CONTEXT
The famous Cantigas de Santa Maria, are an impressive illuminated collection of four hundred and twenty-six works of music. Completed in the second half of the thirteenth century is attributed to King Alfonso X the Learned (1252 – 1284).
Alfonso X possessed indeed a very gifted and much learned personality but there are also reasons to connect the emergence of such a work of music with the revival of the cult to Virgin Mary in Western Europe.
The cult to Virgin Mary was partially on the wane during the times of the Carolingian dynasty but revived due to the popularization of Holy Mary’s miracles through troubadour poetry.
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The medieval miniature which inspired this Contemporary Antique Masterwork (25 x 33 cm. approx.), done with tempera on a primed wooden basis, illustrates song (cantiga) 194 from Códice Rico (Ms.T.I.1), preserved at the monastery of San Lorenzo de El Escorial. This is the second from the six vignettes which decorate the illuminated song page.
The text narrates the story about the miraculous way in which Virgin Mary helped a troubadour to save himself from attacking bandits and even find his stolen belongings.
The composition from the panel presents the troubadour playing the fiddle, known also as vihuela or a bow fidula. He is depicted in the centre of a portico square, surrounded by people belonging to various social groups. They are enjoying his music. To the left of him there is a young boy, who is evidently enraptured with the beautiful music. He is sitting on the ground with his legs crossed, embracing the column in front with his arms.
The exterior of the scene presents porticos of various forms with Gothic arches on thin columns ending in their upper part with floral capitals. Behind the porticos four towers rise and behind those the brick façades of several buildings could be seen.
The contemporary author has put lanterns in the arches, which together with the natural posture of the boy and the small white puppy in the lap of one of the ladies imparts a more intimate and friendly character to the scene. All these elements and details recreate a realistic and convincing plot, masterly interpreted by an author endowed with rich visual sensitivity.
The technique is understood as the accumulation of means and devices used by the author to realize his/her work. It could be specifically presented within the following major points.
1.- The work was done manually by the author without the implementation of any industrial procedures. The most adequate materials were used in order to arrive at an original master work with the looks and characteristics almost adequate to those of the model of inspiration.
2.- The wooden basis on which the drawing was manually done was repeatedly treated with bone-glue solution. To the glue a specific proportion of chalk was added. The resultant homogeneous prime was used to level out the drawing surface.
3.- The next stage included the transfer of the author’s drawing which interpreted the respective miniature from Cantigas de Santa Maria and its further development with the help of red Armenian bolus (poliment).
4.- With the pictorial development of the work the colors were added from dark to light and finally the forms were emphasized with a black contour.
5.- The last stage included the laying of a protective and aging patina, which contains wax, turpentine asphalt (betun and raw linseed oil). After partial drying of this covering the surface of the work was polished with the help of a small woolen cloth. As a result certain pictorial effects were also achieved.