‘Mediæval Women in Their Own Words’ book

This five-star rated 2024–2025 blockbuster exhibition by the British Library is an incredible collection of many manuscripts and artefacts of the period demonstrating aspects of women’s lives. However, the accompanying book is mighty impressive too, including as it does additional images from the exhibition! The book follows the exhibition’s focus on four aspects: Private Lives, Public Lives, Working Lives, and Spiritual Lives. Each section in the book starts with essays giving more details of each of these, and then shorter accounts of individual women or a focus of one the items – and what items they are in the exhibition and in the book – some not seen before and likely not to be seen again.

 

There is much in the book that is truly amazing, but it is one small figure that particularly caught my eye. The Luttrell Psalter is by any definition an astounding book, made for Sir Geoffrey Luttrell of Irnham (and includes image of two women on the same page as him – his wife and daughter-in-law). The precise prescissus (cut off) strong script marching across the page is well balanced by jewel colours of weird and wonderful combinations of human and animal figures surrounding the text. At the bottom of some of the pages, though, in contrast to the ‘in yer face’ of the other images, are delicate paintings mainly of the work of ordinary people. In this image, women are harvesting corn with sickles, grasping a bunch of stalks, cutting it ready to be picked up by the man behind who is binding it into sheaves. But one of them has taken a break, and it was this that stood out. Look at how she’s standing stretching her back – you can almost feel the ache of many hours in the same tiring position – so well depicted!

One of the outright stars of the exhibition, and with a glorious double spread image in the book is a manuscript that hasn’t been on display before. It is a discoloured and stained piece of hand-made paper that shows the signature of Joan of Arc. It was held in the vaults in Riom and the content of the letter is Joan asking for military items and gunpowder for her army to fight against the English.

 

 

 

The book doesn’t just include amazing and eye-catching images of manuscripts – the artefacts included are pretty stunning too. Wouldn’t you feel a queen if you tried this crown on? Consisting of incredible gold work, single and quatrefoil pearls, and what look like sapphires and rubies. This was the crown of Anne of Bohemia, Queen of England and wife of Richard II.

 

 

 

 

Also in the Luttrell psalter is another image. A rather grumpy women having her hair done by her servant. What’s wrong to you think? Is she just generally grumpy? Has her servant just pulled out a tangle? You can see the comb she’s been using; it looks exactly the same as the two-sided ivory comb here which could possibly have been a love token as it shows scenes of romance.

One of the most unusual ‘artefacts’, beautifully photographed in the book, is the skull of a lion, but not just any lion. The Tower of London was famous for its menagerie and it housed over the years many exotic animals. This skull is that of a Barbary lion and was found in the moat at the Tower. It’s been dated to 1420–1480; that would cover the time that Margaret of Anjou who, when she travelled from France to England to marry Henry VI actually brought with her a lion. Could this be the skull of the very one?

But in a book about an exhibition in the British Library, manuscripts are obviously featured well. And there is nothing better than this absolute tour-de-force of an illuminated letter B. Look at the gold shining on that – another instance of the fantastic photographs in this book. It was created by Sister ‘Modesta’ in Germany in the 15th century. Feast your eyes on that – what a treat!

So is the book worth getting if you’re not able to visit the exhibition? Absolutely, without a doubt! First, the information is all inclusive, it is an amazing and informative read with contributions by many eminent scholars, but written in a very user-friendly way. Then the images are just outstanding – whole pages of colour wonderfully photographed by Jonathan Vines from the British Library. This is a book to buy soon, read it thoroughly and enjoy studying the photographs. You won’t regret it!

‘Maidens and Monsters’ by Chantry Westwell

How wonderful to have a whole book that focuses on women in mediæval manuscripts, but also in it being such an informative and comprehensive book. In the Middle Ages women were often put into very restrictive categories of virgin, saint, temptress and crone. Chantry enlarges these categories to Warriors, Murderesses and Femmes Fatales; Holy Women; Powerful Women; Tragic Heroines; Partners and Lovers; Mystical, Magical and Allegorical Women.

