Palestine might have looked like with separate elements and motifs of textiles and decorative art . The following artists developed this theme by virtue of their imagination , but without straying far from the already accepted version , which became canonical . The plot of the Annunciation with the image of the same type of carpet with “ birds ” is found mainly in the paintings of Florentine artists because the masters were familiar with each other ’ s works .
It seems as if there are no oriental carpets with a similar composition and such images of “ birds ”. Maybe we need to look not in the East , but closer . For example , there is a linen tablecloth from a German monastery . It seems that Gentile da Fabriano ( Pic . 7 ) was simply holding a cloth like this in his hands ( Fig . 8 ).
Pic . 11 Medieval Floor Tiles , England , Cleeve Abbey , XIII century
All the elements as a terrible beast , birds by the tree , an eagle with outstretched wings , various crosses , and swastikas are here , and rosettes in the corners turn squares into octagons , just like rhombuses on the depicted carpet .
Intriguing Beato Angelico The carpet , depicted by Fra Beato Angelico on the central panel of the altar of the Cathedral of San Marco , is considered the most magnificent “ oriental carpet ” in Italian painting ( Pic . 9 , 10 ). In addition to decorative patterns , animals are depicted in ten squares , and all are different . It is difficult to imagine such a variety on a carpet or fabric over such a large area . In addition , they are unusually oriented in different ways . They are turned face to the viewer , then sideways ; or they are facing each other or one after the other . Most of the animals look like crude stylization , other creatures are depicted with subtle tonal colour transitions and such rounded thin lines that the carpet maker could not have completed . Images in such different styles could not be on the same carpet . The same thing is with all pieces between the squares and different patterns do not look like textiles . The artist does not even try to show the carpet as a textile , in contrast to the folds of yellow fabrics with an unclear pattern under the feet of the Madonna and behind her back .
Yellow stripes with red ovals ( balls in perspective ) look like a sharp contrast to the “ carpet ”. They are interpreted as belonging to the Medici coat of arms . This confirms doubts that the oriental carpet is depicted . Fra Angelico ’ s interest in the techniques of illusion ( similar techniques were common in frescoes in Italy ), “ trompe l ’ oeil ” ( a crucifix is in the foreground as if in front of a painting ), scenic ( open curtains ), metaphorical and symbolic works are quite conducive to this conclusion .
On the left and right behind the figures , a space similar to a marble floor appears , and the “ carpet ” disappears ( judging by the way the white cloth continues in a straight plane behind the throne ). But , anyway , it looks more like floor slabs than the carpet . Sometimes they were laid , framing with similar patternless stripes ( Pic . 11 ).
Such parts of the floor , highlighted with patterned slabs , can be seen in ancient cathedrals . Given the enormous size and variety of all details , most likely , the artist depicted the invented floor slabs and added a fringe with Medici balls . The mystery of the “ carpet ” is completed by a neat strip of rounded white strokes at the throne , reminiscent of the fringe of a carpet , but only on one side with wrong length .
There is another plot with a small carpet on the border ( extension ) to the altar ( Pic . 12 ). Its pattern is not visible , but a pronounced fringe is also depicted on the long side of the carpet . This suggests that Angelico did not strive for authenticity in his images of carpets and , apparently , did not know them well .
Having created an original composition with Madonna , Angelico could have come up with such an incredible carpet , based on well-known motifs and medieval descriptions of animals in bestiaries .
Pic . 12 Beato Angelico ( 1400-1455 ). Condemnation of the Saint Cosmas and Saint Damian , fragment border , 1438-1440 , tempera , wood . 37x46 cm , Dublin , National Gallery of Ireland
Text : Irina Dvorkina Photo : from open sources
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