The Breslau Psalter

The decorated halos

Artists' Techniques

The way that halos were decorated throughout the manuscript is remarkably uniform, considering the number of artists at work. The vast majority of them consists of plain gold leaf, usually integrated into the miniature’s background, profiled in vermilion red, with small white dots equally spaced along the entire outline. In a few cases (fols. 23v, 49v, 50r, 73r, 74v), groups of two or three white lines run across the width of the halos.

Hand A was the only artist to occasionally decorate his gilded halos with tooling and incised lines forming various patterns, rather than with painted outlines.

Lightbox: 203
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Detail of the kneeling king’s face and halo under magnification (7.5x). His flesh tone is built upon a light blue layer painted with woad, while his hair and beard contain ultramarine blue. The gold leaf of the halo, laid over a ground layer containing verdigris, has suffered significant losses due to the degradation and loss of adhesion of the green pigment.

The monumental figures and elaborately tooled gold halos are characteristic of Hand A’s work. The composition betrays his collaboration with – or knowledge of works by – the Master of Giovanni da Gaibana, as it is closely related to the Gaibana Master’s painting of the same subject in the Paduan Epistolary.