Review of 'The Pigments of British Medieval Illuminators' in AMARC

28 October 2024

Mito Matsumaru has reviewed the title 'The Pigments of British Medieval Illuminators' by Richard Gameson in Newsletter of the Association for Manuscripts and Archives in Research Collections (AMARC) Issue 83 October 2024. Please see full published review below.

This book is undoubtedly ‘the first comprehensive publication on British medieval illuminators’ pigments’ (p. xv; Introduction). This groundbreaking study began with Team Pigment at Durham and Northumbria Universities and evolved with the MINIARE interdisciplinary collaborative research project at the Fitzwilliam Museum in Cambridge, supported by the generous funding of the Arts and Humanities Research Council and Royal Society.

Using both scientific analysis and literature research, it focuses on valuable British manuscripts from the seventh to the fifteenth centuries, housed in various institutions across the UK. Hundreds of manuscripts were carefully selected to comprehensively cover the identification and application of colourants.

Readers will be impressed by the number of manuscripts studied (p. 455 Index of Manuscripts), the extensive collection of images and data tables that support each chapter, and the thorough summaries of pigment-identification information (Chapter I) and details on analytical instruments (Chapter I and Appendix III), as well as the supplemental notes, references, and invaluable ‘meta’ resources such as historical recipes (Appendix I) and illuminators’ accounts (Appendix II). Additionally, the collaboration with numerous UK institutions and individuals, highlighted in the Preface and Acknowledgements, demonstrates the breadth of effort behind this publication.

Chapter I sets the scene. It starts with an outline of the state-of-the-art non-invasive analytical techniques used in this research, clearly highlighting the strengths and limitations of each. It then continues by listing pigments, dyes, and inks found in British medieval manuscripts, organised by colour. For each pigment, detailed descriptive data is provided, including typical appearance and deterioration — for example the silvering and blackening of vermilion — and typical analytical methods for identification. On its own this chapter provides an invaluable reference for conservators and other researchers handling manuscripts and needing to identify pigments. The chapter also discusses ongoing challenges and identifies potential avenues for future research, such as the identification of dyes, mixed colours, and binding media. A statement on p. 8 was of particular interest to me as a conservator as it brought up the inadequacy of records of historical conservation work on manuscripts, prompting reflection on our own current working practices.

Chapters II to VI form the core of the research, respectively addressing a specific period (II: c. 600–c. 900, III: c. 900–c.1066, IV: c.1066–c.1250, V: c.1250–c.1360, VI: c.1360–c.1485). Each chapter starts by providing an historical and social background putting this particular period of manuscript production in context. Each manuscript of the period is then analysed in detail.

As the reader moves through the chapters, a picture of the development in British pigments emerges. For example, up until the ninth century blue colourant was derived solely from indigo (woad), but Chapter III demonstrates a dramatic appearance during the period 900–1066 of lapis lazuli and Egyptian blue; particularly, the latter was found in Anglo-Saxon illuminations but was extremely rare on the continent, where Azurite was used more predominantly. The analysis on gold presents significant findings, too, with the in-depth discussions in Chapter IV and V. They highlight the adoption of mosaic gold in the 13th century as well as the introduction and evolution of gilding patterns on gold and metal leaves, using detailed micrographs.

The study does not only focus on the major changes in pigments but delves also into colouring techniques. For instance, the use of mixed colours such as grey and brown, which starts to be deployed during the 13th century, is closely examined in Chapter V. Another discussion of interest is the one comparing the palettes used by multiple artists working on a32single manuscript (Chapters IV and VI). Questions extend to the reasons behind specific pigment choices and whether these were driven by ‘cost and availability,’ ‘taste and fashion,’ or ‘conditions and concerns’ (Chapter IV, p. 192).

The extensive use of illustrations is another highlight of this publication offering a high-quality visual reference for professionals. Along with an ample number of microscopic images, a notable example is the comparison of lapis lazuli and azurite in blue areas, as well as their mixtures (Chapter VI, p. 351).

One minor suggestion for this publication is the absence of maps, which would have provided a valuable synthetic view of the geographical relationships between pigment production areas and manuscript production centres. This addition would also have helped to highlight the influence of the political landscape, particularly in Chapter II.

The final chapter, Conclusion, offers a recapitulation of the findings in a chronological perspective reassessing the rise, modification, and decline of each material across time applied by the countless illuminators in the past. Possibly one of the best descriptions of this book is through a quote: ‘The names of these myriad workers are, for the most part, lost; however, their handiwork lives on, rich in information.’ (Chapter I, p. 37).

In summary, this is a must-have reference for any professional working on the materiality of medieval manuscripts. It is also a scholarly achievement of the highest standard, truly illuminating the past for the present. But beyond that it is an engaging and captivating read bringing to life the production of illuminations throughout medieval Britain.