Monday, September 19, 2016

More Moulding and Painting; Part I of II

I have moved to another room in the house in which I have been doing the moulding project for the past Year. This time I am working on the dining room. It is not nearly so involved as the last project, and thus I will only be doing two posts on this one; this post, and again when it is finished.

The project entails putting up some mouldings on the ceiling, making a medallion and painting it, and re-doing the fireplace mantle. (Plus a few other odds and ends.)


A simple painted medallion. At least you will not find this one on one of
those Chinese import sites for a ridiculously cheap price. 
I used a sheet of cement board to make the medallion, applied the cast ornaments, (reworked from ones used in another part of the house) then cast and carved the connecting bars free-hand on the medallion. I used a couple sections of flexible moulding to make sections from which to cast the plaster pieces for the ceiling, and I carved, moulded, and then cast the 42 leaves needed to complete the design.



First stage of painting. I am using "Old Fashioned Milk Paint"





Left and right leaves

40 of 42 leaves cast in plaster, I do not remember why the other two did
not want to have their picture taken.


I first drew out the ceiling life sized on the floor of my shop. In order to draw an ellipse one needs to know the length and the height. Take half the length and multiply it by half of the width; divide that number by its square root, and that gives you the distance to place your pins (called foci) from the centre point. Use a string looped around one point and tied (forming a loop) exactly at the distance to the extreme tip of the ellipse. Take a pencil and make a notch in the edge, near the tip, and describe your ellipse. It sounds so simple but it took me nearly a day to work it out. I then kept the string, took notations of all the measurements, and duplicated the same ellipse on the ceiling so that I would have a guide to install the plaster moulding. It worked out brilliantly.


A picture found on the internet of the method of drawing an ellipse

Of course before any of the drawing or adding moulding or anything could take place I had to make a work platform. I built this right over the dining room table because it was so big it would have been a huge challenge to move it anywhere else. Working on a ceiling for very long in any position gets to the neck; one really has to feel sympathy for all the painters over the ages who laboured for years doing the magnificent frescoes one finds in palaces, churches and cathedrals.


My working platform; the planks can be moved to wherever they are wanted

As of Friday half of the leaves have been painted gold. The border around the medallion will also be gold, and there are a couple more appliques which go at the ends. This week I will begin working on the fireplace mantle. In a couple weeks I should be posting the completion of this project.





Sunday, September 4, 2016

Some early 14th century church furnishings from Bad Doberan Münster

To begin with, let me say that I have never been to this place; in fact, I have never been anywhere in the former DDR, so my only knowledge of this church is through the internet. Sometimes Wikipedia is a nuisance, but sometimes it is quite a boon, as it was in the case of the article on the Bad Doberaner Münster. The main interest for me in this article is all of the pictures of furnishings that accompany it.



Detail of the Chalice cupboard from "ca 1310" according to Wikipedia.
It was never repainted but still shows some of its original colour and gilding,
proving the accuracy of other objects which have been restored.
(all photos in this post were taken from "Wikimedia")

This church is remarkable for many reasons, such as the fact that its sell was completed in a span of only 15 years, it survived, most of the destruction brought on by the many wars during its history, and the various renovations  that subsequent styles dictated, and by the fact that it retains a wealth of furniture which still survives from the time of its original construction at the turn of the 14th century.


The restored High Altar of the church. Though restored, it is still missing all
of the three dimensional figures which once filled the central arcades; looted
by someone during the Napoleonic wars or the 30 Years War. 


It is for that reason that I point it out in this blog. Most people reading this English language blog probably would not otherwise be exposed to a church in Eastern Germany, but I feel that it should be a must visit place for anyone interested in later medieval history, especially pertaining to furniture. It is even worthy of being a 'pilgrimage destination' for the serious medieval woodworker.


Another view showing the chalice cupboard opened. Part of a
"sacrament tower" from the mid 14th century stands at
the right of the picture.

The interior of this cabinet has not been repainted, and shows the original work of ca 1310. It is worth noting how the painting is done right over all of the iron hardware. Most surviving chests from this period have long since lost their paint, but were, in all probability, painted in like manner; only the subject and design varying. This would give a very different look to the furniture than that which most people hold in their minds of dusty grey wood and rusty iron objects; things which no respecting person in the Middle Ages would have ever furnished their house with.




