I’m not sure if you enjoy Japanese Haiku, those brief poems with 3 lines and 17 syllables. As I look at the ‘October’ Stained Glass Roundel at the Victoria and Albert Museum depicting a farmer sowing seeds, I reminisce about the ‘Haiku’ games I used to play with my students. And just like that, a new Haiku came to life… Red and yellow glow, / Seeds are sown in glass and light, / Medieval blooms…
Stained glass roundels offer a vivid glimpse into the daily lives and seasonal rhythms of medieval society, and the Victoria and Albert Museum holds a remarkable example in its collection. Among the treasures acquired by the museum in 1931 are three roundels, which once formed part of a larger set depicting the ‘Labours of the Months.’ Although the original location of these roundels remains a mystery, they are believed to have originated from the old parsonage at St Michael-at-Coslany in Norwich. One of the missing pieces, illustrating the month of January or February, now resides in the Burrell Collection in Glasgow, connecting these scattered remnants of medieval art across time and space.
The ‘Labours of the Months’ is a captivating iconographic theme in medieval art, reflecting the cyclical nature of rural life and the deep connection between humanity and the seasons. Each month was traditionally represented by a specific task or activity, from sowing seeds in October to harvesting in August, offering a visual calendar of rural labour. These depictions often appeared in illuminated manuscripts, sculptures, and stained glass, serving as both educational tools and spiritual reflections of the divine order of the world. In churches and cathedrals, the ‘Labours of the Months’ provided parishioners with a relatable visual narrative that connected the rhythms of the natural world with their spiritual lives.
The Stained Glass Roundel depicting ‘October’ in the Victoria and Albert Museum beautifully exemplifies the role of stained glass in medieval church decoration. With its vibrant colours and intricate design, this roundel transforms the agricultural task of sowing seeds into a luminous spectacle of divine light. Like many stained glass windows of the period, this piece is not just a work of art but a powerful symbol of spiritual illumination. The depiction of a farmer scattering seeds is rendered in brilliant hues that would have cast vivid images across the stone interiors of the church, engaging and educating the faithful.
According to the V&A experts, …the farmer is depicted dressed in a red tunic and yellow hose, his head covered by a capuchon, indicating cool weather conditions. He has a pouch attached to a belt around his waist, and over his shoulder, he carries a wicker basket containing seed that he strews across the fields. He is probably sowing seed for wheat that will be harvested in the spring.https://collections.vam.ac.uk/item/O7620/october-roundel-unknown/
This roundel, believed to have originated from the old parsonage at St Michael-at-Coslany in Norwich, required exceptional craftsmanship—each piece of glass was carefully selected, painted, and assembled to convey the rhythm of life and labour in harmony with the divine. Serving both as an educational illustration for a largely illiterate medieval population and as a spiritual tool, this roundel is a testament to the enduring legacy of stained glass in guiding the faithful toward contemplation and connection with the divine.
For a Student Activity inspired by the V&A Museum roundel of ‘October’, please… Check HERE!
Attributed to the Master of the Madonna Grog, a member of the group of artists formerly known as the Master of the Embroidered Foliage Madonna with Child in a Landscape, c. 1492-1498, Oil on Panel, Burgos Cathedral, Chapel of the Constables, Burgos, Spain – Photo Credit: Amalia Spiliakou, May 14, 2024
On the 14th of May 2024, while visiting the Burgos Cathedral, the Chapel of the Constables to be specific, a beautiful triptych caught my attention. Attributed to the Master of the Madonna Grog, a member of the group of artists formerly associated with the Master of the Embroidered Foliage, the painting of the Madonna with Child in a Landscape stands as a testament to the artistic and spiritual grandeur of the Northern Renaissance period. This exquisite triptych, with its intricate detailing and profound iconography, seamlessly merges the divine serenity of the Madonna and Child theme with the rich, naturalistic backdrop of the landscape. The artwork not only highlights the tender bond between mother and child but also reflects the Renaissance’s burgeoning appreciation for nature and humanism. As a focal point of the Chapel of the Constables, this triptych not only enhances the chapel’s ornate beauty but underscores Burgos Cathedral’s significance as a repository of sacred art and a beacon of devotional artistry.
