The Master of St Michael
Artists
This illuminator is the most enigmatic artistic personality in the manuscript. Named after his main contribution, the large image of St Michael (fol. 165r), he also painted the Tree of Jesse in the border of fol. 36r. His hand has not yet been identified in other volumes. His style, palette and technique suggest the work of a panel painter. His monumental figures are executed with soft, loose brush strokes. His colour scheme contrasts cold green with warm orange-yellow and pale pink or grey with deep red.
St Michael defeating demons (suffrage to St Michael)
This miniature is the eponymous work of the Master of St Michael. The sway and twist of the Archangel’s figure and the spread of his wings convey the overwhelming power of the heavenly warrior. The finely articulated detail and the hard, clean, metallic shimmer of the armour, obtained by mixing indigo with azurite, contrast starkly with the amorphous mass of the demons at St Michael’s feet. The ominous sky above and the cross-staff tilted at an oblique angle create a sense of depth, enhanced by the objects in the architectural border. The vase and timepiece suggest a domestic interior, while a sword and shield lean against a niche, accompanied by a cross-staff and rosaries, all within easy reach should the viewer need them in his own spiritual battles.
The Master of St Michael is the only one amongst the four main artists who painted flesh tones using mainly lead white, with little or no chalk. His palette makes extensive use of indigo in addition to azurite, which he also mixed with lead-tin yellow to paint grass. He used a red dye for the wings of both St Michael and the demon, as well as vermilion, lead-tin yellow, an arsenic sulphide and a range of earth pigments including umber.