Page - 239 - in The Vienna Genesis - Material analysis and conservation of a Late Antique illuminated manuscript on purple parchment

Hofmann, Rabitsch, Malissa, Aceto, Uhlir, Griesser, Calà, Agostino, Fenoglio 239 Black areas were painted with carbon black, for instance the grave of Jacob on folio 24, page 48. On some parts, like the boots, a first layer of a reddish brown earth pigment was applied. An earth pigment, which could be umber, is confirmed by XRF for these areas. Contours and shades were painted in carbon black on top as indicated by FORS. The white laces on the boots were applied in lead white. Painter G used lead white for white and grey colours. He achieved different shades of grey by mixing lead white with ultramarine/azurite, yellow ochre and carbon black. The incarnates seem to be painted with mixtures of lead white and yellow ochre for fair skin and with lead white, madder and red lead for darker skins. Rosy cheeks were added with madder and red lead. The painter used ultramarine/azurite for dark shades and brown earth pigments and carbon black for contours, see for example the face of Joseph on folio 23, page 45 (Fig. 45). Similar to painter F, the purple tone of the parchment is part of the colour scheme in defining the purple pallium of Joseph (Fig. 43). Folds and shades of the pallium were painted in violet and black. The chlamys and the necklace were applied with gold, prob- ably shell gold. Gold is confirmed by XRF and FORS. On the IRR images, thick black brush strokes that seem to be carried out with carbon Fig. 45: Microscopic image, 10x magnification, of the face of Joseph on folio 23, page 45. Fig. 46: IRR image of folio 24, page 47. Open-Access-Publikation im Sinne der CC-Lizenz BY 4.0