"borders... are just as important within the composition to help the viewer understand the work."

 Continuing in a series of posts intended to offer guidelines in renewing the Gothic style, let us consider the division spaces within the composition.

While sacred art draws us into sacred time, the image itself is not confined to the spiritual or sacred realm. We are told in the Book of Genesis that “In the beginning, God created the heavens and the earth.” Genesis 1:1 That is to say that God created two realms of existence, the heavenly realm and the earthly realm. As creatures of both flesh and spirit we live in both worlds at the same time. The medieval or Gothic artist recognized that these two realms co-exist. This is part of the worldview that grounds the Gothic style. As such, the heavenly realm and the earthly realm may be depicted within the same work of art but it must be made clear to the viewer not only which realm is being depicted, but also when we move from one to the other. The Gothic style does this in a couple of different ways.

I have discussed the importance of borders and frames around the entire composition, but they are just as important within the composition to help the viewer understand the work. The realms of existence have borders, and while certain persons may cross from one realm to the other, the borders of these realms are clearly shown in the Gothic style.

To the medieval mind there is a hierarchy and order of creation, the so-called Great chain of Being. At the top of the chain is God, then the angels, then humanity, followed by animals, plants and minerals. God, His angels, and the saints, occupy Heaven, while humanity, plants and animals are generally depicted on earth.

The heavenly realm can be further divided between Heaven, the abode of the angels and the saints, and the Highest Heaven, or Empyrean, which is the domain of God alone.

The Highest Heaven is bordered by a “mandorla” an almond-shaped space that in itself is a symbolic union of heaven and earth. It may be further separated from the other realms by a border of stylized clouds, or even angels, or rays of light, or any combination of the three. But it is the mandorla shape that defines this unique plane of existence. Within the mandorla is God alone. This could be a representation of the incarnate God, or a symbolic image such as a lamb. It may also enclose simply the arm and hand of God raised in a gesture of blessing. This shape, also known as a “vesica” alerts us to the presence of God in the composition.

Distinct from the Empyrean, is Heaven, where the saints and angels live. As we generally think of heaven as “above” it must be made clear that it is a separate realm of existence from the sky of the earthly plane. This border may be a colored band or stylized clouds. The type of border is less important than the border itself. 

Within the earthly sky we find the sun, moon, stars, lightening, hail, rain, etc.. We may also see angels or visions of Heaven depending the subject of the work. Angels, visions, and divine or spiritual things transcend boundaries.

The earth is the realm of people, animals, plants, and buildings. The earthy horizon line is high or low depending on what is depicted. If a number of figures is represented then the horizon is high to accommodate all the action. If very few figures are shown then the horizon is low with the feet of the figures firmly planted on the ground and the persons silhouetted against the sky.

The earth may be shown with mountains, hills, forests, streams, rivers, etc,. But usually only as much as is necessary to convey the idea. The Gothic style is a style of symbolic representation rather than a natural or “realistic” one.

The earthly realm may also show events of past, present and future, all within the same composition, but distinctly separate from each other.

In addition to borders, the backgrounds of these spaces may also indicate a shift in location. Different colors may be used to differentiate differences in time or space. The specific colors are, like the types of borders, less important than their actual use. Nevertheless, we might suggest a few conventions.

Gold would generally be used for Heaven. If several realms are shown simultaneously then gold should be reserved for the highest plane. That being said if, for example, all the action or subject of the work is taking place within a single time and space, then the artist may opt use gold as a background.

Patterns may also be used to distinguish time and place. A patterned background would generally represent the order of creation and is therefore most appropriate to the heavenly realm but not necessarily exclusively so.

The background that is the earthly sky should reflect things of earth. It might be a pattern of stars, foliage, vines, emblems, etc., whatever is in keeping with the overall subject of the work.

What we have not mentioned yet is the margin of the work, that space outside the border or frame of the entire composition. This is famously the realm of the artist or the narrator. If the work illustrates a vision then the visionary (John, for example, in the book of Revelation) may be outside, in the margin, peering into the scene. But this is also the area where the artist may indulge their creativity. In medieval texts this is that marvelous realm of anthropomorphic rabbits, knights riding snails, monkeys, cats, and so on.

The foregoing is offered as guidelines or suggestions for conventions in the revival of a Gothic style. I welcome comments and suggestions.

Pax vobiscum

Lawrence Klimecki, MSA, is a deacon in the Diocese of Sacramento. He is a public speaker, writer, and artist, reflecting on the intersection of art and faith and the spiritual “hero’s journey” that is part of every person’s life. He maintains a blog at www.DeaconLawrence.org and can be reached at Lawrence@deaconlawrence.com

Lawrence draws on ancient Christian tradition to create new contemporary visions of sacred art. For more information on original art, prints and commissions, Please visit www.DeaconLawrence.org 

Purchase fine art prints of Deacon Lawrence’s work here.