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Hofmann, Rabitsch, Malissa, Aceto, Uhlir, Griesser, Calà , Agostino, Fenoglio 235
Painter E used green earth as green pigment (Table 2). Similar to painter D he painted
blue with a mixture of ultramarine blue, Egyptian blue and lead white. His incarnates are
marked by green shades in the faces. Some black areas might be a mixture of carbon black
with iron gall ink. Painter E avoided the use of gold. The crown and the throne of the
pharaoh instead were painted with yellow ochre.
Palette of Painter F: folios 19–22, pages 37–44
Painter F illustrated the journeys of Joseph’s brothers to Egypt and their meetings with
Joseph (Gen. 42, 21 to 43, 21). Many researchers share the opinion that one painter worked
on the folios 19–22 (Table 1). His style is different from the previous painters. All mini-
atures have a fully painted fore- and background (Fig. 41). For blue colours painter F used
a mixture of ultramarine blue, azurite and lead white. Shades were applied in indigo or
carbon black. The distinctive black contours or folds were painted in carbon black on top
of the blue paint layers. XRF and FORS spectra confirm ultramarine blue. Significant cop-
per intensities (Cu) in the XRF spectra indicate the presence of azurite. High lead signals
(Pb) confirm the presence of lead white. Observations under magnification clearly show
dark blue and lighter blue pigment particles. The FORS spectra are more compatible to an
ultramarine/azurite mixture. As VIL images do not indicate the use of Egyptian blue, the
light blue particles are interpreted as azurite.
Similar to that used by painter E, the main green pigment is green earth. Painter
F mixed green earth with yellow ochre and lead white. In some areas, he added small
amounts of blue. Painter F used a variety of green shades to paint the fore and middle
grounds. Green earth is confirmed by XRF and FORS, yellow ochre by FORS, lead white
by XRF. Green paint layers show yellow and blue particles under magnification. In some
areas, the yellow particles seem to be orpiment.
In accordance with all previous painters, red lead was used as red pigment. Highlights
were painted with a mixture of red lead and lead white. Shades or folds were applied in
madder and in some areas with carbon black. The presence of red lead is confirmed by
XRF and FORS. Pink remains a mixture of madder and lead white. Highlights were
painted with a higher proportion of lead white. Shades or folds were applied with mad-
der. The use of madder is confirmed by FORS. The addition of small amounts of blue
pigments shifts the hue to old rose like on a detail from the cushion of Jacob on folio 21,
page 41 (Fig. 42). Violet is a mixture of ultramarine blue, azurite, madder and lead white
confirmed by XRF and FORS. Different pigment particles can be distinguished under the
microscope. The light violet in the backgrounds has a higher amount of lead white. Painter
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