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I keep thinking about yesterday’s post and worrying about how I could have expressed my concepts concerning future space settlement better. I also want to vehemently state that I don’t want for humankind to use up the world and then move on: whatever happens, there is only one earth. We need to stop abusing it and using it up with our follies and treat it like the sacred blue jewel it is. We will come back to this with better explanations and more cogent ideas, but right now the haunting thoughts of ecocide and possible roads to salvation won’t leave me alone. I am going to take refuge from visions of a ruined world with one of my favorite things: Flemish religious art!
Bibliothèque nationale de France, Français 28. f. 66v (Noah’s ark). St Augustine, De civitate dei. Rouen, 3rd quarter of the 15th century
Except, of course, there is no escaping this concept (especially in art of the Low Countries from an era of constant warfare and plague). The idea of humans ruining the world with wickedness and then escaping from the devastation they caused while carrying the seeds of future life is found in the first known work of literature, “Gilgamesh,” (a story which more nakedly addresses environmental concerns than almost anything from the twentieth century), and, likewise, the story of Noah and the great flood takes a star turn in The Pentateuch/Bible. The above picture is actually an illustration from “The City of God” (a work which we may need to circle back to as we look at cities, morality, and humankind’s relationship with the larger universe), yet it is instantly familiar as chapters 6-9 of the Book of Genesis. Here is the relevant passage (Genesis 7) with all of the rolling thunder & sublime beauty of the King James Bible:
15 And they went in unto Noah into the ark, two and two of all flesh, wherein is the breath of life.
16 And they that went in, went in male and female of all flesh, as God had commanded him: and the LORD shut him in.
17 And the flood was forty days upon the earth; and the waters increased, and bare up the ark, and it was lift up above the earth.
18 And the waters prevailed, and were increased greatly upon the earth; and the ark went upon the face of the waters.
19 And the waters prevailed exceedingly upon the earth; and all the high hills, that were under the whole heaven, were covered.
20 Fifteen cubits upward did the waters prevail; and the mountains were covered.
21 And all flesh died that moved upon the earth, both of fowl, and of cattle, and of beast, and of every creeping thing that creepeth upon the earth, and every man:
22 All in whose nostrils was the breath of life, of all that was in the dry land, died.
23 And every living substance was destroyed which was upon the face of the ground, both man, and cattle, and the creeping things, and the fowl of the heaven; and they were destroyed from the earth: and Noah only remained alive, and they that were with him in the ark.
24 And the waters prevailed upon the earth an hundred and fifty days.
Even in this brief passage, the Bible contradicts itself! But, even if you do not think The Good Book is the only source of worthwhile knowledge, it is certainly a peerless work of literature. The illuminated picture perfectly captures the spirit of the poetry. All of the remaining humans and the last animals are packed together in the ark, silent and solemn staring out at the dying world. All animosity between predator and prey is forgotten as their frightened eyes take in the divine flood, which is captured with all of the ghastly verisimilitude that the artists could muster. Forests and drowning creatures drift by the tallest church steeples of a city as rich and poor alike perish in the inundation.
For at least as long as we have been able to set down our ideas in words and images, we have looked upon the changes we are making to the world with troubled eyes and we have wondered what it means. I am not sure that our anxiety or our heavy hearts will alter the ultimate destiny of humanity, but I think the fact that we are always worrying about whether we have corrupted the way of righteousness might be a point in our favor.
What with the holiday crush and the end of the year, I have had less time than I would like for blogging, but I will put up some Christmas posts and year-end thoughts here in the coming days. For now, here is an illuminated page of William Blake’s 1794 volume “Europe a Prophecy,” a dense symbolic poem about the benighted state of Europe (and humankind) at the end of the 18th century. I won’t get into the text but suffice it to say the magnificent crowned serpent seems to hold unusual sway over the affairs of men.
Gothic Armor (available for sale at http://www.armae.com!)
Welcome back to armor week at Ferrebeekeeper! Yesterday I introduced an ancient order of armored mollusks, the chitons, with an allegorical story about a knight of the Holy Roman Empire. This reminded me of gothic armor, one of the most beautiful and functional styles of plate armor ever devised. Gothic armor was, in fact, used by knights of the Holy Roman Empire (and lands beyond) throughout the 15th century. The style was characterized by a full plate armor which covered the entire body. This plate was designed with intricate structural flutings, ridges, and curves influenced by the ornamentation of Gothic art and architecture. However the ridges and crenellations of gothic armor served a double purpose: such features strengthened the armor and deflected arrows (which had become more prevalent in the warfare of the day). Additionally the major joints and breaks of gothic armor (armpits, crotch, and knees) were protected with chain mail underneath. A warrior in gothic armor was well protected (particularly considering he was most likely an insane German nobleman carrying a great sword).
A Fine German Sallet with associated Bevor, circa 1475
In the 1480s, gothic armor from Germany was considered the finest in Europe. Protective headgear had changed as well: although some knights still wore bascinets from the previous era, the most prevalent helmet of the day was the gothic sallet, a close fitting helmet with a long sharpened tail to protect the neck. The sallet was complimented by a bevor which protected the knight’s chin.
Ludwig III wearing gothic armor with prominent poleyns, from a fifteenth century manuscript
Illustration of a knight in Gothic armor (from Concilium zu Constanz, 1483, woodcut)
Gothic armor influenced English and Italian suits of armor. By the sixteenth century, Italian innovations in turn caused the style of German armor making to change. Gothic armor was left behind as armor suits became even more rounded and covered in grooves (a style known as Maximilian armor after the Holy Roman Emperor). However the great German printers, painters, and illuminators of the 15th century had already immortalized gothic armor–which is forever associated with knights to anyone familiar with such art.
Knight (Albrecht Durer, 1498))
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