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

St Enodoc Church, Cornwall

IMG_3556 2Finding St Enodoc Church, Trebetherick, North Cornwall, is not straightforward – but well worth the effort! Walking from Polzeath or from the carpark at Daymer Bay (much nearer!) a small signpost, which is almost hidden, indicates a narrow winding path, shaded and almost overgrown by trees. This leads out to the open spaces of the Church course of St Enodoc Golf Course with views down to the sea and the River Camel estuary. The path turns and continues up a slight hill to the church gate.

IMG_3549The arched stone lych gate is a fitting forerunner of the main building, with a central ‘bench’, ready to act as a rest for a coffin (and perhaps pall bearers), before it’s taken into the church for a funeral.

 

 

 

 

 

IMG_3550The word ‘lych’ comes from the Anglo-Saxon/German word ‘lich’ or ‘leiche’ which is the word for ‘corpse’.

 

 

 

 

 

 

IMG_3553Although the church is thought to date from the twelfth century, a twentieth-century addition is proof that the the building is still in use. The Poet Laureate, Sir John Betjeman, is buried here, St Enodoc being a church that he frequented when he was in Cornwall. In fact he wrote a poem about it – ‘Sunday Afternoon Service at St Enodoc’. The Gothic Textura lettering is surrounded by an exuberance of flourishes by the letter cutter Simon Verity. It really is a tour-de-force!

 

 

IMG_3579But this isn’t the only flamboyant tombstone in the churchyard. This nineteenth century gravestone for John Randall has just about every typeface ever designed on it! It is not easy to make out due to the wear and tear but it is a marvel of creativity and skill.

 

 

 

 

IMG_3580Here’s an enlargement of the top of the tombstone where the double lines and enhanced 3-D effect on the name can just be made out.

 

 

 

 

IMG_3577It is thought that St Enodoc (or Guenedoc) was Welsh and that there was some sort of wooden church at this point from the third century. Sand dunes move and indeed this church was buried for some three hundred years until it was restored in the nineteenth century. It is said that services continued to be held during this time, and that the vicar and congregation were lowered in to the church by a skylight in the roof! Here it is very clear how easily the church may have been covered by sand; the back and side wall round the corner are almost buried.

 

 

IMG_3578The church can be seen from a distance due to the rather stumpy spire which is decidedly crooked as shown here!

 

 

 

 

IMG_3558The oldest remaining tombstone of 1687 to a father and daughter, who sadly died within a week of one another, is propped in the porch. The figures in relief can just about be identified.

 

 

 

 

 

IMG_3559And to the left is a celtic cross, the carving of a cross is faint but can be seen. The shaft is rather slender and looks a little too fragile to support the large circular top. It was found during the nineteenth century restoration and renovations to the church.

 

 

 

 

454474BC-7353-4125-8FA0-2DC2CAAE7B19_1_105_cOnce inside the church there is the magnificent stone font, made of granite and dating from the twelfth century. There is twisted cable mounting on the support of the bowl, and the bowl itself is lined in lead.

 

 

 

 

 

IMG_3560The inside of the church is simple, as would be expected, with wooden pews and the fourteenth century addition of a south aisle. There are remnants of a wooden carved fifteenth century rood screen.

 

 

 

 

 

IMG_3563Windows are narrow, with wide embrasures, letting in as much light as possible. Note the irregular stones on the windowsill.

 

 

 

 

 

IMG_3569This window has a plaster surround and is not decorated with horizontal stones as above.

 

 

 

 

 

 

IMG_3566On that windowsill and elsewhere in the church are stone querns used for grinding grain. The inside of them has been worn smooth over the years.

 

 

 

 

 

EB3A8E52-3565-4666-AD48-BD4DC450C6C1_1_105_cSt Enodoc Church is a lovely place to visit if in the area. Its setting is peaceful and tranquil, with the silence broken only by bird song.

HUGE Choir books

IMG_1599Producing books before printing was an expensive exercise. The text was written by hand and often detailed and precise illuminations were added. Whereas nowadays each member of a choir would usually have their own copy of the music and words, this was prohibitive in times past because of cost. So how could a choir sing together without having to learn everything by heart? For rich and prestigious religious foundations and churches, large choir books were produced. However, in Granada cathedral in Spain, behind the altar, not just large books but HUGE choir books are on display! (Apologies for the photographs. Avoiding the reflections on glass was impossible on an iphone!)

