{"id":55033,"date":"2026-10-16T19:47:27","date_gmt":"2026-10-16T19:47:27","guid":{"rendered":"https:\/\/lifestylemag.com\/?p=55033"},"modified":"2026-10-16T19:47:28","modified_gmt":"2026-10-16T19:47:28","slug":"what-is-scagliola-and-how-did-a-marble-imitation-become-an-object-of-desire","status":"publish","type":"post","link":"https:\/\/lifestylemag.com\/pt-br\/what-is-scagliola-and-how-did-a-marble-imitation-become-an-object-of-desire\/","title":{"rendered":"O que \u00e9 a scagliola e como uma imita\u00e7\u00e3o de m\u00e1rmore se tornou objeto de desejo?"},"content":{"rendered":"

By Catherine Jacobi<\/p>\n\n\n\n

Ela surgiu como uma forma de imitar pedras caras. Em menos de um s\u00e9culo, viajantes do Grand Tour esperavam anos por mesas feitas com ela por um monge nas colinas da Toscana.<\/em><\/p>\n\n\n\n

Na Enlightenment Gallery do British Museum<\/a>, a sala que Robert Smirke projetou na d\u00e9cada de 1820 para abrigar a biblioteca de Jorge III, as paredes brilham em tons de pedra polida. O pr\u00f3prio guia do museu lista o que as reveste: granito, m\u00e1rmore e scagliola, em v\u00e1rias cores. A maioria dos visitantes passa sem olhar duas vezes, certa de estar cercada de pedra. Mas o terceiro material \u00e9 gesso. Seus veios s\u00e3o t\u00e3o profundos quanto os do granito ao lado, e sua superf\u00edcie brilha com a mesma frieza. Michael Koumbouzis, scagliolista brit\u00e2nico que restaura esse material em casas hist\u00f3ricas desde 1983, escreve que uma scagliola bem executada tem a apar\u00eancia e a textura do m\u00e1rmore que imita, apenas um pouco mais morna ao toque. Pronuncia-se \u201cscalh\u00f3la\u201d, com o g mudo, e desde o s\u00e9culo XVII ela se passa por pedra em interiores grandiosos. A hist\u00f3ria mais interessante \u00e9 o que veio depois.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

A King\u2019s Library, atual Enlightenment Gallery. British Museum.<\/em><\/p>\n\n\n\n

A hist\u00f3ria come\u00e7a com a selenita, uma variedade transl\u00facida de gipsita dos Apeninos que os italianos chamam de pietra di luna, pedra da lua. Os artes\u00e3os a moem at\u00e9 virar p\u00f3 e a misturam com cola e pigmentos naturais, formando uma pasta colorida. Depois, pressionam essa pasta em cavidades entalhadas numa placa, seguindo um desenho, e polem a superf\u00edcie seca at\u00e9 que ela brilhe. Como a cor atravessa o material em vez de ficar s\u00f3 na superf\u00edcie, a scagliola pode ser lixada e polida como pedra, algo que o faux marbre, um efeito pintado, n\u00e3o permite. E como cada cor \u00e9 misturada \u00e0 m\u00e3o, ela tamb\u00e9m escapa de uma limita\u00e7\u00e3o inerente \u00e0 pietra dura, a arte florentina de cortar pedras verdadeiras e encaix\u00e1-las, em que a paleta depende do que a pedreira oferece.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Tampo italiano em scagliola, segunda metade do s\u00e9culo XVIII.<\/em><\/p>\n\n\n\n

A scagliola ganhou forma no in\u00edcio do s\u00e9culo XVII em Carpi, perto de M\u00f3dena, onde sua inven\u00e7\u00e3o \u00e9 atribu\u00edda ao arquiteto Guido Fassi (1584\u20131649). As igrejas da cidade ainda guardam frontais de altar feitos com ela. Artes\u00e3os itinerantes logo levaram a receita para o norte, e uma das pe\u00e7as que deixaram pelo caminho mostra o material j\u00e1 escapando de sua fun\u00e7\u00e3o original. O Victoria and Albert Museum guarda uma mesa feita por volta de 1671, provavelmente na Inglaterra e atribu\u00edda ao italiano Baldassare Artima. As pernas fazem aquilo para que a scagliola foi inventada e imitam o m\u00e1rmore de Siena. O tampo faz outra coisa. Uma flor de coroa imperial brota de um vaso persa, cornuc\u00f3pias derramam lim\u00f5es e tomates, e p\u00e1ssaros e borboletas pousam sobre um fundo negro e lustroso. Nenhuma pedreira poderia fornecer essa paleta, e o museu observa que as cores continuam vivas, ao contr\u00e1rio das cores das mesas de marchetaria em madeira de mesmo formato. Numa \u00fanica mesa, as pernas ainda imitam, enquanto o tampo j\u00e1 come\u00e7ou a inventar.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Pain\u00e9is de scagliola imitando m\u00e1rmores coloridos, de Guido Fassi, na capela da Assun\u00e7\u00e3o, Catedral de Carpi, 1629. (Frontal de altar de Giovanni Gavignani, d\u00e9cada de 1670.)<\/em><\/p>\n\n\n\n

