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Matthew Grayson in 2005
completed
painted this impression of the west façade of Wells Cathedral, as it
may have appeared in the first quarter of the fifteenth century and it
is paired with the
illuminated Gradual which has also been created in a Medieval style.
Interpreting the Wells
Cathedral "Magnum Opus" painting
(upper panel) :
The construction of the painting concentrates on the overall geometry of
the west front which comprises the three overlapping circles which
intercept at nine specific points upon the main panel image and the
double reflecting squares with the apostles.
The dimensions of the main panel were calculated by extending the main
construction lines that cross through the centre of the painting.
By drawing a line from the top left corner of the Bubwith tower to the
bottom right of the base of the buttress and the top right corner of the
Stafford tower and bottom left base buttress it is discovered that the
lines cross at the base of the two central guardian angels standing
below St Andrew (patron saint of the cathedral).
This also gives the pattern of St
Andrew's cross,
the patron saint of Scotland.
Research in the colours has been
carefully carried out, using as much
historical and present information as possible.
One can calculate a specific pattern of colour by concentrating on the
geometric construction and by using a
law of averages.
The majority of paint was applied to
the lower and central levels of the west facade.
No paint traces are recorded on
either tower but utilising the concept of the geometry,
it is plausible to assume some paint may have been applied to
limited areas of either tower.
These include the four main buttresses and the tall niches set
either side of the buttresses.
The belfries were constructed of wood, which may have been painted red,
green, blue and white to complement and balance the overall
finished composition of the architecture.
The ground level shows how it appeared, before the west lawn was
levelled off a few hundred years
ago.
There is a definite incline from the far left of the level to the far
right.
The central path was also removed, which originally had trees
growing either side of the central path.
Recent research has discovered paint would have been applied to the main
door, which would have utilised the
form of the door's hinges as part of
the composition.
It has been suggested that the hinges (shaped to
form branches either side of the doors) were painted gold with green
leaves and red berries sprouting from them.
Around the painted branches birds flew and picked berries.
The foundation of the panel painted doors would most
probably have been animal hide, to
act as a smooth ground to give a better finish.
The overall west front image has a sense of power and stature.
Keeping the dimensions of the vertical lines the same from the base of
the west front to the top creates this.
By measuring the bottom of one of the buttresses and measuring the top,
it is discovered that there is no difference in dimensions.
The only lines that fail in the perspective
rule are the outer walls, which lean
inwards.
This has created a much greater sense of depth
and power to the image, which
reflects the power of the church at the
time.
The shadows that fall across the facade have been calculated by taking a
photograph of the west front at 2.35 pm which reflects the concept on
which the painting's
theme
was based.
The foreshortening of the pavement to
the front entrance can calculate the eye-line
of where the viewer stood when the photograph was taken.
The artist's
father took the photograph and the calculations conclude that he is
approximately five feet eleven
inches tall, which
is correct.
The gold background on the main panel suggests the west front painting,
as a vision created by the
artist.
The angels appear from the background
from vaporising clouds that surround them (shown by a slightly darker
gold).
The impression gives the spectator a sense of spiritual uplifting and
relaxation.
The angels are carefully placed upon the geometry lines at angles that
communicate with each other and also with the overall composition.
The central angel,
being Charity, hovers over the spire
surrounded by spiritual cloud formation,
giving the feeling of continual
generosity as well as funding for the cathedral,
past and present.
To the left, Hope peers up at Charity.
The clouds that
surround her are less significant, giving a sense that each angel has appeared at
different occasions.
To the far right, Faith,
also in a form of vaporising cloud,
beams spiritual rays of light,
delivering the Holy Spirit in the central part of the painting and onto
the illuminated image of Christ in the central stained glass window.
The border that surrounds the painting is identical to the lower panel,
taken from the Pugin-tiled Lady
chapel floor, reflecting
the architectural theme of the painting's composition.
(c) Matthew Grayson 2002
Interpreting the Wells
Cathedral "Magnum Opus" painting
Lower Panel :
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)
The lower panel has as much significance to the west front as the upper 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 which the angels kneel,
a gold cross has been painted, to break the formation of white
crosses among the border lines.
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 to 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, but utilising old techniques of
illumination, where the significance of a word or sentence is
illuminated greater depending on the importance of the text content.
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 compliment the west front's
white ground walls.
(c) Matthew Grayson 2003
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