IMG_1601Now when HUGE is mentioned, the actual size may not be truly appreciated. These books are actually over three feet high and two feet wide – they really are massive and would need at least two people to carry them! This ‘miniature’ of the Christ with Virgin Mary and St Anne with John the Baptist is at least 1 foot or 30 cms in size, and would have been glorious for the members of the choir to look at while they were singing.

 

 

 

IMG_1593Of course, the lettering had to be pretty large too! The x-height for these was over an inch, 3 cms, high, and written so very precisely, as can be seen here. It is likely that some form of balsa wood pen would have been used to create strokes this wide, but the purity of form, and the sharpness of outline, with dense black ink, are truly inspiring and commendable. The style of writing is called Gothic Rotunda by calligraphers, and was the Italian and Spanish equivalent to the dense Gothic Textura, or Gothic Black Letter, of northern Europe.

 

IMG_1603Each page shown was an absolute masterpiece and it was truly a privilege to see page after page of these books – and displayed at a height and in a way that they could be seen easily – not always the case with manuscripts!

Although there is no musical time indicated, and the notes didn’t appear to have a value in terms of length such as a crotchet or minim, it is likely that the positions next to one another indicated how long each note should be held for, and, of course, their position on the stave indicated the pitch.

The clarity of the script is shown well here.

 

 

IMG_1602The coat of arms in one of the books is certainly for a cardinal, indicated by the hat and number of tassels (although they should be red, but depicted here in grey against the red background), but I have not been able to find out which cardinal this represents.

 

 

 

 

IMG_1598Many of the pages have elaborate decorated and illuminated borders. This shows wonderful Renaissance decoration of urns, butterflies, and foliage with a scattering of gold dots – the ‘dots’ being at least a quarter of an inch, 5 mm in diameter!

 

 

 

 

UnknownA fully clothed Christ, without his two companions at Calvary, is shown in this image of the crucifixion, with the most glorious surrounding border. It must have been difficult to focus on the singing with this feast for the eyes within sight!

 

 

 

 

 

IMG_1613The carved and elaborate stand on which the choir books are displayed is placed just behind the magnificent altar. There is space for one on each of the four sides, but only two were on show this time, allowing for the gilded and decorated back panel to be seen.

Escomb Church

IMG_1600Escomb Church, probably built in the seventh century, is situated in a hollow just west of Bishop Auckland in the north east of England, and is one of only four complete Anglo-Saxon churches left in England. The many substantial slabs of stone for the building are thought to have come from the nearby large Roman settlement of Vinovia, now Binchester, where there are very well preserved Roman baths that can be visited. It could be that there was a pagan site here suggested by the circular churchyard.

IMG_1655The blocks in the stone walls vary in size from small to massive and are laid in a rather random pattern, but the corners consist of immense ‘quoins’ laid on alternate sides as can be seen here; these strengthen the walls. The stones are mainly very neatly cut, again emphasising the Roman link. Stone buildings were quite rare at this time, in fact the skill of building in stone generally left with the Romans at the end of the fourth century. It was Benedict Biscop (628–690) who brought masons from Gaul to build the stone churches of Monkwearmouth and Jarrow, and who no doubt applied their skills here too.

 

IMG_1602Outside to the right of the porch there is a sundial set into the wall, thought to be the earliest sundial in its original position, dated to the seventh or early eighth century. There would have been a metal gnomon and the three lines carved into the stone indicate the hours of Terce (the third hour), Sext (the sixth hour) and None (the ninth hour), which are the times of the services held during daylight hours.

 

 

 

IMG_1616Inside the building is marked by its initial appearance of simplicity with whitewashed walls and wooden pews. The roof timbers have been dated to 1480–1490, and between 1875–1880 the roof was restored at a cost of £500.

 

 

 

 

 

IMG_1650The simple appearance is deceptive, because looking closer it’s clear that some of the building blocks have a history. Patterns and striations caused by chisels are visible in a number of stones.