 

 

The research done by Chantry is really impressive, for example that on Salome considers that, in the Herodian dynasty, there were three women named Salome – which one was she? Intriguingly, Salome, despite her connection to John the Baptist, here holding his head on a platter, is not named in the New Testament, this happening only in the latter part of the first century by Flavius Josephus. There is, though, no mention of her suggestive or acrobatic dancing as in some stories and it is thought more likely that Herod executed John for political reasons rather than rewarding Salome for her cool moves!

 

Margaret of Antioch appears in the Holy Women section. In manuscripts she is often shown with a dragon, either with a foot on the dead body in victory or climbing out of its stomach. In fact Margaret had quite a tortuous journey before she got to this point, refusing the Roman governor of the province in which she was living resulted in her being put on the rack, beaten and raked with iron combs until her bones were exposed, attacked by this dragon and then a black demon, and also boiled in a cauldron as here – not the luckiest woman!

 

Hairy Mary, or St Mary of Egypt, enjoyed life to the full as it were until she joined a group of pilgrims, ‘servicing’ them along the way, until she had a sudden conversion. She then went into the desert with little food and eventually her skin became black, her hair white, and, in some versions, grown all over her body for modesty. In this image she really is miraculous being in the desert with monkeys!

This is such a marvellous and enjoyable book, full of information with the results of Chantry’s extensive research presented in the most user-friendly way. It is very highly recommended and not just for those interested in women, but also those who love stories, who are interested in manuscripts, and those who just like a good read!

Stanford University Calligraphy Collection – Susie Leiper

From ‘Bheinn Naomh’ by Kathleen Raine, Chinese ink and graphite on Chinese paper, 45 x 30 cm, £750 $1000

Entries are coming in for the Stanford University Calligraphy Collection, so if you’re a calligrapher or hand letterer at the top of your game, don’t miss out on being part of this amazing new collection of the best of the world’s calligraphy (in the western alphabet style – at the moment!). You can apply here. The latest work that’s been received has been from UK artist and calligrapher Susie Leiper. Her style is free, creative and precise, and her work has an energy and vitality to it as can be seen here.

 

 

And here:

Dry lightning

From ‘Demons and Men’ by Robert Bringhurst

Ink and resist on Chinese paper, 30 x 17.5 cm

 

 

 

Susie makes the most delightful books, full of invention and surprise. Here the use of colour, shapes and lettering are not only fascinating and intriguing but beautifully executed.

Vision of a city

Text from Ezekiel 40 – 48, King James Bible

Artist book: oil, graphite and casein paint on card; silk covers,

21 x 9 cm closed

Close up here:

 

 

 

 

 

 

And then this is:

A sense sublime

From ‘Tintern Abbey’ by William Wordsworth

Oil, casein paint and ink on board, 66 x 67 cm

 

 

With a detail here:

 

 

 

 

 

 

 

It is wonderful that supreme artists such as Susie are part of this incredible Collection and the plan is that all will be online. But, again, if you’re at Susie’s standard, make sure you don’t miss out in being included.

The Stanford University Calligraphy Collection and Gemma Black

The Stanford University Calligraphy Collection is a remarkable initiative by Dr Benjamin Albritton in creating a unique collection of the calligraphy and lettering of the best calligraphers in the world. This collection is particularly significant because it is at one of the most prestigious universities already known for its focus on letters and lettering in all forms. This is truly an amazing project and all calligraphers and letterers at the top of their game are invited to take part; details here. One of those who has completely embraced this project is one of the prestigious judges, Gemma Black from Australia.

One of her ambitions since early days has been to write out the United Nations Declaration of Human Rights. This was a daunting task, but in her characteristic inspiring manner Gemma produced a series of stunning separate pages, each page devoted to one declaration.

 

 

 

 

She devised a particular and unique style of letterforms, majuscules, or capital letters, with elements of Uncials, producing a rhythm and flow to the written sections. The text is remarkably legible despite the lines touching with no space between them and with letters nested or sharing strokes.

 

 

 

 

The illustrations consist of ‘figures’ of differing heights and shapes in various subtle colours placed on a straight line with a delicate wavy shape below. These tie the whole series of separate sheets together into one harmonious whole. Gemma is shown here; behind her the series of individual declarations have been hung creating what must have been a wonderful exhibition.

To see more of this amazing body of work, click here, and here.

