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Site d’importance par son histoire, l’église Saint-Eutrope fait actuellement l'objet d'études pluridisciplinaires menées par de nombreux chercheurs, à la fois sur l'édifice et sur son quartier. Ces travaux sont réalisés dans le cadre d'un programme collectif de recherche, coordonné par Christian Gensbeitel depuis 2016. Cette dynamique s’inscrit dans une volonté politique de restauration de ce site clé du Sud-Ouest.Bien que la nef soit aujourd’hui quasi intégralement détruite, les parties orientales romanes - réparties sur deux niveaux (église basse et église haute) - sont, quant à elles, conservées et intégrées dans la reconstruction gothique de la fin du Moyen Âge. Cet édifice monumental a été conçu de manière à gérer l’afflux de pèlerins, en ménageant un accès aux reliques du saint, sans perturber la vie de la communauté monastique.L’objectif de cette étude est d’aborder la construction de l’église romane de Saint-Eutrope en combinant les approches classiques de l’archéologie et de l’histoire de l’art, afin d’appréhender son ou ses chantiers de construction, les matériaux et moyens mis en œuvre, du gros œuvre au second œuvre. Cette communication fait état de travaux de recherche en cours fondés sur une étude fine des maçonneries et des décors. À terme, ces travaux permettront également de faire émerger des chantiers qui auraient pu influencer celui de Saint-Eutrope et d'observer le rayonnement que ce dernier a eu sur d'autres édifices de la région. L’église Saint-Eutrope, chantier du dernier quart du XIe siècle, a durablement marqué le Sud-Ouest, au-delà des frontières de la Saintonge, à la fois par sa qualité ainsi que par l'ampleur des travaux réalisés. Great historical site, the church Saint-Eutrope is now the catalyst for multidisciplinary studies led by many researchers on both the building and its neighbourhood. This work has been part of a collective research programme, coordinated by Christian Gensbeitel, since 2016. This dynamic is taking place thanks to a political will to restore this south-western key site.Although the nave has almost been completely destroyed, the Romanesque choir and crossing - divided on two levels (lower church and upper church) - have been preserved and integrated into the Gothic reconstruction of the late Middle Ages. This monumental building was designed to cope with the big amount of pilgrims, providing access to the saint's relics and enabling, at the same time, the monastic community to accomplish its religious activities.The objective of this study is to approach the construction of the Romanesque church of Saint-Eutrope by combining the classical approaches of archaeology and art history, in order to understand its construction(s), the materials and means use, from the structural work to the finishing work. This paper reports the ongoing researches based on a detailed study of the masonry and the decorations. Ultimately, this study will make it possible to identify construction works that could have influenced Saint-Eutrope and to observe the influence that the latter had on other buildings in the region. The Saint-Eutrope church, a construction site from the last quarter of the 11th century, has left a lasting mark on the South-West, beyond the borders of Saintonge, both by its quality and by the scale of the work carried out.

Nel 1591 Alessandro da Ripa, abate di San Bartolomeo in Pantano a Pistoia, dota l’organo di una nuova cantoria. La struttura, corredata da un’epigrafe, è frutto del riassemblaggio dell’antico pulpito della chiesa, realizzato tra 1239 e 1250 da Guido da Como. In questo assetto i rilievi giungono fino al secolo scorso. Si tratta di un esempio felice del rimaneggiamento in epoca moderna di un pulpito medievale, pratica particolarmente frequente nel contesto toscano. L’operazione non si pone certo il fine di preservare la leggibilità dell’apparato iconografico e simbolico del manufatto. Nonostante questo, dalla soluzione cinquecentesca traspare l’apprezzamento estetico del pezzo antico, il rispetto della sua integrità, lo sforzo nella ricerca di una soluzione che lo metta adeguatamente in valore. In 1591 Alessandro da Ripa, abbot of San Bartolomeo in Pantano, in Pistoia, provided the organ with a new “cantoria”. The structure, furnished with a new inscription, is the result of the reuse of the ancient pulpit of the church, realised between 1239 and 1250 by Guido da Como. The medieval reliefs come down to us in this new arrangement. The operation is a successful example of the reworking of a medieval pulpit in modern era, which is rather common, particularly in Tuscany. Certainly, da Ripa’s main goal was not to preserve the iconographic and symbolic contents of the artifact. Despite this, the effort to emphasize the aesthetic qualities of the medieval work and the respect of its integrity are evident.

