Seite - 237 - 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 237 ultramarine blue and azurite to which small amounts of carbon black or madder can be added. The incarnate parts show a variation of mixtures of lead white with red lead, mad- der and yellow ochre. Shades were painted with red lead, madder, red and brown ochres and green earth. Different proportions were used for light and dark flesh tones. Joseph wears a purple pallium with a gold chlamys on folio 19, page 37 (Fig. 41) and on folio 22, page 43. Painter F used the purple tone of the parchment for the pallium, on which he applied contours and folds in carbon black and shell gold. The gold, which was confirmed by XRF and FORS, sits directly on the parchment layer. On the IRR images contours, folds and shades on hair and cloth appear in strong black brush strokes, which indicate the use of carbon black. Clavi, orbiculi, shoelaces or heads of columns were painted with thin brush lines. Black areas seem to be painted with dark brown and black colours. The dark brown appears grey in IRR. The characteristics of painter F are the use of a mixture of ultramarine blue and azurite in blue, violet and blue-grey colours (Table 2). He worked with blue-grey, violet and rose colours on all miniatures. He used green earth in a variety of mixtures to paint the fore- grounds. Lead white was added to many colours. The purple parchment is only visible as purple colour on the pallium of Joseph or the horses. Black areas were sometimes painted with a reddish brown pigment and with carbon black on top of it. Palette of Painter G: folios 23–24, pages 45–48 Painter G depicted Jacob’s blessings, the calling of his sons and his death (Gen. 48, 16 to 50, 4). There is consensus among art historians and codicologists that folios 23 to 24 were painted by a different painter in another style (Table 1). Similar to those by painter E, the miniatures are fully painted with the fore- and backgrounds covering the parchment (Fig. 43). Painter G also used a mixture of ultramarine blue, azurite and lead white for blue areas. Shading seems to be painted with indigo, darker shades with the addition of carbon black. The contours and folds of cloth were applied with carbon black on top of the blue layers (Fig. 44). Ultramarine blue, azurite and lead white were confirmed by XRF. Similar to folios 12–22 the light blue particles are interpreted as azurite since the presence of copper can be confirmed by XRF. Green paint layers are mixtures of green earth, yellow ochre and lead white. Light green was painted with a higher amount of lead white, yellow-green with a higher amount of yellow ochre. Small amounts of ultramarine/azurite or carbon black could be added to achieve different shades. Green earth, lead white and yellow ochre are confirmed by XRF and FORS. The dark green of the cloth on folio 23, page 46 and folio 24, page 47 seems to Open-Access-Publikation im Sinne der CC-Lizenz BY 4.0