Seite - 244 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

244 stElla panayotoVa been identified in manuscripts.5 Plants like turnsole (folium) or elderberry and the lichen orchil were cheap sources of purple. These materials are known from artists’ treatises and recipe collections on which many surveys rely. This one focuses on colourants identified in some 300 manu- scripts (c. 850‒c. 1550) analysed by the Fitzwilliam Museum’s MINIARE project.6 Among them are fifty thirteenth-century examples – from England (18), France (14), Italy (8), Germany (6), Flanders (2) and the Meuse region (2); all richly il- luminated, they offer as full a characterisation of the 1200s palette as possible at present.7 In addition to surveying the materials, we shall discuss how artists used them. We shall consider whether choices of particular pigments or techniques could clarify artistic collaboration, desire for specific visual effects or experience with media other than illumination. Illumination and tinted drawing The skills of thirteenth-century artists are evident in the different effects they achieved by using the same pigments for full illumination and tinted drawing. Let us look at two volumes made c. 1255‒1260 in Westminster for the English royal family. Our fully illuminated example is the Trinity Apocalypse, probably intended for Henry III’s queen Eleanor of Provence (pl. 1a).8 The example of tinted drawing is the Life of St Edward the Confessor, likely commissioned by Henry and Eleanor as a wedding gift for their daughter-in-law Eleanor of Castile upon her arrival in England in 1255 as the wife of the future Edward I (pl. 1b).9 The dominant pigments in both volumes are ultramarine blue, verdigris green, vermilion red and organic pink, but their varying amounts and saturations produced the bold appearance of the Trinity Apocalypse and the delicate quality of St Edward’s Life.10 Full illumination and tinted drawing could coexist within the same volume. The Lambeth Apocalypse made before 1267 for Eleanor de Quincy, Countess of Winches- 5 Cheryl Porter / Maurizio Aceto et al.: Looking for Lichen, Fooled by Folium and Tri- cked by Tyrian. In: Manuscripts in the Making. Art and science. Vol. 2, ed. by Stella Panayotova / Paola Ricciardi, London / Turnhout 2018, pp. 64‒77. 6 Non-invasive analysis was undertaken by the Museum’s Research Scientist, Dr Pao- la Ricciardi, and three Schindler-MINIARE Fellows: Dr Giulia Bertolotti (2014/15), Dr Lucía Pereira-Pardo (2015/16) and Dr Anna Mazzinghi (2018). It involved visible and near-infrared imaging, optical microscopy, reflectance spectroscopy in the ultraviolet, visible, near- and shortwave-infrared range (FORS) and X-ray fluorescence spectroscopy (XRF). In addition, Raman spectroscopy was performed on several manuscripts with Prof. Andrew Beeby (University of Durham) and Dr Catherine Nicholson (Northumb- ria University). 7 See table. 8 Cambridge, Trinity College, MS R.16.2; https://www.trin.cam.ac.uk/library/wren-digi- tal-library/. The Trinity Apocalypse, ed. by David McKitterick, London / Toronto 2005. 9 Cambridge University Library, MS Ee.3.59; https://cudl.lib.cam.ac.uk/view/MS- EE-00003-00059/1. Western Illuminated Manuscripts. A Catalogue of the Collection in Cambridge University Library, ed. by Paul Binski / Patrick Zutshi, Cambridge 2011, no. 110. 10 For the full palette in both volumes see the case studies in The Art and Science of Illumi- nated Manuscripts: A Handbook, ed. by Stella Panayotova, London / Turnhout 2020.