Underdrawing
Artists' Techniques
The Annunciation painted by the Master of the Bible of Jean de Sy displays extensive underdrawing in ink. It not only structures the main elements of the composition, but also defines shaded areas with density and texture that shows through the thinly applied pigments.
The underdrawing in some of the miniatures painted by the Master of the Grandes Heures bears such a close resemblance to that of the Annunciation that one wonders whether the Jean de Sy Master might have sketched them, leaving the painting to his associate. The Master of the Grandes Heures was himself a talented draughtsman; his accomplished sketch of the Adoration of the Magi on fol. 102r favourably compares with the shakier underdrawing of the small miniature on the same subject sketched and painted by one of his assistant on fol. 128v.
Simple line drawing, which contributes little to the simulation of volume, is the Master of the Throne of Mercy’s most distinctive quality. The Master of the Coronation Book of Charles V, on the other hand, sketched his composition in a minimal, dry and linear style.
Trinity (Canon of the Mass)
The three Persons of the Trinity are shown in a composition known as the Throne of Mercy. The artist responsible for this image is named after it. The miniature is framed within a quadrilobed mandorla, with the Evangelists’ symbols in the corners. The gold Crucifixion in the lower border was added for the priest to kiss while celebrating Mass. This is a very elaborate version of the ‘kissing cross’ often provided beneath Crucifixion miniatures to avoid the main image being smudged by devout lips.
The Master of the Throne of Mercy used a palette and painting technique comparable to those of the Jean de Sy Master and the Master of the Grandes Heures. However, there are several notable differences. The facial types and the minimal modelling of flesh differ from those of the other two artists. There is no stippling in the blue and violet robes. The underdrawing contributes little to the simulation of volume. He was the only artist to use vermilion for the shading of orange areas painted with red lead.