Not All Aboard
Commentary by Anna Somers Cocks OBE
The animals went in two by two, hurrah, hurrah
The elephant and the kangaroo, hurrah, hurrah…
…and, as we know, jolly old Noah saves all the species from the flood with his ark.
Actually, there was nothing jolly about it at all. It was terrifying, with God so disappointed by humanity’s behaviour that He decided to destroy His own creation.
This is how the thirteenth-century English miniature painter William de Brailes imagined the devastation. The animals are innocent but they have died too because, as the fourth-century theologian John Chrysostom explains—following the Jewish commentators—they were created for humankind’s sake; therefore, it is right that they too should meet their end. God has broken the dome that according to medieval cosmology was the sky, separating the waters ‘above the firmament’ from the waters below, so the ocean above is pouring down in five cataracts.
In the Middle Ages, artists nearly always followed established prototypes, rarely deviating from them much or painting from reality. Here we have an extraordinarily original full-page painting, about the size of a paperback, with an underwater view of the Flood. The remarkable detail is the way in which the human bodies are floating on their fronts with their arms hanging down; de Brailes must have seen this in real life because that is how a corpse actually floats under water. We know that he was a bit of an individualist because he signed his work twice at a time when most artists remained anonymous, and his spirited scenes often break through the margins of his pictures.
He lived in Oxford, when the university was growing fast. The increasing numbers of religious scholars—combined with the Church’s new emphasis on personal devotion—led to demand for smaller prayer books for private clients. It was the age of the psalter, a prayer book with a selection of psalms prayed eight times a day, often preceded by pages illustrating stories from the Bible. This is one of 24 leaves in Baltimore, from a psalter now in the Stockholm National Museum [Ms. B.2010]. There are seven more leaves in Paris, and there may originally have been as many as 98.
With its piled up dead bodies this image was intended to shock, displaying the effects of humankind’s sinfulness, before the reader turned the page and saw the ark in which God decided to give creation another chance.
References
De Hamel, Christopher. 2001. The Book: A History of the Bible (New York: Phaidon)
Hill, Robert C. (trans.). 1990. John Chrysostom Homilies on Genesis 25:18–45, Fathers of the Church 82 (Washington D.C.: Catholic University of America Press)
Kauffman C.M. 2003. Biblical Imagery in Medieval England 700–1500 (London: Harvey Miller)