Two 14th century altars which have suffered greatly the ravishes of time


Whilst this church is in remarkable condition, and maintains an extraordinary amount of its original furnishings, it too, suffered the toll of multiple wars and the sad events of the "Reformation" Many items were destroyed, looted, or otherwise damaged beyond recognition. Here is an altar which has lost every trace of its painting and gilding, and another which has lost nearly all, but has suffered the further indignity of being sawn up, most likely by some greedy art dealer or thief.

A set of benches and a
reproduction baldaquin

Not everything looted or sold off from this church has been lost to us, as the original baldaquin (canopy) to this set of seats made its way about an hour south, to a Neo-Gothic Catholic church built in 1803 in the town of Ludwigslust. During the 19th century restoration of the Bad Doberan church a new baldaquin was replicated for this set of seats. Since the original is still extant, we can see that sometimes the 19th century restorers work was very faithful to the original, and perhaps the stigma that goes with their work is not always well deserved.


Here is the original baldaquin, it has been repainted, and the figures which
would have originally habited the niches on the columns are missing, as is the
original gilding, but the carving is still in a good state and shows the accuracy
of the 19th century copy.


Another cupboard which was probably on the opposite end of the now missing rood screen (made of brick), and paired with the above chalice cupboard was a sacrament cupboard of about the same date, or possibly from the earlier church. Its state of preservation is not quite as good as the chalice cupboard, but is still quite good.


Sacrament cupboard

Wooden remains from other cupboards or some other form of furnishings.
Perhaps these objects were original to the 13th century church which was
incorporated (and largely demolished) into the new church of 1296.


Not only are there several cabinets (there are some small wall cabinets as well) still at the church, there are also still intact, the choir stalls which were reused from the 13th century church, but with new canopies added. (there are also some early 14th century stalls)


Carving detail

13th century stalls with early 14th century canopies.

All in all, I would say it is a small miracle to find so many things still preserved in their original place from this time period, and anyone thinking of visiting Germany should definitely consider having a look at this remarkable monument to history.






Sunday, August 21, 2016

Reflections On My Visit to the MET - A carved 6th or 7th century panel

It has now been twenty years since I came to the States, (where does the time go?!) and until two weeks ago I had never been to the Metropolitan Museum of Art in New York, known colloquially as the MET. A few weeks ago I decided to remedy that shortcoming by giving myself a birthday present; a trip to the museum. One of the things that had prevented me from visiting earlier was that I knew it is a huge museum and there would be no way to take it all in in one day, thus I would need to stay overnight, a rather costly investment in New York. In fact, the museum is so vast, that even in three days I did not see half of what I wanted to see. (And to think that I had also planned to visit the Cloisters which is another whole building devoted to 12-15th century European art, located in a different part of the city.) I spent all of the opening hours of the Museum inside it for the duration of my trip. A fact that had the native New York cab driver incredulous, he could not fathom someone coming there to visit a museum?!

I could gratuitously post a bunch of photos which I took there, (I managed over two thousand, and am still sorting through them.) but just about ever object in the MET is online, and some of them have thousands of renditions posted by others. I do not feel the need to add to the noise. What I decided to do, rather, was to post over the next few months some of the pieces that particularly impressed me, and to share some of the inner workings of my mind, in seeing, appreciating, and comprehending them. In short, I will be curating them into a broader medieval context than what the museum has time or space to do.



A carved wooden panel from the 6-7th century


Before I even went to the museum, I knew there would not be time enough to see everything I would want to, and so determined to stick to what would be the most important to me; namely late antiquity, and early medieval. Thus my tour began right inside the entrance, to the left of the ticket takers. (20+$ per day for three days is an investment in itself). The first few rooms are filled with a mix of objects from all over the Roman world, spanning a period of the 3rd to the 7th century, perfect hunting grounds to help understand the state of the arts at the onset of the Middle Ages.

I had not been there for more than twenty minutes when I spotted this object, hanging on the wall, and knew that my trip had not been wasted.


