And back to thesis... (Click
here for larger image). Here's what one of my drawings looks like when the color starts getting put on. The color scheme of the interior is derived in part from Melk Abbey, the spectacular monastic church of Wies in Bavaria, and Munich's gorgeously claustrophobic Asamkirche, whose purples and reds and golds struck me as appropriately kingly and luminous for the seminary's title. (The desired colors always come out a bit lighter in watercolor, or otherwise you risk losing the transparency of the medium, so in reality there'd probably be less pink here than you see.) This is my first experiment with extensive marbling on an interior, as my last project, Our Lady, Queen of the English Martyrs, had predominantly plain dressed stone. If you look carefully, you can even see the Mass Cards on the altar.
The front facade of the chapel (larger image
here), which would serve as the entrance for the public attending masses on Sundays and high feast days, here halfway finished. Christ is shown seated in judgment above with the instruments of the Passion bourne by angels, with St. Michael over the central door and the Virgin of the Apocalypse topping the Jesse Tree fountain at the center of the lower stair landing. This ties the apocalyptic theme of the church facade and the heavenly iconography of the interior to the Salvation History sequence of the stairs leading up to the complex.
And back to thesis... (Click here for larger image). Here's what one of my drawings looks like when the color starts getting put on. The color scheme of the interior is derived in part from Melk Abbey, the spectacular monastic church of Wies in Bavaria, and Munich's gorgeously claustrophobic Asamkirche, whose purples and reds and golds struck me as appropriately kingly and luminous for the seminary's title. (The desired colors always come out a bit lighter in watercolor, or otherwise you risk losing the transparency of the medium, so in reality there'd probably be less pink here than you see.) This is my first experiment with extensive marbling on an interior, as my last project, Our Lady, Queen of the English Martyrs, had predominantly plain dressed stone. If you look carefully, you can even see the Mass Cards on the altar.
The front facade of the chapel (larger image here), which would serve as the entrance for the public attending masses on Sundays and high feast days, here halfway finished. Christ is shown seated in judgment above with the instruments of the Passion bourne by angels, with St. Michael over the central door and the Virgin of the Apocalypse topping the Jesse Tree fountain at the center of the lower stair landing. This ties the apocalyptic theme of the church facade and the heavenly iconography of the interior to the Salvation History sequence of the stairs leading up to the complex.
![[SMMMHDH]](http://www.mgilleland.com/music/smmmhdh.png){kind=small}
