Atelier Pigmenta Peregrinae

Atelier Pigmenta Peregrinae

As one trained in the ancient art of medieval manuscript illumination, the myriad colors which bring my illustrations to their luminous unfolding are in the form of natural, dry pigments. As leitmotif, however, the Latin word “pigmenta” stands not only for these earthen and jewel-toned powders but more significantly the substantive marrow of a being or ideal. Some early Christian theologians considered their written collection of those thoughts which particularly shaped and motivated them on their search for truth “pigmenta” and, therefore, captured the innermost and existential essence of their spiritual journey in short, pregnant formulations. The Latin word “peregrinus” is the ancient word for the wanderer, the spiritual nomad who finds his home alone within himself and lets the never ending journey become his path and his destination. So you will find here glimmers of that numinous light which illuminates my path as I share with you that which I have learned during my nomadic wanderings and has become an essential part of who I have become and am constantly becoming.

My work painting medieval illuminations is a great treasure for me to experience and share. I have learned this art from the master illuminator, Renaud Marlier and his delightful wife Mirielle, also a master from the Vosges region of France. They taught me to use the techniques and materials which were used in the medieval period.

The process of painting an illumination is a journey of discovery which is one that must be followed with discipline, carefully heeding, with utmost patience, what the lines and colors teach. It is a meditation which cannot be rushed if the beauty is to unfold in luminous clarity.

Painting Medieval Illuminations

I begin by preparing the parchment. This is done by making it supple in water and then stretching it to dry on a wooden board. The dried skin is then made smooth and the natural fat removed by gently rubbing it with ground pumice. A thin layer of blanc de meudon is rubbed over the whole surface and serves as a base. If there is to be calligraphy, the area to receive the calligraphy is sized by sprinkling gum sandarac (a resin from the coniferous tree Tetraclinis articulata of northwest Africa) over it which prevents feathering and ensures that the ink binds to the parchment. The first lines of the design are transferred carefully from the sketch onto the parchment. Any calligraphy is completed first. The reason for this is for very practical: if a mistake is made in the writing, it can only be corrected by carefully lifting off the ink with a scalpel, a very delicate procedure which can cause ruin to a finished piece if left until the end.

In medieval thought, gold was a symbol for the divine. It was the first element to be added to the illumination and was intended to augment the luminous qualities of the pigments. There is also a practical element to gilding prior to applying the layers of color. 23/24k gold leaf is very fragile and great care is needed to gild effectively. Small particles of gold leaf must continuously be brushed away which are difficult to remove completely if the pigments are in place. I gild mostly on a base of gum ammoniac (dorema ammoniacum, a resin from a perennial herb native to central Persia.) I also delight in “mirror gilding” which is achieved by laying the gold with isinglass (glue made from the bladder of sturgeons) over a raised base of gesso then burnished it with an agate or hematite stone. When the gilding is completed, the first layers of colors are painted.

I use all natural pigments – organic and inorganic, stones, plants, earths etc. – with an ancient recipe of gum arabic (a natural gum from the hardened sap from two species of acacia trees: Acacia senegal and Acacia seyal), honey water and egg glair to bind them. Since blue and red (lapis and minium/vermilion) were considered the noble colors as they were the most expensive pigments in that period – with the exception of true purple – they are applied first. The layers are built up very thinly and transparently to keep the colors’ jewel-like qualities. When sufficient layers of colors have been applied, shading is done and highlights added using white or shell gold (a mixture of fine pure 23k gold powder and gum arabic). Finally, black lines are drawn to bring the composition together.