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None of us were familiar with medieval candle-making practices, so we tried wicks in a number of period fibers: cotton, sisal twine, linen that we twisted into two-ply strands and plied undyed wool yarn. In gathering these materials, we attempted to select ones of equal girth and tightness in an attempt to minimize variables that might change the quality of the burn. We tried each variety of wick using both beeswax and tallow as fuel.

The next aspect to consider was the method by which the wick materials should be dipped. Because the booklights in each of the paintings possess a slender and obviously flexible wick, we chose to try samples of each wick dipped once, twice, and soaked in both wax and tallow.

Taking a closer look at these three images we began to see some similarities, and to feel out the common traits of these candles.

The flame depicted in the van der Weyden and Broderlam works is approximatley 1" high, judging by the proportions of the thumb and decorated capitals in the manuscript that is read. It burns at the end of an extended portion of the wick which is about 3-4" long. This portion of the wick stands upright, supporting itself without aid. Further it is flexible enough to be unrolled from the spool without retaining a curve. No ash projects beyond the boundaries of the flame, nor is smoke shown rising from it (while absence of evidence cannot be taken for evidence of absence, the Northern Renaissance tradition valued the portrayal of realistic, detailed textures and surfaces; it is unlikely that any of the artist's we are working with - Northerners all - would have omitted smoke or ash.)