International audience; Lange galt das Serpentingestein als Marmor. Man findet Skulpturen aus diesem Material in mehreren romanischen Bauten des Zentralmassivs. Die Abteien von Aurillac (Cantal) und in Conques (Aveyron) haben zum Beispiel zwei Brunnenbecken aus diesem Gestein. Lange vermutete man den Steinbruch Puech de Voll in der Gemeinde Firmi im Aveyron als Herkunft. Bei genauerem Betrachten unterscheidet sich jedoch der Serpentinit-Marmor aus Aurillac und Conques. Viele andere Vorkommen zwischen den beiden Abteien sind heute in Vergessenheit geraten wie etwa das von Cahus (Lot) unweit von Aurillac, das im Schatten der Steinbrüche im Aveyron stand. Von hier stammt aller Wahrscheinlichkeit nach das Material für den Bau der Abtei in Aurillac am Anfang des 12. Jh. Dieses Vorkommen liegt in der Nähe der Abtei und im gleichen Tal des Flusses Cère, was den Transport erheblich eileichtert hätte. Zudem gehört dieses Gebiet zum Einflussgebiets des Abts von Saint-Géraud. Mans muss deshalb davon ausgehen, das der „Marmor“ in Aurillac von dorther stammt.; Serpentine, a rock that has long been perceived as a "marble", was used for the sculpture of several Romanesque buildings in the Massif Central. The abbeys of Aurillac (Cantal) and Conques (Aveyron) both have fountain basins made of this mineral. The origin of the rock given is traditionally the same : that of Puech de Voll, in the commune of Firmi (Aveyron). Nevertheless, differences between the serpentinites from Aurillac and Conques appear and the idea of a common quarry between Aurillac and Conques should be questioned. Many forgotten veins exist between the two monasteries. Closer to Aurillac, the serpentine of Cahus (Lot), somewhat overshadowed by its Rouergate neighbor, has a strong probability of being the quarry that supplied the Aurillac site at the beginning of the 12th century. A short distance, a common belonging to the Cère valley, an easy route that allows for equally easy transport and a geographical area included in the political zone of the Saint-Géraud abbey are all the arguments that plead in favor of a Cahusian origin of the Aurillac "marme".; La serpentina, roca que sa ha considerado durante mucho tiempo como "mármol", ha servido par las esculturas de varios edificios románicos del Massif Central. Las abadías de Aurillac (Cantal) y de Conques (Aveyron) tienen ambas pilas de fuentes de ese mismo mineral. Se suele atribuir un mismo origen a la roca: el de Puech de Voll, en el pueblo de Firmi (Aveyron). No obstante se notan diferencias entre las serpentinitas de Aurillac y de Conques y se puede poner en tela de juicio el que salgan de una misma cantera. Existen muchos filones olvidados entre los dos monasterios. Más próxima de Aurillac, la serpentina de Cahus (Lot), menoscabada por su vecina de Rouergue, probablemente sea la cantera que ha abastecido las obras de Aurillac a principios del siglo XII. Una distancia reducida, la ubicación común en el valle de Cère, un trayecto sencillo que permite un transporte también fácil y el estar en el ámbito de la abadía Saint-Géraud son otros tantos argumentos a favor de un origen "cahusiano" del "marme" de Aurillac.; La serpentine, roche ayant longtemps été perçue comme un « marbre », est utilisée pour la sculpture de plusieurs édifices romans du Massif Central. Les abbayes d’Aurillac (Cantal) et de Conques (Aveyron) possèdent toutes deux des bassins de fontaines réalisés dans ce minéral. L’origine de la roche donnée est traditionnellement la même : celle du Puech de Voll, sur la commune de Firmi (Aveyron). Néanmoins des différences entre les serpentinites aurillacoise et conquoise apparaissent et il convient de remettre en cause l’idée d’une carrière commune entre Aurillac et Conques. Bien des filons oubliés existent entre les deux monastères. Plus proche d’Aurillac, la serpentine de Cahus (Lot), quelque peu occultée par sa voisine rouergate, a de fortes probabilités d’être la carrière ayant approvisionné le chantier aurillacois du début du XII e siècle. Une distance réduite, une appartenance commune à la vallée de la Cère, un trajet simple qui permet un transport tout aussi aisé et une aire géographique incluse dans la politique géraldienne sont autant d’arguments qui plaident en faveur d’une origine cahusienne du « marme » aurillacois.

