Page - 232 - in The Vienna Genesis - Material analysis and conservation of a Late Antique illuminated manuscript on purple parchment
Image of the Page - 232 -
Text of the Page - 232 -
232 The miniatures of the Vienna Genesis: colour identification and painters’ palettes
Like painter A, painter D used gold, which appears to be shell gold. The bed columns
of the bed of the wife of Potiphar were painted in gold with shading in ochre on top. The
garment of Potiphar’s wife on folio 16, page 32, was decorated with gold as well.
The incarnate parts show mixtures of lead white, red lead and madder. Shades seem to
be painted with red ochre and a brown earth pigment. Darker shades were carried out in
blue, with indigo and ultramarine blue mixed with Egyptian blue.
On the IRR images, the black lines and paint layers in iron gall ink appear grey, which
is a striking difference to the IRR images of folios with carbon black. Only a few definition
points in eyes, noses and mouths on faces seem to be painted with the addition of carbon
black on folio 15, page 29. The black crosses, a latter addition, were done in carbon black,
see for example the IRR image of folio 16, page 32 (Fig. 36).
The use of a mixture of ultramarine with Egyptian blue as blue pigment differentiates
painter D from the previous painters (Table 2). In addition, iron gall ink as black pigment
constitutes a striking feature of the palette.
Palette of Painter E: folios 17–18, pages 33–36
On folios 17 and 18 painter E depicts Joseph in prison and his meetings with the pharaoh
(Gen. 40, 14 to 41, 32). Similar to painter D painter E also used a mixture of ultramarine
blue, Egyptian blue and lead white. Highlights have a higher proportion of lead white.
Shades seem to be painted with the addition of indigo. Ultramarine blue, the presence of a
copper containing pigment and lead white are confirmed by XRF. FORS and VIL images
indicate the presence of Egyptian blue, as described above.
A distinctive feature of painter E is the use of green earth as green pigment. Painters A
to D all used mixtures of blue and yellow to create green tones. For light greens artist E
mixed green earth with orpiment. Shades were applied with ultramarine/Egyptian blue
or indigo. Very dark green shades, which are typical for painter E, were achieved with the
addition of carbon black. XRF spectra of green paint layers on folio 17, page 33 and 34
show significant iron (Fe) signals (Fig. 37), which indicates green earth. The presence of
arsenic (As) confirms the use of orpiment. The identification of green earth by means of
FORS is given by the absorption maximum at 750 nm (Fig. 5). The miniature on folio 17,
page 33, depicts Joseph in prison (Fig. 38). A detail of the green paint layer shows particles
of orpiment and blue pigments added to the green earth (Fig. 39).
Open-Access-Publikation im Sinne der CC-Lizenz BY 4.0
The Vienna Genesis
Material analysis and conservation of a Late Antique illuminated manuscript on purple parchment
- Title
- The Vienna Genesis
- Subtitle
- Material analysis and conservation of a Late Antique illuminated manuscript on purple parchment
- Editor
- Christa Hofmann
- Publisher
- Böhlau Verlag
- Location
- Wien
- Date
- 2020
- Language
- English
- License
- CC BY 4.0
- ISBN
- 978-3-205-21058-0
- Size
- 17.3 x 24.5 cm
- Pages
- 348