! One of them is my master teacher and friend Julie Holyoke. I was her student in 1999 for the first time at the Lisio Foundation in Florence, Italy. It has been her great knowledge and capacity to teach the Jacquard textile design that fascinated me to go deeper in the complex world of textures. I stayed with the her Dobby loom, the one that she has been involved in to construct in the 1985's; the first AVL computer aided Dobby loom. The canvases I am weaving now are on that loom; it works perfectly with a Mac Plus computer and I am keeping it up in that combination. During the years I had the priviledge to learn more and more from her about textile design in shorter or longer term periods. It was in November 2017 that she encouraged and prepared me to apply for membership of CIETA, the highly recommended organisation for study of ancient textiles. Thank you so much Julie, without you I would never have come so far

Helena Loermans has been a weaver since 1960. Self-taught, she has also studied at the highest technical levels. Now a member of CIETA, she has run a studio in Odemira, Portugal since 2000 for the purposes of creative experimentation, exhibition, teaching, research, and private sale.

Lab O, a research laboratory focusing on the hand- woven patterned canvases used by the Spanish, Italian and Portuguese Old Masters.

Lab O opens the possibility for painting conservators to assist a workshop to understand how a linen canvas is woven on handlooms.

The very first reconstruction was of the diamond pattern textile seen by El Greco before he painted 'The Burial of the Count of Orgaz', and was presented in the 'Igreja Misericórdia' in Odemira on 17 June 2016.

The most recent study is about Diego Velázquez

'Supper at Emmaus' , painted on a patterned canvas. I am analysing the x-ray image, courtesy of the Department of Paintings Conservation.

Earlier are the handwoven reconstructions of the the canvas Diego Velázquez saw before painting 'Saint John in the Wilderness'; and what Titian had in front of him as he painted 'the Vendramin Family'

The project follows in the footsteps of the old masters and weavers, connecting craft, art, history and science and has developed since 2015, when Marta Pokojowczyk attended Helena Loermans Handwoven Textiles Atelier in Portugal under the Erasmus for Young Entrepreneurs Programme.