The Society is based on ideals of beauty and splendour of the Middle Ages and Renaissance. When I began
painting a more elaborate style of shield, my intention was always for them
to be carried onto the tournament field. My belief is that as my shield defends my body it keeps me alive, and therefore is valuable, and should be
decorated in a fashion that shows its worth. This also brings a higher calibre
of presentation on the field, which as a concept matches the period development
of more artistic and beautiful craftsmanship of armour and pageantry during the 15th
century.[1]
Although the most common shield shapes through
the latter Middle Ages were the heater, stechtartsche[2] (small
jousting shield), and pavise[3],
I have chosen to use shield shapes and construction based on the owner or patron’s preferred shield shape for use in SCA heavy
combat. All but a few of the shields listed below have been made for use upon
the field; therefore certain compromises were made in their material composition and
construction to ensure their working longevity and long lasting finish of the
work.
Most of my works have been done
in acrylics, painted directly onto a plywood shield blank, or onto canvas or
leather-coated aluminium. The composition of the carrier is dependent upon the
user’s preference in shield type. I have sacrificed using period media because oil paints would not stand up to the harsh treatment received on a
shield’s surface when being used regularly. Acrylics are more hard wearing, as
these shields may be used week after week, for longevity sake, I use what will
last. However my interest lies within the design and aesthetic of the medieval
art, not in period art chemistry.
My shield projects are visually referenced from the paintings and art of the time. Some
following closely to the original context and others have been referenced and
reformed. For example, I may sample a background from a panel painting by the
Master of Flemalle, while taking inspiration for the poses of the figures from
a panel by Hans Memling. In this way the design and style are period, without
always being exact copies. Often these shields have been promisaries or gifts for members of the Society, therefore I am often challenged to paint a
portrait-like representation of a modern person in the High Gothic style. To implement this I
attempt to make the figure resemble the individual as much as possible, but I
will also harness symbolism to hint to the patron’s identity. Applying a Ducal
coronet or having their personal banner flying in the background can clarify
the identity of the owner. Once again, pageantry is the key.
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| Acrylic and gold leaf on laminated heater shield completed 2015 |
The composition of this piece references two main sources. The mother, infant and background designs come directly from the famous Van Eyck panel, with various simplifications. I have also sneakily included the devices of the patron and his wife in the stained glass as well as including the likeness of the patron's family members. Jock himself has been modelled from the Berruguete's Portrait of Federico da Montfeltro and his Son Guidobaldo.
This shield was painting in acrylic, but the carrier itself is a laminated curved heater. Painting onto the curved surface provides a challenge, as the shape of the carrier can distort the perspective and change the way the portrait is seen by the eye. The curve of this shield was not drastic enough to affect the image too badly, but it has provided a more authentic nature to the piece overall.
As usual, a border motif has been used to 'frame' the complex central design. This is a common design trait seen on German pavises of the later 15th century, although the central design of these examples are usually less intricate. To decorate the border I have applied gold leaf in a fealty chain design. Gold leaf was used on many period examples such as the famous 'Vous ou la Mort' Flemish Shield of Parade, currently held in the British Museum. I applied the gold leaf using modern gilding size. In future I think I will better prepare the surface of the carrier if I intend to use leaf, as in this example I have only lightly coated the surface in white primer before painting and as a result the wood grain texture is visible in the gold leaf. I will need to experiment with use of gesso (as extant panels were prepped) in respect to its durability on a practical piece. I'm unsure how well a surface prepared with gesso will last when put through combat.
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| The Virgin Of Chancellor Rolin Jan Van Eyck 1435 Oil on panel 66 x 62cm Musée du Louvre, Paris |
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| Portrait of Federico da Montfeltro and his Son Guidobaldo Pedro Berruguete 1476-77 Tempera on panel 76 x 134cm |
St. Michael Hand Pavise 2012
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| Acrylic on canvas covering aluminium completed 2012 |
The overall design of the piece
is common of German and Bavarian hand pavises of the later 15th
century. Many such shields feature a central saint figure, surrounded by a
border around the pavise’s edge which often bore a motto spelled out in
extravagant lettering. The motto I have chosen is “Magnus Urius Fabricant non
Nascunture”, meaning “Great Men are Not Born, but Forged”.