Calligraphy and Illumination Courses 2024

IMG_1953 2I am teaching two one-day courses at Sevenoaks in Kent (35 minutes by train from Charing Cross in London, and about 10 minutes from Junction 5 of the M25) in autumn 2024. The course on Saturday 21st September is ‘Quills and Calligraphy‘ and will be for both beginners – those just starting calligraphy – as well as improvers – those with some experience. The day will focus on Gothic Black Letter/Gothic Textura script. The course includes cutting a quill from a feather, and preparing a piece of vellum for writing and then writing a name on it with the quill.

DSCF0827Sets of 9–10 printed A3 sheets are provided for everyone on the ‘Quills and Calligraphy‘ course; these include the background and history of the script as well as principles of calligraphy, with exemplar letters and also ready ruled sheets showing the letters with individual strokes and direction arrows for construction, and then space to practise them (see image here). The handouts can be taken home as an aide memoir and also to continue practice.

IMG_1954The afternoon starts with cutting quills from feathers. This is carefully explained and demonstrated with everyone then cutting their own quill to use on the course and take home. A small piece of vellum will then be prepared for writing and a name written on it.

IMG_3425The ‘Illumination Masterclass‘ is on Saturday 5th October, and again is for complete beginners as well as those with some experience. Participants can choose from a limited selection of animals from bestiaries; this choice is restricted because the aim is to finish the painting in one day and that won’t be possible with complicated miniatures, however, there is some flexibility. Vellum is prepared for painting, and a tracing of the miniature transferred using traditional materials. A modern adhesive is used as there is not time on one day to use gesso; this is used on the three-day courses each May (see here). Real 23·5 carat gold leaf is applied to the adhesive to make it glisten.

IMG_4986Techniques of mediæval manuscript painting are explained carefully, and gouache paint with fine sable brushes are used to complete the image.

For both courses, demonstrations are live streamed to a large TV screen so everyone can see and there is no crowding round the demonstrations. Classes are limited to six participants allowing plenty of time for individual tuition.

 

 

 

IMG_4968Courses take place in a large bright room with plenty of light and individual adjustable table lamps for each person.

All refreshments throughout the day are provided including tea, coffee, home-made biscuits, and a light lunch.

The courses are held just outside Sevenoaks in Kent (UK). There is plenty of onsite parking, and for those travelling by train there are taxis at Sevenoaks station; we can pick up and take back four people.

To apply and details of cost etc please contact me through my website.

The Glitterati of 2024

IMG_4977What a lovely three days we had in May when eight keen illuminators-to-be got together and produced amazing results in just three days. The courses are held in mid-May each year and are limited to eight people. This year there were two participants from Canada, an American and one participant from Hong Kong, as well as four British. It made for a very jolly and very keen group.

IMG_4980The course focuses on the traditional materials, tools and techniques of mediæval manuscript illumination, including vellum preparation for painting, making, laying and using gesso, cutting quills from feathers, using 23·5 carat gold leaf, using burnishers, the processes of painting miniatures and much more.

IMG_4988It’s a huge amount to get through even with three days, but everyone set to with great enthusiasm. Despite all the best conditions, careful measuring and making, gesso can still be rather temperamental and so it proved on this course! Various approaches were tried, but it wasn’t possible even at the end of the course to burnish the gold to the shine that we all would have liked. The gesso needed to ‘settle’ for that; however, it was a very good experience for everyone on the course to have practical ideas to consider for what to do when it doesn’t work! So often it can be perfect on a course with the tutor there for quick answers, and then not so good at home when there’s no one at hand to advise.

Here are the results and the reason why the images are rather wonky is that I was trying to get the gold to glisten as best it could!

These are the comments from those on the course, but not necessarily next to their wonderful results:

IMG_5021Wonderful. I had an absolutely fabulous time and can’t wait to start working on projects at home. I’ll be telling my friends that if they ever get the chance to take this course they should absolutely do it.

 

 

IMG_5014Absolutely fabulous!! Well worth coming from Canada. I am so very glad to have made the journey and truly value the gift of the skills shared and encouraged. THANK YOU FROM MYSELF and all of our friends with whom we will share what we have learned (and will encourage to come). It was a privilege to learn from a master craftsperson such as you.

IMG_5015Absolutely fabulous – everything you could wish for on the subject. Great camaraderie, great facilities, lots of historical information. Loved every minute.

