Issues relating to the common origin of two Byzantine miniatures:in situexamination with Raman spectroscopy and optical microscopy

Abstract

AbstractA large number of Byzantine illustrated manuscripts—precious monuments of the world’s cultural heritage—are preserved in numerous museums and monasteries around the globe. Hitherto no systematic study employing diagnostic methods has been undertaken either to identify their materials or to reveal the particularities of their painting technique, let alone substantiate their origin, authenticity and chronology.This paper presents the results of research undertaken on two full‐page medieval miniatures painted on isolated sheets of paper. One depicts the evangelist Matthew and the other an eagle (symbolic of the evangelist John the Theologian). The folios are preserved in the sacristy of the Holy Monastery of Simonopetra on Mount Athos and it is supposed that they originally belonged to an unidentified Gospel manuscript of the 12th century. By applying optical microscopy and Raman spectroscopy, it became possible to address the issue of the miniatures' common origin.The palette used for the image of Saint Matthew was found to comprise eight finely ground pigments:lapis lazuli, cinnabar, orpiment, yellow ochre, haematite, green earth, carbon black and lead white, while in the miniature of the eagle the same pigments (aside from green earth) were used. Exhaustive study has revealed significant similarities in the color palette and painting technique. Technical particularities adapted to the demands of miniature painting have been also observed, revealing an experienced and highly talented artist. A thorough comparison of the two miniatures confirmed that they belong to the same codex and hence must be the work of one and the same painter. Copyright © 2006 John Wiley & Sons, Ltd.