Es evidente que un mejor conocimiento de la escultura románica en la catedral vieja salmantina permitiría comprender mejor la decoración en otros importantes edificios españoles de la segunda mitad del siglo XII. Al respecto existen sólidos estudios realizados por Henri Pradelier y Margarita Ruiz Maldonado. En estas páginas se analizan los abundantes vestigios románicos del claustro salmantino, donde se advierten recuerdos de claro origen occidental: varios capiteles vegetales evocan prototipos vistos en el compostelano Palacio de Gelmírez, en Portomarín y en la portada meridional de San Juan del Mercado de Benavente. Las arpías coronadas y una similar tesitura vegetal refuerzan además la fértil vía zamorana, directamente enlazada con el viejo solar del reino leonés. El canon de determinadas figuras tampoco desentona respecto a las de la portada occidental de San Juan del Mercado de Benavente, coincidiendo además por la presencia de una evocativa despedida del caballero (como en la colegiata de Toro, el claustro de Santillana, San Esteban de Sograndio y San Pedro de Villanueva). Pero para la sala capitular se aprecian otros paralelos en San Salvador de Oña (Burgos), cuya conexión nos resulta verdaderamente enigmática. A better knowledge of romanesque sculpture in Old Cathedral of Salamanca could help understanding, in a proper way, the decoration of other important Spanish buildings of the second half of XIX th Century. In relation to that, there are solid works by Henri Pradelier and Margarita Ruiz Maldonado. Through next pages, the plentiful romanesque rest of the cloister in reference are studied. They show some rememberings to occidental origins: the vegetable capitals remind the prototypes seen in Gelmírez Palace (Santiago de Compostela), Portomarín and in the southern façade of San Juan del Mercado (Benavente). The crowned harpies and a similar vegetable attitude are signs of the strength of Zamora's way, right connected with the lands of the kingdom of León. The canon of some figures, in particular, do match those in the occidental façade of San Juan del Mercado (Benavente), even in the scene representing a going-far knight (same as the one we find in the collegiate of Toro, the cloister of Santillana, San Esteban de Sograndio and San Pedro de Villanueva). The study of the chapter house throws up some other parallelism with San Salvador de Oña (Burgos). A really enigmatic question.

U izvanrednoj knjizi Naša stara vjera Akademik Katičić je ukazao na fenomen dvojevjerja u slavenskih naroda. Pripadanje dvama vjerskim krugovima implicira i pripadanje dvjema kulturnim sferama. U novoj domovini Hrvati susreću konglomerat lokalnih antičkih tradicija, a sa sobom donose vlastitu kao dio opće tradicije svekolikog svjetskog rusa – Ilira, Kelta, Langobarda, te irske, anglosaksonske, skandinavske, provincijalne karolinške umjetnosti. Jedan od tipičnih primjera je frontalan ljudski lik okrugle glave, raširenih ruku i s raskrečenim nogama. Takvih je primjera sa svih strana svijeta beskraj (na pr., Petrified Forest u Arizoni). Isti takav lik netko je naslikao širokim potezima tamnom bojom na velikom lukobranu u Rijeci između 22. veljače i 22. ožujka 2019. (prema osobnom svjedočanstvu autora ovog teksta), a prikazan je i na kamenom reljefu „Vanzemaljca“ iz Bala koji se datira s 11. stoljećem. Oslikavanjem naše stare vjere kao nečega što je kao dvojevjerje (bilo živo, bilo latentno) postoji u duhovnosti slavenskih naroda do danas, otvara se mogućnost novih pogleda i na druge duhovne i kulturne fenomene. Umjetnost u hrvatskom prostoru, kao jedan od vidova takvog dvokulturja, formirala se u razdoblju prije romanike i postoji kao konstanta do danas., In his remarkable book Naša stara vjera/Our Ancient Faith Radoslav Katičić has highlighted the phenomenon of religious plurality among the Slavs. Belonging to more than one religious tradition implies also belonging to more than one cultural circle. In their new country, after the migration, the Croats encountered a conglomerate of local Antique traditions, to which they contributed their own tradition of prehistoric non-urban world – of the Illyrians, Celts, Langobards, and of the Irish, Anglo-Saxon, Scandinavian, and provincial Carolingian art. A typical representative of such art is a frontal figure with a round head, and widely spread arms and legs, such as we encounter in prehistoric and non-historic art all around the world (e. g. , Petrified Forest in Arizona/prehistoric of uncertain date). Exactly the same figure has been drawn in thick lines of dark color on the main pier of the port of Rijeka between February 22 and March 22, as testified by the authors of this article themselves. A very similar figure in stone relief from Bale in Istria can be dated to the 11th century. This example clearly indicates the survival of pre- and non-historic tradition in the art of Croatian space throughout today. Presenting the old Slavic religion as a legitimate phenomenon parallel to Christianity as something which keeps the religious multiplicity alive in the religious tradition of the Slavic people, opens up a possibility of considering new approached to other cultural phenomena. The art of the Croatian space as one such phenomenon was formed in the period before the Romanesque, and as an example of cultural multiplicity has thrived throughout the present day. Brilliant examples of such inspired synthesis of the urbs and rus are the art of the Dubrovnik Republic in the 15th and the 16th ct., of the Northwestern Croatia (the Zagorje region in particular) in the 17th and the 18th ct., and the urban renewal of Zagreb in the 19th and the 20th ct. The art of the Croatian space has thus retained the elements of “a happy marriage of city and village” dreamt of by Ebenezer Howard and Lewis Mumford.

