Yellow and orange pigments
Artists' Materials
Technical analyses revealed the presence of realgar, lead-tin yellow type I, an organic yellow and an ochre rich in clay minerals. The same clay-rich ochre was also used to paint orange and brown passages on some folios. The presence of a yellow lead oxide, such as massicot, is also possible, and is especially likely in the miniature on fol. 36r.
St Luke painting the Virgin and Tree of Jesse (Mass of the Virgin)
According to medieval tradition, the Virgin sat for a life portrait to St Luke, a gifted artist. Here, St Luke appears to have started colouring the Virgin’s image on the panel. The Tree of Jesse was a subject with a long tradition in medieval art and biblical studies. Based on Isaiah’s prophecy (Isaiah 11:1-3), it was considered an Old Testament prefiguration of the Incarnation and the virginal birth of Christ. The image also visualised the account of Christ’s genealogy found at the beginning of St Matthew’s Gospel – the very text that forms the central part of the Mass of the Virgin.
Two artists collaborated on this page. The small miniature of St Luke painting the Virgin, with the initial E accommodated within the arched frame, was probably painted by the Master of James IV of Scotland or a close associate who had access to his image models. The Tree of Jesse was completed by the Master of St Michael.