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.
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) 172 from Códice Rico (Ms.T.I.1), preserved at the monastery of San Lorenzo de El Escorial. This is the third from the six vignettes which decorate the illuminated song page.
The text narrates the story about Virgin Mary who calms a sea storm thus answering the prayer of a merchant on a small ship loaded with goods. Sailing the favorable wind the ship reaches Acre on the following morning even though all the sails are torn.
The composition from the panel presents the episode when the ship enters the town harbor. The town of Acre is presented as a medieval castle built on a hill lavishly grown with verdure. The calm sea and the sailors’ gestures of gratefulness suggest that the miracle has already happened.
All these elements and details recreate a convincing plot, 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.