Seite - 103 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

103 EncountErs in Books In contrast to the Brussels manuscript – where the groups of miniatures seem to have been executed independently from one another – the southern French master of the Petrus Lombardus manuscript tried to adapt his style to the work of the two Italians (pl. 3, 4a).23 This is shown – for example – by the pointy leaf-lobes, which were very common in Italy, but not in Southern France. The same is true of the fine threads in ink, which grow out of painted tendrils and have curled and pointed ends. Artistic interaction is perhaps most clear in the greenish complexions that were typical for Bolognese but not for Southern French book painting at this time, and that are found here in the work all three illuminators. These stylistic choices are not the only evidence that the French painter collabo- rated directly with the Italians – i.e. within a working group active at the same place and time. The manner of labour division points in the same direction, with the Italians and the Frenchman essentially alternating in the illumination of gatherings: the Frenchman was involved in the gatherings 13, 17, 18, and 21–25, while the work of the first Italian artist is found in the gatherings 1‒11, 14‒16, 19‒20; the twelfth gathering contains initials from both Bolognese illuminators. On some occasions, there was collaboration within gatherings: the richly decorated pages at the begin- ning of Liber II (fol. 72v, gathering 8) and III (fol. 131v, gathering 14) were the work of the French master, but belong to the gatherings that were otherwise illuminated by the Italians.24 The procedure with colouring is also revealing: all three painters seem to have had very similar colours at their disposal, but deployed these with varying emphasis according to their backgrounds – the French artist makes greater use of dark pink, mid-blue, and the combination of mid- and dark blue (pl. 3, 4a), while the Italians more readily deployed light purple and pink (pl. 4b, c). As for the place of production, this is implied by various other forms of evidence: the binding of the gatherings into quinions, the Bolognese character of the pen-flourishing, the involvement of two Italians in the illumination, and the script – all this sug- gests that the manuscript was made in Italy with the collaboration of an emigrant Frenchman. Overlapping contributions: The Digestum vetus in Graz My third and final example once again features three illuminators from different backgrounds, but shows the various regional styles merging in a completely dif- ferent way. It is the aforementioned Digestum vetus (Cod. 32) from the University Library of Graz, which was part of the legacy of Ulrich of Albeck, bishop of Seckau scrolling of the bas-de-page (compare pl. 3 with pl. 2d–f), the white three-point motifs on clothing, and the elongated faces with broad foreheads and long, straight noses (see especially pl. 2d and pl. 3). Similar, too, is the composition of certain female heads, which share characteristically reddened eyelids and cheeks, as well as white headcloths with black contours (compare pl. 2b with pl. 3). 23 See Gousset, Cat. No. 116 (cit. n. 17), pp. 361‒365, cat. no. 116, who already refers to the reinterpretation of the so-called ‘primo stile’ by the southern French illuminator. 24 See the counting of gatherings in Gousset, Cat. No. 116 (cit. n. 17), pp. 361‒365, cat. no. 116: in the last paragraph of p. 363, the ‘VII [c.72r]’ should be corrected to ‘VIII [c.72r]’ and ‘XII [cc.120‒129]’ to ‘XIII [cc.120‒129]’.