(artist unknown, designed in London) (c.1270 to 80). Windmill Psalter Psalm I/Beatus Vir page [ink and pigments on vellum]. The Pierpont Morgan Library, New York.

The sum of the arcs, strokes, figures and designs is the colossal Beta character. The merger of these elements and the letter itself slightly overpower the individual shapes. The result is a work of semi-abstraction, while the recognizable forms have some realism. Generally negative space does not apply, but there is an alternating pattern of low/high energy areas throughout the character dependent on the recognizability of the forms (ie, abstract vs robed figures). 

Line, shape, color, value and pattern are vital to the overall crystallization of the letter-symbol and in defining its framework. Value and color are simply inseparable in the development of this image. Dense blues and light oranges, while near-polar opposites along two color dimensions, effectively harmonize the canvas, instead of disrupting it. This combination does as much of the labor in creating this thing of beauty as it’s endless, complicated design. Colors are bent to suit the needs of the composition, rest nearly on swatches, but are probably value-based. The color/value blend creates a clear pattern that integrates into, or establishes (its difficult to tell), the unique design that characterizes this piece. This pattern merges to create a life-like texture similar to what can be seen of a hanging garden. 

In terms of depth, this is clearly a work of gorgeous decoration. Any illusion of depth is secondary, used to support the design organization by placing figurative shapes in front of background and form-establishing and intertwining strokes. Color purity and detail definition are used in an intuitive way to support this work’s sense of depth. Small circular designs are arranged in a flowing pattern that creates a global radial sense of balance with a beautifully diffuse energy. The character is defined by curvilinear boundaries and a rigid, perpendicular framework that still maintains the character of the subject. 

Color and value have been given their due attention, but line is as important, even if as an element it doesn’t suit as many overlapping purposes. It is a source of both grace and interest through circular versus abruptly direction-reversing directions and dense versus light values. Line provides scaffolding that in local areas blends together to create abstract shapes that further highlight the figurative ones. 

The force inherent to line creates the afore-mentioned homogeneous energy that charges the picture plane, however this suits the binding needs of this work. Due to it’s inflated relative size, the bright orange figure located in what would be the lower counter of the character has to pull most of this works attention. After that the eye effortlessly follows the lines of motion to the separate circularly-framed icons arranged on the page. 

In every respectable way this work could be transplanted into and be fully appreciated for the same reasons the indoctrinated favor modern art. It uses both unbalanced and equivalent proportions to simultaneously generate energy and create harmony. The simplest way to summarize this work is to state that it calibrates calm and tension into perfect decorative alignment.