Episcopal Splendor: An English Bishop in 'Costume du Moyen Âge, 1847

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Episcopal Splendor: An English Bishop in 'Costume du Moyen Âge, 1847

About the Item

Title: "Episcopal Splendor: An English Bishop in 'Costume du Moyen Âge'" Description: This exquisitely detailed lithograph from "Costume du Moyen Âge," published in 1847, portrays an English bishop in full episcopal vestments, exemplifying the rich ceremonial garb of the Church hierarchy during the Middle Ages. The bishop stands in a dignified pose, holding the crosier, a staff that symbolizes the pastoral office of the bishop, and raising his right hand in blessing. The bishop is robed in a copious, scarlet chasuble, opulently decorated with golden motifs and religious iconography that likely represent the saints and the Holy Trinity, indicative of the bishop's divine service and responsibility. The chasuble's ornate design and the vibrant red color signify the bishop's high ecclesiastical authority and the sacrificial aspect of his role. Beneath the chasuble, the bishop wears a dalmatic, seen through the openings of the outer garment, and an alb, the long white robe that signifies purity. The bishop's stole, the liturgical vestment worn around the neck, is also richly adorned, cascading down the front of the chasuble, and his pectoral cross is just visible, indicating his commitment to his faith and office. His mitre, the traditional ceremonial head-dress of bishops, is ornate, matching the chasuble with its golden embroidery and religious symbolism. The bishop's footwear is simple yet elegant, with red shoes peeping out from beneath the hem of his robes. His expression is serene and contemplative, capturing the spiritual gravitas and reflective nature of his position within the Church. This lithograph not only provides a visual account of the sartorial elegance of an English bishop but also serves as a reminder of the historical significance of ecclesiastical attire as an expression of religious devotion and hierarchical status within the Church. The colors have a nice glow over them. Historically, egg whites, known as glair, and sometimes egg yolk were indeed used in illumination and painting, particularly in manuscripts, to give colors a brighter appearance and to add a sheen or gloss to the work. This technique was quite common during the Middle Ages and into the Renaissance. Egg whites can be applied as a varnish over pigments to enhance their brightness and to protect the colors. This application could make the colors appear more vivid and also add a slight glossy sheen to the surface of the image. Egg yolk, on the other hand, was commonly used as a binding agent in paint. It forms the basis of tempera paint, a medium that was widely used before the advent of oil painting. Egg yolk helps to create a durable and long-lasting color that adheres well to various surfaces. In the context of the print from 1847, it's less likely that egg whites or yolks were used directly on the print, as by that time, commercial printing processes would have been more advanced and less reliant on such manual methods. However, if this print is a representation of an earlier style or is meant to mimic the appearance of hand-painted manuscripts, the original artists might have employed techniques or materials that gave a similar effect to those achieved with egg-based binders and varnishes.

Dimensions:
Height: 10.63 in (27 cm)Width: 7.09 in (18 cm)Depth: 0 in (0.02 mm)
Materials and Techniques:
Paper
Period:
1840-1849
Date of Manufacture:
1847
Condition:
Good. Overal light toning and light soiling but the image itself clean and hand-colored almost 200 years ago and still in expliciet colors. Aged paper with typically warm, yellowish-brown hue, mostly around the edges. Study the images carefully.
Seller Location:
Langweer, NL
Reference Number:
Seller: BG-13635-1301stDibs: LU3054337928872