International audience; Statues of lions positioned at the gates are a common component of ancient and medieval shrines and may serve several functions. In the Massif Central territories, many lions with funerary purposes can be found, at first without any direct link with architectural structures. Since antiquity these apotropaic statues have nonetheless been part of a sculpted decor whose codes have been repeated during the Middle Ages. As Romanesque churches reused ancient sculptures, they also copied their design to reaffirm the buildings’ ancestral character. From the 11th to the 13th century, the Marche shire (Limousin) provided the largest number of carved lions in the whole of the Western Europe. Stone lions are placed at the entrance of churches and as such materially delimit the sacred area of the ecclesia from the secular space.; Composante commune aux sanctuaires antiques et médiévaux, les statues de lions situées aux portails peuvent avoir des fonctions diverses. Les territoires du Massif central fournissent un certain nombre d’exemples de lions à vocation funéraire qui n’ont d’abord pas de lien direct avec des structures architecturales. Ces statues apotropaïques font néanmoins dès l’Antiquité partie d’un décor sculpté dont les codes ont été repris au Moyen Âge. Les églises romanes remploient ainsi les anciennes sculptures antiques, mais copient également ces modèles, précieux rappel au passé d’un édifice qui souhaite s’inscrire dans le temps long. La région du comté de la Marche (Creuse et ses marges) fournit entre le XIe et le XIIIe siècle une des plus grandes densités de lions monumentaux en Europe occidentale. Fermement fixés, les lions de pierre sont à l’entrée des églises et délimitent matériellement l’espace sacré de l’ecclesia de celui du monde profane.

International audience; At the western borders of Auvergne, the Saint-Geraud abbey of Aurillac (Cantal) found at the end of the 9th century shows up for the Romanesque period the existence of an important but scattered building decor. For a long time focused on specifics pieces as capitals some liturgicalselements were misunderstood by the historiography. In the Romanesques sculptures Corpus of the monastery (11-beginning of the 13th century) could be found some elements came out from liturgicals screens : plates and pilar fragment. Made at the end of the 11th century thosecarved elements permit a better understanding of the liturgicals installations in the pilgrimage churches. As large it is, the pilgrimage church should make choices to set up circulation spaces. The choir enclosure is one of the mains solutions. First goal wished, to separate the monk and the layman but also to preserve for the both the virtus of the saint, here Gerald of Aurillac. Several points should be questioned. How the saint Géraud cult have impacted the Aurillac abbey church ? Those liturgical screens are chancel plates or differents and more recents pluteum ?Moreover, those liturgicals sculptures shows up decoratives formulas of the western Auvergne, a testimony of ornemental choices which are present in all the territories of the feodal Aquitaine of the 11th and 12th centuries. With their wilds beasts representations and smooth leaves, its appears linked to the sculpture of others monasteries of the French Massif Central (Menat, Limoges) but also more distant as the Poitou churches. To these decorative criterias, could be add the dimensions and material characteristics which are others elements to consider to having datations. A third and last element of a Romanesque chancel screen is the top of pilar fragment. Covered on two faces by cross pattées it seems to belong to other screen structure, probably also from another church which is contain in the walls of the monastery as Saint-Clement. Those pieces could permit a better understanding of the liturgical spaces and also ornamental choices for this important Saint-Geraud abbey at the eastern borders of Duchy of Aquitaine, a step on the Santiago road.

