Icon Diploma Student

Learning to see with the eye of the heart

Posts tagged ‘Aethelwold Benedictional’

Perfect Proportions: Anglo-Saxon Style

Aethelwold group

Hello icon friends,

Next along in the lettering posts is an example of some gorgeous Anglo-Saxon; the magnificent Benedictional of St Aethelwold. The original manuscript is held by the British Library and considered to be one of their greatest treasures: “A Masterpiece of Anglo-Saxon art”.

f70 r Christ in Majesty TRINITAS British Library

Lettering from St Aethelwold manuscript held by the British Library

The images have all been digitised and are available to see through the British Library’s website here. There is a great deal of embellishment on the images but zoom in past all this and have a close look at the way the garments have been painted on the figures in particular the colours, composition and fabric folds – some wonderful examples for iconographers.

f4r St Peter and 2 apostles crop brit Library

St Peter and two apostles

This entire book was written by the scribe Godeman for St Æthelwold, Bishop of Winchester from 963-984 and is one of the earliest and most significant surviving examples of the Anglo-Saxon Winchester scriptorium.

Born c AD 909, the aptly named Aethelwold “noble ruler”, was key to the transformation of English religious life. He initiated the reform of the Benedictine Rule which culminated with his written document Regularis Concordia.

Godeman, the scribe, was a monk at the Old Minster, Winchester. He may have belonged to the group of monks from the Abbey at Abingdon that Æthelwold placed in Winchester Cathedral as part of the renewal of the Benedictine Rule. The artist for the illuminations has not been identified although some scholars attribute these to Godeman too.

Here are just a few examples of the lettering in this manuscript – the British Library is a fantastic resource and there are many good quality images of this Benedictional available to study online.

Having studied as many examples of each of the letters available, here are my attempts to create a painted Anglo Saxon style alphabet which would suit icons which depict Anglo Saxon Saints, or saints contemporary with this period (listed at the end of this post).

 

PATER a.jpg

ET FILIVS a.jpg

I have saved the full set of letters which you can download and save to your desktop as a six page pdf document here: Aethelwold Letters 

Thanks for reading and I will leave you with some suggestions for saints which may lend themselves to icons using this script:

Some saints associated directly and indirectly with the manuscript:

St Swithun                            St Aethelwold     St Dunstan            St Cuthbert

St Æthelthryth                     St Benedict           St Vedast               St Stephen

St Aetheldreda                     St Edgar                 St Gregory

St Mary Magdalene             St John the Baptist

 

 

SOME SAINTS CONTEMPORARY WITH THIS PERIOD

Gaudentius (Radim Gaudentius) born 970 d 1020 Archbishop of Niezno

Firmian d 1020

Heribert of Cologne (Herbert) b 970 d 1021

Herve d 1021

Berward of Hildesheim b 960 d 1022 Bishop of Hildesheim

Theodoric of Orleans b 980 d 1022 Bishop of Orleans

Agatha Hildegard d 1024

Henry II, Holy Roman Emperor b972  d1024

Romauld 952 d1057

Fulbert of Chartres 970—1028 Bishop of Chartres

Elfleda (Ethelfleda) d.1030

963 Athanasius the Athonite buys the island of Kyra-Panagia from the                     Byzantine noblemen of Constantinople as a dependency of Mount Athos.

 

969 Olga of Kiev, grandmother of the Grand Prince Vladimir of Kiev

978 Edward the Martyr, King of England, March 18.

988 Dunstan, Abp. of Canterbury, May 19.

980 Translation of the holy relics of Birinus of Dorchester from Winchester to a new shrine, September 4 by St. AEthelwold.

 

 

 

 

Hallowed be thy Name

Lettering on handmade book

Hand made book covers for the dissertation showing four different manuscript lettering styles.

Hello icon friends,

Part of  the icon course includes submitting a dissertation. This sounded quite daunting but Aidan has been great at keeping this in perspective explaining that it is really just an essay on a subject which we are passionate about – something we can share with the rest of the students. I will be sharing my subject in stages here and will start off with an overview of my subject.