I was studying this lamp stand when I first spotted
the panel. I enjoyed seeing this lamp as well, and
was very happy that the museum placed it in front
of a mosaic which has an almost identical object
represented; touching on one of my key themes-
that objects portrayed in the artwork are always
much simpler that the actual things they represent.


I said that nearly every object in the museum is online somewhere, and this one is no exception, but I had never come across it, and so was delighted to "find" it. Wooden objects from the 6th and 7th centuries are extremely rare, so it was very special and moving for me to see this remarkably well preserved piece. Before reading the description, I thought perhaps it was a back panel for a bench, or a crest from a cabinet. There are holes in the bottom of the panel, however, which most likely held spindles or balusters, that making the cabinet scenario much less likely.

When I take a trip to a museum, I always try to take pictures of the descriptions either right before or right after photographing the object, so that I will be able to remember what it was I was looking at later. With 2000 plus photos, this was extremely useful! Here is the description for the above picture as provided by the MET.


Museum label for the panel


The museum inventory numbers allowed me to look it up online and find out more information about it. For example, I now know that it is 223mm high, 927mm wide, and 19mm thick. (Interestingly, even today, this is the most common thickness for basic timber stock.) I also learned that it was discovered in and is presumed to have come from Egypt. Because my studies are primarily confined to European Medieval culture, one might wonder why I would have much interest in this, but I will address that shortly. First, however, I wish to discuss the part which the museum mentions as being its likely function. ("The crest of a piece of furniture or a barrier") I am not going to say I have a more precise answer than that, because I do not, instead, what I want to do is examine a few applicational possibilities.

As I said earlier, my first thoughts, upon seeing it were that it could be the back of a chair or bench, but that was partly influenced by the fact that I had just been studying the Utrecht Psalter. Thus my mind recalled some of the benches and chairs depicted in that manuscript.


A bench depicted in the Utrecht Psalter; note the crested back.

This bench depiction represents a much larger piece of furniture than would have been possible from the MET panel (4 occupants), but thanks to an image which I have borrowed a few times already, from St Thomas Guild, we can see that smaller benches, suitable for two people were also produced.


A short bench from Sweden, purported to be from the 12th century, but in style
it could have come from any time of more than a thousand years prior to that,
based on Celtic and Migration Period grave finds and early
(8th-11th century) illuminated manuscripts.


In the late antiquity,and early Middle Ages large chairs were produced which were meant for a single user, and intended to impart a sense of importance and power associated with the occupant. This panel would be large enough to suit such a purpose as well.


A throne depicted in the 9th century Stuttgart Psalter


In looking through my manuscripts I came upon another possible application; that of a headboard. The manuscript pictures I have are less convincing, but when one factors in the Migration Period bed remains which have been found in Germany, Switzerland, and France, this increases the possibilities.


A bed depicted in the Ashburnahm Pentateuch this shows the way balusters
would have been inserted into the bottom of the crest panel
Remains of a 6th century bed (cut down to be used as a coffin) from a grave
find in Baden-Württemberg
(You would not look very pretty after you were buried for 1400 years either!)
Detail of a sketch made in the mid 19th century of a bed found in Oberflacht
a grave site in Baden-Württemberg. This sketch also shows a plan of the bed as
it was found within a sarcophagus. Based on these proportions, one can see
that a panel the length of the one we are discussing would fit such a bed.


As I said, I have no intention of trying to establish what this piece was actually used for, I just wanted to point out some possible applications so that you could visualise it in use on an actual piece of furniture. I have not found any depictions of screens or room dividers, but that could also be another function, as suggested by the museum. The fact that this piece comes from Egypt as opposed to Europe causes me little concern. There are many early medieval ivory artifacts from Egypt which are nearly identical to European examples of the same types of objects. These include Boxes, book covers, and mirror cases, there is no reason, then, to suppose the same might not be true of wooden objects.

The Roman Empire had a very homogenising effect on the arts throughout the area of its control, and we find items of furniture from Spain and Morocco to Iran and even India which had the same basic forms and methods of ornamentation. Small regional influences gave some level of distinction, but the overall Roman-ness of these pieces is almost always undeniable. Part of this was because the Romans incorporated and dispersed design elements from all of the regions in which they held control and allowed the craftsmen from those areas to continue to ply their trades in far flung parts of the empire. The result was a give and take in which both "sides" influenced one another. The classical Greek influence had also been absorbed by Rome, which itself had grown from diverse areas of Europe and the Near East.

