Seite - 256 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

256 stElla panayotoVa large-scale figures suggest experience with monumental painting. The three quires occupied by the miniatures were completed by a main artist and an associate who largely shared the same palette, though each of them expanded it with additional pigments of his own choice. The main artist completed quire 1 (fols. 3r‒10v). The associate illuminated quire 2 (fols. 11r‒18v), with occasional intervention from the lead artist who designed some of the miniatures. Quire 3 (fols. 19r‒25v) was desi- gned largely by the main artist, but coloured by him and the associate. The palette features three blues: ultramarine, indigo and azurite. Both artists favoured azurite in blue draperies modelled with strong contrasts between folds and highlights. Fabrics painted with organic pink, though more subtle, still convey volume and plasticity. The work of Master Honoré represents the full development of painterly mo- delling in Parisian illumination by the early 1290s (pl. 10). In a copy of La Somme le roi probably made c. 1290‒1295 for Philip IV of France and his queen, Honoré layered pigments in varying saturations, employed glazes and shaded some colours with alternative hues, for instance verdigris with indigo (pl. 12g).42 42 For analytical results on two of the miniatures (Cambridge, Fitzwilliam Museum, MSS pl. 9: God expelling Cain. En- gland, c. 1270‒1280. Cambridge, St John’s College, MS K.26, fol. 6v