 

 

 

IMG_5024I truly enjoyed listening to your stories and demonstrations. I love how you’ve turned everything surrounded by mystery into something everyone can do. I loved it and wouldn’t change a thing.

 

 

 

IMG_5013Patricia really is the master of illumination. She is clear, knowledgable, even students without anything about illumination can get it done. Excellent and enjoyable. I would definitely recommend to anyone who is interested in illumination.

 

IMG_5017Very good combination and helpful to have an in-person teacher who could give comments and observe to fix mistakes and technique. Would recommend to any serious student of mediæval illuminated manuscripts.

 

IMG_5012Excellent! Everything is well explained.

 

 

 

 

 

 

IMG_5018I had a great time and learned a lot. Lovely setting and facilities.

Trajan’s Column II

IMG_0281Trajan’s Column in Rome, completed in 113 AD, commemorates the victory of the Emperor Trajan over the Dacians. It is stunning when viewed in real life as it towers over the ruins of Trajan’s Forum and Market, being 98 feet (30 metres) high. The main part of the column consists of a frieze in bas relief which shows in great detail the preparations, movement of troops and battles that took place before the final victory, with Trajan, not surprisingly, being the tallest of all the figures in the column. There are 20 drums in all around which the figures wind, each drum weighing about 32 tons. It truly is a magnificent example of Roman engineering.

 

 

IMG_0262It is the base of the column, though, which is most interesting to calligraphers and letterers because it shows exquisitely carved Roman Capitals, regarded by many as the purest examples. It has been only recently (post written May 2024) that it has been possible to get anywhere near this part of the column to view the lettering.

 

 

IMG_4762An exhibition in spring 2024 at the Coliseum detailed how the column was constructed. Huge blocks of Carrara marble were moved from the quarries in Lunigiana sliding on wooden poles and being pulled by a team of oxen.

 

 

 

 

 

 

IMG_4764The stone drums were shaped into circles and the inner staircase cut as well. What is amazing is the accuracy of each block which had to fit on the next. The masons also had to allow for the fact that to make the columns look straight, there needed to be a swelling just below half way. This is explained in a blogpost on this website here. The huge round blocks were then loaded on to ships using a system of pulleys and a lot of labour as shown here.

 

 

 

 

IMG_4767 2Once at the forum, they needed to be put into position. The stone blocks were far too heavy to use a simple system of pulleys, and so a tower was built as here.

Either side of the column were two libraries, one for Greek texts and one for Roman, with bookshelves to store the scrolls. It was possible from balconies on these buildings to view the carvings spiralling round the column close up.

 

 

 

 

IMG_4771At the base of the column during construction was a huge wooden treadwheel. A similar one is shown carved into the family tomb of the Haterii. During the reign of Domitian (81–96 AD) Haterius was working on the construction of buildings and would have used a treadmill as the one carved on his tomb. The treadwheel had 5 men inside and ropes held by more men outside acted as brakes. There were two parallel wide poles creating the crane’s mast between which was the wheel’s axle; this all made up a strong block and tackle system.

 

IMG_4768 2This is shown more clearly here. The sheer mass of the wood being used for construction is amazing, and also the strength of the men using this machinery.

 

 

 

 

 

 

IMG_4737The spiral stone staircase carved inside the blocks led to the top of the column where there was a viewing platform. It must have been quite a sight, climbing the stairs and reaching the top for a view over Trajan’s Forum and the main Forum itself!

 

 

 

 

 

IMG_4812But, of course, it is the carvings on the outside of the column that are the true stars! Twisting round the column, with no allowance given from one stone drum to the next, a narrow carved line stands proud and separates the scenes one from another.

 

 

 

 

 

IMG_4823Here preparations are being made for the battles, with Neptune looking on benignly, no doubt giving his blessing to the campaign. The detail on the clothing, the wooden ships, the horses, a wooden bridge and building walls is really wonderful.

 

 

 

 

 

IMG_4821And even the base has the same care and attention to detail, with enviable precision of carving. Note the carefully carved garland of individuals leaves, and the metal ‘scales’ on the cuirass in the middle.

It truly is one of the wonders of the ancient world, and still astounds today.

