When researching for this three part series, I was looking at Illuminated manuscript imagery mostly from the fourteenth and fifteenth centuries (though they were made for centuries before and after). Illuminated manuscripts were used as visual aids to the stories and lessons they accompanied. I decided to translate lyrics from beloved songs by Gillian Welch & David Rawlings into vibrant pictorial stories, leaning heavily on inspiration from images found in various versions of “The Book of Hours.” I’ve been dumbfounded to discover that as I comb through these ancient images and pair them up with the stories that GW&DR tell lyrically, the lessons start to fall in step with each other. Struggling with the concept of death, fear and poverty transcends every era of humanity and it’s been interesting to see the parallels when I plug their lyrics into the style and setting of a medieval manuscript.

In all the illuminated manuscript images I looked through, they cram every corner of the page chock full of mythical creatures, flowers and ornate patterns. The creatures are often whimsical, fearsome or mischievous and might represent some sort of side fable or moral reminder, but some of it seems absolutely nonsensical. It’s debatable what their true purpose was, (from what I read; some argue it’s a reminder that hell awaits, some argue that they’re pagan symbols that were lumped in with early christianity and some say they ward off “evil spirits” or some combination of the three) but based on what a blast it is to draw the little made up creatures, I kind of suspect it was fun for them too and I like to think that they were possibly tired of their heavy assignments; constantly warning people of the dangers of sin and death - and I think might’ve worked in a way to enjoy themselves. (but also, they were obsessed with symbolism, so I’m wrong and it probably means something but I wasn’t able to become a comprehensive scholar of the Middle Ages in 4 months)

In “Red Clay Halo” she can’t escape the telltale signs of her poor country upbringing, the red clay stains will follow her everywhere, even past the gates of heaven. It was easy to picture her as the patron saint of the Appalachian girl. I pulled borders and creatures from other illuminated manuscripts I found that had a similar theme.

(*Based on my interpretation of “Red Clay Halo” written by Gillian Welch & David Rawlings and featured on the album “Time (The Revelator)” released in 2001)

12 ¾ in x 18 ¾ in

Limited edition original poster, hand carved and printed on a Vandercook proofing press in Nashville, TN

This was the poster sold at the shows on the west coast leg of the Woodland Tour February and March, 2025.

Linocut reduction, 2 blocks, 3 colors. Copyright Camp Nevernice 2025.