Arts and Music: Medieval Stained Glass

By Lisa Yarde

Glass artists learned to mix sand and wood ash, and introduced color from metallic salts and oxides when the glass was still molten, to produce shades of red, blue, yellows and gold and green. In the hands of medieval glaziers and glass painters, stained glass became admired for both its utility and splendor, the best examples of which are seen in churches and cathedrals.

With its use of natural light to enhance the myriad, jewel-toned colors, stained glass windows have depicted religious scenes since at least the tenth century. A union of form and function, the windows served the dual purposes of making the church a special, sacred building, and teaching the largely illiterate masses about the Bible through its visual representations.

A twelfth century monk, Theophilus, wrote On Diverse Arts, in which he explained the technique of stained glass window construction:

...If you want to assemble simple windows, first mark out the dimensions of their length and breadth on a wooden board, then draw scroll work or anything else that pleases you, and select colors that are to be put in. Cut the glass and fit the pieces together with the grozing iron [a tool with a hardened steel point]. Enclose them with lead cames [a soft metal used to divide small pieces of glass]...and solder on both sides. Surround it with a wooden frame strengthened with mails and set it up in the place where you wish.

Europe has some of the oldest and finest examples of stained glass windows, in its great cathedrals. Canterbury Cathedral in Kent, England showcases twelfth to fifteenth century glasswork (above) with biblical themes in its western and southern windows, including the Miracles of St. Thomas and images from the Old and New Testaments. Some of the artwork is high and difficult to see, especially the Ancestry of Christ, which depicts biblical figures interspersed with saints and the coat of arms of several noble families in the south window.

To the north of the country in Yorkshire, York Minster's Great East Window remains the largest medieval stained glass window in the world (above) and features biblical scenes from Genesis and Revelation. It is the size of a tennis court. The Five Sisters Window has glass from 1250, while the South Rose window glass dates from 1490. France's great cathedrals also have beautiful installations of glasswork, the most famous of which (below) is on display at the Gothic cathedral of Chartres, fifty miles outside of Paris. Most of its windows date from the early thirteenth and fourteenth centuries, including subjects such as the Last Judgment in the west Rose Window, prophets and saints depicted in the south Rose Window that dates from the 1230s, and the glorification of the Virgin and Christ.

Arts and Music: The Falcon in Medieval Art

By Blythe Gifford

As I researched HIS BORDER BRIDE, my May release, I studied the ancient sport of falconry for the first time and became so fascinated that I used it as a symbol throughout my story.

In medieval times, hawking, whether with a falcon or another bird of prey, was not just a leisure pastime. It was a status symbol and the height of "conspicuous consumption." The imagery and language of the hunt permeated art, poetry, language, and even Shakespeare's plays.

Once you become aware of it, you can see references to this "noble sport" in many pieces of medieval art.

First, I'm including an image of a French tapestry from 1500 called Leaving for a Solitary Hunt. (Often, hunts were not solitary jaunts, but huge, elaborate affairs, more like processions than sport.) This beautiful tapestry shows the lord with his falcon, dogs, and an attendant and includes the beautiful millefleur, or "thousand flower" style of background. In this case, the subject is what it seems: the lord going on a hunt alone.

But in other cases, the art carried hidden meaning, for the complex dance of the falcon and the quarry was an oft-used symbol of love. Both men and women participated in the sport, though the most prized hunting falcons were female, not male. In an image, the bird could stand for the woman, the man, or love in the abstract.

The second example here, about 100 years earlier than the previous one, shows a woman holding a falcon being approached by a man who carries a small heart. Because she is holding the falcon, the interpretation is that she has control--that is he loves her more than vice versa, since he is bringing her his heart.

Those symbols may seem obvious, but some of the others in this work are less so. The falcon here represents the noblest of man's aspirations; the flower, the woman's virginity. We also see the lady's dog leaping up on her lap. This would have been understood to stand for male sexuality, as the "lap dog" was where the lover would like to be.

