Here is another of my Edlyn series. Working with the same design, but this time choosing colours from another panel.
I rather liked the melancholy of the ‘David with harp’ panel and I thought the blues, the very pale grey, and the faded lilacs seen on the surrounding woodwork would make an interesting scarf.
Adding more colour to imitate the golden feel of the original David panel.
At this stage again as with the first of this series, the colours were all looking too clean and all more 21st century than 15th century. So I used my hard bristle brush again and swept lightly across the silk with a thickish greeny-grey resist over the blue.
And, finally I added black dye to the background to give the overall design some depth.
The piece was finished and ready for steaming.
And here’s the scarf after a couple of hours in the steamer.
When I last posted about my Edlyn series I had just begun painting the first Edlyn scarf.
With continual reference to my photograph of the Isaiah panel of the rood screen, I began selecting my colour combinations and mixing up the dyes. Then I started painting.
As the colour was added the whole piece began to take shape.
At this stage I felt the painting looked too flat and clean, so with a wide stiff brush I added sweeps of thick, brown resist to give a hint of ageing. Edlyn gold is now finished and awaiting steaming.
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.
At heart I am a visual culture purist. I say this to forewarn you about my comments regarding the rood screen and pulpit of St Edmund’s Church in Southwold.
St Edmund’s is a beautiful medieval church built in the Perpendicular style. It’s full name is ‘The Church of St Edmund, King and Martyr’. The building we see today (suggested date 1413 in the church’s guide, but circa 1430 in both Pevsner and Mortlock accounts) was built on the site of an earlier thirteen-century church, a smaller building that had been destroyed by fire. According to the church guide during 1758 the foundations of that original building were located underneath part of the present church.
The straight lines of the Perpendicular style have been emphasised at St Edmund’s by the luxury flushwork of flint and stone. The linear quality of the building is doubly emphasised by the striking effect of an inlaid chessboard decoration on the west tower that is repeated on the exterior walls of the south porch.
South porch with niche that would originally have held a statue of the Virgin Mary.
Edmund, king, saint and martyr. Statue by Andrew Swinley, 1989.
From the appearance of the grand, ornate exterior it is evident that St Edmund’s was built at a time when the parish of Southwold and its environs had generous wealthy donors. This is confirmed by the quality of the surviving medieval interior furnishings that include the rood screen, the pulpit and the font.
Of course, the splendid, painted and gilded rood screen alone is worth a visit to the church, but there is also a fine pre-Reformation pulpit and a beautifully decorated and adorned hammerbeam ceiling together with the original, though defaced font.
Now here is the issue. Between its glorious fifteenth-century heyday and today, St Edmund’s, along with many East Anglian medieval churches, has had some turbulent, destructive times, and equally, some impoverished, neglected and generally detrimental times. The visit of William Dowsing and the iconoclasts in 1643 brought the first and substantial destructive episode which included the defacing of the font.
SOUTHWOLD, APRIL the 8th. We break
down 130 superstitious Pictures ; St. Andrew ; and 4
Crosses on the four corners of the Vestry ; and gave
order to take down 13 Cherubims; and take down 20
Angels ; and to take down the Cover of the Font.
Quote from 'The journal of William Dowsing of Stratford,
parliamentary visitor, appointed under a warrant from the
Earl of Manchester, for demolishing the superstitious
pictures and ornaments of churches.' Journal commenced
1643, Sudbury, Suffolk.
After this deliberate, seventeenth-century image smashing came the long period of straightened times for Church of England buildings as the eighteenth century saw the rise of the Nonconformists and the subsequent fall in C of E congregation numbers. A neglected St Edmund’s functioned with a series of temporary curates as the chancel roof and wood of the east window slowly rotted away.
However, with the rise of the Evangelical movement across the course of the nineteenth century it was all change again. A widening interest in re-examining the medieval past combined with the Victorian’s obsession for progress, resulted in large funds being provided for extensive renovation schemes at St Edmund’s.
The attractively painted ceiling of the hammerbeam roof adorned with painted angels we see today is one such renovation scheme. The replacement ceiling is a fine example of nineteenth-century carpentry and decorative painting skills as well as an insight into how a previous generation reinterpreted our shared medieval past. The Victorians aimed for reconstructing a perfectly finished past whilst our twenty-first-century sensibility is all about the delicately preserved, authentic original however dilapidated and tatty it looks.
