Historical Painting Techniques, Materials, and Studio Practice

46

Colori, Biblioteca Universitaria MS 1536) are given as Bo1. MS, followed by

recipe number and page number in Merrifield's publication.

3. Wallert, A. 1991. Kookboeken en Koorboeken, Techniek en productie van boekverluchting
   in koorboeken van het klooster Monte Oliveto Maggiore. Groningen: Groningse Univ­
   ersiteits Drukkerij. References to Ambruogio da Sienas Ricepte daffare pili co­
   lori, Siena Biblioteca Comunale MS 1.JI.19, fols. 99r-106r, are given as Siena
   MS I, followed by recipe number and page number in Wallert's edition. The
   indication Siena MS II with recipe and page number refers to the edition in the
   same publication of Bartolomeo da Sienas Experientie, Siena Biblioteca Co­
   munale, MS L.XI.41, fols. 34v-39v.


4. This recipe is an abbrieviated version of Siena MS II, XVIII, p. 45. A version in
   Latin of the same recipe is in Bo1. MS, 160, p. 467.


5. Alexander, S. M. 1965. Medieval recipes describing the use of metals in manu­
   scripts. Marsyas (XII) :34-51.


6. An identical recipe is in Siena MS I, recipe XXIV, p. 35. An abbreviated version
   of this recipe is in Oxford (Bodleian Library, MS Conon. Misc. 128, fo1. 2v): "A
   mettere oro in carta."


7. Wallert, A. 1990. Chrozophora tinctoria Juss.: Problems in identifying an illu­
   mination colorant. Restaurator (11):141- 55.


8. Identical recipe in Siena MS I, XVIII, p. 31. Similar descriptions of ingredients
   are given in Siena MS II, III, p. 37; Bo1. MS 389; and Bo1. MS 390, p. 597. Also
   see Zerdoun Bat-Jehouda, M. 1980. La fabrication des encres noires d'apres les
   textes, Codicologica 5; Les materiaux du livre manuscrit, Litterae textuales Lei­
   den.


9. Kuhn, H., 1961, Safran und dessen Nachweis durch Infrarotspektrographie in
   Malerei und Kunsthandwerk, Leitz-Mitteilungen fUr Wissenschaft und Technik,
   Bd 11, (1):24-28. See also Straub, R. E. 1965. Der Traktat "De Clarea" in der
   Burgerbibliothek Bern, Schweizerisches Institut jur Kunstwissenschajt, jahresbericht
   (12):89-114.


10. The same but more complete recipe can be found in Bo1. MS 129, p. 447.


11. Identical recipe Siena MS I, XXIII, p. 35. This recipe recurs in a slightly more
    elaborate form in Oxf ord, Bodleian Library, MS Conon. Mise. 128, fo1. 21r and
    also in Bo1. MS, 77, p. 415, and Bo1. MS, 80, p. 417.


12. Brachert, E and T. 1980. Zinnober. Maltechnik / Restauro (86):145-59.


13. Siena MS II, XlV, p. 49.; Siena MS I, Xv, p. 29.


14. Siena MS II, XII, p. 41. Also see Kurella, A., and I. Strauss. 1983. Lapis lazuli und
    naturliches Ultramarin. Maltechnik / Restauro (89):34-55.


15. This recipe will not result in the promised blue pigment, but rather in the
    formation of the red mercuric sulphide. On the "azure-vermilion tangle," see
    Thompson, D. V 1956. The Materials and Techniques oj Medieval Painting. New
    York: Dover Reprints, 155.


16. An identical recipe can be found in Siena MS I, XII, p. 29. Also similarities with
    Modena, Biblioteca Estense, MS ex.T.7.3., fo1. lOv. Also see Wallert, A. 1986.
    Verzino and Roseta Colours in 15th Century Italian Manuscripts. Maltechnik /
    Restauro (92):52-70.


17. The recipe requires at this point the use of sulphur to be practically applicable.
    It is not clear what is meant by "cashina."


18. Similar in Siena MS I, XXI, p. 32, and Siena MS II, XXI, p. 46.


19. Probably a corruption of "porporino," a golden glistening tin (II) sulphide.


20. The recipe calls for lead. Any useful pigment, however, can only be obtained if
    this lead were replaced with tin.


21. The nitric salt, "sal nitro," should have been "sal armonic," i.e., al111110nium chlo­
    ride.


22. This recipe is slightly more intelligible than Simone's recipe 17. See Schiessl, U.


23. Musivgold, eine pigmentgeschichtliche Skizze. Maltechnik / Restauro (87):
    219-30.


24. Florence, Biblioteca Nazionale, MS Magliabecchiana CL XV 8bis, fo1. 14v. More
    elaborate variations are in Siena MS I, III, p. 23, and in Florence, Biblioteca
    Laurenziana, MS Ashburnhamia 349, fols. 80v-81r.


25. The weld herb of the dyers is Reseda luteola L. See Stoll, A. M. 1981. Gelbe
    Pflanzenlacke, Schuttgelb und Safran. Maltechnik / Restauro (87):73-111.


26. An identical recipe can be found in Florence, Biblioteca Nazionale, MS Palatina
    916, fo1. 110r, "Affare profili d'oro brunito." A related recipe occurs in Bo1. MS,
    162, p. 469.


27. This recipe occurs in a slighly more elaborate version in Siena MS II, VI, p. 39.


28. Fior di lino is the cornflower, Centaurea cyanus L.

Historical Painting Techniques, Materials, and Studio Practice