Mediaeval decorated letters to colour

I’ve been lucky enough to have worked closely with the British Library for what is now decades. Many years ago I was helping the Education Department which had a lot of school visits. The problem always with such visits is how to occupy those who finish any set tasks quickly before the rest of the class. I suggested producing a series of outline drawings taken from illuminated and decorated mediæval manuscripts that could be coloured in, and then produced six of them.

Having a clear-out recently, I came across them again, and thought that they could be shared with a wider audience, hence this blogpost. They are copyright, but free for personal and educational use, simply click on the picture/link below for a high resolution pdf to print out; they’re sized for A4.

I’ve copyrighted them because they mustn’t be used by anyone or an institution to print out or use in a publication and make money from them.

Please, though, feel free to print these outline letters for your own use, for children and grandchildren, for courses, and for classes.

As the British Library’s website, including the digitised manuscripts, is still not completely available, colour images are here if possible, otherwise black and white photos or similar images are posted.

Copy the original colours if you wish, or go freestyle – they’re your letters to colour, so your choice.

The first is the magnificent letter B from the Ramsey Psalter (BL Harley 2904).

 

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

Worksheet 1

David and Goliath, mediaeval manuscriptI wasn’t able to get a coloured image of the miniature from BL Harley MS 2895, but this is from a similar period and indicates the colours that would be used.

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

Worksheet 2

Again, no colour copy copy of the letter ‘N’ from the actual manuscript, but a black and white image is here, and below it a similar letter in colour:

 

 

 

 

 

 

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

Worksheet 3

Yet again there are no colour images available for the York Psalter; here it is in black and white:

 

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

Worksheet 4

Hosea from the Worms Bible:

 

 

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

 Worksheet 5

Finally, this magnificent lettering and decoration from the Lindisfarne Gospels:

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

Worksheet 6

‘The Art of the Scribe’

The Art of the Scribe cover‘The Art of the Scribe’ is the latest book published by the British Library in Spring 2025. It focuses on the scripts and the illumination and decoration used in the seven major periods of mediæval and Renaissance book production. Each of the seven chapters includes information about manuscripts of those times, what they were, who they were produced by – the scribes and illuminators – and the people associated with the books. There is also a detailed second section on tools, materials and techniques for calligraphy (including analysing texts, spacing of letters, words and lines, layouts, and serifs), illumination, painting, and simple book binding.

The Art of the Scribe, a pageFor each of the seven writing styles there are clear exemplar letters with guides for writing each one – here are Uncials as in the St Cuthbert Gospel in the British Library. Both the alphabet is shown as well as the letters arranged in families that have similar strokes – this makes learning and practising the letters much quicker.

 

The Art of the Scribe, a pageIllustrations are large, often taking up the whole page as here – a page from one of the huge bibles produced at the monastery of St Martin, Tours, in France. The script is Caroline Minuscule and is a lovely dancing script, very legible, and wonderful to write.

 

 

The Art of the Scribe, a pageAt the end of each of the seven chapters are three graded projects – foundation, intermediate and advanced. This is a favourite from Caroline Minuscule – a zig zag or concertina book using text from Dorothy Wordsworth’s ‘Grasmere Journal’ describing the walk when the ‘host of golden daffodils’ was seen. The illustration along the bottom matches the text, with a few daffodils to start with and then more and more.

 

The Art of the Scribe, a pageThe second section consists of a comprehensive consideration of materials, tools and techniques; for tools and materials – what is needed, how to use them and how to take care of them. The pages here are how to mix gouache for ink and paint and how to mix repeat colours.

 

 

The Art of the Scribe, a pageThis double spread is about vellum, how it’s made, types of skin – vellum and parchment – and the differences in thickness in the skin which affects the final result in use.

 

 

 

The Art of the Scribe, a pageIncluded in the section on tools is a section on quills, quill curing and quill cutting – all clearly illustrated with excellent photographs by the British Library photographer, Jonathan Vine, and with step-by-step instructions. Just visible on the left are the final steps for laying gesso, adding gold leaf (illumination) and painting a mediæval miniature.

Here is a sneaky peek inside the book showing the seven chapters – Uncial, Caroline Minuscule, English Caroline Minuscule, Gothic Textura (Black Letter), Bâtarde, Humanistic Minuscule and Italic – and also the second section of detailed information.

