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00000naa a2200000 a 4500 |
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vtls008834594 |
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SK-MaSNL |
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20260302100335.0 |
| 008 |
040826 2005 xo 000 0 eng |
| 040 |
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|a SNKORKD
|b slo
|c SNKORKD
|e AACR2
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| 041 |
0 |
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|a slo
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| 044 |
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|a xo
|c SK
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| 100 |
1 |
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|a Casanova, C.
|4 aut
|9 770839
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| 245 |
1 |
4 |
|a The colour of medieval Portuguese illumination
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| 520 |
3 |
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|a SUMMARIES.During the Middle Ages illuminated manuscript production had it finest flowering period. This period provides the richest field of art available for the study of medieval painting. The Lorvão Apocalypse selected for our study is dated at 1189, and was produced in the scriptorium of a Portuguese Monastery, Mosteiro de São Mamede do Lorvão, located near Coimbra. The Lorvão Apocalypse was copied from a famous Spanish monastic manuscript, Commentary, by S Beatus de Liebana (a monk of Liebana in the Asturian kingdom) on the Apocalypse of S John. The original manuscript was written in about 776. This manuscript is considered a Portuguese national treasure and is conserved in the National Archives (IAN-TT). For this palette, magnificent reds, oranges and yellows were created with inorganic pigments based on As (orpiment), Pb (minium), Hg (vermilion) and Fe (iron oxides). The principal binder is proteinaceous.
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| 700 |
1 |
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|a Miranda, A.
|4 aut
|9 770840
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| 700 |
1 |
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|a Claro, A.
|4 aut
|9 770841
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| 700 |
1 |
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|a Melo, A. J.
|4 aut
|9 770842
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| 700 |
1 |
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|a Pina, F.
|4 aut
|9 770843
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| 773 |
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|t 14th Triennial Meeting the Hague
|d Rome: International Council of Museums (ICOM), 2005
|z ISBN 1-84407-253-3
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| 856 |
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|u http://www.viks.sk/chk/14tmh_65.doc
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| 910 |
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|a schk
|a memoriask
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| 999 |
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|c 1219921
|d 1221851
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