Madonna di sotto gli Organi and My Madonna

Madonna di sotto gli Organi, XIII secolo, Pisa, Duoma

I've been collecting images of the Madonna for The Book of Mary to use as models for the stained glass panels.  Louise sent me this image of a 13th C icon known as "the Madonna under the organ" (so named because of where it was placed in the cathedral). Her story is quite an interesting one. It is believed a returning Crusader brought her to Italy. She was an object of devotion so revered that for centuries no one was allowed to look at her. She was covered by seven veils for centuries. There are stories about those who may have tried to peek under the veils and those who took charge to rescue her during times of fire and war. Presently she is displayed unveiled at the Duomo in Pisa, but she remains an object of devotion. With such a history, she became my first model.  http://members.virtualtourist.com/m/p/m/1eeee9/


Within 24 hours of beginning to work on a panel in the fashion of stained glass, I can say I learned a lot. The First Epiphany was remembering I prefer making letters more than drawing images. The Second Epiphany is understanding how my Mary should be portrayed and the third was realizing for some unknown reason as the moment, My Madonna will be without child.

It was quite daunting to recreate the Organi Madonna. For very practical reasons the artwork is first laid out on drawing paper. Once the under drawing is done, a length of crinoline can be placed on top to transfer the image. 


Using a large sheet of white drawing paper (cut from a roll), #5H pencil, erasers (yes, plural) and the image, I struggled nearly an hour with drawing and erasing before giving up. Considered using a projector to trace the Duomo's image, but abandoned that notion after realizing there is no convenient wall in this house to project a large image. Whether it's a bookcase, king size bed, or cabinet, moving heavy furniture was not an option. It was easier to go back to the board and do the best I could.

Into about hour 7 I realized that a 5H pencil was not right for this job. Calligraphers keep 5H pencils sharpened to a pointy point around for lining papers with a very light line that won't smudge and are easier to erase when the lettering is completed. But sketching with one made the lines difficult to erase and the sharpened pencil point scored lines into the paper making it harder to erase.  Bespeckled with eraser crumbs and an inch of them on the floor, the frustration level was Code Red.

Knowing how one uses the muse was very helpful. I shut down the studio and washed the dishes. While contemplating the bubbles, the First Epiphany was revealed. Going back to the board, things didn't really look that bad and this is when the Second Epiphany stuck. Spent two hours reworking the Organi Madonna into My Madonna. My Madonna will not have a face. She will remain veiled.
 
It's been a long time since I've been so excited about making art to want to get up to work in the studio during the wee hours of the morning. It's been a long time since I've watched the sunrise from my studio. It's been a long time since I've been in the ever-so-coveted Zone. The Third Epiphany came as bright as the sunrise. My Madonna and future Madonnas will be depicted without The Child. I can't be sure whether it is because I simply can't draw or something more meaningful to be revealed as I work on this project.

It's important to note it's OK if a panel doesn't work. Calling it a mockette removes the stress. Each concept and technique will be a learning experience. I'll proceed with each step, try the things that come to mind, and forgive what doesn't work. After all, it really is all about the process.

My Madonna Drawing ready to be transferred to crinoline