‘The Art of the Scribe’ is available from the British Library bookshop, and I have a limited number of copies for sale where I am happy to write in a name calligraphically; contact me through this website for this and for the cost of p+p (it is a heavy book, so that isn’t cheap!).

 

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.

 

 

 

 

Heraldic Hatchments

IMG_1383Many historical churches display diamond-shaped boards on their walls. These have heraldic emblems on them, but what are they, what do they mean, and why are they there? They are called ‘hatchments’, from ‘achievements’ of arms, or sometimes called ‘funeral escutcheons’ (an escutcheon being an heraldic shield). An achievement of arms includes the shield, helm, wreath, crest, mantling, motto, and supporters if used. One such hatchment is shown here; it is for Sir Thomas Barnardiston, third Baronet, who sadly died aged 26 in 1700. This hatchment is actually incorrect as explained below. All photographs (© Patricia Lovett MBE 2024) from the St Peter and St Paul Church in Kedington, Suffolk.

IMG_1381 2Hatchments indicated that a person bearing heraldic arms had died. Traditionally, they were first hung outside the house of that person and, after a period of mourning, were then re-hung in their local church. Bachelor’s  hatchments included their shield, helm, wreath and crest and sometimes mantling; unmarried women’s hatchments showed their coat of arms on a lozenge, usually with a bow at the top, as women’s coats of arms, not being shown on a shield shape, didn’t include wreaths, helms and crests. This hatchment is for the first Baronet, another Sir Thomas Barnardiston, who died in 1669.

IMG_1387Sometimes the helm, wreath and crest were replaced by a skull, a reminder of what was to happen to the corpse and a warning to all, or for women a cherub. And the motto may be replaced by ‘Resurgam’ – ‘I will rise’. The hatchment of Anne, widow of the third Sir Thomas Barnardiston (see first image above), is here. She died in 1701, the year after her husband. Her coat of arms is shown on a lozenge, impaled (combined vertically) with that of her husband.

 

IMG_1385 2Some hatchments have completely black backgrounds, and some white and black, divided vertically. This colour distinction indicates who is living and who is dead at the time the hatchment was made. In heraldry, the right and left sides are always referred to as if a shield is being held, so the dexter side is the right-hand side of the shield, but looks left to the viewer, and the sinister is the left-hand side, but looks right to the viewer. If the sinister side (right) is painted white, it means that the wife is still living; if the dexter side (left) is white, it means that the husband is still living. In the shield at the top of this post, both sides are black, yet Thomas, the third Baronet died in 1700, and his wife, Anne, the image as above, died in 1701. So at the time of Thomas’ death, Anne’s side of the hatchment, sinister, should have been white, however, as she died so soon after her husband, it may be that the painter simply coloured her side in black.

The variation to this is if the person died was single but their arms were impaled (combined vertically) with an official post. In this case that post continues even though the person has died, so the sinister side of the hatchment remains white.

The arms of Sophia, Viscountess Wimbledon, as show on the hatchment above are different because of her peerage. As a Viscountess, she qualifies to have supporters (although these rules were relaxed in the 19th century), and these are either side of the shield and blazoned (the heraldic description) as two lions rampant ermine, that is, two lions looking sideways, and raised on one hind leg. They are painted as if they were ermine, which is a white coat with black ermine tails pushed through; the ermine tails were often depicted as black patterns. Above the lozenge shaped coat of arms is a Viscountess’s coronet, that is a silver-gilt circlet with gems shapes (but not coloured gems), and sixteen silver balls touching one another (only nine being visible).

The top two shields of the baronets include an escutcheon of the red hand of Ulster, indicating their baronetcy. I understood this to be the fact that the baronets had contributed funds or services for the king in Ireland, but I can’t find any source for that at the moment.

For more on Kedington Church, see: https://www.patricialovett.com/?s=kedington+church

‘Makers’ by Roger Lee

Screenshot 2024-02-06 at 13.39.14In the light of only a few weeks ago the government  indicating that it was ratifying the UNESCO Convention on Intangible Cultural Heritage in June 2024 it seems appropriate to highlight this book of fantastic photos of makers; traditional craft skills being one of the five domains specified in that Convention. (For more on the Convention see here.)

 

Screenshot 2024-02-09 at 16.49.39Craft and craftspeople photograph really well, but not everyone can capture the skill, beauty and excitement of makers making. This certainly isn’t the case with this book. Roger Lee’s thoughtful and sensitive images show not only the end results of the making, but the stages in the process, the skills used, the tools, and the workshops of practitioners. It makes for a fascinating insight into the various stages in producing wonderful craft and the application of years of practice.

