Medieval Pigments in the Twenty-First Century

Medieval illuminated manuscripts attract the eye with gold and silver, which catches the light as the pages turn, but also with their vibrant pigments. Although some of these colours have changed over time, most pigments have been well-preserved between the pages of closed books. In recent years new technological developments have transformed our knowledge of the chemical composition of these pigments, increasing our understanding of medieval artists’ relationships with both their local environments and global trade routes. At the same time, contemporary artists have experimented with using pigments made from plants and minerals, finding inspiration in medieval colours, designs and techniques. Pigment making is currently classed as an endangered activity by the Heritage Crafts Association. A workshop at the School of Advanced Study therefore aimed to combine medieval and modern art and science to explore how this can prompt new research and creative practice.

Senate House Library at the University of London has a collection of medieval illuminated manuscripts. Facilitated by Tansy Barton, participants at the workshop had the opportunity to examine manuscripts from Britain and Europe to assess what we can (and can’t) discern with the naked eye, and how people interact with paintings in books. We also discussed how we can establish when and where manuscripts were made, using explicit references to places and dates and judgements formed by comparing books.

In recent years Prof. Richard Gameson (Durham University) and his team have added significantly to our knowledge of medieval paints by using non-invasive techniques to identify the chemical composition of pigments. They have produced a timeline showing when different materials were used in medieval England and showing how paints went in and out of fashion. The initial findings of their work were published in 2024 as The Pigments of British Medieval Illuminators: A Scientific and Cultural Study. Prof. Gameson also explained how his team has looked for regional variation in the use of materials, and how different artists used pigments within the same manuscript.

Contemporary artist Joumana Medlej brought to the discussion her practical experiences of foraging for plants and minerals and turning these into pigments. She has worked with a wide range of materials gathered in Lebanon and Britain, which have produced pigments in varied colours and with different textures. Her work has exploited the tendency for colours to change over time, as she has explored themes of grief and loss. Some of her pigment making practices are documented in her book Wild Inks & Paints: A Seasonal Palette. 

Having heard from experts about the art and science of medieval pigments, it was time to get our hands dirty! Led by Sara Charles, we experimented with making a green pigment from malachite, and red and yellow pigments from ochres. 

The minerals were ground to powder, washed, filtered, and mixed with gum arabic to transform them into paint. Working as a group we were able to observe the different results achieved from minor variations (whether intentional or accidental) from the instructions. We then experimented with using the paints, either to execute our own designs or reproducing initials found in medieval manuscripts.

Working with the pigments prompted us to reflect on our relationship with the natural world. Although pigment-making is now a rare skill, and one that requires patience and practice to master, we also discovered that it could be fun!

If you would like to learn more about medieval manuscripts, in 2025 IES is offering a range of summer school programmes, including a practice-based course with opportunities to make and use pigments.