In addition, there are three rabbits woven into the scene. Why? Because in the French of that day, rabbits were called con, which was also the French word for the female sexual organ. (Think of a four letter word in English beginning with 'C' and you'll get the idea.) So while this lovely scene seems chaste, it carries an explicit message about love and sex.

The next image comes from a codex, or a series of bound medieval pages. Here, the woman holds the man and he holds the falcon, who seems to be nibbling on a snack. The interpretation is less clear here. She is in the "dominant" position, but he has control of the falcon, so it may be that he's in charge and has bent her to his will, e.g. she eats at his hand.

These examples are from France, the Netherlands, and Germany. But my book is set on the Scottish border, far from where such beautiful and costly pieces were created. I did discover an image, however, that captured my imagination and served as an important symbol for my book, and my heroine.

This final piece is a fragment of an aumônière, or pouch, embroidered with gilt thread, silk, and satin. It was created in the first half of the fourteenth century, and I like to think that something very much like it could have found its way to Scotland.

Labeled "The Falcon's Return," it shows a lover flying back to his mistress as a falcon would return to her. His arms are long and distorted; his hood and her cloak billow like wings.

To me, the piece is a reminder that even the most well-trained bird is still a wild thing, no more "owned" by the hunter than a lover. Each time the bird returns to the falconer's fist is a choice, as is each return of a faithful lover. No amount of training or force can capture a wild heart.

It must be given. Was this what the artist intended? Well, this is my interpretation. Read into it what you will.

Some of the analyses here were gleaned from THE MEDIEVAL ART OF LOVE, by Michael Camille, published by Harry N. Abrams, New York, in 1998.

Arts and Music: Roman Wall Painting

By Michelle Styles

When most people think of Rome and art, they think about white marble statues, generally copies of Greek or busts of Roman senator. White on white. A bleached landscape.It is a shame because Rome was a city of vibrant colour. The place to see this colour is not in the statues but in the remaining mosaics and frescoes.

Until the Venetians invented painting on canvas, everything was either painted on wood or directly on plaster. The painting directly on to fresh plaster is known as a fresco. The Romans were masters at creating illusions with paint--trompe d’oeil.

The Romans did not live in a world of pastels but one where colour played an important part. Most of the frescoes that we can see today come from either Pompeii or Herculaneum. Some like the Maritime Villas from the House of Marcus Lucretius Fronto depict actual scenes. In this case, the seafront of Baia. (I found it very helpful when I was writing THE ROMAN'S VIRGIN MISTRESS as I had picture of the actual frontage from the right time period to use.) Others depict scenes from plays, or events or even idealised gardens.

Because of the very real problem of looting, most of the important frescoes have been removed from the sites and are now displayed in Naples. The ones left in Pompeii tend to be fragmentary. The other problem is that of conservation. The colours have become bleached with the passage of time.

However, the most evocative frescoes come not from Pompeii but from Rome, from the underground dining room of Livia's villa. The frescoes depict an idealised view of Livia's above ground garden in full bloom. From the paintings, scholars have been able to determine many of the plants that were being grown in Rome at the time. These include the bay laurel (Livia's favourite plant), the strawberry tree, oleander, date figs and cypress trees.

The frescoes were uncovered in the late 19th century and moved to the Palazzo Massimo alle Terme in Rome. You can only see them through timed ticket but it is worth taking the time. The tour also takes you through some of the better mosaics and a few other painted rooms but it is Livia's dining room which is the real highlight.

The frescoes were kept underground and never exposed to the light, and are completely intact, it is possible to get a sense of what the Romans, in particular Augustus and Livia must have actually experienced. Photographs do not do it justice (or indeed any fresco) and tend to bleach out the vibrant greens and blues. In fact, unless you have special permission are not allowed to take photographs of the walls.