The Maestro de la Madonna Grog, an enigmatic figure in the annals of art history, is believed to be the artist who created Madonna with Child in a Landscape at the Burgos Cathedral. This serene garden scene presents the Madonna sitting outside with the Child nestled on her lap, surrounded by vibrantly blooming flowers in a verdant, lush landscape. In the background, a river view provides a glimpse of the distinctive architectural style of 15th-century Northern Europe, where the artist likely resided. Clad in a majestic red robe, the Madonna’s face glows with a tender smile as she gently turns to her Child, who holds a small purple flower.
This is no ordinary scene, as the real-world details in the artwork hold deeper religious significance. The ‘gladiolus’ or blue iris, for example, symbolizes the sorrow that pierced Mary’s heart when her son died. This specimen gets its name from the Latin word “gladius,” which means “sword.” The blue violets that Christ holds, on the other hand, symbolize humility, His suffering and sacrifice, spiritual transformation, and the journey towards holiness and grace.
Attributed to the Master of the Madonna Grog, a member of the group of artists formerly known as the Master of the Embroidered Foliage Madonna with Child in a Landscape (central panel), c. 1492-1498, Oil on Panel, Burgos Cathedral, Chapel of the Constables, Burgos, Spain – Photo Credit: Amalia Spiliakou, May 14, 2024
The painting of the Madonna with Child in a Landscape is presented in the Chapel of the Purification, also known as the Constables, in Burgos Cathedral. This chapel, a stunning example of Gothic architecture, is adorned with intricate stone carvings and vibrant stained-glass windows that bathe the space in a kaleidoscope of colours. Constructed in the late 15th century, it serves as a mausoleum for the noble Don Pedro Fernandez de Velasco and his wife, Doña Mencía de Mendoza, whose effigies lie in peaceful repose beneath the soaring vaulted ceiling. The chapel’s grandeur and serene atmosphere provide a fitting backdrop for the Maestro de la Madonna Grog’s masterpiece, enhancing its spiritual and artistic significance within this sacred space.
For a Student Activity, inspired by the Madonna with Child in a Landscape in the Burgos Cathedral, please… CheckHERE!
…Which gives into the triumphant and lovely / study, / that has such talent and order and measure / that it represents angelic exultation, / With complete art in inlays and painting, / in perspective and carvings sublime, / and in great mastery of architecture. / There are great numbers of highly ornate books / and vases of alabaster and chalcedony / that are decorated with gold and silver. / And all things there are beautiful and good, / some by nature and others with human talent / made thus with whole perfection… This is how, in Terze Rime, the anonymous Italian 15th-century poet describes the famous studietto, created for Piero de’ Medici in the 1450s. It is the room for which the terracotta roundels of The Labours of the Months by Luca della Robbia were created to adorn the ceiling. https://www.jstor.org/stable/3048729?read-now=1&seq=5#page_scan_tab_contents
In the context of the Renaissance, a studietto or studiolo was a personal space, often elaborately decorated with paintings, sculptures, and frescoes that reflected its owner’s intellectual pursuits and tastes. These rooms were not just private retreats but also places to store and exhibit collections that demonstrated the owner’s wealth, power, and intellectual interests. The decoration and objects within often had symbolic meanings related to virtues, wisdom, and learning. The Medici Palace, a museum since 1974, reflects the grandeur and influence of the Medici family throughout its architecture and the art it houses. Within its walls, in the early 1450s, a studietto was created for Piero de’ Medici, unfortunately destroyed, when the Medici Palace was remodelled in the 17th century. According to Paula Nuttall… the studietto was a small, intimate room intended for study, contemplation, and display. Here were kept the most precious objects in the Medici’s collection: costly illuminated books, classical coins, cameos and vases, medieval ivories and goldsmiths’ work, and a tiny painting by the great Netherlandish master Jan van Eyck. Piero, who suffered from gout and was often confined indoors, is said to have taken great delight in being carried to his studietto, whiling away the hours in contemplating all these objects. https://www.vam.ac.uk/blog/museum-life/twenty-objects-twenty-years-labours-months-florence-c1450
Piero de Medici’s studietto ceiling, crafted by Luca della Robbia, stands as a testament to the innovative spirit of the Renaissance. Employing the much-admired tin-glazed terracotta technique that della Robbia perfected in the early 15th century, the ceiling featured twelve intricately designed roundels, each representing a different Labour of the Month. Unlike popular della Robbia relief sculptures, these roundels boast naturalistic paintings in shades of white and blue, colours achieved through an experimental method seldom replicated. The edges of each roundel are adorned with sculpted leaf patterns, subtly detailed in low relief, offering a textural contrast to the smooth, painted centers. This ceiling, decidedly ornate and uncharacteristically detailed for its time, reflected not only the artistic ambition of della Robbia but also the grandeur of the room it overseed, a fitting canopy for the collection of curiosities and treasures it sheltered.
