In some of our churches not all is what it seems. Marble columns that appear round and richly carved recede to painted curlicues. Velvet curtains that hang sumptuously are nothing more than daubed oils. Varnished woodwork the work of an illusionist.
Because that's what these are: illusions. Or, to give the proper name, it's trompe l'oeil - a French term that literally means deceives the eye. It's a technique to trick the viewer into perceiving a flat painted detail as a 3D object.
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At St Mary's, Mundon in Essex, the east wall has Baroque-style Commandment boards feigned in pink squiggly marble and suspended from impossibly delicate ties.
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Over the east window, heavy painted velvet curtains are held open by rope ties and tassels. All throwing dark shadows to trick the viewer even more. This extravagant east-end is so unexpected in this otherwise wholesome, vernacular church.
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In the medieval church of St Ellyw, Llanelieu in Powys, countless layers of historic wall-paintings break through the white-wash, offering up snatches of feet, flowers, verses and coats of arms.
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Immediately as one enters, they are greeted with a large lion rampant guardant painted in golden ochre. Its eyes are empty, St Edward's crown perched on top of its head.
(Zoom in to see the detail.)
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The lion was a dexter supporter of a royal coat of arms, the entire heraldic achievement is enclosed by a trompe l'oeil timber frame. The painter going to great efforts to imitate wood-grain. This technique is also seen on a couple of smaller textual panels in the church.
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So the next time you visit these churches, take a second look. The artists of the 18th century are still tricking eyes hundreds of years later.
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Red and yellow and pink and green ... most children can tell you that rainbows contain seven colours, and many of us use 'ROYGBIV' to remember them. But people haven't always seen rainbows this way.
Rubens' 'The Rainbow Landscape' of 1636 was painted just three decades before major new scientific theories about colour and light emerged. The rainbow lights up surrounding clouds with highlights of lemony yellow and blue.
In 1664, Robert Boyle conducted experiments with prisms, and in the 'artificial rain-bow' he produced, he observed five colours: Red, Yellow, Green, Blew and Purple. ...
The church at Skeffling was built from glacial clutter and recycled masonry in the 1400s. It sits in Holderness. A landscape of mudflats and salt-marshes washed into existence by the North Sea.
Here ‘leaves unnoticed thicken, hidden weeds flower, neglected waters quicken’.
Those are the words of poet, Philip Larkin. Larkin explored this area after he moved to Hull in 1955 to take up the position of librarian at the Brynmor Jones Library at the University of Hull. He lived there and held that job for thirty years, until his death in 1985.
Of Hull, he wrote "I never thought about Hull until I was here. Having got here, it suits me in many ways. It is a little on the edge of things, I think even its natives would say that. I rather like being on the edge of things.”
If there were more than 20 sheep in the flock, he could note the first 20 when he reached Figgit by putting a pebble in his pocket, and then starting the sequence from Yan again.
(info from 'Alex's Adventures in Numberland' by Alex Bellos)
In about 1300, five massive oak legs were pushed into the soil at Boveney to raise a belltower out of the clay tile roof of the 12th-century church. Inside, in the 1800s fielded panelling was installed, hiding those hardworking legs.
Perfect as that panelling looked, it obscured the most important timbers. Noticing that the bellcote was somewhat slumped, our architect removed some panels, and we found the legs were rotten. Boveney church was *almost* without a leg to stand on.
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Many things contributed to the decay-the high water-table of the river-bank church, deathwatch beetle, fruiting bodies… The panelling concealed this until it was almost too late. The words, ‘catastrophic collapse’, were used. Panic set in. The £60,000 repair bill quadrupled.
Between 1666 and 1680, the English parliament sought to protect the wool trade, by requiring the dead to be buried in nothing but a shroud of English sheep's wool. Plague victims and the destitute were the only exceptions.
The 'Burying in Woollen Acts' required an Affidavit within 8 days of burial, proving before a JP that the law had been complied with. Those who didn't comply were fined £5, half of which went to the poor. This blog has some terrific examples of affidavits:buff.ly/3YkB33B
Many wealthy families preferred to simply pay the fine and bury their loved ones in clothing or shrouds of finer materials, such as linen.
St Patrick was ripped from his home as a teenager. After six years as a slave in the west of Ireland, he trekked the breadth of the island to get home to Britain. He would become the patron saint of Ireland, yet at the end of his life, he felt he had failed.
Patrick lived in the 5th century. Upon leaving Ireland in his early 20s, he devoted his life to Christ. He returned to Ireland after hearing Vox Hiberionacum – the voice of the Irish – in a dream.
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He became the patron saint of Ireland in the 7th century when the embellishment of St Patrick’s story began. Some of the biographers got quite creative, attributing all manner of miracles to the man – from snakes to sprouting staffs.