Standing in that room, surrounded by paintings which go from the ceiling to the floor, you suddenly realise how much colour the Romans used and how vibrant their walls were. There is also a depth to the frescoes which is lacking in modern reconstructions. I know when I stood in that room, my whole conception of what Roman life must been like changed.

Michelle Styles's Roman set A NOBLE CAPTIVE is out now at eharlequin and will be available as an ebook everywhere from April.

Arts and Music: Elaine Duillo

By Anna C. Bowling

Elaine Duillo has romance covered!

When illustrator Elaine Duillo first began her career in the 1950s, she often signed her work with male pseudonyms, as paperback illustration was, at the time, not a venue for women. Elaine certainly had a hand in changing that outlook, with over one thousand covers between the start of her career and her retirement in the 1990s. Best known for her romance covers for authors such as Bertrice Small, Johanna Lindsey and Rebecca Brandewyne, Elaine's repertoire includes covers for many genres, including westerns, mysteries, pulp, gothics and even 1960s editions of works by Emile Zola and Jack London.

Born in 1928 and a graduate of the Pratt School of Design, Elaine found her own personal hero in husband John Duillo, known as the king of western illustration. The two never collaborated on illustration, but produced two daughters, Melissa, and Bettina. Both daughters followed artistic paths of their own; Melissa in commercial illustration for a time, and Bettina using art in education. She has produced two art calendars, and is a member of the American Society of Illustrators.

Though many talented graphic artists of today create imaginative and innovative covers via computer technology, Elaine's work was done by hand. Preferring to work with acrylics for the final project, Elaine's dedication to her craft shone through in her attention to detail. The design elements on the back cover illustrations were often her favorite parts of an assignment, and alert readers will be able to spot locations and characters as described within the pages. She is quick to remind those who note the long, flowing hair of her heroines (and some heroes) that each strand was painted by hand. Art directors would sometimes request that Elaine use a particular model depicted with a prodigious mane, only to be told that the hair was all Elaine's creation.

No mention of Elaine Duillo would be complete without mentioning her role in the modeling career of Fabio Lanzoni (blame or thank her as you will.) Elaine spotted the Italian model's picture in a pile of head shots, and used him first on the back cover of Bertrice Small's Enchantress Mine and the front cover of Johanna Lindsey's Hearts Aflame. The rest, as they say, is history, including a national discount chain refusing to carry Bertrice Small's A Love For All Time, due to its supposedly racy cover illustration...which would have been an appropriate pose for a portrait of the period in which the book was set.

Now retired, Elaine is still active in mentoring younger artists and has turned her talents to non-figurative art with "very large brushes" and her enthusiasm for her art, in all its forms, shines through, and she speaks of her romance illustration career with great fondness.

Arts and Music: Chinese Calligraphy

By Jeannie Lin

How do you express yourself when there are very specific rules? That's the crux of Chinese calligraphy--a limited set of brushstrokes, with an infinite number of ways they can be expressed. The art of calligraphy, called shu, is one of the four principal disciplines in Chinese culture along with painting, music, and strategy games.

The order of the strokes is important when drawing Chinese characters, so a student must not only learn what a character looks like, but also the proper way to write it.

There are seven basic brush strokes though up to 32 total strokes have been categorized. Calligraphy experts also study and classify different styles of calligraphy. Here are examples of two different styles of calligraphy from the same artist.

Calligraphy is considered to be the art form that is most revealing of character. Swordsmen, scholars, and statesmen were all expected to study calligraphy and, through it, learn both discipline and expression. Master calligraphers receive the same recognition an artist such as Da Vinci receives in Western culture.

Rubbing of a work of master calligrapher Ouyang Xun (557-641) from the Tang Dynasty
It's said that the appearance of the writing can be appreciated the way you can appreciate abstract art. Without understanding what the characters mean, the audience should still be able to sense the energy and spirit behind the technique. Pablo Picasso and Henri Matisse declared that their work was influenced by the art of calligraphy. Perhaps by the concept of capturing the essence of an idea in a few lines and shapes?

