Seite - 262 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

262 stElla panayotoVa and, together with red earth, under gold. William de Brailes used complex layers to create bole in four hues (red, pink, brown and yellow) and applied extensive tooling as well as pigments over the gold (pls. 14f‒g). Some artists, including Honoré and the illuminator of Christ in Majesty (pl. 3c), experimented with cooler tones. Grey or blue bole with indigo or azurite was favoured in deluxe Parisian manuscripts by c. 1250.54 All four masters responsible for the figural compositions in Isabelle’s Psalter-Hours laid their gold leaf over a black ground; one of them used it in the miniatures he contributed to St Louis’ Psalter. Its full composition cannot be determined non-invasively, but the two components identified – calcium and copper – suggest a layer of chalk and a copper-containing base, perhaps similar to that in the Liège Psalter. Such intense black bole was exceptionally rare; the other artists in St Louis’ Psalter used green, yellow or grey bole.55 We encountered grey and yellow bole; green bole is as yet to be found in other thirteenth-century manuscripts. 54 Bole with indigo features in six miniatures of c. 1250, Cambridge, Fitzwilliam Museum, Marlay cutting Fr. 1A. Panayotova, Colour (cit. n. 4), no. 5. 55 Stahl, Picturing kingship (cit. n. 14), pp. 35, 40‒41, 246, 259 n. 47. pl. 14: Photomicroscopy details of precious metals in London, Lam- beth Palace Library, MS 209, fols. 1v (a), 36r (e), 47r (b); Fitzwilliam Museum, MS 368 (c), MS 288, fol. 14v (d), MS 330.v (f–g) a b c d e f g