Abstract
The illumination of manuscripts was one of the most important sumptuary arts from the 6 th to the 13 th centuries, due to the symbolic and material value of the illuminated codex. As one of the tempera painting techniques, illumination followed the same guidelines regarding the preparation and use of pigments and colorants, taking into account the peculiarities of a flexible support such as parchment. The paper will study the materials and techniques of medieval illumination, using as primary sources contemporary treatises on art technology. These technical data will be associated with documentary information regarding the concept and work of the painterilluminator in order to highlight the importance of one of the main ars mecanicae in the Middle Ages.
Highlights
The illumination of manuscripts was one of the most important sumptuary arts from the 6th to the 13th centuries, due to the symbolic and material value of the illuminated codex
The paper will study the materials and techniques of medieval illumination, using as primary sources contemporary treatises on art technology. These technical data will be associated with documentary information regarding the concept and work of the painterilluminator in order to highlight the importance of one of the main ars mecanicae in the Middle Ages
Maurizio; Agostino, Angelo; Bianco, Valentina; Crivello, Fabrizio; Giaccaria, Angelo; Porticelli, Franca, An interdisciplinary, non-invasive study on ten manuscripts coming from the San Colombano abbey in Bobbio, en 9th International Conference on Non-destructive Investigations and Microanalysis for the Diagnostics and Conservation of Cultural and Environmental Heritage, 2008, http://www.ndt.net/article/art2008/papers/142Aceto.pdf [consulta: 8/11/2011]
Summary
Aparte de estos aspectos puramente técnicos, la decoración y la manera en la que ésta se iba a llevar a cabo estaba también sujeta a razones como, por ejemplo, el destino final del manuscrito. ISSN 0066-5061 consecuencias técnicas, ya que en el scriptorium monástico el uso de los pigmentos era más simple, en el sentido de que aparentemente no había reglas para el empleo de una sustancia u otra,[5] tal como sucedía en las ordenanzas de los gremios donde se fijaban con todo tipo de detalle los materiales que debían emplearse en cada parte de la iluminación (como, por ejemplo, lapislázuli en las letras iniciales historiadas y azurita en el resto de las imágenes) o qué artista estaba licitado para realizar las distintas partes de la iluminación (illuminator, pictor, rubricator). Igualmente, en el estatuto de los franciscanos (1260), en el capítulo De observantia paupertatis se prohibía un gasto excesivo en la escritura y corrección de los libros, excepto si fuese absolutamente necesario, respetando siempre los límites de la pobreza.[9]
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