In the mid-15th century, the studietto in the Medici Palace was a marvel of Florentine artistry. These resplendent with the most worthy figures inspired awe in all who entered, as noted by the architect Filarete. This intimate chamber, adorned to stir curiosity and admiration, met an untimely demise during the palace’s 17th-century remodelling. The surviving roundels, treasures of Renaissance art, found their way into a private Italian collection before being acquired by the Victoria and Albert Museum in 1861. Today, these pieces form the heart of a reconstructed space at the V&A, meticulously designed to evoke the original studietto’s ambience!
For a PowerPoint Presentation of the 12 Labours of the Months by Luca della Robbia in the Victoria and Albert Museum in London, please… Check HERE!
Limbourg Brothers, Herman, Jean, Paul, c. 1370-80-1416 Très Riches Heures du Duc de Berry, Anatomical Man/Zodiac Man (folio 14v), 1413-16, Painting on Vellum, 30×21 cm, Museum Conde, Chantilly, France https://commons.wikimedia.org/wiki/File:Anatomical_Man.jpg
The Limbourg Brothers were a trio of Dutch Renaissance painters: Herman, Paul, and Johan Limbourg from Nijmegen. They are most famous for their work on the illuminated manuscript Les Très Riches Heures du Duc de Berry (The Very Rich Hours of the Duke of Berry), which they created in the early 15th century. This manuscript is considered one of the masterpieces of French International Gothic Art. The brothers were known for their meticulous attention to detail and their ability to capture the richness of color and texture in their work. Unfortunately, their careers were cut short when they died at a young age, possibly due to the bubonic plague. Despite their short lives, their contributions to art and illumination continue to be celebrated and studied today.
Les Très Riches Heures du Duc de Berry is an exquisite, illuminated manuscript that stands as a masterpiece of artistry and cultural heritage. Commissioned by Jean de Valois (1340-1416), Duc de Berry, in the early 15th century, between c. 1412 and 1416, this lavishly decorated Book of Hours captures the essence of the era’s religious devotion, aristocratic splendor, and the beauty of the natural world. Created by the Limbourg brothers, but never completed, it showcases their unparalleled skill in miniature painting, with each page a vibrant tapestry of intricate details and vivid colors. Beyond its artistic magnificence, the manuscript serves as a window into the opulent lifestyle and spiritual fervor of the medieval French court, making it a treasured relic of both artistic and historical significance.
An anonymous painter, widely speculated by art historians to be Barthélemy d’Eyck, undertook further embellishments for the unfinished manuscript in the 1440s. Subsequently, between 1485 and 1489, the manuscript underwent significant modifications by the painter Jean Colombe, acting on behalf of the Duke of Savoy, ultimately achieving its present state. Following its acquisition by the Duc d’Aumale in 1856, the book now resides as MS 65 in the Musée Condé, located in Chantilly, France.
This amazing manuscript is a collection of prayers to be said at the canonical hours. It contains a rich assortment of religious texts, prayers, and beautifully illustrated scenes depicting the liturgical calendar and the life of Christ. Its pages feature elaborate depictions of saints, biblical events, the months of the year, and scenes from everyday life, meticulously crafted with intricate details and vibrant colors. Additionally, the manuscript includes annotations, psalms, and devotional readings tailored for personal prayer and reflection. Beyond its religious content, the manuscript also offers glimpses into the aristocratic life, and the life of the peasants, of the time, with illustrations of courtly gatherings, hunting scenes, idyllic landscapes, and peasant chords. Each page is a testament to the skill of the Limbourg brothers and their mastery of the art of illumination, making it a captivating blend of religious devotion, artistic excellence, and historical insight.
Folio 14v, the manuscript’s page presenting the Anatomical or Zodiac Man, is a rare motif in medieval art, an elusive miniature, a unique iconography, and a riddle for all scholars involved in interpreting its meaning. Folio 14v is my personal favourite!
