Orientalis

Orientalis - The Lady of the East
gouache and gold leaf on goat skin vellum

Several years ago I did a piece entitled The Monster at the End of this Manuscript, a 1:1 piece on vellum where I did my first attempt at gold leaf on vellum rather than perg. Building on what I learned from that piece, I embarked on my second piece - Orientalis.

The original piece is Somme le Roi - c1279, Add MS 28162 f6v, British Library

http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_28162

Materials: Parchment.
Dimensions: 255 x 185 mm (text space 165 x 125 mm).


This section is part of a 4 square page layout depicting Virtues. The background is gold leaf - the most ambitious background that I’ve ever attempted.

The whitework on this piece is extensive, and as whitework isn’t always my strongest section I chose this piece as it would push my skills.

My piece:

Changes I made:

• I chose to create this as a stand alone piece, rather than a part of a larger piece.
• Instead of using the depicted “Friendship” as was in the manuscript, I created her as Orientalis, Lady of the East and used the colors of the East Kingdom in her styling.
• Her face is indistinct, as there is no one woman who depicts the East.
• I did not use period pigments. This was painted with Holbein and Windsor-Newton gouache, and was inked with Pelican ink.
• The rough outline of the piece was traced, the fine detail was done freehand

Issues I am aware of:

• I did not succeed in creating a “shrouded” face in my painting. It’s messier than it should be, and I think that comes down to me not waiting long enough between layers.
• further conversation with my Laurel, Mistress Eloise, leads me to think that it's a failing of the materials as much as it's a failing of my skill. I'm going to try this again, with changes to my materials to test it. 
• Blackwork and shading are far too dark. My shading is a darker shade of the green/purple of her dress, but I think I went a little too far.
• The whitework isn’t as delicate as in the original, specifically on the columns to the left and right. I am happy with the whitework above the buildings, and in the footer.
• The gold in the background of the original is stamped. I made an attempt at stamping that did not show clearly enough. Instead I etched a design into the gold with the point of my agate burnishing tool. It wasn't true to the original, and to do that I think I'll need to do raised gilding. I will work on this on the next piece. 

Overall I am very, very happy with this piece. It is very recognizable to the original, and I think my execution was good. I am happy with how everything worked with the vellum and I’m getting more comfortable working with a period ground. It’s very nearly 1:1 as well, and working in a period size is the focus of my scribal work as I move forward. The goal, ultimately, is to also incorporate using period materials as well, and create original pieces in documentable styles. I feel like this piece is an excellent step on that path.