 

Screenshot 2024-02-09 at 16.50.41Roger focuses on the makers in and around his home town of Sevenoaks, in Kent, and if you ever thought that not much craft was going on in your area, then this is a tangible demonstration disproving that! From a hat maker to a harness maker, a sign writer to a jeweller, a violin restorer (as here) to a tool maker, and more, they’re all featured in this book.

 

 

 

Screenshot 2024-02-09 at 17.36.56Gill Stratton is a hat maker in a local village. She makes hats for posh occasions such as Ascot and Royal Garden Parties, but also for weddings and christenings, and ones to keep you warm in winter and shaded from the sun in summer. Skills needed are not just those to create the structure and decoration on the hat, but also in how to deal with the materials and fabric used, and colour theory to match outfits.

Screenshot 2024-02-09 at 16.51.34It is not only skilled practitioners in Roger’s book, Joshua Hook is an apprentice jeweller who won a silver medal in fine jewellery making at the WorldSkills UK National Final in 2021 – clearly a young man whose skills will take him far!

Roger’s book is available for sale on this link  where you can also view the whole book as a pdf (you don’t have to pay!). It is well worth indulging yourself by spending a bit of time enjoying the beautiful images.

Craft and the Effects of Brexit

At the outset, it is important to know that this is not a political blog.

IMG_2308There has been quite a bit in the news about the problems of musicians, pop groups, opera singers, orchestras, sound and light engineers, roadies and the like, post-Brexit. Restrictions on travel with a 90-day limit of staying in the EU, visas and work permits for each EU country, requirements of details of musical instruments and equipment and their cost (for a whole orchestra!), etc, are all aspects of life in the UK that did not happen before the UK separated from the EU. The focus for many of these problems has been on those in the music industry.

 

 

IMG_2307The All-Party Parliamentary Group for Craft was concerned to hear stories about similar challenges for makers. A number of problems seem to have arisen for those who previously traded a lot with Europe. The unknown amount of additional tax and costs for those in the EU when buying craft from the UK causes difficulties when sometimes it seems that a considerable amount is added to the item which makes it prohibitively expensive. When items are returned as a result of this, makers may have to pay for their own work to be imported.

CIMG2507Craft pieces can be caught up in customs such that their arrival is delayed considerably. Exhibitions planned in the EU with UK artefacts have been delayed or even cancelled because of this. Many galleries and shops, previously showing or selling UK items, are not now exhibiting or stocking them because of this uncertainty. In addition, EU craft competitions are not accepting UK-made work because of the problems of delays in receiving items and the difficulties and cost of returning them to the UK. In one instance, the cost of receiving back an expensive item exhibited in the EU by a UK maker was too much for the maker so they said to destroy the work!

 

IMG_2305The problems are exacerbated when advice is sought from government websites and advisers. These are geared to lorryloads and containers full of goods and big companies, not makers asking for details with just one craft item to be exported. And this is repeated when makers want to take their work, tools and materials abroad themselves for craft fairs, workshops or demonstrations. There is considerable confusion and often the wrong advice is given, causing more problems.

IMG_3275One of the joys of being a maker is always passing on the skills, interacting with other makers and learning about new techniques, materials and tools. Due to customs and restrictions on travel, this has just about stopped.

There are many other aspects of craft and the EU post-Brexit that are causing difficulties. When the All-Party Parliamentary Group for Craft heard that there was going to be a debate on the Arts (and Crafts!) in the House of Lords and the challenges of post-Brexit were going to be considered, I sent out a message through every channel I could to ask for personal experiences. Over a four-week period in August (never the best month for makers) I had a number of responses, often interestingly long and detailed, and many of them sad and frustrating.

The responses have been condensed to bullet points and can be read Craft and Brexit points only.

Photos 1,2 and 4 taken at Fortnum and Masons in London when Heritage Crafts exhibited traditional crafts as part of London Craft Week.

