Page - 255 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

255 illuminators’ matErials and tEchniquEs The Retable belongs to a group of artefacts painted in the new technique at Westminster in the 1260s.38 Foremost among them is the Douce Apocalypse of c. 1265‒1270, but it has not received a technical study yet.39 Its contemporary, the Lambeth Apocalypse, features a palette slightly richer than that of the Retable40 as well as layered modelling and glazes. Pink draperies are built with different sa- turations of the same organic dye: mixed with varying amounts of lead white or gypsum it offers a range of opaque pinks for the base, mid-tones and highlights; in its saturated state it provides semi-translucent glazes in folds (pl. 8a). Ultramarine draperies are glazed with indigo creating effects similar to those in St Louis’ Psalter (pls. 7g, 8b). Fabrics painted with indigo display gradations from thin washes (with the parchment showing through as highlights) to thick layers with ‘furry’ texture or highly reflective surfaces achieved by mixing saturated indigo with coarsely ground gypsum (pls. 8c‒e). The red glaze over the gold leaf to be discussed below is either kermes or, as in the Westminster Retable, lac. The spread of gradational modelling in England is evident in the miniatures of the 1270s prefacing the St John’s Psalter (pl. 9).41 Their mannered poses and drapery derive from manuscripts made in London and Oxford in the 1260s, while their 38 Binski / Massing, Retable (cit. n. 36), pp. 16‒44, esp. 30‒35. 39 Oxford, Bodleian Library, MS Douce 180. Nigel Morgan: The Douce Apocalypse. Ox- ford 2007. 40 In addition to the colourants found on the Retable, the Lambeth Apocalypse contains indigo and brown earth. 41 See n. 26. Panayotova, Colour (cit. n. 4), no. 63. pl. 8: Photomicroscopy details of drapery modelling in Lambeth Palace Library, MS 209, fols. 3r (b), 30r (a), 40r (c), 41r (d), 43r (e)