 

 

 

IMG_1635And in the chancel, one of the vertical, narrow stones has a clear pattern that is thought to be the Tree of Life, with two figures at the base.

 

 

 

 

 

 

IMG_1636These two figures could represent Adam and Eve.

 

 

 

 

 

 

 

IMG_1620The windows are small, typical of this period, but open out to the inside to almost twice their size, thus increasing the light. It is quite surprising how much light these small windows give out.

 

 

 

 

 

IMG_1621The high, narrow chancel arch is of particular note as it is similar to those in Roman gateways and is again thought to have been dismantled from Vinovia and rebuilt here at Escomb.

 

 

 

 

 

IMG_1622There is evidence of painting on the underside of the arch, but only the red colour is still visible. The paint has been applied to wet plaster as in a fresco (fresco means fresh) rather than simply painted on once the plaster had dried. It is likely that the whole church would have been decorated in this way with patterns and pictures.

 

 

 

 

IMG_1639The simple altar cross probably pre-dates the church and would have been erected at a significant spot for visiting missionaries to preach and pray. Eventually a church would have been built to protect the congregation from the elements and the cross brought inside.

 

 

 

 

IMG_1658Escomb Church is such a delightful, seemingly simple building but its history and place in the annals of early Christianity in the area mean that it is well worth a visit and well worth, too, looking a little deeper and longer to gain  greater insight into a really fascinating structure.

Kedington Parish Church

IMG_1357Similar to many mediæval churches, Kedington Parish Church in Suffolk looks fascinating from the outside positioned as it is up an incline and visible from some distance, but it is the inside that really makes it into a gem. So many layers of history and changing times are still in evidence to be seen.

 

 

IMG_1358Outside the church tower is buttressed and its height at fifty-eight feet emphasises the low roof of the nave. To the left of the one-handled clock (made in 1729 and restored in 2010) is an interesting cinquefoil insert, and the variety of materials used for the building are well shown here – dressed stone, knapped flints, brick, and pebbles.

 

 

 

 

IMG_1359Centuries of footfall have worn away the doorstep shown clearly here with an obvious dip at the entrance to the church. The carved porch and wooden door – with its smaller door opening – give hints of what is to be seen inside.

 

 

 

 

 

IMG_1414And here it is – the nave and chancel inside the church. Wooden pews os various designs line the central aisle with hatchments between the arches. The canopied boxed pew to be seen on the left at the front of the nave is that for the Barnardiston family.

 

 

 

 

IMG_1362 IMG_1363This manorial pew of this Barnardiston family is quite something! With its own roof and carved and decorated arches it really would have indicated to the parishioners who were the important people in the parish. There are two compartments here with their own doors together with hat pegs and a book box.

 

 

At least three layers of paint were removed to show some of the original fifteenth-century paintings of foliage, dragons and faces amongst other things.

 

 

 

 

IMG_1392At the back of the church are benches for girls and boys. These are for the boys and have pegs for hanging their caps. Those for the girls are at the other side of the church. The master would have supervised the boys and the dame the girls. They don’t look that comfortable to sit on for long services! At the top is a wooden bier from the seventeenth-century used for carrying coffins at funerals.

 

IMG_1393The pulpit is an unusual three-story seventeenth-century pulpit with Jacobean carving. There are six steps leading to the very top where the sermon would be preached. Note the canopy and the backboard ensuring that the preacher wasn’t affected too much by the draughts. The three tiers usually represent the relative importance of the readings with the lowest tier for the parish clerk, the middle tier providing a reading desk for the minister and the top tier for the sermon.

 

 

 

IMG_1394These are the steps to the middle tier with its circular platform and the fine carvings at the front can be seen.

 

 

 

 

 

 

0778F627-4907-4E8E-859E-0EBA4BF24EE1_1_105_cThe old alms box is a replica of what was an old tree trunk which had been hollowed out and sunk into the floor.

 

 

 

 

 

 

FA0EACD2-5840-405B-947F-9842D5316756_1_105_cThe most impressive Barnardiston monument is possibly this one for Sir Thomas Barnardiston, lying in armour on a tomb chest (1610) and his two wives who are kneeling in prayer facing one another. Mary, his first wife is on the left and Katherine his second wife has a very fine ruff. Note the three skulls depicted either side at the top of the pillars.