UNESCO Convention on Intangible Cultural Heritage

IMG_0589 (1)What a wonderful Christmas present for those of us in the UK when, on 23rd December 2023, it was announced by the government that it was going to ratify the UNESCO Convention on Intangible Cultural Heritage (ICH) in June 2024, after consultation until March 2024, see more here. This has been after years of advocacy and meetings with successive Ministers, Secretaries of State (four of the latter since 2020!), and civil servants. When we started this campaign the response was ‘not minded to’, then it was ‘not a priority’, and then we were told to go away and make a business case (how do you do this for story telling or clog dancing?). Early on, when we started, of the 193 countries signed up to UNESCO, the UK was one of only 27 not to have ratified the Convention; at the time of this announcement at the end of 2023, the UK was then one of only 12 out of 193 – a small club that the UK shouldn’t have been in!

IMG_0584The All-Party Parliamentary Group for Craft (APPG Craft), set up in 2018, understood the importance of ratification and, since its formation, has had meetings with those in the Department for Culture, Media and Sport (DCMS). Questions have been asked in parliament by the marvellous and supportive Officers of the APPG Craft and many informal conversations have been had also. The Group even got a petition together to support the advocacy and encourage ratification; this petition managed to get over 100 signatures within a week, a number of them from very prestigious people and organisations. It is clear that a great deal of effort has been put into encouraging ratification, and that there is a lot of support for it. This is why the government’s decision now is so important and why it will be a gamechanger.

CIMG2289It’s a tricky phrase – ‘Intangible Cultural Heritage’, and not always easy to explain. Tangible Cultural Heritage is not too difficult. Essentially it’s mainly what can be seen – castles, stately homes, historical buildings, and the artefacts that go in them such as tapestries, furniture, ornaments; then there’s historical books, museum collections, and artworks. It also includes our landscapes including National Parks and designated walks such as the Pilgrims’ Way and the Pennine Way. The UK has been amongst the world leaders in how tangible heritage has been looked after and conserved through organisations such as the National Trust and Historic England, listing of important buildings, alongside support groups that focus on local and regional tangible heritage.

HCA_GildingFilm_28Our Intangible Cultural Heritage can’t be quite so succinctly defined in that, generally speaking, it’s the sorts of things that can’t always be seen, such as traditional crafts skills, languages, customs, traditions and celebrations. Perhaps thinking of it as ‘Living Heritage’ is an easier concept.

 

 

IMG_2463The UNESCO Convention on ICH identifies five domains. These are:

  1. Oral traditions and expressions, including language
  2. Performing arts
  3. Social practices, rituals and festive events
  4. Knowledge and practices concerning nature and the universe
  5. And for me, really importantly, Traditional craft skills

 

 

DSCF2627The easy and trite view could be that these are only our historical customs with no relevance now, and can sometimes be viewed as being a bit weird as they cover traditions such as Morris Dancing, mummers’ plays, and cheese rolling. But it also includes sea shanties, Scottish dancing, Irish pipe playing and even the skills needed to make Arbroath Smokies and Kippers. ICH includes the intangible cultural heritage of all in that country as well so in the UK that would then include celebrations of those bringing their own traditions and heritage into the UK such as the Notting Hill Carnival and the skills of making and playing steel drums. Before that letter with the petition was sent to Oliver Dowden MP, then Secretary of State at DCMS, Professor Tim Ingold of the University of Aberdeen wrote:

‘I can imagine a sceptical reader of this letter, unconvinced of the value of craftsmanship, linguistic diversity and folksong, only finding confirmation of their view that what is it stake with ‘intangible heritage’ is no more than a miscellany of tidbits that would not be out of place in a tourist shop, serving to feed a popular appetite for nostalgia and the ‘artisanal’. They would not get the message that this is really about revitalising skills and practices that have the potential to be transformative for future generations. This is much bigger than Arbroath smokies and Stilton cheese. It is about placing values of care and custodianship, as well as respect for difference, at the heart of the ways we live.’ (Quoted by kind permission)

Version 2That last sentence is really significant – placing values of care and custodianship, as well as respect for difference, at the heart of the ways we live.

The purposes of the Convention are specified as:

1. To safeguard the intangible cultural heritage
2. To ensure respect for the intangible cultural heritage of the communities, groups and individuals concerned
3. To raise awareness at the local, national and international levels of the importance of the intangible and to provide for international co-operation and assistance

All this is for communities, groups and individuals (as in the Convention) – each identifying what is their own intangible cultural heritage. I’ve often likened it to the applications to be Cities of Culture. In this instance, cities list what makes them different, what it is about them that should be highlighted and celebrated, and this often includes their intangible cultural heritage, their festivals, celebrations and heritage craft skills.

