27-04-2021, 08:23 PM
There's a lot of evidence of minerals traveling quite far from their place of origin to be used as pigments in manuscript decoration (e.g. lapis), so knowing where the ochre originated wouldn't really tell us much.
I've just read Koen's blogpost, which is quite interesting. The stylistic differences in the way the plants are drawn/colored could certainly indicate artistic distinctions, although that level of distinction can be very difficult to make with precision. The attachment of roots to stem is just the kind of detail that could be a stylistic feature of a particular artist, though.
If the original sequence of bifolia did indeed comprise quires entirely written by a single scribe (which seems quite likely), it would not be entirely surprising to learn that each quire was illustrated by a single artist. In other words, in the same way that mixing scribes by bifolia is unexpected, so, too, is the mixing of artistic styles by bifolia.
I've just read Koen's blogpost, which is quite interesting. The stylistic differences in the way the plants are drawn/colored could certainly indicate artistic distinctions, although that level of distinction can be very difficult to make with precision. The attachment of roots to stem is just the kind of detail that could be a stylistic feature of a particular artist, though.
If the original sequence of bifolia did indeed comprise quires entirely written by a single scribe (which seems quite likely), it would not be entirely surprising to learn that each quire was illustrated by a single artist. In other words, in the same way that mixing scribes by bifolia is unexpected, so, too, is the mixing of artistic styles by bifolia.
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