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Description
After two months of intensely studying recipes of Illuminator Valentinum Boltz of Ruffach which he had published in his "Illuminierbuch" (Illumination book) of 1549, this is my first attempt at actually applying his techniques.

The rubrication and the Lombard "Q" of "Quecksilber" (Mercury) was done with a steel pen and a brush using an extract of Rubia tinctorum ("Krappwurzel") substrated into lac in a process using NaOH, Potassium Carbonate and Alum.
The initial "L" was made with sheet gold: a base, made of sugar (!), bolus alba, grey mountain chalk and gummi arabicum, was used to ground the shape of the initial. After it had dried, I moistened the ground it with ethanol and covered it with sheet gold, which I afterwards polished with a stone.
Pigments I used were:
Azurite + gummi arabicum
Cinnabre (Vermillon, HgS) + vinegar + flour glue (boiled flour)
Realgar + flour glue
Orpiment + ethanol + gummi arabicum
Malachite + flour glue
Rubia tinctorum (substrated with NaOH, Potassium carbonate and Alum)
Brazil wood (substrated in the same process, once with more NaOH to get a violet colour, with less to get "Paris Red")

All pigments were grinded on a glass plate, and dried before using them with water and a brush or pen.

Description
After two months of intensely studying recipes of Illuminator Valentinum Boltz of Ruffach which he had published in his "Illuminierbuch" (Illumination book) of 1549, this is my first attempt at actually applying his techniques.

The rubrication and the Lombard "Q" of "Quecksilber" (Mercury) was done with a steel pen and a brush using an extract of Rubia tinctorum ("Krappwurzel") substrated into lac in a process using NaOH, Potassium Carbonate and Alum.
The initial "L" was made with sheet gold: a base, made of sugar (!), bolus alba, grey mountain chalk and gummi arabicum, was used to ground the shape of the initial. After it had dried, I moistened the ground it with ethanol and covered it with sheet gold, which I afterwards polished with a stone.
Pigments I used were:
Azurite + gummi arabicum
Cinnabre (Vermillon, HgS) + vinegar + flour glue (boiled flour)
Realgar + flour glue
Orpiment + ethanol + gummi arabicum
Malachite + flour glue
Rubia tinctorum (substrated with NaOH, Potassium carbonate and Alum)
Brazil wood (substrated in the same process, once with more NaOH to get a violet colour, with less to get "Paris Red")

All pigments were grinded on a glass plate, and dried before using them with water and a brush or pen.