I was encouraged early on in the course when Aidan spoke about illuminated manuscripts as a rich resource for western iconongraphers. I have loved calligraphy and illuminated manuscripts since I was at school and so my dissertation subject was waiting in the wings: ‘A comparative study of four illuminated manuscripts as a resource for lettering on contemporary western icons’.

Hand painted illuminated letters

Finished letter samples and bound lettering books

The best part for me about this subject was when, on the very first day of the course, Aidan explained how it is the name on an icon that makes it an icon:

We venerate the icon that bears the name”.

It struck me how important it was to apply the same care to naming the icon as given to painting the image itself. When we are named in Baptism, the sacrament leaves an indelible spiritual mark of belonging to Christ on the soul and thus our chosen name becomes an intrinsic part of who we are. Solomon declared that:

“A good name is rather to be chosen than great riches” (Prov. 22:1).

The significance of naming is a wonderfully rich subject but my dissertation is a practical one based on writing out alphabets interpreted from the lettering of four manuscripts, which I will briefly touch on here. I will go through each manuscript study in stages in subsequent posts.

The first manuscript I chose was a European example of an early 8th century uncial hand, taken from an unidentified manuscript from Mont St Michel which I named ‘Avranches‘ for the purpose of my study:

Avranches manuscript

Example of lettering from the Avranches manuscript

Avranches lettering

Samples of gilded lettering in the ‘Avranches’ style and the hand bound book of lettering.

Gilded letter G from Avranches

Gilded example of letter G from the ‘Avranches’ manuscript.

The second is the Anglo-Saxon Benedictional of St Aethelwold, written in Winchester 963-984, by the scribe Godeman.

gilded lettering

Examples of gilded letters and hand bound book of Aethelwold lettering

Aethelwold benedictional

Gilding the letter X from the Aethelwold Benedictional.

Gilded letter sample on heavyweight, hot-pressed watercolour paper, using gesso made from the recipe when I attended Patricia Lovett’s Gilding and Illumination skills course. Vellum makes the ideal surface for gilded letters but these are lettering studies rather than finished pieces.

Gilded letter X

Gilded letter X from the Aethelwold Benedicitonal

Gilded letters D and S

Letters D and S in the Aethelwold style

The third and fourth manuscripts were written about the same time but one written in Bury St Edmonds the other in the Holy Land – the latter providing context for my study.

lettering of the Bury Bible

Bury Lettering on the hand bound book of letters

The Bury Bible is an example of High Romanesque style, written c.1130-1135 AD, and is a spectacular work of art by the hand of Master Hugo, considered one of the earliest professionally documented artists in England.

letter A gilded in 23 ct gold leaf

Gilded letter A from the Bury Bible

letter N Bury Bible

Illuminated Letter N based on the Bury Bible manuscript

The Melisende Psalter was my fourth and final study.

melisend Psalter pic of dissertation work

Gilded letters and hand bound book of lettering based on the Melisende Psalter

It is written in the style known as ‘protogothic’ by a group of six artists and a scribe, thought to be of French or Italian origin, in the scriptorium of the Monastery of the Holy Sepulchre, Jerusalem, between 1134 and 1143 not long before the second crusade.

Illuminated letter A

Letter A from the Melisende Psalter, painted with Azurite and Terre Verte.

gilded letter B

Here’s B taken from the Melisende Psalter – painted in egg tempera with lapiz lazuli and terre verte.

My choice was also influenced by the availability of clear letter examples within the manuscripts. I was looking for enough images of each letter to study and compose an alphabet in the spirit of the original. That’s more than enough for now. Hope it has sparked a little interest in the subject!

letter C

Last example from the Melisende Psalter – letter C

Before I sign off,  I would like to say a big thank you to those who take the trouble to get in touch. I really appreciate hearing from you:-)

Thanks for reading.

Ronnie