Tag: Opus Anglicanum
Ready to Start on William Marshall…
Having spent some time in my stash, deciding that mixing even filament silks might be a bit unpredictable, I finally pulled myself together and placed an order with Devere Yarns. While I waited for them to arrive (it didn’t take long), I went back to Tanya’s book and read the early technique sections again. Homework is always more fun when you’re interested.
I do have some darks left over from the Amarna Family Group, so the outlining is sorted. I’ve got three stone colours, three shades for William’s armour, three greens for grass, three shades for the horse, the three heraldic colours for the shield, and a blue for the slate roofs on the turrets.
The blue is probably also going to be the colour I use for the border.
The Victorians remodelled Temple Church, where William is buried, found a strapping six-footer that they believed – based on what we’ve been told of him – to be William, and in due course, reburied him, and everyone else they’d moved, in the garden. So I’m planning a silk border, of blue laid-&-couched work, embellished with roses (for the garden) and common broom (for the Plantagenet kings he served so faithfully).
The grave slab is shown in a leaflet I got when we visited, which is no longer in existence, but is shown in an engraving from the 17th Century, and was thought to be associated with William. The lion looks right, anyway! I’m wondering whether to include that in my design for the border in some way, and if so, in what orientation..
More on William Marshall
Since I’ve always been interested in heraldry, and deeply distrust online search results, which so often depend on something unexpected in the search terms, one of my bits of research involved an email to the College of Heralds, asking about William’s coat of arms. I received a commendably prompt and completely unperturbed reply from the Officer-in-Waiting, Rouge Dragon Poursuivant, telling me that:
“The left-hand side of the shield, from the viewer’s point of view, should be Or, meaning gold (or yellow). The right-hand side should be Vert, meaning green. The lion should be Gules, meaning red, and it should be rampant, meaning it is upight and standing on its left foot with its right foot slightly raised off the ground.”
You’d think embroiderers emailed for advice every day of the week! Maybe they do, of course…
I had painted a whole series of variants on the design, and then had another thought, namely – maybe I wasn’t exploring all the variations possible. I attempted to do the exploration on my computer, but went to bed that evening with a ligament in my arm squealing. Back to the paintbox!
So I fished out one of my largest blocks of paper, and painted the chateau with a bit more wall on either side, and an actual path, and then painted a separate William, so that I could move him around on the background and experiment with cropping.
I’ve left his shield as white and green in the design for now. I intend to use underside couching for the “sky”, but I’ve not yet decided whether to use couched gold or silk thread on the shield, and making sure the colours are different in the design will help me to remember I have a decision to make.
I’m still havering, but encouraged by Tanya Bentham, who wrote the book that started me on this, I’m thinking about the third of the four options in this post. As Tanya pointed out on Instagram, in the medieval period people messed around with scale and perspective quite cheerfully, so I have no need to make sure my knight will fit through the gate!
Thinking about a new project…
One of the things you need to know before you dive enthusiastically into family history is that the horrors are just as likely as the heroes. In our case, a land dispute at the turn of the 19th Century saw some ancestors of my maternal great grandmother getting their family tree professionally investigated and drawn up. They didn’t get the land (although what the Professor of Music at Cambridge wanted with land in London escapes me), but “The SheepStealers”, as we call them, have been updated ever since. As far as I can tell, we’ve got ancestors on both sides of every civil dispute since the Norman Conquest, so we can pick our favourite distant ancestor depending on our own historical hang-ups.
My mother, in particular, was completely thrilled to find that William Marshall, “the Greatest Knight” was on there. We went to his burial place in London, (pre-Covid) and I painted this watercolour of his effigy when I got home.
Fast forward some years, and Tanya Bentham of Opus Anglicanum blog, has published a book about Opus Anglicanum, which has got me thinking I would like to do some. I will probably do one of Tanya’s little heads to get the hang of the idea, but, being me, I decided that I would, as Ophelia (didn’t quite) put it, “wear my Opus with a difference”.
So I’ve settled on Umpteen-Times-Great-Grandfather William as my subject, on a visit to the Château de Tancarville, where he had his knightly training as a teenager. As you can see, I’ve got out my gouache to try to pick the right balance of colours, bearing in mind that the sky is going to be underside couched in gold. I can’t decide whether to make his horse a chestnut, a roan, or a grey – although given it’s opus, I get the impression I could make the horse blue and get nothing but praise!
One of the changes I’m going to make to the knight I’m adapting for William, is that I’m going to make his shield a bit bigger, so that his correct coat of arms (this was from memory so I need to look him up) is clear and it is obvious that I’m not doing just any knight, but specifically William. I think I should do something different with his hand, as well as remembering to give his horse reins and a saddlecloth.
So, I need to get to grips with William’s real coat of arms, settle on my colour scheme and order my silks.