"As I mentioned in a previous post about scribes, illumination was the last part of creating a manuscript before gathering and binding. This was to prevent the many mishaps that could occur to a painstakingly-crafted painting, from spilled ink, to flaking off the gold leaf, to cats wandering around over the drying pages. Some existing manuscripts have sketches for illumination that was never carried out,"
"Looking at some manuscripts, you can see that the same section has been painted in with many careful brush strokes to give the picture a deep colour. Chances are, the painter didn't paint a whole bunch of colours at one time (risking muddying the edges), which meant drying time between layers and between colours. Celtic artists also challenged themselves by creating elaborate knotwork, which would have taken precision and time to paint well. This was not a quick process."
Illumination in medieval manuscripts was performed last to avoid damage during gathering and binding. The process required extensive time for careful brushwork, drying between layers, and intricate Celtic knotwork, which demanded precision. Many manuscripts show incomplete illuminations where costs halted work, and the most lavish examples were presented to royalty, aristocracy, or the church. Paint preparation required multiple, sometimes rare ingredients; egg served as a common binding medium because it mixed well and adhered reliably. These factors — labor, layering, and costly materials — explain both the expense and the enduring brilliance of many medieval colours.
Read at Medievalists.net
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