![]() ![]() Shell gold, acceptable for lettering or small accents, is not recommended for major work. Although this method works well on rough vellum, burnished grains produce dull illumination. A small brush applies the mixture-technically comparable with watercolor painting. Gum, glair, or size provide suitable gold-grain binders. Gold pigment, liquid gold, and shell gold are the simplest methods of illumination, and represent the earliest occurrence of gold in manuscripts. Nevertheless, a brief description of contemporary illumination can provide certain insights into historical techniques. Sources listing possible ingredients provide academic information, rather than the practical data essential to reconstructing gold illumination. How gold bases developed is also unclear current written analyses of illuminated manuscripts omit specific references to gesso compositions. Gold became an intrinsic element of the illuminated page, and borders, initials, backgrounds, and letters provided many opportunities for spiritual expression.Ī review of methods on applying gold leaf on illuminated manuscripts using raised gesso.Ĭontemporary Gilding Techniques on ManuscriptsĪ detailed, chronological study of manuscript gold decoration is a formidable task, far beyond the scope of this article. Illuminated manuscripts echoed these achievements in miniature, capturing minute reflections of medieval life and devotion. The medieval love of gold is exemplified during the Byzantine period, when the establishment of the Church inspired resplendent domes, mosaics, icons, and architecture-each brushed with the light of God. It represented spiritual, transcendental light and expressed divine intelligence. This precious metal fascinated medieval society. ![]()
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