Can you see any connection?
When the shape and style of the words themselves are such a beautiful art form, it's no wonder that Chinese poetry and literature contains such rich symbolism!

Arts and Music: Skin Art

By Elizabeth Lane

Love them? Hate them? Want one? Have one? Nobody seems to be neutral about tattoos. But there's one thing we can all agree on. Tattoos have been around since the beginning of human history, and they aren't going away anytime soon.

The word tattoo is derived from the Tahitian word "tatau" which means to mark something. The history of tattoos is as diverse as the people who wear them. The reasons for having a tattoo are just as varied. A tattoo can be a rite of passage, a sign of belonging to a clan or group, a status symbol, a token of bravery, a mark of beauty, uniqueness or self expression.

The usual method of tattooing involved piercing or cutting the skin with a sharp object, rubbing colored pigment into the wounds and letting them heal. There were many variations on this method. Even today's techniques use the same principle.

Tattooing was widespread among Native American tribes. For example, the Sioux believed that after death the spirit of a warrior mounts a horse and sets forth on its journey to the afterlife. Along the way, the warrior meets an old woman who demands to see his tattoos. If he has none, she turns him back to wander the world as a ghost.

Tattooing was practiced in many Asian cultures. Elaborate facial tattoos were especially prevalent among the Maoris of New Zealand. Even among modern Maoris, these tattoos are still a source of pride.

Tattooing was brought to Europe in the early 1800s by sailors who'd discovered it in the South Pacific. Over time it became a fad among the aristocracy. Even members of the British royal family sported tattoos. Inevitably, the practice of tattooing spread to America. The first permanent tattoo shop in New York City was set up in 1846. Most of the customers were military servicemen, and the tattoos tended to be patriotic or romantic in nature, especially with the onset of the civil war.

Getting a tattoo wasn't for the fainthearted. The needles were attached to a wooden handle. The tattoo artist dipped the needles in ink and moved his hand up and down rhythmically, puncturing the skin two or three times per second. The technique required great dexterity and took years of practice to perfect. Even for the best artists, the process was painfully slow.

After Samuel O'Reilly invented the electric tattoo needle in 1891, tattooing became easier, cheaper and more common. Even women began getting tattoos. A few people had their entire bodies covered with skin art--a guarantee of employment in traveling side shows. In the American West, most tattooing would have been done in the larger cities. A cowboy with a tattoo would probably have either been in the military or in prison, where inmates tattooed each other, often badly.

In today's society, tattoos are more popular than at any time in American history. With academically trained artists entering the profession, tattooing can rise to the level of fine art. These two examples were done by Teresa, an artist working in Santa Cruz, CA. She has a degree in art and a growing reputation as a painter. She also happens to be my daughter, and, yes, I have a sample of her early work, a little butterfly on my back. I wear it proudly. For me, it's a connection to someone I love.

Standards of Beauty:Art Imitates Fashion, Fashion Imitates Art?

By Vicki Gaia

When researching fashion trends from my 1910 novel, Eliza's Hope, I discovered how much art influenced fashion. Art and fashion were closely linked in the past, more than today. The artist didn't think anything of designing textile patterns, theater sets, dinner ware, along side of original works of art.

Paris fashion designers relied on their artists. The famed French couturier, Paul Poiret, moved in artistic circles and employed artists. "I have always liked painters." Friends with the Fauvist painter, Francis Picabia, they'd shared a love of bright colors. Poiret collected Picasso, Dufy, Matisse and other modern artists of his time. He also loved the theater, and when the Ballet Russes (Russian ballet company) first appeared in Paris in 1909, their costumes set off the Oriental craze. Poiret designed flowing pantaloons, turbans, kimonos, all in bold vivid colors, never seen before.

The American dance idols, Vernon and Irene Castle, influenced early 20th century fashion. Hemlines went up, and ankles were exposed to accommodate the new Fox Trots and ragtime dances. Satin slippers with sexy ankle straps accessorized the outfit.