There are also marvellous hatchments in the church but they are for another post!

Trajan’s Column

IMG_0299We have been fortunate enough to visit Rome in Italy a few times and on each occasion I make a pilgrimage to Trajan’s Forum intending to see if I can view the lettering at the base of the column. But every single time the Forum has been closed for renovations and as the lettering is on the side of the column facing into the Forum, the lettering has been impossible to see!

 

 

 

IMG_0313I want to see the lettering up close because it’s regarded as one of the very best examples of Square Roman Capitals. The column was erected to celebrate Trajan’s victories in the Dacian (present-day Romania) wars between 101 and 106 AD and was completed in 113 AD. It is thought that the architect was Apollodorus of Damascus. The victories of Trajan were significant. It’s estimated that he brought back half a million pounds-worth of gold and a million pounds of silver.

 

IMG_0308The column is simply magnificent – it’s 98 feet (30 metres) tall, but when the pedestal is taken into account it’s even taller at 115 feet (35 metres), and consist of 20 drums of Carrara marble placed one above the other. Winding round the column is a 620 feet (190 metre) frieze with carvings of the wars between the Romans and Dacians. There are 155 scenes with 2,662 individual figures and they have even been used as an historical source for the clothes worn at the time.

 

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The inside of the column is hollow and there is a spiral staircase winding to the top; there are narrow rectangular windows placed around the column to give light to this staircase which can just about be detected (there’s one just to the right of the arch almost in the centre of the top visible spiral, and then another beneath it three spirals down. In 1787 the German poet Goethe climbed to the 185 steps to the top to ‘enjoy that incomparable view’. Placed on the platform there  was a bronze statue of Trajan but this was removed by Pope Sixtus V in 1588 and replaced by a statue of St Peter.

 

IMG_0258So there we were last month on our first morning, looking at Trajan’s Column and I happened to spot that the gate to Trajan’s Forum, which had always been firmly padlocked before, was open and it was possible to go down steps to the Forum. There was a kiosk selling tickets – it was open! We immediately bought tickets and I turned hoping to be able to stand in front of the column to view the lettering only to find this section was roped off and thus inaccessible! Without any Italian I tried to explain that I have visited Rome and each time been disappointed by Trajan’s Forum being closed as I really wanted to see the lettering at the base of the column. They very kindly lifted the rope and I was able to realise a long held dream of standing in front of the column and gazing at the lettering. The sun on the letters brought them in to sharp relief and it was such a privilege and thrill to view this panel of exquisitely cut letters that had eluded me for so long.

IMG_0262They really are magnificent! And the sun light added to the exhilaration. The letters also looked so fresh despite the fact that they are two thousand years old. At this point I do have to acknowledge that whoever it was who made the decision to cut into the inscription to allow for the roof of a porch to be built deserves every punishment they should get!

IMG_0265Standing at the base of the column and looking up the letters look very regular and even, but the top row of letters is considerably larger than the lowest row to allow for perspective – the Romans knew about this even then!

 

 

IMG_0270Each letter is so precisely cut and is a fitting tribute to the victor of the wars. And yes, if we go back to Rome, I shall indeed on the first day make my way back to Trajan’s Forum to view the lettering, though I may not be able to persuade the ticket seller to let me cross the barrier again!

 

Dumfries House, Ayrshire, Scotland

‘There’s nothing that isn’t positive that comes out of this place.’

IMG_2850Dumfries House near Cumnock, Ayrshire, Scotland. is a unique place in many ways. The house was designed by Robert, John and James Adam, their first independent commission after the death of their father William. The building of the house was completed on budget and on time in 1759. It contains the most wonderful collection of original Chippendale and other furniture and is an amazing place to visit.

IMG_2849The whole estate and furniture was due to be sold when The Prince of Wales stepped in, reputedly arranging for the lorry carrying the precious furniture to be stopped on its way for the contents to be auctioned in London, and saving this unique house with its associated furniture which has an enviable provenance. However, being The Prince of Wales, this project didn’t end simply with saving a house and its contents. I was there to visit the estate and view the wonderful activities involving the whole community and while I was there I noticed that the stone on side of the house has very intriguing diagonal marks – mason’s marks or part of the design?