Apparently, the colourful blue and painted details are very near to sketched records of the original medieval ceiling, but how fair a facsimile it is difficult to judge. That situation is brought acutely into focus when we turn to consider the ‘restoration’ of the medieval pulpit during the 1920s.
Along with providing designs for the reredos, the lectern and the font cover, an ‘inspired young church architect from Oxford’, F E Howard (1888-1934), oversaw the restoration and painting of the pulpit. Sadly, the once elegant original medieval trumpet-stemmed pulpit is almost obliterated beneath thick layers of overdone paintwork and gilding.
Curiously, the writer of the church’s own guidebook gives special credit to F E Howard for making St Edmund’s interior the delight it is today. However, even the guide’s sympathetic author informs us that any desires by Howard to renovate the rood screen were not permitted.
Personally, I am very, very pleased he was stopped.
I have nothing against Victorian art and it is as much part of the history and culture of this church as the medieval art. Nevertheless from the our twenty-first-century viewpoint the Victorians’ well-meaning yet heavy-handed painting and renovations can border on vandalism. The repainting of the damaged saints’ faces by Sir George Richmond in 1874 are bad enough, but just think what Howard would have done in the 1920s to all that delicate gilding on the rood screen given half a chance.
As I mentioned at the beginning I am a visual culture purist and as such I appreciate seeing what is left of our medieval culture when it is gently conserved, but I do realise that a little active conservation is necessary. Of course, what we have left is still only an approximation of the reality of the past. Today’s impression for a visitor to St Edmund’s is nothing like the spectacle and mystery experienced by a medieval parishioner or even a Victorian church goer as all the medieval stained glass was blown from the windows by a bomb in 1943 during the Second World War.
It was just over 18 years ago that I spent several months visiting a number of medieval churches in East Anglia to photograph their painted rood screens. At the time I was working on the rood screens as part of my research for my Master’s dissertation. Often my mother accompanied me and helped out with the photographs. I was surveying the painted details found within the cloth of gold worn by the saints and prophets. She would patiently hold a cardboard scale slightly in front of the painted motifs embellishing the robes depicted on the screens. It was in the days just before digital cameras became widely available (and affordable!) and I had to wait for my film to return from the developers before I knew if my prints were a fair record for my work.
Following my recent house move my dissertation has surfaced. Looking for fresh inspiration I scrutinised the photographs I used to illustrate my text. What a disappointment! At the time I wrote and produced my dissertation the finished printed version appeared good enough, but compared to my photos today they are, well, of exceedingly poor quality.
There are six rood screens in East Anglia that are particularly fine and are known as the ‘Ranworth Group’. These late-fifteenth-century screens include from Norfolk; St Helen’s, Ranworth; All Saints’, Filby; St Mary’s, Old Hunstanton; All Saints’, Thornham; St Mary’s, North Elmham and from Suffolk, St Edmund’s, Southwold. Maybe one day I will be back up on the North Norfolk coast and visit Old Hunstanton and Thornham again, but for my immediate needs Southwold is my nearest resource. (I have already been back to, rephotographed and worked from Ranworth – see here.)
It is the case that the Ranworth screen is by far the best preserved, but Southwold is also in a reasonable condition despite some Victorian renovation work. All six rood screens of the Ranworth Group appear to have been made and painted by a single workshop. The designs and motifs for the cloth of gold used to adorn the saints and prophets probably came from the same pattern source book. If you look carefully at the examples above (Page 27 -apologies for the poor quality) you can see a dog with collar attacking a nesting swan. This motif is found clearly on five of the painted screens, the exception being North Elmham which was too dark and damaged to see the detail clearly. All measured 6 x 7 cm suggesting the motif was traced from an original source. There are other motifs and stencilled patterns that are also seen repeated on the rood screens, including the screen at St Edmund’s, Southwold, providing consistent evidence to support the long held view that a well-respected artisan workshop from Norwich created these masterpieces during the period 1470 – 1500.
Earlier this week I went back to Southwold to rephotograph its glorious rood screen and you can see from the image below that modern technology, a better camera and a better lens have enabled me to record this treasured medieval art as it should be done.
In the past I’ve blogged about the beautiful examples of medieval art in East Anglia not least the stunning rood screen at Ranworth. However, although many parish churches across the region still have their original rood screens often they have survived in much reduced circumstances.