 

 

 

 

The Benedictional of St Æthelwold

6a00d8341c464853ef01a3fcaecb6f970b-500wiA benedictional is a book of blessings given by a bishop; some manuscripts, such as the Benedictional of St Æthelwold (904/9–984), are richly decorated with gold and colour. Unusually we actually know who wrote this particular benedictional – the scribe Godeman as he included his name in a poem, probably in shell gold, placed at the beginning of the book. The poem includes the fact that the book should be richly decorated in gold and colour, as below, as instructions were given:

 

 

 

6a00d8341c464853ef01a3fcaecb8b970b-500wi-1‘A bishop, the great Æthelwold, whom the Lord had made patron of Winchester, ordered a certain monk subject to him to write the present book … He commanded also to be made in this book many frames well adorned and filled with various figures decorated with many beautiful colours and with gold … Let all who look upon this book pray always that after the term of the flesh I may abide in heaven – Godeman the scribe, as a suppliant, earnestly asks this.’

 

 

 

CIMG3078The manuscript, written in Winchester, which was where St Æthelwold was bishop, is decorated in the  ‘Winchester style’. This includes borders of acanthus leaves intertwining around circles and vertical and horizontal lines. There is much modelling and the appearance sometimes is almost 3-D. There is lavish use of gold and pages are most striking, although it could be said that the illumination on occasion almost overpowers the text. This style is seen clearly here, a copy of the beginning of the Eadui Psalter written a little later than as the Benedictional but decorated in a similar manner. This page was prepared for the Anglo-Saxon Kingdoms exhibition at the British Library, 2018–2019. There’s more about the creation of this page on my website here. And a blogpost with short films on how manuscripts were made here, including a film of gilding and painting this page.

6a00d8341c464853ef01a73d69da35970d-500wiThe potentially rather overwhelming aspect of the Winchester style is shown well on this folio. This full page miniature shows St Benedict and is placed in the book just before the benediction for his feast day. It is rather difficult to identify the central figure surrounded as it is by the gold and colour, with heavy and elaborate decoration at each corner, looking a little like shield bosses, and ones almost as elaborate halfway down the side. There are, though, as instructed by St Æthelwold, many arches in the book!

 

 

 

Screenshot 2024-05-14 at 17.43.51The lettering in the manuscript is very similar to, but not exactly the same as the Ramsey Psalter (shelfmark: BL, Harley 2904). The latter was written around the same time, and both in Winchester; the Psalter was the key manuscript used by Edward Johnston for his Foundational Hand. It is rather intriguing to think that both scribes may have been sitting next to one another in the scriptorium, and writing the letters slightly differently, perhaps even comparing notes!

There’s more information on a British Library blogpost here and it will certainly be worth looking at each page when the British Library website is up and running (this blogpost written May 2024).

 

 

St Martin’s Church, Canterbury

IMG_4594It was fortunate that, when St Augustine was sent by Pope Gregory the Great in 596, landing probably in Ebbsfleet in 597, to bring Christianity back to England, there was already an established church just outside the city. It meant that his arrival was not met with hostility as could have been the case. The reason for this place of worship was because the King, Æthelbert, had married a Christian Frankish princess, Bertha. Æthelbert restored and gave his wife an existing small Roman building for church services – it was possibly a mortuary chapel. Bertha came from near Tours, in France; two centuries before her birth, St Martin had been bishop there, and so the church for the queen was dedicated to this French saint. The tower at the west end of St Martin’s is shown here and was added in the fourteenth century.

 

IMG_4559In Bede’s ‘A History of the English Church and People’ he wrote about the church for St Augustine and his followers: On the east side of the city there was an old church in honour of St Martin, built during the Roman occupation of Britain, where the queen, who was a Christian, was accustomed to pray. Here they first began to assemble, to sing psalms, celebrate mass, to preach and to baptise, until the king was converted to the faith and gave them greater freedom to preach and to build and restore churches everywhere*. This round arched narrow doorway, now blocked up, was constricted in the Saxon period; it could perhaps have been the queen’s door; not it contains a modern statue of Bertha.