IMG_2855At the front of the house is a huge fountain and two formal mazes either side. I tried out the maze and as someone with no sense of direction, I was amazed (!) that I actually got to the middle, marked by a stone obelisk.

 

 

 

IMG_2857And just to prove it, here I am at the centre with the obelisk!

 

 

 

 

 

 

IMG_2860It is well-known that The Prince of Wales loves gardens so as you would expect they are wonderful – a mix of colours and textures and not really done justice by this photograph.

 

 

 

 

 

IMG_2876As I walked through the gardens close to the house, I was intrigued by this huge tree which looked most impressive against the azure blue sky (yes, this photo was taken on the day I was there; the sky really was this blue).

 

 

 

 

 

IMG_2877The bark of this tree was fascinating with its whirls and swirls and I wished I had time to sit and draw it.

 

 

 

 

IMG_2889However, it’s not just the house and formal gardens that are worth seeing. On the estate there are animals kept specifically to show children where their food comes from. And if Dumfries House is a building fit for a prince, the animal houses are certainly beautiful enough for The Prince’s farm animals! But the walled garden really was something else! There was a whole long border of HRH’s favourite flower – delphiniums. Again this photo really doesn’t do it justice.

IMG_2890But true to walled gardens, there were also beds of fruit and vegetables, again used to teach children about food but the produce also used in the café and catering training on the estate, and for the formal dinners given by The Prince of Wales.

 

 

IMG_2893Students from The Prince’s Drawing School were in residence when I was there, using the house and grounds as inspiration for their work. There are also great plans for a development to allow onsite training in building and living crafts. This will add to the training already being done in the Textile Centre. Training is given in sewing and machining skills, not now taught in the textile industry, and I was most impressed by what was produced. Here Ashleigh Douglas, head of the centre, shows a specially designed tartan.

 

 

IMG_2896And, as it’s Scotland, Graeme has been making kilts, and will be creating one of the above tartan after he has finished this one.

 

 

 

 

 

IMG_2901 2The facilities are most impressive.

 

 

 

 

 

IMG_2885However, what actually impressed me most of all was, as in the quote at the very top, the comprehensive positivity of Dumfries House and its activities. Every single person I spoke to, from the local taxi driver, to the waitress in the hotel, to those visiting the grounds and house, every single person said how important the estate was to the locality and how impressed they were with what The Prince had done. And in terms of the staff in the house itself, not one wasn’t welcoming, courteous and so kind. It truly felt like a privilege to be wandering through these beautiful grounds and touring a wonderful historical house. If you ever have the chance to visit yourself – do go, make a detour or even a special visit. You won’t regret it.

Roman Capitals

ada9a09acea936d776a6f55c82778c43_LLettering at the base of Trajan’s Column at one end of Trajan’s Forum in Rome is regarded by many as one of the best example of Roman Capitals. These majestical letters, with beautiful proportions, are one of the purest guides for any who want to study the proportions of Roman Capitals. On a recent trip to Rome, I was determined to take the best photograph I could of this block of lettering. For many years this Forum was closed for restoration (it is the other side of the road to the main Forum), but I had read that Trajan’s Forum was now open and so I could stand in front of the column and get a good shot.

 

Lettering at the base of Trajan's ColumnGood fortune was clearly not smiling on me, as when we were there it was closed yet again, with no date for re-opening, and this was the best photograph of the lettering I was able to get – not what I had planned at all, and only from a side angle. The letters are not narrow as they look here, but grand and rounded. Notice also the way in which a later roof for a porch of an access door has been cut into the last line of the lettering. Interestingly, which you may just be able to make out here, the height of the letters on the top line is greater than the next, and so on until the bottom line. This is because the letters were designed to be viewed from the ground, and by having larger letters at the top, they would look all the same.

Triumphal Arch of SeptimiusThere are examples of stunning Roman Capitals all over Rome (including all the modern street names). This is the triumphal Arch of Septimius, just across the road from Trajan’s Forum in the main Forum. It is best viewed, as here, by not going into the Forum itself, but climbing up the path behind the Vittorio Emmanuel monument. The letters were originally bronze and you can make out in close-up the small round darker areas which indicate the attaching pins.