These energetic dances were best performed in fitting dresses with long side slits that allowed for dramatic movements. This type of dancing required a new closeness and a certain intimacy between partners, so it was inevitably frowned upon by less liberal people still locked in Victorian mores and customs. ~ Fashion Era

I can't leave out the Art Deco movement--which started in 1900 and peaked in the 1920's. During the early Art Deco period, skirts became tubular and straight, relaxed and with a semi-fitted silhouette, reminiscent of the Empire period. This silhouette no longer required the stiff corsets, hemlines went up, as well as the waist, which rose higher and eventually disappeared.

From the Beginner's Guide to Art Deco:

What is Art Deco design? French romance, fruit filled cornucopias, images of still fountains, Oriental rugs. Coco Chanel, Egyptian tapestries, Jazz inspired pottery, lightning bolts and Zig Zags! Modernized chrome and steel home appliances, running Gazelles, pink flamingos and straight, clean lined furniture. Enameled vases, wrought iron tables, copper kitchenware, Lalique glass, and chrome ashtrays. Colorful, sexy, sleek and modern! That is Art Deco in a nutshell.

Happy Reading!
Vicki

Our Need for Imagery

Attention, Cave Persons! The summer blockbuster cave painting is coming your way soon. Roast your nuts and bring some bones to pick your teeth while you enjoy the latest offering from Norman Rockgood in the Cave of Lascaux. Yes, the pitchfork is missing.

Ah, but 'tis true: throughout human history, we've been enamored with the visual image. We use images for communication, recreation, relaxation, and well bad things, too. Humans don't have the keen hearing of a rabbit, of the ability to smell things like a wolf, but we see pretty darned well.

So first we drew on the walls of our caves, and then we drew on the walls of our houses and temples. Here's a Greek fresco from the 1st Century BCE called Polyphemus and Galatea in a landscape. The Minoans had been painting frescoes nearly two millennia before this. After that, the Egyptian artists created wonderful paintings on the public buildings, pyramids, and any place they found a blank wall. Today, they'd get arrested. :)

Of course, anything the Greeks did, the Romans had to do, too. Only bigger, if at all possible. Some of the Roman frescoes would be a bit racy by today's standards. Best hide your great-aunt Tillie's eyes.On the right is House of Venus and Mars from Pompeii. Mars is removing Venus's dress, while Cupid is being somewhat of a pest. This is a very tame painting compared to many found in Pompeii. The Romans weren't as sexually uptight as we are today, suffice it to say!

Fast-forward 1,000 years...

The entire tale of William the Conqueror and his knights meeting the leader of the Saxon army, Harold of Wessex, is told in the Bayeux Tapestry, a wonderful piece of stitchery that is divided into thirteen panels. It chronicles the setup, the execution, and the aftermath of the Battle of Hastings in 1066AD. So the Normans didn't write on their walls, but they found a way to express themselves, nonetheless.

Time-Travel Another 1,000 years...to 2003

Yes, we could've spent a lot of time on the imagery throughout the ages--savoring the timeless and beautiful Mona Lisa, marveling at Edison's moving pictures, sending a salute to Louis B. Mayer, and landing in Peter Jackson's lap to watch the three wonderful movies, Lord of the Rings. Okay, so I'd rather land in Aragorn's lap. Most any red-blooded female would.

Of course, most of Middle Earth would take us right back to the bison in the cave paintings, so we never strayed far from our roots. Whether we paint on our walls, or flash lights at our walls in our home theaters, humans have an incredible ability to escape into a fantasy land, where we are victorious and live Happily Ever After.

And the incredible thing about images is that even storytellers of the old school--that is, those of us who write down our tales instead of setting the words to sounds and images like Peter Jackson does, even we scribes are using images to catch readers' attention. How many writers have made book videos?

And there you have it. Images throughout time. Always different--always the same.

Jacquie


Jacquie Rogers
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