Choir of Martyrs 1360

Giovanni da Milano painted this Choir of Martyrs around the mid-14th century, primarily using tempera paint on a wooden panel, with areas of gilding. Tempera involves mixing pigment with egg yolk, a technique demanding precision and speed because it dries so quickly. The extensive use of gold leaf isn't just for lavish display; its reflective quality would have created a shimmering effect, especially in candlelight, evoking a sense of divine light. The vivid colors, achieved through layering thin glazes of tempera, demonstrate Giovanni’s mastery of the medium. The production of such a piece would have been a complex endeavor, involving apprentices grinding pigments and preparing the panel, reflecting the guild system and workshop practices of the time. The choice of materials—the precious gold, the carefully sourced pigments—speaks to the patronage of wealthy individuals or religious institutions. Ultimately, understanding the material processes illuminates the social and economic context in which this artwork was created, revealing the skilled labor and resources invested in producing such a devotional image.