CIMG1636Each individual, hamlet, village, town, community, city, county, region, England and the devolved countries can think about, consider and identify what makes them them, what is their intangible cultural heritage, what makes them different, what gives them a sense of identity and belonging, and what do they want to celebrate and cherish. This is the heritage that is passed down from generation to generation and:

‘… is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.‘ (from the Convention)

And, most importantly, there should be respect for that difference, not division nor competition. These identified aspects of ICH should first be surveyed and recorded, then be safeguarded, they should also be respected, and awareness of them and their importance raised at local, national and international levels.

CIMG1517At the time of writing, the yearly fee for ratification of the Convention on ICH is $150,000 (about £120,000). This is a very small sum for the government.

However, there are also obligations for the government in addition. The ICH must first be identified and documented; there should be ‘research, preservation, protection, promotion, enhancement and transmission, through formal and non-formal education, and the revitalisation of aspects of heritage‘.

CIMG0982The surveying or research is already being done for traditional craft skills in the whole of the UK by Heritage Crafts by their creation of the Red List of Endangered Crafts (which is now replicated in a number of other countries), and steps have been taken through their Endangered Crafts Fund to support such crafts. But much more can and should be done such as promotion and raising awareness of such crafts, and support for training, including the establishment of full-time courses rather than the part-time courses – in many crafts the only ones available – which are usually self-funded and thus available only for those with means. And all this also applies to the other four domains specified.

IMG_2175The additional feature of the UNESCO Convention on ICH is that countries can identify those aspects of ICH that they would like to highlight and specify. On the press release that included pantomimes, sea shanties, and calligraphy (hurray!), and during this consultation period the government has asked for nominations. I am convinced that ratification will include much more than simply the listing a few aspects of ICH.

 

All photographs © Patricia Lovett MBE 2023. You’ll note that they are virtually all craft and probably won’t be surprised by that! My apologies to anyone here photographed but not acknowledged. I’ve trawled through my online album and picked out those I think suitable. These go back some years and I now can’t remember where they were taken nor of whom! However, in order these are: chair caning, cordwaining, tailoring and gold work, gilding on a shape, Morris Dancing, casting, applying gold to the gingerbread on the Cutty Sark ship, vellum making, illumination on one of my courses, cutting a quill from a feather, and calligraphy (of course!) from one of my free online Calligraphy Clips.

 

Grinling Gibbons – Master Woodcarver

IMG_3814Grinling Gibbons is probably the most skilled and most creative wood carver there has ever been. Stand in front of any of his pieces and marvel at the intricacy of the designs and the supreme skill in cutting into pale, almost white, limewood to create wonderful images in 3-D. This amazing wood carving is now in the Pitti Palace in Florence. It was made to celebrate the friendship between King Charles II of England and Cosimo III of the Medici family. The fact that it is still in existence is quite something as first it had to withstand the sea journey to the port of Livorna to get to Italy initially, then the flooding of Florence in 1966 and finally a fire at the Pitti Palace in 1984. It has recently been restored and is now exhibited in its glorious light colour contrasting with the darker background as shown here.

IMG_3819Two turtle doves, their beaks ‘kissing’, indicate the friendship between the two great men. The birds are surrounded by carved foliage, flowers and fruit.

 

 

 

 

 

IMG_3815 2Below the birds is the most delicate and intricate lace jabot. Without knowing that this was carved into wood, it could easily be thought of as real. Note the ring of roses just above this.

 

 

 

 

 

IMG_3825There are representations of the arts with one of them shown here – a goose feather (not yet made into a quill). Others include a paint palette and brushes, and a laurel wreath. Note, though, the carving of Grinling Gibbons’ name into the scroll at the bottom of the feather, and to the right beads, curling foliage, shells and bunch of grapes with the tendrils so delicately carved.

 

 

 

 

IMG_3821There are musical instruments, trumpets and what look like recorders as seen here, and even a musical score, the five staves, lines and notes clearly visible. Just above this is a medallion suspended from a chain with each link delicately carved. This sits on top of a quiver of arrows. And that in turn leads to a coronet, showing pearls and gems in exquisite detail.

 

 

 

 

IMG_3826Another coronet is at the bottom of the quiver, and this leads the eye to an amazing cornucopia of flowers and fruit – the sign of a true master.

 

 

 

 

 

Imagine Cosimo’s delight when on 16th December 1682 this package arrived and was unwrapped before him. Now who wouldn’t want to receive a Christmas present like this?