Silverpoint

Silverpoint (one of several types of metalpoint) is a traditional drawing technique first used by medieval scribes on manuscripts.

A silverpoint drawing is made by dragging a silver rod or wire across a surface, often prepared with gesso or primer. Silverpoint is one of several types of metalpoint used by scribes, craftsmen and artists since ancient times. Metalpoint styli were used for writing on soft surfaces (wax or bark), ruling and underdrawing on parchment, and drawing on prepared paper and panel supports. For drawing purposes, the essential metals used were lead, tin and silver. The softness of these metals made them effective drawing instruments. (Watrous, 1957) Goldsmiths also used metalpoint drawings to prepare their detailed, meticulous designs. Albrecht Dürer's father was one such craftsman who later taught his young son to draw in metalpoint, to such good effect that his 1484 self-portrait at age 13 is still considered a masterpiece.

In the late Gothic/early Renaissance era, silverpoint emerged as a fine line drawing technique. Not blunting as easily as lead or tin, and rendering precise detail, silverpoint was especially favored in Florentine and Flemish workshops. Silverpoint drawings of this era include model books and preparatory sheets for paintings. Artists who worked in silverpoint include Jan van Eyck, Leonardo da Vinci, Albrecht Dürer and Raphael. Cennino Cennini's "Il Libro dell'Arte" provides a window on the practice of silver and leadpoint drawing, as well as preparing metalpoint grounds, in the late 14th century (Thompson, 1933; Duval, et al., 2004). Susan Dorothea White's recent book Draw Like Da Vinci (2006) describes the silverpoint technique of Leonardo da Vinci.

As noted by Francis Ames-Lewis, drawing styles changed at the end of the 16th century, resulting in a decline for metalpoint. The discovery of graphite deposits at Seathwaite in Borrowdale, Cumbria, England, in the early 1500s and its increasing availability to artists in a pure, soft (and erasable) form hastened silverpoint's eclipse. Artists sought more gestural qualities, for which graphite, red and black chalk were better suited. Ink and wash drawings are also prevalent in the period. In addition, these other drawing techniques required less effort and were more forgiving than silver, which resists erasure and leaves a fainter line. Furthermore, the preparation of silverpoint supports, usually with hide glue with finely ground bone ash, was labor-intensive. Modern practitioners use zinc, titanium white tempera or marble dust as a ground. Natural chalks and charcoal have the advantage of producing immediate results on uncoated papers (Ames-Lewis, 2000).

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