Seite - 257 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

257 illuminators’ matErials and tEchniquEs Honoré’s work is contemporary with the earliest extant Italian examples of three-dimensional modelling: the frescoes painted by Pietro Cavallini and Giotto in Rome and Assisi c. 1290‒1300.43 Examples in Italian manuscripts appear only in the early 1300s, notably in works by the Master of the Codex of St George who wor- ked for one of Giotto’s patrons.44 During the second half of the thirteenth century some Italian illuminators began to model with colour and glazes, but rather than blending them continued to work in a linear manner, preserving the traditional 192, 368) from the mutilated Somme le roi (London, The British Library, Add. MS 54180), see www.fitzmuseum.cam.ac.uk/illuminated/; Panayotova, Colour (cit. n. 4), nos. 49, 62. 43 Alessandro Tomei: Pietro Cavallini. Milan 2000; Bruno Zanardi: Giotto e Pietro Ca- vallini. Milan 2002; Michael Schmitz: Pietro Cavallini in Santa Cecilia in Trastevere. Munich 2013; Donal Cooper / Janet Robson: The Making of Assisi. New Haven 2013. 44 Michael Viktor Schwarz: Ubi Pictor ibi Roma. Local Colour and Modern Form in Stefa- neschi’s Codice di San Giorgio. In: Wege zum illuminierten Buch, ed. by Christine Beier / Evelyn Theresia Kubina, Vienna 2014, pp. 105‒124. pl. 10: Master Honoré, minia- ture from Somme le roi. Paris, c. 1290‒1295. Fitzwilliam Museum, MS 368