Four years ago during the autumn of 2014 I blogged a sequence of posts relating how I was inspired by the Ranworth rood screen to create some silk scarves. Now is that time of year when I turn to looking at all those warmer, rich shades of autumn and feel the need to work with old gold and dusky damsons. Or, as Hilary Mantel so beautiful wrote “wearing theirfallen fruit silks of mulberry, gold and plum” when describing the gentlemen’s clothing at the Tudor court.
Looking at my recent photographs of another medieval rood screen this time in Suffolk, there is much to admire and inspire. Despite its age, over 500 years old, the screen at St Edmund’s, Southwold still has a wealth of medieval painted panels filled with faded colour and I have found plenty of inspiration.
Firstly, I decided to work with a delightful motif repeated on the cloak of the prophet, Isaiah. I copied the motif and worked up a whole scarf design on paper before using three templates to transfer the completed work to a square, flat crepe scarf.
This part of the process is surprisingly controlled to ensure I get balance and movement across the whole scarf. Next it is time to add the specific details, drawing lines and shapes using the gutta resist. This part is a little more loose and random as the resist flows freely and quite rapidly from the applicator pipette.
Finally, once the outlining is finished and has completely dried the softer and unfettered painting can begin. This is the first of my Edlyn Series of silk scarves inspired by the St Edmund’s rood screen.
It’s always interesting to go visiting and have the opportunity to climb up a medieval spiral staircase and take in the views from the roof. The original gatehouse of Oxburgh Hall has just such a staircase. Apparently, it used to be possible on a clear day to see across to Ely Cathedral some 20 miles distant before trees obscured the view.
The climb to the roof top begins by taking the North Staircase lined with some amazing and unusual embossed and painted leather wall-coverings.
On the first floor of the gatehouse is the King’s Room. It’s called the King’s Room as some time during the late 15th century King Henry VII slept at Oxburgh Hall, but not actually in this room. Just off this chamber is the King’s Room Closet with a small garderobe (medieval loo). In the corner of this small space there is a brick-topped trap door concealing the entrance to a tiny priest hole hidden beneath.
Now it’s up the spiral staircase to directly above the King’s Room where we find the Queen’s Room . The Queen in question was Henry VII’s wife, Queen Elizabeth of York. The spiral staircase along with the external appearance of the gatehouse is the one part of the Hall that survives from the 15th century without being substantially remodelled and gives us an indication of the superior quality of the original building.
When you reach the top the spiral staircase opens onto the roof. More 15th-century details are visible such as the machicolations in the turret walls and a trio of gothic window arches. Machicolations are openings in a wall or floor through which missiles could be thrown down in the event of an attack on the house.
And here are the views looking out into the Norfolk countryside. The photograph on the right is the view to the south-west in the direction of Ely Cathedral. Looking at the near line of trees and the more distant wooded land I think it’s been many decades since anyone glimpsed Ely Cathedral in the distance.
Perusing the National Trust’s guidebook to Oxburgh Hall the recurring theme, we are told, is loyalty. That is, over the centuries, the Bedingfeld family’s loyalty to their Roman Catholic faith and their loyalty to royalty. Obviously, these ‘two loyalties’ have not always been compatible hence the priest hole. I’m not sure what the NT think of their paying visitors, but the tone of their guidebook towards this house and family is bordering on reverential.
Sometimes I think the NT finds it difficult to fully accommodate some of the properties they have been donated and these days with modern marketing they have to have a story to sell, sorry, tell. I don’t envy them this tricky task when promoting Oxburgh Hall. Essentially, Oxburgh Hall is presented as Tudor with its original gatehouse and moat, but in reality, thanks to extensive 19th-century remodelling it is mostly Mock Tudor, sorry that is Gothic Revival. I appreciate that any building existing on the same site for over 500 years has evolved, however I personally feel that authenticity matters when selling ‘heritage’. This house’s story is definitely about survival though how we find it today is probably more about wealthy Victorians and their rose-tinted view of the past.
I’m sure I’m not the only person to see the BAFTA nominations for the award ‘Outstanding British film’ and wonder why there isn’t a single film that tells a contemporary story played out in a contemporary setting. Of course, ‘Under the skin’ was filmed in the ‘real’ streets of 21st century Glasgow with some of the shots attempting to catch unscripted interactions with hidden cameras, but the film is essentially a science fiction film.
The nearest to contemporary is the family film ‘Paddington’ which gives us a deliberately sugar-coated London of an ill-defined time period. In the film there are plenty of visual signifiers for the 21st century, but it is purposely unreal, a fairy tale version of London – it is after all a family film.
The other four films are all period pieces and no doubt all worthy of their nomination in the category ‘Outstanding British film’. Of course, the production of culture, and that obviously includes film-making, always tells us something about the time in which it is created and a ‘period’ film is no different. It just disheartens me as a film fan that the best British film this year will probably be one that, whatever its outstanding contribution, compounds the idea of Britain being the heritage isles forever looking backwards through mostly rose-tinted glasses.