Seite - 259 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

259 illuminators’ matErials and tEchniquEs have often discoloured into browns (pls. 12b, c, d). Glazes defined folds in deeper, semi-transparent shades, as in the pink drapery of the Lambeth Apocalypse and the St John’s Psalter miniatures (pls. 8a, 9); the red and yellow organics over vermilion and yellow earth in the Trinity Apocalypse (pls. 12e, f); the red glazes on the red lead drapery in the Bolognese Bible (pl. 11b); and Master Honoré’s indigo shading of verdigris folds (pl. 12g). These examples of glazes detected over green, pink, red and yellow textiles suggest that the latter once conveyed three-dimensional effects similar to those still observed on blue and purple fabrics. As well as blending colours into smoothly modelled drapery, thirteenth-century artists occasionally sought to recreate the contrasting texture, reflective qualities and iridescent effects of silk-shot fabrics (cangianti). Depictions of these shim- pl. 12: Photomicroscopy details of drapery modelling in London, Lambeth Palace Library, MS 209, fols. 1r (a), 1v (d); Cambridge, St John’s College, MS K.26, fol. 23v (b); Cambridge, Trinity College, MS R.16.2, fols. 1v (e), 2v (c), 12r (f); Fitzwilliam Muse- um, MS 368 (g)