Na Toscana, essa inven\u00e7\u00e3o encontrou seu mestre. Enrico Hugford, florentino nascido de pais ingleses em 1695, aprendeu a scagliola como monge vallombrosano, perto das pedreiras de selenita de Marradi. Passou o resto da vida transformando-a em outra forma de pintura. De Vallombrosa sa\u00edam marinhas, portos, vasos de flores e cenas da vida mon\u00e1stica, imagens que n\u00e3o tinham motivo algum para fingir ser pedra. Colecionadores ingleses em pleno Grand Tour esperavam por elas. Em 1741, a placa de uma mesa encomendada por Horace Walpole rachou justamente quando Hugford a terminava. O diplomata Horace Mann implorou ao monge que recome\u00e7asse e, mais tarde, contou que outros compradores ingleses haviam oferecido mais do que o pre\u00e7o de Walpole pelo resultado. Os padres que faziam essas mesas, escreveu Mann, \u201ctrabalham por divers\u00e3o e n\u00e3o se deixam apressar\u201d.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Painel de scagliola de Ferdinando \u201cEnrico\u201d Hugford.<\/em><\/p>\n\n\n\n

A reputa\u00e7\u00e3o de Hugford sobreviveu a ele. Oito anos depois de sua morte, o gr\u00e3o-duque da Toscana adquiriu quatro de suas paisagens dos herdeiros de seu irm\u00e3o, o pintor Ignazio Hugford. Duas delas pertencem hoje ao museu do Opificio delle Pietre Dure, a oficina fundada pelos M\u00e9dici para cortar pedras preciosas. A casa da pedra verdadeira abrira espa\u00e7o para a sua imita\u00e7\u00e3o.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Foto de Marco Badiani. Cortesia do Opificio delle Pietre Dure.<\/em><\/p>\n\n\n\n

Em meados do s\u00e9culo XIX, as oficinas come\u00e7aram a fechar. O cimento e a produ\u00e7\u00e3o em s\u00e9rie fizeram o resto, e as receitas desapareceram junto com elas. Foi preciso um funcion\u00e1rio do Minist\u00e9rio da Defesa italiano para traz\u00ea-las de volta. No fim da d\u00e9cada de 1940, Bianco Bianchi (1920\u20132006) se encantou pelas mesas de scagliola do museu do Opificio. Passou cerca de dez anos \u00e0 mesa da cozinha, testando misturas at\u00e9 que os antigos resultados reaparecessem. Seus filhos, Alessandro e Elisabetta, e hoje o neto Leonardo, ainda trabalham inteiramente \u00e0 m\u00e3o em Pontassieve, nos arredores de Floren\u00e7a. O processo \u00e9 mais lento e mais f\u00edsico do que a superf\u00edcie acabada sugere. Os desenhos s\u00e3o entalhados com cinz\u00e9is pequenos e pesados, que podem escapar a qualquer momento. A pasta entra macia e \u00famida, e suas cores secam mais claras do que quando foram misturadas. Um \u00fanico preenchimento pode levar duas horas para firmar no ver\u00e3o e oito no inverno. Em 2025, o V&A filmou a fam\u00edlia recriando \u00e0 m\u00e3o parte da mesa do Castelo de Warwick, mais de tr\u00eas s\u00e9culos depois do original.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

A mesa do Castelo de Warwick, 1671. Baldassare Artima, Diacinto Cawcy. Cortesia do V&A Museum.<\/em><\/p>\n\n\n\n

As encomendas da fam\u00edlia mostram o quanto a scagliola se afastou de seu prop\u00f3sito original. Entre elas est\u00e3o uma mesa com a Medusa para Gianni Versace, um tampo com bras\u00e3o hoje no Pal\u00e1cio de Kensington e um painel inspirado na Flora da Gucci, a estampa de len\u00e7o desenhada em 1966 para Grace Kelly. O Houston Museum of Natural Science comprou o painel Flora em 2018. Esse museu guarda mais de 750 esp\u00e9cimes minerais em sua sala de gemas, cada um preso \u00e0s cores que a terra lhe deu. O painel Flora, feito da mesma pasta humilde que reveste a biblioteca de Jorge III, mostra um jardim que nenhuma pedreira poderia oferecer. Em Londres, a scagliola foi escolhida para se passar por pedra. Em Houston, foi escolhida pelo que a pedra n\u00e3o consegue fazer. Foi assim que uma imita\u00e7\u00e3o se tornou objeto de desejo.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Mesa \u201cBarocco\u201d, criada para Gianni Versace, 1987. Bianco Bianchi.<\/em><\/p>","protected":false},"excerpt":{"rendered":"

By Catherine Jacobi It began as a way to imitate costly stone. Within a century, Grand Tourists were waiting years for tables made of it by a monk in the Tuscan hills. In the British Museum‘s Enlightenment gallery, the room Robert Smirke designed in the 1820s to hold George III’s library, the walls glow in […]<\/p>\n","protected":false},"author":7,"featured_media":55039,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"tpgb_global_settings":"","_lifestyle_hero":false,"_lifestyle_hide_title":false,"footnotes":""},"categories":[5],"tags":[263,507,508,509],"edicao":[],"class_list":["post-55033","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-culture","tag-art","tag-scagliola","tag-british-museum","tag-tuscany"],"acf":[],"yoast_head":"\nWhat is Scagliola, and how did a marble imitation become an object of desire? | Lifestyle Mag<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/lifestylemag.com\/pt-br\/what-is-scagliola-and-how-did-a-marble-imitation-become-an-object-of-desire\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What is Scagliola, and how did a marble imitation become an object of desire?\" \/>\n<meta property=\"og:description\" content=\"By Catherine Jacobi It began as a way to imitate costly stone. 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