Tag: Vision of Placidus
Thinking about The Conversion Of Placidus
I still believe there is a lot to do for the Dreams of Amarna, but at the same time, when I have moments when I know what I am doing and have brain power to spare, I am thinking about the Conversion of Placidus panel that I’d like to do, inspired by Elizabeth Goudge, Pisanello, and La dame a la licorne.
Testing the Inktense blocks – Before Washing
In fact I’ve already bought some calico for the base layer and I’m wondering how to get the design onto it in a reasonably stable but not intrusive fashion. Inktense blocks have been suggested, and when I bought some I was told that once the pigment has been washed over with water, it becomes permanent.
So I found a scrap of cotton and sketched a rather cotton-wool-ball-on-a-stick sort of tree on it, using all of the colours in my selection.
Then I painted over it with water, allowed it to dry, and ironed half of the picture.
Testing the Inktense blocks – After Washing
Then the scrap went into the washing machine. I’m not expecting to do this to Placidus, by the way. It’s just that I assumed that the abrasion would be a good challenge even if the detergent wasn’t, and it will certainly be subject to abrasion when I’m making it!
As you can see, the ironing made no difference at all!
A lot of the colour has gone, but I think this is in fact enough for my purposes. Most of the panel will be applied to the calico, one way or another, so however I get the design onto the calico, it will only be a sketch map to keep me on the right track.
I do know about textile medium, by the way, but my supplier of the Inktense didn’t have any!
Spinning
Drop Spindle And Yarns
I don’t usually go to workshops at the Knitting and Stitching Show, but since I’ve taken to going to the Thursday evening opening as well, I thought I would have time this year.
And I did. I went to a workshop on Spinning Silk Mawata with Ruth MacGregor, and came back with my very own drop spindle to play with.
First of all I’ve never been to any fibre related workshop at which there were tubes of handcream on the table! Secondly, although I have – literally! – written a book about spinning, I’ve never held a drop spindle in my life and I had no idea what to expect. My book is about industrial spinning, and the machines always did the difficult stuff…
It turns out that silk mawata is a web of filament that can be drafted (stretched) and spun fairly easily – it’s a forgiving material, and because silk is so strong and the filaments are so long, it’s easy to draft and create fine threads. Of course, that means that spinning heavier threads is going to take a bit more thought and care.
Spinning Supplies
Or – since Ruth taught us how – there is always the possibility of twisting two threads together to make one. In the photo above you can see my early efforts. The two light ones are both fairly simple plied yarns, but speaking as a fancy yarn specialist, the dark one is a slubbed gimp yarn. I just wish I could claim that that was exactly as I designed it to be!
So I came home with a packet of silk mawata caps and some silk tops, so I can play and learn to make the thread I want to make.
Eventually I want to be able to spin in both wool and silk, and use some of my yarns in the Vision of Placidus panel…
Some opportunistic research for the Vision of Placidus
Conversion of St Hubert (Image from Wikipedia)
Shortly after I had my idea for a panel depicting the Vision of Placidus, I went to London for a lecture. The Pisanello is in The National Gallery, so after the lecture I took the opportunity, before catching the train home, to go to see the painting in real life. It turns out that St Hubert had a similar Conversion experience, so as well as the Pisanello “Vision of St Eustace” I found a fragment of an altarpiece entitled “The Conversion of St Hubert”…
I eventually tracked down the Pisanello, in the Sainsbury wing, and found it very much smaller than I expected – about A2 in size – which is much smaller than I am planning (about five foot by three foot). It was also just as dark as the reproduction I showed you in the first post about this idea. I sat down on a convenient window seat nearby, and started taking notes of the further research I need to do.
Sketch for the Vision Of Placidus
I will need picture references for
- a horse reined in from a gallop
- a stag with huge antlers
- hounds alert but not moving
- forest flora and fauna
- crucifix
- rocky outcrop
- suitably rich and exotic clothing for the huntsman
I also want to differentiate the vegetation from the background rather more, pull the rocky outcrop away from the background a bit more, and make the crucifix seem to grow out of the antlers rather more than it does in Pisanello’s painting.
Placidus In Pastel
While I was there, I sketched a very approximate idea of the space I want in the picture – the Pisanallo and the altarpiece, and the picture above, are all quite compressed and condensed, and at the moment my idea is to have much more space and “air” in the design.
When I got home I had another go, this time in pastels. Some elements of the pastel work quite well – the horse and its harness, and the crucifix between the deer’s antlers. Others are not so good – the trees in the background are too regularly spaced and too similar in shape, and, like the Pisanello, there isn’t as much space between the stag and the horse as I would like.
I need to be careful, here. If I concentrate too much on creating painted sketches, I might drive out all the stitching ideas, but at the same time, the more I think about the design, the better the chance I have of producing a panel I am happy with!
Vision of Placidus – a project for the distant future…
Pisanello “Vision of St Eustace” (Image from Wikipedia)
Lately I have been re-reading a favourite book, “The Herb of Grace” by Elizabeth Goudge. In it, her fictional family discover in their house – a medieval Pilgrim Inn – an ancient fresco, depicting the conversion of Placidus. It is described as being very like Pisanello’s “Vision of St Eustace”, now in the National Gallery – Placidus changed his name when he converted to Christianity – but with the local wood and its animals forming the background. In fact, so enchanted was the fictional artist by the local wildlife that he filled every gap in the trees with animals, even putting land animals in the sky to fit them all in.
La Dame à la licorne. (Image from Wikipedia)
It is this element that appealed to me, as it is reminiscent in some ways of my favourite textile, in my favourite museum in all the world – La Dame à la licorne, in the Musée de Cluny in Paris. This is a set of medieval tapestries, depicting the mythological hunt for the unicorn, and the set is displayed in a circular room, with a set of steps down into it. When I first saw it, I sat down very suddenly on the steps, and didn’t move or speak for a good ten minutes, which gravely disconcerted my companion at the time. I’ve since dragged various friends and relations there, too, just to give myself another opportunity to visit the tapestries, not to mention visiting the Gobelins Manufactory in order to find out how such tapestries were made!
One day, I would like to create my own panel, linking La Dame à la licorne with the Vision of St Eustace. There are so many textures – the fur and feathers of the animals and birds, the splendid trappings of Placidus’ horse and his own clothes, the forest trees and flowers, and the rocky outcrop where the stag turned to face him. Just think of the wonderful variety of stitches and threads I could use!