La tesi pone al centro lo studio completo della figura di Guido Bigarelli, scultore comasco attivo principalmente tra Pisa, Lucca e Pistoia nel corso dei decenni centrali del XIII secolo (1220 circa ? 1257). L?artista � stato messo a fuoco sia sotto il profilo individuale, indagandone, cio�, la personalit�, i modelli e l?evoluzione dello stile, sia dal punto di vista delle relazioni: ruolo del maestro all?interno di una bottega precisamente connotata in quanto a linguaggio e prassi operativa, rapporti e interazioni sviluppate entro la comunit� di artefici lombardi operanti nella Toscana occidentale (in particolare a Lucca), di cui si conoscono attestazioni dall?ultimo decennio del XII secolo. Lo studio ha preso avvio dall?esame dei contesti della scultura bigarelliana, sotto gli aspetti del sostrato di cultura figurativa pregressa, della natura dell?intervento, dell?organizzazione del cantiere e dei rapporti di committenza. L?indagine � stata condotta con l?intento di chiarire il percorso, artistico e geografico, dell?artista, e il suo inquadramento economico-sociale. Si � giunti, per questa via, a una complessiva rivalutazione delle fonti del linguaggio di Guido Bigarelli, dei suoi termini di confronto e della personale sintesi stilistica che lo scultore mette in opera a partire dai suoi modelli. La riflessione sulla parabola artistica di Guido Bigarelli � stata affrontata di pari passo alla redazione di un catalogo completo e aggiornato della sua opera, strumento fondamentale e imprescindibile su cui basare la conoscenza dell?artista, di cui fino ad ora si era avvertita la mancanza.

This article explores the sculptural programme of the west portal of Saint-Martin-de-Besse, which places Penance and the Eucharist sacraments at the centre of its polysemic narratives, forming chiastic sequences. Concerned with the fall of humankind and the history of redemption, the portal of Besse presents a series of enigmatic figures from the Old and New Testaments, along with an early Christian figure, Saint Eustace. In this article, I first present a brief historical overview of the church and its surroundings and then proceed with an iconographical survey of its portal. I argue that the series of sculpted narrative vignettes forming the west façade of Besse are polysemic as they carry multiple meanings. Focusing on salvation through (re)conversion, where the liturgical sacraments of Penance and the Eucharist are fundamental, these polysemic narratives form and perform four distinct chiasmus interchanges involving the Garden of Eden, where time and space are in constant dialogue.

In their trips to Santiago between 1920 and 1927, Arthur Kingsley Porter and Lucy W. Porter repeatedly took photographs of a Romanesque relief depicting Christ in Majesty. The sculpture was reused in the Renaissance crest crowning the Façade of the Treasure. The article analyzes why A. K. Porter was so interested in this piece, linking it to his studies on the relationship between Compostela and Conques and exploring the possibility that it belonged to a failed initial project for the for the Puerta de las Platerías.

https://ombredesmaitres.sciencesconf.org/; International audience; Derrière l'emploi des termes de « sculpteur » et « sculpture » se cachent plusieurs réalités. Dans le cadre des réalisations médiévales et plus particulièrement à l'époque romane (XIe-début XIIIe siècles) c'est avant tout l'outil qui fait le sculpteur, plus que n'importe quelle volonté humaine. La sculpture est ainsi un élément lapidaire qui a été travaillé à l'aide d'un outil précis : le ciseau, dont l'utilisation le différencie de la taille. De par ce constat ont longtemps été séparés et opposés les « sculpteurs » et les « tailleurs de pierres ». Pour un même chantier, le premier a ainsi été envisagé comme un « artiste » indépendant donnant vie aux formes tandis que le second a été perçu comme un artisan de seconde-main uniquement chargé de tailler les blocs quant à la réalisation des parements. Cette vision hiérarchique et binaire ne résiste néanmoins pas aux données que révèlent les éléments sculptés dans leurs contextes architecturaux et archéologiques. Une définition large de ce qu'est réellement la sculpture permet d'envisager des pièces diverses où le travail fini est bien sculpté au ciseau mais où la tâche a été accomplie par un artisan qui n'est pas uniquement et spécifiquement sculpteur : le tailleur de pierre. Le tailleur de pierre peut en effet recourir à cet outil afin de réaliser des éléments sculptés intrinsèquement liés aux parements dont il travaille aussi les blocs. Certaines productions sculptées sont ainsi des « archives lapidaires » qui tendent à revoir la traditionnelle opposition montrée entre sculpteur et tailleur de pierre romans et permettent d'appréhender l'identité de l'artisan sur ces chantiers médiévaux.

