gold leaf
Egypt
11th Century
Source: Nancy K. Turner, "Surface Effect and Substance: Precious Metals in Illuminated Manuscripts," in Manuscript in the Making: Art and Science, ed. Stella Panayotova and Paola Ricciardi (London: Harvey Miller, 2018), 2:80–96.
Recipe Details
Ingredients
gold leaf
Preparation Steps
Gold was hammered into thin sheets and adhered to a sticky adhesive or ground layer (p. 69). In this manuscript, the leaf is applied to a flat adhesive ground (p. 70).
Original Recipe Text
Gold was hammered into thin sheets and adhered to a sticky adhesive or ground layer (p. 69). In this manuscript, the leaf is applied to a flat adhesive ground (p. 70).
Evidence
"The fields of gold surrounding the holy personages in the manuscript’s prefatory cycle consist of gold leaf rather than paint, which seems to elevate the divine figures within a heavenly, light-filled space."
Remarks
The use of gold leaf in the prefatory cycle backgrounds contrasts with the granular gold ink used for the text (p. 70). This layering was intended to create an aesthetic of 'heavenly light' (p. 70).
Scientific Analysis
Chemical CompositionAu
Analytical Techniques
microscope
Certainty Level
Confirmed
Instrumentally Verified
Verified
Metadata
Material Type
pigment
Binderadhesive ground
Paper TypeParchment
ColorGold
RegionEgypt
Approx. Year1050
Source Information
AuthorNancy K. Turner, "Surface Effect and Substance: Precious Metals in Illuminated Manuscripts," in Manuscript in the Making: Art and Science, ed. Stella Panayotova and Paola Ricciardi
CollectionCodex Theodosianus (Sinai, Monastery of Saint Catherine, cod. 204)
Language
N/A
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