Finally the pavise bears my
personal device, presented in a lozenge, the traditional shape for a woman to
display heraldry in period.[4]
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Hand Pavise
Bohemian
1485-90
|
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Small Pavise
German
1480
|
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Last Judgement Triptych (closed) ((detail))
Hans Memling
1467-71
National Museum of Gdansk
|
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| Acrylic on leather surface with aluminium core completed 2011 |
Despite being in the shape of a heater, this shield relies upon a central design and bold border to emulate common features of Bohemian pavese design. Instead of the
central design being a simple rendering of a saint, I again chose to create a more
intricate design, sporting an entire scene. My thought was that
if the painting chemistry and techniques used on shields in period was so similar to that of the Northern
masters, than the only thing separating the designs of a shield from a panel
was fashion and one’s imagination. Therefore I painted this shield featuring a
replica of Hans Memling’s Last Judgement triptych centre panel.
The carrier is curved aluminium, covered front and back in a layer of tanned leather to give a more authentic look. The shape of the carrier does lend a more period appearance, however this shield was soon retired from use as the primer did not properly adhere to the leather surface and it began to crack after only a couple of uses in combat. In future I will need to apply a canvas or parchment layer which is seen in many period examples, to support the paint instead of painting directly onto the smooth surface of the leather.
 |
Last Judgement Triptych (Center Panel, Open)
Hans Memling
1467-71
National Museum of Gdansk
|
Sir Gui’s Curved Heater 2010
This particular piece was a gift to Sir Gui to commemorate his victory in a Rowany Fighter Auction Tournament from Sir Jock, who won the promisary for it as his patron. The design has been appropriated from the Rene Book of Tournament and modified to depict his victory.
Duke Cornelius’s Half Round Shield 2010
This particular piece was a gift to Sir Gui to commemorate his victory in a Rowany Fighter Auction Tournament from Sir Jock, who won the promisary for it as his patron. The design has been appropriated from the Rene Book of Tournament and modified to depict his victory.
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| Acrylic on curved wooden heater completed 2010 |
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King Rene Book of Tournament
Artist Unknown
1460
Illuminated Manuscript
|
Duke Cornelius’s Half Round Shield 2010
This shield is a closely referenced from a painting of St. George slaying the
dragon, by Friedrich Herlin.
I
have reworked the piece to be a representation of Duke Cornelius, including his
heraldry by altering the horse’s barding to display his colours and badges. He
also wears a Ducal coronet and the spurs and white belt of his station.
I
filled the border with a representation of the Burgundian Golden Fleece chain
of state, which was symbolic at the time.
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| Detail |
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| Detail |
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St George Slaying the Dragon
Friedrich Herlin
1460
Stadtmuseum
Nordlingen
|
Felix’s Half Round Shield and My Square Shield 2008
These two shields were painted for my partner Felix and myself for use on the field. I wanted to
design a courtly love scene for his and a more devotional scene for my own, as was common in the Middle Ages. As it was to be
his personal tournament shield, I wanted to include period caricatures of him
and me, in a scene not too dissimilar to the ‘Vous ou la Mort’ parade shield in
the British Museum .
To imply our identities, I drew up
the design to include our personal devices in the form of jousting shields.
This is also done by Hans Memling in the Last
Judgement Triptych in its closed position. This kind of heraldry dropping
is common in Northern European art in the 15th century. Especially
when representing a patron of a specific piece.
In order to create a period look
to the pieces, I referenced the background landscape and gold filigree shown in
the Master of Flemalle’s Seilern
Entombment Triptych (1410-20).
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| Acrylic on Wood Completed 2008 |
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Seilern Entombment Triptych
Master of Flemalle
1410-1420
Courtauld Institute, London
|
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Late 15th c Parade Shield
Flanders/Burgundy
Height 83cm
British Museum
|
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| Acrylic on Wood Completed 2008 |
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| Detail |
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| Detail |
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Last Judgement Triptych (closed)
Hans Memling
1467-71
National Museum of Gdansk
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Sir Phillipe Half Round Shield 2008
This shield was painted as a gift for Sir Phillipe du Lac in 2008. The design reference came almost entirely from the Van Der Weyden illumination of Phillip the Good receiving the Chronicles.
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| Acrylic on Wood Completed 2008 |
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Philip the Good Receiving the Chroniques
Rogier van der Weyden
1448-52
Illuminated Manuscript
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[1]D. Edge, J. Paddock,
Arms and Armour of the Medieval Knight, Pg. 163
[2] ibid
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