Actes des journées d'études Aurillac au Moyen-Âge (25 novembre 2017 et 27 octobre 2018).; International audience; While presenting in first a relative homogenity, the Romanesque Sculpture of Saint-Geraud abbey is clearly plural and show up many typo-chronologies. Itselves could be subdivided. Testimonies of several ornemental choices of the monastery between the 10th and the beginning of the 13th century, these stone sources permit to date the different architecturals evolutions of Aurillac abbey.; Tout en présentant de prime abord une relative homogénéité, la sculpture romane de l'abbaye Saint-Géraud est intrinsèquement plurielle et révèle plusieurs typo-chronologies. Elles-mêmes pouvant être subdivisées. Elles témoignent des différents partis ornementaux du monastère entre la fin du Xe siècle et le début du XIIIe siècle, tout en constituant des sources servant à dater les différentes évolutions architecturales du monastère.; L'escultura romanica de l'abadia Sant Guiral d'Orlhac es intrinsecament pluriala maugrat de fortas semblanças e revela plusers tipo-cronologias. Aquelas familhas se podon essèr subdivisadas. Aqui las esculturas (sègles XI a XIII) son de las fonts que permisson de comprener las diferentas evolucions de l'architectura del mostier orlhagués.

International audience; Article de synthèse du mémoire La sculpture romane de l’abbaye Saint-Géraud d’Aurillac (XIe-début XIIIe siècle) réalisé à l’université Clermont Auvergne, sous la codirection de Pascale Chevalier et Bruno Phalip, Clermont-Ferrand, soutenu en juin 2019.Lien OpenEdition : https://journals.openedition.org/cem/17001

Cet article considère la façon dont le texte et l’image d’un chapiteau représentant les Béatitudes et son emplacement dans la galerie ouest du cloître de Saint-Pierre à Moissac se rapportent explicitement à l’aumône et au rite liturgique du lavement des pieds. Nous verrons comment le mouvement autour du chapiteau a récompensé le spectateur par de nouvelles compositions, démontrant ainsi que le sens peut être construit non seulement à travers une série d’images, mais aussi à travers les mouvements rituels qui ont eu lieu au fil du temps. Le cas du chapiteau représentant les Béatitudes démontre que les sculptures participaient directement à la liturgie, sollicitaient et représentaient la présence du divin, et qu’elles sont à cet égard de véritables objets performatifs., This article considers how text and image on a capital depicting the Beatitudes and its location in the west walk of the cloister at Saint-Pierre at Moissac related explicitly to the monastic task of almsgiving and the important liturgical rite of the Washing of the Feet. We will consider how movement around the capital rewarded the viewer with new compositions, thus demonstrating that meaning may be constructed not only through a series of images, but also through the ritual movements taking place over time. The case of the Beatitudes capital demonstrates that sculpture solicited and represented the presence of the divine through their participation in the liturgy, and, as such, are performative objects.

International audience

International audience; This article aims to put the notion of “bimediality” in perspective with the visual documentation of the Western Middle Ages, especially with Romanesque sculpture, to show the intellectual and aesthetics implications of the gathering of different types of signs within a single work of art. It starts with two observations: 1) the practice of art has always used visual devices mixing or merging iconic signs with other media (music, singing, letters, dance...) in order to create complex discourses; 2) medieval art is not different in this aspect: writing is everywhere in painting, sculpture, mosaics, stain glasses, etc. This article intends to emphasize the functions and status of epigraphic inscriptions on these materials and their impact on the meaning and effect of images in liturgical or religious contexts. It speculates that the bimedia devices were used during the Middle Ages to make images and what they figure present and active into the visual world.

This article aims to put the notion of “bimediality” in perspective with the visual documentation of the Western Middle Ages, especially with Romanesque sculpture, to show the intellectual and aesthetics implications of the gathering of different types of signs within a single work of art. It starts with two observations: 1) the practice of art has always used visual devices mixing or merging iconic signs with other media (music, singing, letters, dance...) in order to create complex discourses; 2) medieval art is not different in this aspect: writing is everywhere in painting, sculpture, mosaics, stain glasses, etc. This article intends to emphasize the functions and status of epigraphic inscriptions on these materials and their impact on the meaning and effect of images in liturgical or religious contexts. It speculates that the bimedia devices were used during the Middle Ages to make images and what they figure present and active into the visual world.