Lettering on one of the tombs in the Via Appia, RomeUndaunted by inaccessibility to Trajan’s Column, I knew that there were really good examples of Roman lettering attached to the tombs along the Via Appia, some way out of the city centre and a long walk, but certainly worth a visit. This is just one example. The letters are beautifully cut in marble, and generally their proportions are good – although the letter N is rather too wide in most examples. However, spacing is not always as good as the letter-forms, lines 9 and 11 being examples of letters pushed too tightly together. David Kindersley, the great letter-cutter, used to say that a bad space is worse than a bad letter. See my Calligraphy Clips on spacing.

Pantheon, RomeThe Pantheon, the temple to all gods, has some majestical Roman lettering along the top of it. From this you can see how wonderfully clear the letter-forms are. We were standing quite a long way away yet it is clear that Agrippa was involved and it was made (FECIT)!

 

 

Rome street signEven road signs around building sites look good in Rome when Roman Capitals are used, but if we’re also looking at spacing, slightly blur your eyes. The ROM is fine, but perhaps the letter ‘A’ is slightly too far to the right. It is the ‘PIT’, though, in the middle of ‘Capitale’ which really stands out. The letters ‘I’ and ‘T’ need to be further to the right, and join up more with ‘ALE’. But this is being really picky when such a good use is made of this wonderful lettering style.

 

Diagram of Roman CapitalsSo what are the proportions for Roman Capitals shown in all these examples? Allowing for the fact that letters need to breath, and don’t always conform, generally speaking the letters in Roman Capitals are regarded as being based on a circle that can be encased within a square, as shown here. Obviously the letter O is that circle, and Q too with its tail (notice it poking out to the right). The letters C, D, and G are also formed from parts of that circle. You can trace them with your finger over the red lines.

 

Asymmetrical letters, then, are narrower, and the width of half of a square, as shown on the left of the diagram. These are B, E, F, J, K, L, P, R and S.

The odds are the letters I and W. Obviously the letter I is a vertical line. The Romans, very sensibly, had nothing to do with the letter W and it is an awkward letter. Nowadays it is regarded as two very slightly narrower Vs.

HCA Awards logoTo see how Roman Capitals can be made to sing, look at this wonderful example of lettering from Tom Perkins for the Heritage Crafts Awards. THIS is how Roman Capitals should look when they are made into a distinctive personal style.

But lettering should not have a rigid a straight jacket, but room to allow it to breath, so the letter R has a tail that sensibly extends beyond that half a square and the top bowl is larger than that of the letter P, the top and bottom bowls of the letters S and B are not equal in size, and so on. Studying the proportions of Roman Capitals is a good first step, but keeping rigidly to them is not the best second step!

Books you might find useful:

Patricia Lovett, The British Library Companion to Calligraphy, Illumination and Heraldry

Patricia Lovett, The Historical Source Book for Scribes

Lida Lopes Cardozo Kindersley, The Annotated Capital

Lida Lopes Cardozo Kindersley, Letters Slate Cut

Tom Perkins, The Art of Letter Carving in Stone

Edward M Catich, The Origin of the Serif

L C Evetts, Roman Lettering

The Church of Saints Michael and Gaetano, Florence

IMG_1319It’s not often that you see a view or a vista that absolutely takes your breath away but this happened when we visited Florence and went into the church of Saints Michael and Gaetano in the Piazza Antinori. Hanging from the arches, stretched along horizontal borders, and placed over shaped inserts in the walls were exquisitely embroidered panels, each one tailored specifically to the spaces.

 

IMG_1322The effect was unbelievable as the flowered borders stretched high along the church and hung under the arches.

 

 

 

 

IMG_1325The sacristan was in the church and I managed to find out about the embroideries. They were apparently made in the early eighteenth century, and it is only recently that they were re-discovered folded up carefully in a store room. This is a close up of the hanging in front of the pulpit.

 

 

IMG_1324It took them quite a while to work out what went where as there were no instructions! However, everything was very carefully made so that it fitted exactly.

 

 

 

 

 

 

IMG_1353This can be seen from the side view of the pulpit hanging here.