 

IMG_4577Although the church has been restored, the long, narrow Roman bricks are very much in evidence. These are in the chancel, but some Roman bricks were re-used in the seventh century to extend the church and build the nave, thus giving a larger space for the worshippers. This was the first Anglo-Saxon building to use bricks and stone with mortar; after the Romans left, buildings were constructed from wood. The Anglo-Saxon poem ‘The Ruin’ is about the remaining stone buildings from the Romans having been built by ‘giants’ such was their awe at the sizes of buildings and the way in which they were constructed.

 

IMG_4560Inside the church, looking to the west wall, the construction of the nave with brick and stone can be seen clearly. Some of the stone is limestone from Paris. There are three narrow arched windows (the one on the right is clearest) which have since been bricked up and covered by the tower.

 

 

 

 

IMG_4562The font was thought to be from when the nave was built, and if so, it would have been used to baptise Æthelbert when he converted to Christianity, but it has been found to be later. In fact it was a well head from Canterbury Cathedral cloisters; the arched Norman decoration is particularly fine.

 

 

 

 

IMG_4589There is a squint, low in the west wall, and angled towards the chancel. Those who were forbidden from entering the church and so remained outside, such as lepers, could nevertheless peer through the squint and follow the mass being celebrated. It is rather low on the ground, though, and is unlikely to be a comfortable experience!

 

 

 

 

IMG_4581The piscina is also from the Norman period as the font, and was where the water used to wash the plate and cup used for the mass was poured away.

When St Augustine and his followers, about 40 in all, arrived in Kent it is likely that they landed first at Ebbsfleet; this settlement was then on a spur of land projecting south out from the island of Thanet into the Wantsum Channel. King Æthelbert ordered them to stay where they were and then agreed to meet them, however he knew that Christians dealt in magic – perhaps he was aware of the story of Samson destroying a building single handedly – and so he met them outside in the open air. Bede records this meeting as: They came … bearing as their standard a silver cross and the image of our Lord and Saviour painted on a panel. They chanted litanies and uttered prayers to the Lord for the eternal salvation both of themselves and those to whom they had come. It must have looked pretty impressive, and no doubt with the encouragement of Bertha, the king allowed the contingent to travel on to Canterbury without any hassle, and then to have the use of St Martin’s Church for their services.

The church is now on the list of World Heritage Sites alongside Canterbury Cathedral, and a visit is highly recommended.

 

 

 

Victorian Radicals – the Pre-Raphaelites

IMG_4389The rather garish colours and attention to detail marked the work of those seven initial members of the Pre-Raphaelite Botherhood from that of their fellows. They followed the teachings of John Ruskin who encouraged getting back to nature and depicting that in finite detail. The figures in this portrait of ‘The Long Engagement’ by Arthur Hughes show the cleric looking skywards for divine inspiration perhaps, while his fiancée looks longingly at him in hope. The dark and light on their faces is a contrast emphasising this. His lowly stipend may well have delayed their marriage considerably. Despite the poignancy of the figures, the tree trunk in the foreground is perhaps more dominant than may be expected.

 

 

IMG_4391John Ruskin’s encouragement of getting back to Nature led to an almost photographic representation of foliage and flowers. The particular and carefully placed tiny brushstrokes on each leaf and the lichen is certainly not in anyway impressionistic! The time spent on depicting the vegetation in such detail must have been considerable.

 

IMG_4390But it is not only aspects of nature that were treated with such precision. The folds of fabric and the sheen of this satin or silk dress means that it looks as if it could be touched and the luxury of the fabric felt. Note, too, here the carefully depicted ferns and the hairs of the dog – what a shiny coat it has!

 

 

 

 

IMG_4387It wasn’t just men who were painting so carefully. Emma Sandys focused on portraits of women and children, and here is ‘A Young Woman Holding a Rose’. Note the detail in painting each petal of the rose, and the strands of glorious auburn hair entangled with her fingers.

 

 

 

 

IMG_4371Perhaps William Morris is the most well-known member of the Arts and Crafts movement. This is his design for wallpaper. It is an admirably balanced design, with the dark leaves and stems forming their own pattern within the design, and matched by the even spread of the bunches of jasmine flowers.

 

 

 

 

IMG_4373This enlargement shows the outline sketches of leaves and flowers before they are coloured.

The ‘Victorian Radicals’ exhibition is on in Birmingham at the Gas Hall of Birmingham Museums and Art Gallery until 30th October 2024 and is certainly worth visiting.