In going through some of my collection of illuminated manuscripts in preparation for this blog I found some remarkable ornamentation which very much invoked the style and spirit of the carvings on this MET panel.


The artist who painted this manuscript stuck mostly to the Roman
tradition, but he used some of his native Germanic motifs in the border
and other ornamentation. The spirit of Christ's chair is very much like
that of our panel. The ornamentation surrounding the IHS XPs is even
closer. (This is the latinised  abbreviations for the Greek words
"Jesus Christ")

At first glance, this crest of a Cannon Table from the Soissons Gospels
(BNF Lat 8850 ca 814) has nothing to do with the panel we are discussing, but
look closely, and you will see the same rounded edges interspersed with leaf
points. This is a motif which is found throughout the Roman world at least as
far back as the 3rd century; predating "Byzantine".

Sometimes the influence went the other way as well, and forms of "barbaric" ornament made their way into Greco-Roman art. (or it had been there from the time that these people were also "primitive"). I pointed out the decorations in the above portrait of Christ; these sorts of decorations can be found all over the western world going back millennia before Christ. Here are a couple more examples.


This photo is from the MET website. It shows a basic form of universal
ornament shifted  a bit to give a deliberate emphasis to the cruciform form.
(Notice the dark areas, stained by the minerals used as paint pigment; this
piece would have originally been painted.)


Also from Lat 8850, this little scrap of a border shows the same basic motif
as it might be drawn in a simplified manner relevant to the scale

BNF Lat 9427 fol 145v This letter 'D' from the text, "Diebus Illis Maria"
(In those days Mary... but I cannot read the rest of the script, so I do not
know what the text is) has a somewhat similar motif but the same
design for the border of the roundel. The stem of the 'D' is similar to the
bottom border of the panel. This Frankish manuscript comes from right
at the turn of the 8th century (ca 700)
Even more impressive, however is this little gem, from about the same time, but in a different manuscript.



BNF lat 12048 fol 40v. I think it would be hard to find a closer example
from anywhere than this to the carved roundel in the MET panel. This manuscript
was produced in France at the beginning of the 8th century.
Please notice, also how well painted the cock is.


Thus I conclude that this panel, though it comes from Egypt, can still give us valuable clues as to how a 6th or 7th century piece of European furniture might have appeared.




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Sunday, August 7, 2016

Hidden in Plain Sight; Cabinets in Medieval Artwork

This posting will examine the existence of cabinets in the early and high Middle Ages.

From abot 700 AD comes this
two door cupboard with intarsia decoration
Biblioteca Medicea Laurenziana, fol 5r
Back when I first began studying artwork in search of illustrations of furniture, I primarily focused on paintings from the 14th and 15th centuries. This was mostly due to the fact that it is almost the only "medieval" artwork on display in the museums. This is also why most people, when it comes to medieval reenactment, tend to focus on these two centuries, the information from earlier is just so rare, and there are relatively very few objects from earlier centuries to base recreation on.


A "Giebelschrank", which is German
for a cabinet with a pointed top.
ca 1200. Notice that it was
originally painted and is missing the
edge trim on the top.


As a furniture maker by profession, I have always been particularly interested in finding examples of "case goods" type furniture, Especially cabinets. The usual line, when it comes to cabinets in the Middle Ages, is that there were very few of them, and that they were very heavy, immovable objects. In fact, there are existing examples of this type of furniture which supports that idea. An example of that would be a late 12th/ early 13th century cabinet in Halberstadt which is constructed of timbers large enough to make a house with. but there are other less publicised examples which prove that this was not always true. The single door armoire from the Bergen Museum, pictured above, proves this.


Relief carving of ca 1330, depicting a very fine cabinet, doubtless this was
once one half of an Annunciation scene


As I studied the artwork though, I did come across examples of furniture which seemed more 'ordinary'. In particular, Giotto painted several desks and cabinets between the 1290's and 1337, the last year he was alive. All of these pieces of furniture seem little different to ones made in the 15th and 16th centuries. I also came across Several similar depictions of furniture in relief carvings by Andrea Pisano, and a splendid sculpture by Giovanni da Balduccio, of about 1330, pictured above.