 

 

 

 

 

 

IMG_1354Imagine trying to work out what went where with the set of embroidered hangings in this area of the church!

 

 

 

 

 

 

IMG_1320The hangings around the altar are particularly fine.

 

 

 

 

 

 

IMG_1334Here in close up it’s possible to see the exquisite craftsmanship that went into their construction.

 

 

 

 

 

 

IMG_1332But also to note that they are in dire need of conservation. The weft threads are almost completely worn through.

 

 

 

 

 

 

IMG_1331There are lots of examples of gold thread work as here.

 

 

 

 

 

 

IMG_1343Every area seems to have a specially shaped and fitted embroidery.

 

 

 

 

 

 

IMG_1342We were told that it takes three whole days for the hangings to be fixed around the church and three days again for them to be taken down.

 

 

 

 

 

IMG_1335Apparently they put the hangings up for the first week of July for special church celebrations and then take them down a week or so later. We were just so fortunate to have stumbled on the church and this most amazing spectacle, when we did.

 

 

 

 

IMG_1348If you’re in Florence at that time, do make sure that you call in and have your eyes delighted by this stunning work!

The Siege of Caerlaverock

IMG_2834Caerlaverock Castle is distinctive in many ways – for a start it is triangular! It is also distinctive in that it was the site of a siege between the attacking King Edward I of England and the defending Scots in 1300. In the grand scheme of things, this battle would be relatively insignificant but for the fact that the campaign was recorded in a poem in French by a herald, and this text has come down to us. When I was learning the craft, some years ago now, I wrote out this poem in translation and bound it into a book.The first page here shows Edward I’s seal with him depicted as a knight brandishing a sword. The title lettering is in Lombardic capitals and written and painted in shell gold.

 

 

IMG_2839I then wrote out the poem and painted in colour all the coats of arms of the participants according to the blazon (word description) as in the text. The first line of the verse on the right explains that Henry Tyes’ banner was ‘lily-white with rose-red chevron’, and this is shown at the end of the top row of banners. The background is white with an inverted ‘v’ – the chevron. I was very much into diapering at the time (creating a background pattern) so the white has a grey swirling design. William Lattimer’s banner, though, was ‘crimson a cross paty or’, and this is a red background with a cross with fleur-de-lis ends, and in ‘or’, the Norman-French for gold. I used shell gold throughout the book, which is why it is a bit thin in places (it required a lot of gold!).

IMG_2835On this page, Earl de Grey’s banner was ‘in pieces six of silver and blue’, well actually the ‘pieces’ are stripes, as can be seen in the second banner from the left along the bottom row. And the banner of Robert de Monhaut ‘high spirit him to heights of honour urged – raised aloft an azure banner with a silver lion charged’ (the English translation of the poem can be a bit contrived!) is to the right – blue with a white (silver) lion.

 

 

 

IMG_2841Here is an enlargement of a section of one of the pages, with Roger de Mortaigne’s banner of a gold background and six blue lioncels (little lions) ‘double-queued’, or with two tails. And also ‘Handsome Huntercombe’ had an ermine background to his shield (white with the black ermine tails inserted in slits for decoration) and two red ‘gemelles’ – horizontal double lines.

 

IMG_2838The actual design and layout of the book was a real challenge in that I had somehow to marry up the paintings with the text, and this wasn’t always easy, which is shown here. A whole page giving details of the battle but no shields actually described. The shields are, of course, for those who were below in status to those who could bear banners. And the humble foot soldiers, who no doubt did most of the fighting, were not recorded in any way!

 

 

 

IMG_2836 2The lettering is in Chinese liquid ink, which is a dense black, and the writing style a sort of upright Italic. I wrote the names below the shields and banners in vermilion Chinese stick ink, which I ground on a slate inkstone and mixed with water. The actual names in the text were written with the same ink but in Gothic Black Letter which made them stand out (perhaps a bit too much, but I was learning!).

As my course also included book binding, I bound the book myself in black leather, and gold stamped the title on the spine.

 

 

caerlaverock-gatehouseThe castle can be visited by the public now and although it is in ruins it is possible to see how much of a challenge this must have been to the English, although the Scots, despite their seemingly impregnable castle, were defeated. There’s more about the poem here.