Articles tagged with: painter

Seal of Approval

on Monday, 23 July 2018. Posted in Archives

Archives are regarded, quite rightly, as vital sources of information about past lives and times, and are pored over for the fascinating details that they offer. However, in the quest for knowledge it is easy to overlook the format and appearance of the documents, which are also informative, but are worthy of consideration and appreciation for their style and artistic achievement. A good example of this is seals, which were used to validate or authenticate documents, much as we might provide a signature or enter a PIN.  A soft material made of beeswax with tree resin and pigment that was pressed into a metal matrix onto which image and text was engraved, to make an impression. Usually the seal would have writing around its edge (known as the legend) which was often in Latin. They might identify the owner, or be relevant to the image. One of my favourites, in The National Archives, appears on the seal of a lady, ‘Love me and Lyve’.

Why are they important and so deserving of such attention? Because they are examples of the skill of the engravers who made the moulds or matrices, which produced exquisite miniature works of art. This small scale medieval sculpture complements the work of masons, carvers, painters and other craftsmen in buildings, statues, paintings and devotional and personal objects that survive from the Middle Ages.

The choice of motif was a matter of personal taste surviving from a time when people had few personal items. They are revealing about the owner: their social status, indicated by the use of heraldic symbols, emphasising his or her power and authority: their occupation, by an image of the tools of their trade: or their personality and mindset, by devotional motifs indicating their piety, or amusing images suggesting a sense of humour. Wit, sentimentality, and popular devotion, all appear in the designs the seals of individuals below the elites. Delight in the absurd and the burlesque, such a hare blowing a horn while riding on the back of a dog and humorous punning designs and pictograms were commonly displayed. Images of saints with their emblems, such as St Catherine and the wheel on which she was tortured, a pelican in its piety, pecking their breasts to feed their young, were also popular designs. 

I will be giving an illustrated talk on this subject, entitled Good Impressions: Seals from the 13th-20th centuries, at the History Centre on Thursday 9 August at 10.30. Tickets £4.00.

No the History Centre is not trying to compete with the Whale and Dolphin Conservation Society, also based in Chippenham, and taken on a wider brief in the preservation of the Natural World. This is about the seals, archival not mammalian; the lumps of beeswax impressed with intricate and elaborate designs that authenticated legal documents. Relevant in a time when only the few could read or write their names, the conservative nature of the law means that they continue in use today; if reduced to the ignominy of a self-adhesive red circle stuck alongside the signatures on deeds.

An image of a world long gone...

on Wednesday, 04 September 2013. Posted in Art

Here at the History Centre we have a collection of over 1,000 prints dating from the 17th century to the late 19th century; artistic snapshots of our county in time. A selection will be on show in our reception area in the form of a mini exhibition, running from the 28th of September 2013 to the 3rd January 2014. Entry to the exhibition is free, open during our normal working hours. Please feel free to pop in and take a look; they are beautiful works of art in themselves!

The earliest examples of printed illustration are the woodcuts used by William Caxton to illustrate his books in the late 15th century. Saxton’s atlas of England and Wales was published in 1579 and has been called the greatest publishing achievement of the 16th century, being the first national atlas of its kind to be produced in any country, utilising the latest technology of line engraving.

By the 17th century it had become established practice to issue books with engraved title pages and portraits. The process required a different printing process to text and led to an increase in the use of the copper plate press. Demand for this new type of publication increased, resulting in the establishment of two new trades; the publisher and print seller.


The popularity of etching in Britain was predominantly due to one man, Wenceslaus Hollar (1607-77) from Prague. He arrived in Britain as a member of the household of the Earl of Arundel, one of Charles I’s Ministers of State who was a great patron of the arts. Less than 10 years later both the Earl and Hollar had to flee due to the Royalist defeat in the Civil War.

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