The question might then be raised, "Were cabinets invented in the 13th century, and if not, why do we not see cabinets in earlier work?" The answer to the first part is 'no', and the second part is complicated. First of all, we do not have all, or even more than the tiniest fraction of all the artwork that was produced between the 6th and 13th centuries, so we have no idea of what may or may not have been portrayed, we only know what is portrayed in those artworks that yet survive. Second, there actually are a few illustrations of cabinets from earlier times; one example also in stone, is from a capital in the Basilica of St Mary Magdalene in Vézelay.




A capital in the Basilica of Sainte-Marie-Madeleine à Vézelay,
created in the first half of the 12th century
It is obvious that the objects in the illustrations I havegiven are cabinets, simply by the modern recognisable form they take. I mention this, because several years ago, whilst going through the images from Royal Manuscript 16 G VI in the British Library. I came across the following two illustrations, and a "light bulb" came on in my mind.



Folios 85r and 112v from BL Royal 16 G VI 2nd quarter 14th century

In the first illustration, we can clearly see that a cabinet is represented, because it has shelves full of gold vessels, but in form, it is just the same as the buildings in the next illustration. My moment of realisation was twofold; some of the "buildings" in medieval artwork are actually meant to be cabinets, and a possible reason that more cabinets were not portrayed, was because in the context of simplified representational artwork, a building and a cabinet look just the same. Perhaps to avoid confusion, artists did not usually portray cabinets.

Part of this revelation was that I had recently seen the cabinet illustrated at the top of this blog posting. I realised that a typical medieval portrayal of this cabinet would not really be any different from an illustration of a doorway or a building. After this idea occurred to me I went back through a lot of illustrations to see if there were more examples to support my theory. I was delighted to find that, in fact,there are. 


BNF Lat 1 fol 3v , so called Bible de Vivien, or
the first Bible of Charles the Bald, ca 845


I had actually pondered this image earlier, and thought that the object on the extreme right of the centre register was some sort of cabinet, but had no way to prove it. Most discussions of this picture would say that the object represents a church in which the writings are stored. In fact, the lower register does show books being transferred from one church to another, but on careful examination, we can see that the artist did make some distinctions between his buildings of the first and third register, and the cabinet of the middle one, In the following three details, I have pointed out these differences,




Three details from the above illustration. I have added notes
to point out the differences between the buildings and the cabinet.

The first thing that I noticed was that, unlike the other buildings in this painting, the "cabinet", as I am sure it is, has no representation of stones to its walls; all the other buildings do. The next thing to note is that nearly all of the windows in the buildings are represented as having mullioned, glazed windows, as illustrated by their lighter colour and the white bars in the windows; those that do not are arched. Neither is true for the openings that would be interpreted as windows, were the cabinet actually a building. Speaking of those openings, they all have doors painted in various stages of being open, unlike any of the windows in the other buildings. Lastly, our cabinet has a frieze moulding above the door of the first tier (above the lower doors), and a plinth base to it, as one might expect a cabinet to have; none of the other building shapes from this illustration do.


Here is another illustration from the end
of the 10th century which shows essentially
the same principles. This time, the door
is closed and the cabinet has no windows
in order to distinguish it from the building.
Cabinets seem to have been an integral part of a scholars studio from the beginning of the medieval period, a carryover from classical Greek and Roman society, actually. (see illustration toward the end of this post)


A cabinet for theatre masks, from a book of Greek plays
BNF Lat. 7899 fol 2v 9th century
(So much for the notion that Classical literature was
"lost" in the early Middle Ages!)
BSB clm 14000 fol 97r 879

These two pictures help support each other, clarifying the intent of the
artist in portraying writing cabinets; in the first example, they are built into
the wall of a stone paneled room like one would have found in a palace.
St. Gallen, Stiftsbibliothek, Cod. Sang. 371, zt. 2  11th century
In case there are any die-hard skeptics, here is another illustration ca 1330-40
which shows the same notion, just in the garb of 14th century ornamentation.
BL Egerton MS 2781 fol 71r
And another from the 1st quarter of the 15th century
BL Royal MS 1 E IX fol 63v

