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Hidden categories: CS1 Portuguese-language sources pt Articles with Portuguese-language external links. Marcos Palmeira. Related Images. YouTube Videos. Cave painting at Serra da Capivara National Park. This area has the largest concentration of prehistoric sites in the Americas. Painting showing the arrest of Tiradentes ; he was sentenced to death for his involvement in the best known movement for independence in Colonial Brazil.

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In several cases one can observe the clearer, and more opaque blue due to the mixture with the white lead in various proportions.

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In several cases of the utilisation of this mixture one can observe small losses of the pictorial layer. There is also the blue-grey, very clear, and, finally, a very rare blue grey, transparent, very clear and cold. This colour has a slightly corrosive action: from the other side of the sheet it gives an effect of a dark yellow or a slightly orange colouring on the vestment of the Allegory of the Memory Figure 2.

This corrosive effect shows equally the use of a pigment containing the copper oxide, prepared probably on a base of the fusion of various substances and based on copper sulphate.

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One should note that this pale blue colour, transparent and cold, very rare and particular, has analogies with the pale blue which can be found in the Saint Louis Psalter Figure 3 but in this manuscript a different or better cleaned pigment was used and it had no corrosive action on the parchment.

A similar tone of the pale and transparent blue is used also in the Cambridge Isabella Psalter Figure 4. A unique case where the blue colour which has a blue celestial tone, is that of the lapis-lazuli with which were painted the vestment and the banner of the King Louis IX in the miniature of the Vultur: in is interesting to note that in the same miniature the painter used an extremely mordant pigment to paint in blue the back legs of the horse of Thibaud, King of Navarra.


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Small touches of blue grey in the neighbourhood with the touches of clear brown colour were used for modelling the silhouettes of animals painted in beige or in clear yellow. This perfect knowledge of the use of the complementary colours and the taste for the modelling and the plastic quality in the treatment of forms can unfortunately be appreciated very rarely: this extremely delicate finish and its nuances were effaced because of the extensive use of the manuscript and the fragility of the technique and can be only guessed at in certain miniatures.

The variety of the blue tones shows a rather refined taste but only more profound scientific analysis could help to conclude which were exactly the resources of the painter in the matter of pigments. In any case, the use of these resources was extremely masterly: already in the unique initial of the manuscript representing the Allegory of the Memory Figure 2 one can find four tones of blue and five tones of pink-beige colours, some of them were produced thanks to the mixture with white lead and with other pigments. Green: as to the green, the dominant tone is that of a vivid and almost emerald brilliant green, very widespread in the medieval miniature and produced from the basic copper acetate, called in the Middle Ages Iarim or Iarin and a common name of which was a verdigris.

It is used for the painting of silhouettes of animals, for vestments, trees and grass. As is well-known, it is one of the most aggressive pigments of the medieval painting which corrodes and penetrates the parchment and. Several silhouettes painted in green preserve the rest of the modelling executed with the same colour, a little darker or a little clearer.

Thus, it was a rather refined and skillful painting where the painter knew how to use the possibilities of each pigment which he worked with a great refinement and savoir-faire.

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However, one should note that normally this brilliant tone of green is not characteristic of Parisian painting of the 13th century, where the artists, who always used verdigris, preferred the tones of bottle green and of grass green and in general used the green pigment rather rarely, knowing its destructive properties Figure 5.

In fact, the use of green constitutes one of the sensitive points of the Paris illumination. On the contrary, in the English miniature, the green lavis in fact the pigment is generally dissolved with water is one of the preferred means of chromatic expression. Its extensive utilisation in our manuscript is another testimony of the training of the artist not in Paris but in the North of France, in any case, under the strong influence of practices adopted in English illumination.

A similar bright and brilliant green is characteristic for the painting in both Royal Psalters. Pink, beige, orange, brown: the manuscript T has a very particular pink orange colour used for the backgrounds where it is put by means of a transparent brushwork painting and in a very irregular and unequal manner which creates the darker and clearer parts of the painted surface.

Here it is a saffron colour, intense and brilliant. This orange pink, as well as the watercolour technique of its utilisation which gives an impression of the irregularity of the pink orange tone can be found only in the Saint Louis Psalter executed by the artists attached to the Cappella Regis, especially in the architectural parts of miniatures.

Several other orange and beige colours, their tones and nuances were used for the silhouettes of animals, attributes and vestments.

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One of these beige-pink pigments has corrosive action on the parchment and is visible from the other side of the leaf Figure 5 , testimony of the use of pigments rich in iron oxide and other metals. This effect could be also produced through the use of the extract of fish gall. A clear pink colour of this manuscript is extremely fragile and inclined to deterioration: its surface is often covered with small spots.