Giles
de Laval
During the 14th and
5th centuries, depictions of the natural world
became increasingly common in marginalia, and
illuminated miniatures and borders. Floral themes
were especially popular, likely for the jewel-like
colours of the subject matter, as well as to show
off the skills master artists like Simon Bening and
the unnamed Master of Mary of Burgundy. Using
flowers in this way was prevalent in many 15th and
early 16th century manuscripts, the trend
culminating in the illusionistic realism of the
Flemish flower-strewn style of border.
Many flowers and
plants bore symbolic meanings from classical times,
no less so in the Middle Ages (although with
meanings often adopted and adapted to the needs of
Christianity). Even with the rise of literacy and
personal devotional reading, these symbols retained
their potency as a supplement to the written word,
and ready appeal to the medieval child-like delight
in equivocation and metaphor is easily
seen.
Incorporating them
into illumination in this way gained new popularity
in these centuries as the result of two major
influences. The first was the Renaissance, with
it's increased appreciation of the natural world,
and more accurate observation and depiction of
nature in art. The other was the religious movement
called devotio moderna, which among other things
held that the divine was ever-present, and could be
readily seen in everyday objects. Fusing the old
devotional symbolism with this new, more secular
outlook was an inspired development adding a deeper
layer to the obvious beauty of these trompe l'oeuil
borders, and proved immediately popular with the
bourgeoisie and nobility alike.
Here is a list (by no
means exhaustive,) of some popular flowers and
their symbolic meanings in late period art and
manuscript illumination:
Bindweed
(convolvulus)
|
|
humility
(from its low, trailing growth habit and
flowers blooming close to the
ground)
|
Borage
|
|
courage
|
Carnation
(pink, stock)
|
|
the
crucifixion (pinks smell like cloves,
cloves look like nails, nails were used to
crucify Jesus)
|
Columbine
|
|
associated
with the Holy Ghost (from Latin "columba",
dove)
|
Cornflower
|
|
associated
with the Virgin "Mary's crown"
|
Daisy
|
|
innocence
|
Enclosed
garden (hortus conclusus)
|
|
symbolic of
the Virgin, as a metaphor for her
impregnation without
penetration
|
Forget-me-not
|
|
fond
memory
|
Grapevine
|
|
everlasting
life, associated with Christ
|
Hawthorn
(thorn, may blossom)
|
|
Christ's
passion. (The crown of thorns was thought
to be made of hawthorn; also associated
with Christmas as the unique "Holy Thorn"
according to legend brought to England by
Joseph of Arimethea, bloomed on Old
Christmas Day.)
|
Heartsease
(viola)
|
|
new
love
|
Iris
|
|
associated
with the Virgin (white iris symbolic of
virginity). Often seen in devotional
depictions
|
Ivy
|
|
fidelity,
constancy (for its evergreen
nature)
|
Lily
|
|
purity and
innocence, closely associated with the
Virgin and staple of Annunciation
scenes
|
Lily
of theValley
|
|
associated
with the Virgin, used to decorate Lady
chapels. Also called Our Lady's Tears,
said to grow at the base of the Cross
where her tears fell.
|
Marigold
|
|
sorrow (from
the French name soussye, rhymes with
souci, "sorrow"). Also associated with the
Virgin "Mary's Gold".
|
Periwinkle
|
|
immortality
|
Rose
|
|
a complex
symbol comprising enduring love, beauty,
the measure of perfection, sacrifice for a
heartfelt desire, secrecy, transience of
worldly matters, roses are very commonly
met with in a variety of contexts.
Associated with the Virgin as the Rosa
Mundi (The Rose of the world), it
symbolises her motherhood and perfection,
the Biblical flowering stem of Jesse which
leads to Christ her son, and through her a
symbol of God's love for the world. White
eglantine rose is symbolic of purity, and
the briar rose was emblematic of the
pleasures and pains of love.
|
Rosemary
|
|
remembrance
|
Speedwell
|
|
success
|
Strawberry
|
|
good works,
fruits of good labour. Also associated
with Christ's passion (the fruit being the
colour of blood), and with the Trinity
(triplet leaves).
|
Violet
|
|
purity, pure
love; associated with the
Virgin
|
The context and
position of these flowers could add yet another
layer of meaning to the illumination, and the
decorations of important pages from manuscripts
this era suggest that they may have been chosen for
symbolic purposes as much as colour and shape. For
example, in depictions of Christ a rose is commonly
placed directly beneath, carrying the symbolic
meanings of the stalk of Jesse, his mother the
Virgin who brought about his birth, and the love of
God for the world. In many manuscripts pinks and
thorn accompanies the Nativity, suggesting his
passion and death was inherent in his birth; or the
crucifixion to emphasise the impact of the event.
In a similar way, flowers such as speedwell,
strawberries and columbines might be arranged
around a portrait or arms of the manuscript's owner
to reflect their piety and hopes for success in
their worldly ventures. Such rich symbolism could
be easily adapted for use in SCA manuscripts.
References
JJG Alexander,
The Master of Mary of Burgundy: A Book of Hours
for Engelbert of Nassau. George Braziller
1970
Janet
Backhouse, Books of Hours. British
Museum Press
Miranda Innes &
Clay Perry, Medieval Flowers. Kyle
Cathie Ltd 1997
Sylvia
Landsberg, Medieval Gardens. British
Museum Press
John Plummer,
The Hours of Catherine of Cleves. George
Braziller 1966
Elizabeth
Schaeffer, "Time & the Flower: Significant
Images of the Passage of Time in the Floral Borders
of the Hours of Catherine of Cleves" in Essays
in Medieval Studies, Loyola College,
Chicago.
Rob Talbot &
Robin Whiteman, Brother Cadfael's Herb
Garden. Little, Brown & Company
1996
|