All of the cabinets illustrated thus far have very distinctive characteristics which they share with contemporary architecture. It should be no surprise that so much furniture of the Middle Ages had architectural elements to it,  This seems to have been a trend since Roman times. There is a much celebrated remains of a charred cabinet in Herculaneum, which had columns, capitals, and a frieze. All very much like contemporary Roman temples. I already mentioned that cabinets and architecture tended to be nearly indistinguishable in form in the medieval artwork. Below are a few pictures which are buildings, but look very much like the examples of cabinets we have seen; in other words, were one to add some shelves, these would be cabinets not buildings.


This is neither a cabinet nor a building, but a baldaquin.
Notice that it is nearly identical to the Norwegian cabinet.
BNF Lat 6(2) fol 88r 10th century.
The object to the right is most likely a doorway, or a representation of a building
but add a door and a few shelves, and it would be a cabinet.
BSB clm 23631 fol 24r 1V 9th century

There is probably someone reading this who still is not buying into my argument, but that is fine, I have one more card to play. I already showed the Bergen cabinet, which is very architectural in form, as pointed out by the above illustrations. This cabinet is what came to mind when I saw the cabinet in the British Library manuscript and set me on this line of investigation. Another fact that added weight to the notion, however, were the many 13th and 14th century sacristy and chalice cabinets still found in various churches and monasteries around Europe, especially in the Germanic lands; which are all built very deliberately to mimic architecture.



Schrank in the Brandenburg Cathedral
Originally this would have been painted and gilded.
A ca 1300 cabinet in Bad Doberan Münster, made to store 20
chalices and their respective patens.
Notice the painting on the inside of the doors which is
reported to be original to its construction.
Also from the Bad Doberan Münster, this is the left wing
of the high altar, completed about the same time as the
Minster, ca 1300. The entire building project was completed in 15 years.
This altar has been restored, but with the same colours and
gilding, as originally crafted. The cabinet above would originally
have looked like this as well; traces of the paint and gilding
have been left as time has aged them.

I am not saying that most people had cabinets in their homes, and it would be impossible to determine how prevalent they were. The point of this article is to counter the notion that in the early Middle Ages, the furniture was all, or nearly all "six board" and dugout chests. Many writers will tell you that the "hutch" (another name for a tall chest with legs) "originated" in the 12th or 13th centuries, implying that post and panel construction did not exist before that time. My research shows that throughout the medieval period, all sorts of post and panel "case-goods" type furniture was being produced, including cabinets and armoires.

All of the basic forms of furniture were already established in Egyptian and early Grecian civilisations, and the Romans continued those traditions. I have just returned from a trip to the Metropolitan Museum of Art, in New York, where I spent three days studying medieval artworks. I will be sharing more in future posts, but here is one photo from the Late Antiquity/Early Christian period (roughly 250-500 AD). According to the museum information card, it depicts a doctor sitting in front of a cabinet containing scrolls, a basin, and medical tools; though it is inscribed with Greek letters,it comes from Rome, around 300 AD. 



A Roman cabinet from around 300 AD, from a sarcophagus now in the MET



This cabinet is very much like several depicted by the Ottonian artist known as the Meister des Registrum Gregorii, and others of his circle of influence. It would be totally absurd to think that whilst continuing the practice of making timber framed buildings, siege engines, and weaving looms, European society as a whole forgot how to make cabinets, but after several hundred years, again took up the art in the very same form.


BNF Lat 8851 fol 115v depicting St John in his Study
10th century
Just a parting note on a mostly unrelated topic; unlike many people will tell you, the chair in which St John is sitting does not have a two sided back "to keep out the draughts". The fact that it appears that way to us is simply the result of a common problem of medieval artwork, where the artist is trying to combine two points of view in one illustration. From the side, he knows that the back of the chair is 'behind' the sitter, but he also knows that from the front the back is visible on both sides of the occupant's body, thus he attempts to combine a 'side-view' and a 'front-view' in one picture. See my earlier article on interpreting perspective in medieval art.



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