Against a backdrop of magnificent blue skies adorned with golden clouds, two naked men stand back-to-back at the center of the mandola-shaped composition. Within the body frame of the human figure facing the viewer, the manuscript artists present the twelve Signs of the Zodiac. Each Sign, meticulously arranged and governing a specific part of the body, is steeped in the medieval belief— a Hellenistic inheritance, to be precise— in astrological medicine. This belief posited that the movements of celestial bodies influenced health and bodily functions. The second figure, as presented by the Limbourgs, is the most enigmatic aspect of the composition. Seen from the back in a mirror-like reflection, this figure starkly contrasts with the first. Not adorned with Zodiacal Signs, he possesses auburn hair, and his arms are positioned differently. Together, they remain open to interpretation, lacking a definitive explanation.
The Anatomical or Zodiac Man is framed by three mandola-shaped bands. The outermost band corresponds to the 360 degrees of the circle of heavens, scaled and sub-divided into twelve thirty-degree sectors, each corresponding to one zodiacal constellation. The inner band marks the days of each month for the entire year. The calibrations are precisely synchronized so that each month spans the interval from the exact mid-point of one sign to that of its successor. https://www.jstor.org/stable/750460?read-now=1&seq=4#page_scan_tab_contents Harry Bober The Zodiacal Miniature of the Très Riches Heures of the Duke of Berry: Its Sources and Meaning Journal of the Warburg and Courtauld Institutes, Vol. 11 (1948), pp. 1-34 (45 pages)
Within the outer bands, which are narrow in size, the Limbourg brothers positioned a wider band, beautifully adorned in green, blue, and gold, where a second set of the twelve Zodiac Signs is shown. Meticulously rendered, each Sign highlights the Limbourg brothers’ mastery of detail and design. The mandola shape of the band is further accentuated by the incorporation of the Zodiac Signs within similarly mandola-shaped designs. Together, they enrich the folio’s aesthetic appeal, contributing to a harmonious visual balance that complements the central figure’s anatomical depiction. Through this carefully crafted frame, the manuscript not only presents scientific knowledge but also elevates it to an aesthetic realm, inviting viewers to explore the interconnectedness of earthly and celestial phenomena.
In a captivating display of detail, the illumination’s apexes are adorned with the heraldic symbols representing the Duke of Berry, lending an air of regal splendor to the manuscript’s margins. Positioned alongside these symbols are four Latin inscriptions, each describing the characteristics attributed to the Zodiac Signs based on their complexions, temperaments, and cardinal points. In the upper left, Aries, Leo, and Sagittarius are depicted as fervently warm and dry, imbued with the fiery essence of the choleric temperament, and bearing the masculine energy of the East. Meanwhile, the upper right unveils Taurus, Virgo, and Capricorn, enveloped in a cold and dry temperament, steeped in melancholy, and embracing the feminine allure of the Western realm. Descending to the lower left quadrant, Gemini, Aquarius, and Libra emerge with a vibrant warmth and humidity, embodying the sanguine spirit, and exuding the masculine vigor of the Southern domain. Finally, the lower right quadrant unveils Cancer, Scorpio, and Pisces, cloaked in a chilly dampness, embodying the phlegmatic essence, and emanating the tranquil femininity of the Northern expanse. This interplay of symbolism and description not only enriches the visual tapestry but also invites contemplation on the interconnectedness of celestial forces and human attributes.
The depiction of the Anatomical or Zodiac Man in the Limbourg brothers’ manuscript Les Très Riches Heures du Duc de Berry exudes a captivating aesthetic that seamlessly intertwines scientific inquiry with artistic mastery. Positioned within the intricate framework of medieval illumination, the figure emerges as a harmonious blend of anatomical precision and symbolic richness. Each rendered detail, from the delicate lines delineating the body’s proportions to the illustrated Zodiac Signs, invites contemplation and admiration. The vibrant hues of the illuminations, delicately applied gold leaf, and intricate patterns that adorn the margins further enhance the visual allure, drawing the viewer into a mesmerizing exploration of the human form and its cosmic connections. This fusion of artistic technique and intellectual curiosity epitomizes the manuscript’s exquisite aesthetic, offering a window into both the scientific knowledge and artistic sensibilities of the era.
For a PowerPoint Presentation on the Limbourg Brothers, please… Check HERE!
