Putting Faces to Names
I though it best to follow convention where "portraits" of the Martyrs were concerned, working from historic images of them.
Unable to find any portraits of Blessed Thomas Maxfield, I had to decide on his appearance, and what symbols I could use to identify him;
and so here is what I chose:
The flowers he holds signify more than just the fact that both the Gallows and his path to them were strewn with wild flowers; I chose species which represent the blood of the martyrs and their association with the passion of Christ.
The butterfly is a nod to his having suffered biting insects when imprisoned; though I have used here the symbol of "Eternal Life".
Balancing act with colours
The composition of the mural was to echo the paintings of Giotto and Fra Angelico.
As both had distinct styles, I chose elements from both to achieve the desired marriage between the two!
These artists did not use perspective as a contemporary artist would, and they favoured large discs of halos, and layering of their figures.
In assimilating the richness of the Scovegni chapel, the P.P. chose to paint the architecture in yellows and blues.
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