Illuminated manuscripts in classical and mediaeval times, their art and their technique

by J. H. Middleton

Item. Unum scarletum blanketum, ij^s vij^d.

The scarlet blanket was not bought to keep the artist warm, but to make a red pigment from, as is described below at page [246].

Goldsmith artists.

Goldsmith artists.This close connection between the arts of the goldsmith and the illuminator had its parallel in other branches of the arts, and with results of very considerable importance. Many of the chief painters and sculptors of Italy, during the period of highest artistic development, were also skilful goldsmiths, as for example Ghiberti, Verrocchio, Ant. Pollaiuolo, Francesco Francia and many others.

This habit of manipulating the precious metals gave neatness and precision of touch to the painter, and in the art of illuminating manuscripts taught the artist to use his gold so as to produce the richest and most decorative effect.

The gold mordant.

The gold mordant.The mordant. We now come to the most difficult part of the illuminator's art, that of producing a ground for his gold leaf of the highest hardness and smoothness of surface. It is a subject dealt with at much length by all the chief writers on the technique of the illuminator, from Theophilus in the eleventh century, down to Cennino Cennini at the beginning of the fourteenth[^[259]].

Though differing in details, the general principle of the process is much the same in all; the finest possible sort of gesso, plaster, gypsum or whitening, was very finely ground to an impalpable powder, and then worked up with albumen or size to the consistency of cream, so that it could be applied with a brush. After the first coat was dry, a second and a third coat were added to bring up the mordant to the requisite thickness of body, so that it stood out in visible relief upon the surface of the vellum.

In order that the illuminator might see clearly where his brush was going, and keep his mordant accurately within the required outline, it was usual to add some colouring matter, such as bole Armeniac (red ochre), to the white gesso, which otherwise would not have shown out very clearly on the cream-white vellum. In many cases, however, this colouring matter is omitted.

Application of leaf.