Gótico

Common Medieval Pigments
I. Introduction a. Medieval Manuscripts b. Medieval Pigments II. Common Medieval Pigments a. Earths b. Minerals c. Manufactured d. Organics III. Identification Techniques a. Destructive b. Non-Destructive IV. V. Conclusions References

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I. Introduction
Within the period of time formerly known as the “Dark Ages” there existed a production of numerous objects of art containing brilliant and glorious colors that illuminated the medieval mind and so deeply reflected the content they embellished. This glimmer in the medieval world owes much of its brilliance to simple elements such as clay, natural minerals and insects, common ingredients in the pigments used in the production of medieval illuminations. The pigments used in medieval manuscripts varied by geographic location, time period and materials available. This paper offers an introduction to the common medieval palette used in illuminated manuscripts before 1500. The different methods that have been utilized for the identification of these pigments will be discussed, with encouragement to further develop and research nondestructive methods of testing. A. Medieval Manuscripts Soon after the primary sacred text in the Christian church came to be called the Bible, or “the book”, many manuscripts based on this content were produced (Diringer 21). All books during this period were written by hand, until the invention of the printing press in the 15th century. Book illumination, or the illumination of manuscripts, is the art of embellishing parchment manuscript books with painted pictures, ornamental letters and designs. The technical term for “illuminated” refers to being “light up” with bright colors. John W. Bradley writes, “Perfect illumination must contain both colors and metals”(Diringer 21). There is not a clear distinction between illumination and illustration, though it has been suggested that illumination refers solely to beautifying the object of devotion and illustrating