The Church of St Mary and St Andrew in the Norfolk village of Horsham St Faith is a fine medieval building. It is essentially a 15th-century church with some earlier 13th century features such as part of the flint and freestone West Tower dating from 1290. Inside the building, separating the chancel from the nave, is the rood screen comprising of twelve painted panels. There is a dated inscription (1528) recording one William Wulcy and his two wives as the donors of the screen.
The church also has a similarly decorated pulpit with more painted panels. It’s accompanying inscription records the pulpit was painted in 1480.
Like so much of the medieval ornate imagery of saints found in churches, both the pulpit and rood screen have been subjected to the iconoclastic forces of the puritan William Dowsing (1596–1668) and his followers.
At the moment I am working on a piece inspired by both the beauty of these paintings and the various examples of the defaced and faceless images that still survive. My own preference is for work that is either unrestored with all the fury of the scraped and scored faces still visible, or, panels that have been gently restored by restrained contemporary conservators.
Obviously, in the past there have been efforts at restoration with good intentions such as these carried out in 1978, but the heavy-handed often frankly amateurish repainting of the faces significantly detracts from the whole. And, in some cases the work is so bad it looks almost comical. (Somehow my photos, below, have softened this coarse attempt, but nevertheless the faces show no interest in capturing the medieval aesthetic.)
Sometimes it’s colour combinations, sometimes it’s motifs and sometimes it’s just the overall essence of an image that provides a creative spur when searching for inspiration. We all do it and the Victorians’ passion for mining their past is proudly visible in their cultural output.
Building Noah’s Ark, St Edmundsbury Cathedral, Bury St Edmunds, Suffolk. Victorian
Moses receives the Law, St Edmundsbury, Bury St Edmunds, Suffolk. Victorian
God creates Eve, St Edmundsbury Cathedral, Bury St Edmunds, Suffolk. Victorian.
The Flight to Egypt, St Edmundsbury Cathedral, Bury St Edmunds, Suffolk. Victorian.
Susannah and the Elders, St Edmundsbury Cathedral, Bury St Edmunds, Suffolk. Late medieval either Flemish or French.
Jesse, the Father of King David, St Edmundsbury Cathedral, Bury St Edmunds, Suffolk. Victorian.
The Last Judgement St Edmundsbury Cathedral, Bury St Edmunds, Suffolk. Victorian.
Most of the stained glass windows that decorate St Edmundsbury Cathedral in Bury St Edmunds, Suffolk, are the work of three leading stained glass firms of the nineteenth century. Stained glass by Clayton and Bell, Hardman & Co and C E Kempe fill the cathedral windows with their work inspired by long-gone and unnamed medieval craftsmen. There is, however, one window whose lights are not Victorian, but date from the late medieval period. At first glance maybe they all look the same, but one has a different ‘feel’! (I’ve labelled it).
As with all creative processes, repeating it rarely results in a second identical copy and as often as not a practitioner makes minor adjustments each time they make a new piece for a series.
Obviously, in my Ranworth collection I have used different panels from the rood screen as inspiration for different colour combinations, but as I’ve worked on each scarf I have also slightly changed the pattern details too.
Details from St Bartholomew and St James
Hilda Ruby silk twill scarf
These scarves have ended up similar, but different. I have endeavoured to capture the relationship between my inspiration and the finished work, but it is tricky to accurately reproduce the qualities of the colours in a photo for a computer/mobile screen. (For your info at the moment these scarves are at the Smiths Row at Christmas Exhibition).
When the unnamed medieval artisans rendered their very beautiful images onto the Ranworth rood screen the colours would have been fresh and vibrant. Perhaps those artisans would be shocked at our 21st-century sensibility that so favours these now scarred and faded images not for their religious content, but their visual charm and serendipitous survival.
Following sorting through my collection of Ranworth photographs (see previous post) it is time to begin working up the design, its shapes and colours.
First, I look for an appealing sequence of motifs and patterns.
Then, I open one or two photos on the computer screen and with continual reference to these images I start to mix the colours I want to use. It is worth noting that it’s only really since the mid-19th century when William Henry Perkin discovered aniline dyes that the option for very bright, clean colours has been available. Even if used as a dilution, the basic, unmixed dyes are too sharp, too harsh. For my work to achieve the more muted, slightly muddy colours similar to the variety of pigments, dyes and gilding of the medieval screens, I mix either a little brown or grey into each colour blend.
Once I’m happy with the colours I work up some small scale designs in my sketchbook.