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The Illumination was taken from the Lady Chapel tiled floor, whilst the Latin
text featured is a gradual
(plain chant No.5) by the baroque composer Gregorio
Allegri
The painting is currently on a four year tour and will return to the
Bishops Palace at Wells in 2010.
The Latin text is from the Bible; from Psalm 107 verses 32 and 31 in the
Old Testament and from Matthew chapter 16 verse 18 in the New Testament
:
Ps 107:32 - Exaltent eum in ecclesia plebis et in
cathedra seniorum laudent eum
Let them exalt him also in the church/congregation
of the people, and praise him in the chair/assembly of the elders.
Ps 106:31 - Confiteantur Domino misericor diae
eius et mirabilia eius filiis hominum
Let the mercies of the Lord give glory
to him, and his wonderful works to the children of men.
Alleluia (A shout or song of praise to God)
Matt 16:18 - Tu es Petrus, et super hanc petram aedificabo Ecclesiam
meam.
Thou art Peter, and upon this rock I
will build My Church.
Alleluia (A shout or song of praise to God)
Interpreting the Magnum Opus painting (lower panel)
The lower panel has as much significance to the west front as the main
panel, but in a different form of
imagery.
The dimensions of the lower panel are calculated using the same geometry
pattern for the double
reflected squares and the cover length
of the main panel.
The two coats of arms are of Bubwith and Stafford,
both 13th century mediaeval bishops at the time the theme of the main panel painting,
based - approximately 1427-1445.
The angels below signify the development of the west front
from the first few centuries of the cathedral's construction.
Central to either plinth at which the angels kneel,
a gold cross has been painted, to break the formation of white
crosses among the borderlines.
This signifies the belief in God and faith, past and present.
Hovering above the top-central
point is the Holy Spirit with a small halo, peering
down onto the eye line of Stafford's angel, giving
the sense of security within the cathedral.
Stafford's angel in return, looks straight into the eyes of the
Holy Spirit.
The small images of Saint Peter and Saint Paul are painted either
side of the plinth.
A wilderness scene (signifying organized chaos) and showing the
west front of the cathedral in the year 1230, before Bubwith and
Stafford carried out the significant
construction work on the west front, as
depicted in the main panel, complete the plinth's
meaning.
To the bottom central panel,
the Lamb of God is sited, emanating rays of hope,
on a bed of lush grass and sacred flowers.
Stafford's angel's hand is pointing
towards the Lamb of God continuing the "communication"
of the painting's figures.
Bubwith's
angel, kneeling
on a blank grey cold-looking stone,
signifies the beginning of time and the first visions
of building a cathedral in Wells.
Her hands, holding a book,
not only give the viewer the
understanding of literacy and connection with the cathedral's library,
but also the ever-open scope
of learning
from education, both religious and
general.
The eye line of the angel is directed back up to the Holy Spirit,
completing the reading pattern of the painting.
The reading pattern of these
four groups creates a diamond shape.
The Latin text has been laid out in
a retro style of unjustified range left.
Old techniques of illumination are utilised, where the word or sentence is
"illuminated" depending on the importance and significance of
the text.
The geometrical square and
coloured diamond forms, at the end of
each line of verse, signify the
journey of life and the three stages of man.
The white perimeter relates to the Holy Spirit and heaven.
The blue relate to the seas.
The green, to land and life.
The red to the blood of Christ and the black
to death and the afterlife.
By reading the pattern's
Hebrew style (from right to left) you will discover three set rotational
patterns which revolve clockwise (signifying the passage of time) and
giving the three ages of man
The border is almost identical in colour to the Lady Chapel
floor, apart from the central leaf pattern which the artist has
decided to paint pure white, to complement the west front's
white ground walls.
(c) Matthew Grayson 2003
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