Abstract
A close reading of the recipe collection of Johannes Alcherius reveals the concerns of manuscript illuminators during the era of what is now known as the ‘International Style’. Collected during extended residences in Paris as well as in northern Italy, the recipes can be grouped according to four areas of interest: organic colourants, metallic effects, copper corrosion product green pigments, and the preparation of ultramarine blue. The recipes in Alcherius's collection are compared with contemporaneous manuscript illuminations. Preliminary non-destructive pigment analysis (using X-ray fluorescence and UV-visible spectrophotometry) on illuminated manuscripts from the collection of the J. Paul Getty Museum appears to confirm the direct relationship between technical treatise and the book illuminator's palette.
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