International audience; This article aims to put the notion of “bimediality” in perspective with the visual documentation of the Western Middle Ages, especially with Romanesque sculpture, to show the intellectual and aesthetics implications of the gathering of different types of signs within a single work of art. It starts with two observations: 1) the practice of art has always used visual devices mixing or merging iconic signs with other media (music, singing, letters, dance...) in order to create complex discourses; 2) medieval art is not different in this aspect: writing is everywhere in painting, sculpture, mosaics, stain glasses, etc. This article intends to emphasize the functions and status of epigraphic inscriptions on these materials and their impact on the meaning and effect of images in liturgical or religious contexts. It speculates that the bimedia devices were used during the Middle Ages to make images and what they figure present and active into the visual world.

The southern façade of the Holy Sepulchre was adorned until 1929 with two carved lintels, distinct in their iconographies (exhibited ever since in the Rockefeller Museum). Whereas the western Christological lintel represents the narrative of the last days of Jesus in Jerusalem (albeit in breach with the narrative sequence), the eastern peopled-scroll lintel is a non-narrative representation of a variety of beasts, birds, and naked male figures, some of whom are obscenely pointing to their genitalia. The puzzling iconography of this bestial world includes the conspicuous images of a bird-siren and a centaur. Rather overlooked by past scholarship, it would seem implausible that the most important holy site in Christendom and a meta-pilgrimage church would have been decorated with meaningless imagery. This paper contextualizes the eastern lintel within crusader concepts of history and mytholog y, biblical symbolism, liturg y and patronage. The eastern door gave way to the funerary chapel of the crusader kings, located beneath the Calvary Chapel. An examination of the funerary context reveals that sirens played part in such schemes, endowing the lintel with an apotropaic vitality. A remarkable chapter in the chronicle of Fulcher of Chartres, illustrating the curiosities of the Lands of the Saracens, is suggested as a major conceptual notion for the understanding of the non-narrative lintel, which actually stands within the Bestiary tradition. The lintel thus becomes a liminal site, where all polyvalent layers meet, meant to show the opposition of good and evil forces. This opposition is established by installing a historiated Christological lintel to the west, embodying a liturgical vision of the New Jerusalem recently established by the Franks and, to the east, an image of the conquered beasts of the Saracens, doomed to hell, signaling Latin victory, on the one hand, and promising an apotropaic protection for the departed, on the other. The patronage of Queen Melisende, in collaboration with the crusader Church, is then analyzed.

Migrating from Greek mythology to scripture and ecclesiastical writing, sirens are best known for the perils they put on the road of Odysseus, and conversely, on that of the crucified Christ and on that of the pilgrim, two significations that Odysseus, the eternal voyageur tied to the mast, came to symbolize in the Middle Ages. Long acknowledged in past scholarship, the siren motif was perceived of as a multi-layered image, whose negative Homeric connotations suited an even vaster range of destructive meanings, moral, social and political. More than sheer misogyny, the hybrid sirens represent violation of social order, mainly that of the manly world. It is therefore no coincidence to find them dwelling in the biblical debauched town of Babylon, and in the land of Edom, destined to be destroyed, alongside hybrid centaurs, both in the Septuagint and in the Vulgate. These beasts gained much popularity throughout the Middle Ages, and embody the ultimate significance of evil in the medieval bestiary, as well as in a wide-ranging exegetical literature. This development may stand for the immense dispersion of the siren motif in Romanesque sculpture. Meant at an edifying purpose, sirens associated with urban destruction, lust, and avarice, signify the menace of sin they seduce humanity to fall into. The virtuous Christian, recognizing the long-enduring classical motif in its new Christian context should take the paradigm of Odysseus in his Christological typology, and restrain from evil. Though constituting a rather popular motif of Romanesque sculpture in general, sirens seem to inhabit many of the churches of the Auvergne and the Velay regions of France, along pilgrimage shrines, located lengthwise the Via Podiensis and crosswise routes, thus forming a marked feature of the local imagery. More than sheer enthusiasm for the antique, as past scholarship would have it, sirens seem to have chanted a very specific local chant in Auvergne-Velay. Constituting a major motif, which testifies to a profound understanding of their contextual implications, they represent a multifaceted image, denoting didactic, apotropaic, liturgical, social, and political messages. The context of pilgrimage and pilgrimage roads seems to have constituted a perfect setting for this multitude of sirens. The Via Podiensis was known as particularly uninviting. The mountainous topography, infested with thieves and brigands, provided lucrative opportunities of ambushing pilgrims on their way. It is the purpose of this paper to uncover the versatile imports of the siren antique motif in Romanesque Auvergne-Velay, by pointing out their meticulous perplexing delineation in the context of actual hardships pilgrims and congregants endured within pilgrimage shrines and roads. The first part of this paper will survey the range of allegorical significances of sirens from Homer to Jerome and to medieval exegeses, followed by a description of sirens in Auvergne-Velay. Then, I would like to suggest a new reading of the particular rendering of sirens in the small church of Pont-du-Château and in the pilgrimage church of Notre-Dame of Orcival, which may bear a local historical significance, resulting from the conflicting situations of pilgrims, on their way to worship the celestial realm.

