Aside

Moving on with the second half of the Great Hall but it’s all one ‘tickle’ at a time, then waiting for things to set and/or dry – or even both.

In the meantime I wandered on to bits of what I’m calling the Arnolfini bedroom.  (see Marriage of Giovanni Arnolfini).

I was drawn to the Van Eyck painting for this room because of the bed and its hangings.  It’s a good hundred years too early for the project but a four-poster is a four-poster.  Nearly everything in the room is a symbol of some aspect of life, marriage and death, but putting that and the actual date aside, the room and contents are fascinating and I hope to use as much as I can of it in the small space I’ve allocated for the room.  More of that later.

Untitled, known in English as The Arnolfini Po...

Untitled, known in English as The Arnolfini Portrait, The Arnolfini Wedding, The Arnolfini Marriage, The Arnolfini Double Portrait, or Portrait of Giovanni Arnolfini and his Wife. (Photo credit: Wikipedia)

Today I’m interested in the famous mirror

This has scenes from the Life of Christ (or at least I think that’s what they are).  I have a yen for a convex mirror which might have some similarity to the Arnolfini one but finding an adequately convex mirror at a small enough scale is proving difficult.  I’d tried the back of an old camping spoon, a bit of a Christmas bauble, tough metal foil – none were going to sit quite right in a round frame.

For my birthday recently, my daughter bought me a dolls’ house accessories book and on the cover is a composite shot of some of the items made and bits used in the making.  So I’m staring at this and what should jump out at me but what seems to be a very small convex shiny shape.  The back of a metal plate!  I hurtled off to the wee drawer where I hoard the items for dressing the set.  The best, assessed by largest, shiniest and least blemished, that I can find is the reverse of one of the ubiquitous Tudor Rose plates.

No longer watching the paint dry

With this in hand I set to work armed with mountboard, compass, ruler and craft knives.  It took a whole morning to work out where to cut and where to leave, how faithful to the actual shaping to be and to measure it out and eventually dare to take a knife to it.  I must have adjusted/changed the measurements half a dozen times

The painting’s mirror has ten scenes but because of size restrictions and a wish to keep as much of the shape/look, I’ve reduced it to eight.  Scenes from Christ’s Life are digi-cut from medieval paintings and illuminated books and taken down to 0.6cms – v fiddly to place straight but leaving the images just about recognisable for what they are.

The cardboard frame is painted many times over – I tried to get the shades of colour from the image blow up, but of course, that depends on the reproduction you’re using for your source material.  The reversed plate rim forms the salmon pink area in the frame.  The convex area is definitely not as big as I would have liked and the whole will receive a few more coats of this and that, but at the end of the day’s session I felt it was reasonably on its way.  What do ya think?

Related articles – external

Waiting for things to set – Arnolfini Bedroom Mirror

Advertisements

Leave a Comment

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s