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Este trabalho de investigação aborda as questões terminológicas e os processos técnicos do estuque no território português. A arte do estuque surgiu em Portugal no século XVII, importada de Itália, pelos nossos artistas. No século XVIII é novamente reavivada através do contacto dos nossos estucadores com artífices italianos que vieram trabalhar para o nosso país. Os conhecimentos e perícia técnica transmitidos estão intrinsecamente associados à terminologia específica do estuque, cujos termos originalmente italianos, nem sempre tinham equivalente em português, apesar da origem latina de ambas as línguas. Com o passar dos tempos, foram naturalmente surgindo corruptelas dos termos italianos originais e diferenças terminológicas entre os artífices do Norte e do Sul do país. Através de entrevistas realizadas a profissionais ligados à arte do estuque, foi possível eliminar muitas das dúvidas terminológicas existentes, afim de permitir esclarecer: i) a interdisciplinaridade dos vários artífices, ii) a necessidade de conhecer os suportes onde são aplicados os trabalhos de estuque nos edifícios antigos, iii) as diversas técnicas de execução tanto de estuques brancos como coloridos, iv) os diversos procedimentos que são imprescindíveis para a execução desta arte e, por fim, v) os materiais e as ferramentas. A necessidade de compilar num documento a arte do estuque materializou-se num dicionário técnico que permitiu estabelecer relações entre as diversas fontes e bibliografia portuguesa com as entrevistas realizadas. O dicionário com um total de 163 entradas, está estruturado em seis capítulos, a saber: Artífices, Suportes, Procedimentos, Materiais, Ferramentas e Técnicas, este último por sua vez subdividido em: técnicas de estuques, técnicas de estuques colorido e processos auxiliares às técnicas. Em cada capítulo, organizam-se alfabeticamente as respetivas entradas, que podem ser consultadas directamente através de um índice de página por conceito. Num futuro próximo, esperamos que o dicionário contido nesta dissertação de mestrado venha a ser publicado e fique acessível a investigadores, profissionais e público em geral, com a ambição de ter um impacto importante na divulgação, valorização e preservação da arte decorativa dos estuques.
This research work addresses terminolical issues and the technical processes of stucco in Portuguese territory. The art of stucco emerged in Portugal in the seventeenth century, imported from Italy, by our artists. In the eighteenth century it is revived again through the contact of our plasterers with Italian craftsmen who came to work in our country. The art of stucco emerged in Portugal in the seventeenth century, imported from Italy, by our artists. In the eighteenth century it is revived again through the contact of our plasterers with Italian craftsmen who came to work to our country. The knowledge and technical expertise imparted are intrinsically associated with the specific stucco terminology, whose originally Italian terms did not always have equivalent in Portuguese, despite the Latin origin of both languages. Over time, corruption of the original Italian terms and terminological differences between the northern and southern artisans of the country were naturally emerging. Through interviews with professionals related to the art of stucco, it was possible to eliminate many of the existing terminological doubts, in order to clarify: i) the interdisciplinarity of the various craftsmen, ii) the need to know the supports where stucco works are applied in old buildings, iii) the various techniques of execution of both white and colored stucco, iv) the various procedures that are essential for the execution of this art and, finally, v) the materials and tools. The need to compile in a document the art of stucco materialized in a technical dictionary that allowed establishing relationships between the various sources and Portuguese bibliography with the interviews. The dictionary with a total of 163 entries is structured in six chapters, namely: Craftsmen, Supports, Procedures, Materials, Tools and Techniques, the last one subdivided into: stucco techniques, colored stucco techniques and processes auxiliary to techniques. In each chapter, the respective entries are organized alphabetically, which can be consulted directly through a page index per concept. In the near future, we hope that the dictionary contained in this master's thesis will be published and made accessible to researchers, practitioners and the general public, with the ambition of having a major impact on the dissemination, enhancement and preservation of the art of decorative stucco art.
This research work addresses terminolical issues and the technical processes of stucco in Portuguese territory. The art of stucco emerged in Portugal in the seventeenth century, imported from Italy, by our artists. In the eighteenth century it is revived again through the contact of our plasterers with Italian craftsmen who came to work in our country. The art of stucco emerged in Portugal in the seventeenth century, imported from Italy, by our artists. In the eighteenth century it is revived again through the contact of our plasterers with Italian craftsmen who came to work to our country. The knowledge and technical expertise imparted are intrinsically associated with the specific stucco terminology, whose originally Italian terms did not always have equivalent in Portuguese, despite the Latin origin of both languages. Over time, corruption of the original Italian terms and terminological differences between the northern and southern artisans of the country were naturally emerging. Through interviews with professionals related to the art of stucco, it was possible to eliminate many of the existing terminological doubts, in order to clarify: i) the interdisciplinarity of the various craftsmen, ii) the need to know the supports where stucco works are applied in old buildings, iii) the various techniques of execution of both white and colored stucco, iv) the various procedures that are essential for the execution of this art and, finally, v) the materials and tools. The need to compile in a document the art of stucco materialized in a technical dictionary that allowed establishing relationships between the various sources and Portuguese bibliography with the interviews. The dictionary with a total of 163 entries is structured in six chapters, namely: Craftsmen, Supports, Procedures, Materials, Tools and Techniques, the last one subdivided into: stucco techniques, colored stucco techniques and processes auxiliary to techniques. In each chapter, the respective entries are organized alphabetically, which can be consulted directly through a page index per concept. In the near future, we hope that the dictionary contained in this master's thesis will be published and made accessible to researchers, practitioners and the general public, with the ambition of having a major impact on the dissemination, enhancement and preservation of the art of decorative stucco art.
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Estuque Dicionário técnico Conservação Reabilitação Stuccco Portugal Technical dictionary Conservation Rehabilitation