The Rijmbijbel of Jacob van Maerlant (13th century). Art-technical and conservation study in collaboration with the Royal Library of Belgium (Rijmbijbel Project)

 Art Technical research & Imaging of the Rijmbijbel (Brussel, KBR, ms. 15001)

The research teams of KU Leuven and of KIK-IRPA were asked to submit a proposal for the art-technical research on the illuminations and inks of the Rijmbijbel van Jacob Van Maerlant.

This request is part of the Rijmbijbel conservation project of the Manuscript Department of the Royal Library of Belgium, a project funded by the King Bouwdewijn Foundation. A meeting took place on June 2016 to outline the research strategy. Images and condition description were shared to outline the art-technical research.

The target of the research on the ‘Rijmbijbel of Jacob van Maerlant’ is to reveal the art technical characteristics of the pictorial layers of the illuminations and the inks used by the scribe(s). These characteristics will shed light on the creation of the illumination, the techniques used by the artist and will define chemical characteristics. The imaging ( Photometric stereo and 3D video imaging) will reveal damage on a micro-level and visualize the patterns. These data will guide the conservation treatment. Chemical analyses (Raman & XRF mapping,) will give indication on the (in)organic components of the paint and give source for assessing damage patterns. The painting technique of the illuminator will be explored and described. The pallet is rather limited: tints of red, pink, blue, green, brown on white and gilded surfaces.

These characteristics will be explored by non-destructive tools by the team of KU Leuven, KIK-IRPA and Koln. The first two teams will start in autumn 2016. If some questions can’t be answered, FORS ( movable device) of Koln might shed light on organic components and binding media.    

A final report will incorporate the data, the images, graphs and the interpretation of the researched inks and pigments.

Focus of the art technical research:

- The compositions of the paint layer used by the illuminator and gilder

- The material genesis of the illumination, underdrawings

- The media used by the scribe ( ruling, writing, foliation, initials and marginal decorations in blue and red, correction etc. )

- Gilded areas - original of later ? Underground, thickness, tooling and scratches.

- Patterns of damage and dirt

- Gold paint and paint on gold.

- Coherence between illuminations in columns and illuminations in the margin