Seite - 244 - in The Vienna Genesis - Material analysis and conservation of a Late Antique illuminated manuscript on purple parchment

244 The miniatures of the Vienna Genesis: colour identification and painters’ palettes mats or a folder. The 39 folios without miniatures are preserved in wooden frames between glass plates. The colours have been analysed by FORS and spectrofluorimetry with the same set-up as for the Vienna Genesis (Table 3)34. Ultramarine blue and indigo could be identified as blue pigments. The painter mixed indigo with yellow ochre to obtain green colours. For a few details in red, the painter used red lead. Pink architectonic details were painted with madder. Some other features like the tower on folio 30v were rendered with orchil. Yellow ochre was used as yellow and brown pigment. The incarnate parts were painted with yellow ochre. Gold was applied in the miniatures for certain features. The comparison of the palettes of the Codex Rossanensis, the Codex Sinopensis and the Vienna Genesis confirms the relationship of the three manuscripts. Ultramarine blue, indigo, red lead, ochres, carbon black, lead white and gold were identified in the mini- atures of the codices. The early use of ultramarine blue is a common feature of these pre- cious books. The painters worked with lakes to obtain pink colours. They mixed yellow pigments with blue pigments to achieve green hues. The purple dye of the parchment seems to be orcein based in all three cases. The Vienna Genesis is the manuscript with the largest cycle of miniatures. The variations in the palettes in comparison with the other two manuscripts confirm the participation of several artists. The differences in the use of blue, green, violet, and black colours cannot be found in the Codex Rossanensis and the Codex Sinopensis. Conclusions The combination of different analytical methods with visual examination revealed seven palettes and painting methods on the Vienna Genesis. Individual choices can be re- cognised within a common range of pigments. The technological differences correspond well with the stylistic differences established by research in art history. The only distinction to Zimmermann’s latest theory is the identification of a seventh artist by the use of azurite. The miniatures of the Vienna Genesis prove to be original art works that have not been al- tered in later time. They were directly painted on the parchment without any underdraw- ings. The use of ultramarine blue as blue pigment and of iron gall ink as black colour is an early example of the application of both colours in book art. The similarities between the palettes of the Vienna Genesis, the Codex Rossanensis and the Codex Sinopensis confirm the close relationship of these three Late Antique manuscripts. 34 Aceto et al., unpublished report. Open-Access-Publikation im Sinne der CC-Lizenz BY 4.0