Drawing the Past

I am currently engaged in a couple of projects to make drawings that either clarify historical artwork or aim to envisage how something, which no longer exists, may have appeared. 

Drawing has always given me the opportunity to visualise many things, imagined or observed, so the opportunity to spend time atop scaffolding and closely examine a Tudor mural and make some drawings, appeared to offer a once in a lifetime experience.

The mural in question is a Nativity in St Mary de Crypt and dates to around 1520 -1530. It was painted in oils, which is rare, although I believe Holbein did some oil murals in London around this time.  As with so much artwork it has been trashed as a result of religious and political views and there don’t appear to be any records about it.

Why make drawings?

I know when I draw I observe intently.  For instance, Mary’s face has been badly damaged and at first glance appears to be unrecognisable. However, making a drawing that put lines around changes in tone and colour, revealed an eye, the remains of a mouth and a forehead and suggested other aspects of her features. My drawings leave out the damage and give some clarity to what has survived.  As a result, and in consultation with Hellen O’Connor, the manager at St Mary de Crypt, the idea of making a drawing seemed attractive. Unlike the damaged mural, which is high up on a wall by the altar, the drawing would focus on things we could attempt to identify with some confidence, and be exhibited to the public at eye level. A few key figures, Melchior, one of the three Kings, Mary, the Baby Jesus and Joseph would be in the drawing. The figures would a size similar to those in the actual mural to retain some of their impact.

Drawing the Cathedral nave as it was first built

The other project involves making a drawing of how the nave of the Cathedral may have appeared in the 13^th century when it was a Benedictine Monastery. The current illustration, used by guides when they talk to members of the public, is now felt be inaccurate as a result of recent research.  Visualising a drawing is proving to be quite challenging because there doesn’t appear to be much left of the abbey, especially when the conversion into a Cathedral in 1542 involved so many alterations. Again, there don’t appear to be records.  I’m basing my work to date on six remaining half pillars, information felt to be accurate on previous illustrations and plans and diagrams.  I’ll also be visiting cathedrals and churches built during similar periods. There is also a plan to do a tracing paper overlay which includes how colour and murals may have appeared and some sort of Benedictine presence to give an idea of human scale in relation to the building.

Visit me at The Folk

I feel the illustrations are important because graphics can make a more immediate impact, they cross language barriers, and if successful, they arouse the interest and curiosity of the public, encouraging discussion and questions, especially amongst the young. Work is ongoing, mostly taking place in The Folk on Westgate Street on Tuesday mornings, Thursdays and Saturdays and you are welcome to visit and see his progress.

Just to let you know, I'm not usually an illustrator, but I do love to draw.

Chris Hardman

Chris on the GCA website