Seite - 106 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

106 michaEla schullEr-JuckEs Liber VII (pl. 6b) and collaborated on the drolleries.30 Typical of the work of both artists are their light, radiant colours, which are often applied in wash and include light pink, green, blue-grey or blue-violet, as well as a strong orange-red and an ochre with shimmering gold. The miniatures have characteristic frames with light-yellow inner contours showing rectangular fields of gilding and thin outer frames in light- blue and light-pink. The drapery folds are created simply by darker lines with local colour, and without any further attempts at plastic modelling. The main illuminator used blue backgrounds with white threads, nets of trefoils or squares with crosses in red and white (pl. 6a, 6c–d). The faces have light-beige complexions with some green shadowing and slightly pinkened cheeks. In contrast to this, the second illuminator’s harvesting scene (pl. 6b) shows a dark pink background and figures with different hair styles and lower hairlines, along with chubby, pink-toned faces.31 While many of the characteristics of these two illuminators are suggestive of northern Italian illumination in this period, the gothically stylized facial features, elongated proportions, posture and demeanour of the figures, and the graphical precision seem closer to northern art. For this reason Schmidt later revised his ini- tial localization from Northern Italy to Southern France, probably Toulouse.32 Yet, in contrast to the southern French miniatures that we have seen in the Brussels and Mazarine manuscripts, no related works can be found for these painters in Langue- doc – their style seems singular. An explanation is offered by the underdrawings, which are frequently visible and reveal numerous details that were planned but not executed. Some figures, like those on fols. 35r and 86r (pl. 7a–c), have draperies that were painted with little regard for the sketched folds, as can be seen particularly in the area of the elbows and stomachs; this can also be seen on borders, where the underdrawings show undulating ear-, and volute-shaped outlines – in contrast to the executed forms with their straight or pointed-oval lines. But it was not only the draperies that the painter modified: he took a similar approach to physical features, such as the fingers on fol. 17v (pl. 7d) that he shortened significantly. A still more dramatic change comes in a scene with three figures pushed to the left of the field, where a further figure was probably intended, but never executed ‒ a sketched foot can be seen in the lower frame (pl. 6d). On some occasions, the painter misunder- stood the preliminary drawing. This is the case with the tonsured figure on the left of fol. 182v, the back of whose head is disproportionately large; or with the two rulers on fol. 191v, who show marked anatomical irregularities and in one case (the right-hand figure) seems neither to be sitting nor standing. minoris, fol. 253ra (Liber XXII) De usuris et fructibus et causis et omnibus accessionibus et mora, fol. 259va (Liber XXIII) De sponsalibus, fol. 270va (Liber XXIV) De donationibus inter virum et uxorem. 30 Fol. 92ra (Liber VII) De usu fructu et quemadmodum quis utatur fruatur. 31 See here also Schmidt, Mobilität von Buchmalern 2003 (cit. n. 2), p. 8, note 16 and id., Mobilität von Buchmalern 2005 (cit. n. 2), p. 70, note 16. 32 Schmidt received some impetus for his attribution of these miniatures to two southern French illuminators from the aforementioned Brussels legal manuscript of 1290 (Brus- sels, Bibliothèque Royale, Ms. 21190, Innocent IV, Apparatus), the decoration of which – alongside the work of the northern French illuminator – also involved two book painters from Southern France; see above and Schmidt, Mobilität von Buchmalern 2003 (cit. n. 2), p. 9, note 18, and id., Mobilität von Buchmalern 2005 (cit. n. 2), pp. 70‒73.