International audience; Engraved on the tympanum of Romanesque churches, on the lid of early Christian sarcophaguses, drawn at the beginning of charters and diplomas or inscribed on seals, the chrismon is an omnipresent motive in medieval artistic and cultural manifestations of the western Middle Ages. It occupies a particular place in monumental sculpture in the South of France and in the North of Spain where it contibutes to the decoration and general organization of buildings. Until today, Art history has not really submitted the motive to a formal analysis and to an interpretation of its meaning. Most of the studies about the chrismon have been made in the framework of Medieval epigraphy, as a particular form of medieval writing.Generally, the chrismon has been studeid in an evolutionist perspective and tried to point formal and semantic transformations of the motive, from the simple Constantin's labarum to the complex sign of Romanesque portals. This limitation to the search of a meaning and its evolution has taken the studies apart from analyzing the nature of this sign. There is, until today, no genetic analysis of the chrismon as significant, but many attemps of explanation, more or less applicable to medieval symbolic reality and to its graphic forms. By analyzing the inscriptions engraved near the Romanesque chrismons and looking for common factors allowing to gather very different forms and fonctions of this motive, this paper would like to propose some runways for the understanding of the semantic value of the Pyrenean chrismon and for its role in monumental implementation of sculptured decoration.

International audience; Engraved on the tympanum of Romanesque churches, on the lid of early Christian sarcophaguses, drawn at the beginning of charters and diplomas or inscribed on seals, the chrismon is an omnipresent motive in medieval artistic and cultural manifestations of the western Middle Ages. It occupies a particular place in monumental sculpture in the South of France and in the North of Spain where it contibutes to the decoration and general organization of buildings. Until today, Art history has not really submitted the motive to a formal analysis and to an interpretation of its meaning. Most of the studies about the chrismon have been made in the framework of Medieval epigraphy, as a particular form of medieval writing.Generally, the chrismon has been studeid in an evolutionist perspective and tried to point formal and semantic transformations of the motive, from the simple Constantin's labarum to the complex sign of Romanesque portals. This limitation to the search of a meaning and its evolution has taken the studies apart from analyzing the nature of this sign. There is, until today, no genetic analysis of the chrismon as significant, but many attemps of explanation, more or less applicable to medieval symbolic reality and to its graphic forms. By analyzing the inscriptions engraved near the Romanesque chrismons and looking for common factors allowing to gather very different forms and fonctions of this motive, this paper would like to propose some runways for the understanding of the semantic value of the Pyrenean chrismon and for its role in monumental implementation of sculptured decoration.

Engraved on the tympanum of Romanesque churches, on the lid of early Christian sarcophaguses, drawn at the beginning of charters and diplomas or inscribed on seals, the chrismon is an omnipresent motive in medieval artistic and cultural manifestations of the western Middle Ages. It occupies a particular place in monumental sculpture in the South of France and in the North of Spain where it contibutes to the decoration and general organization of buildings. Until today, Art history has not really submitted the motive to a formal analysis and to an interpretation of its meaning. Most of the studies about the chrismon have been made in the framework of Medieval epigraphy, as a particular form of medieval writing.Generally, the chrismon has been studeid in an evolutionist perspective and tried to point formal and semantic transformations of the motive, from the simple Constantin's labarum to the complex sign of Romanesque portals. This limitation to the search of a meaning and its evolution has taken the studies apart from analyzing the nature of this sign. There is, until today, no genetic analysis of the chrismon as significant, but many attemps of explanation, more or less applicable to medieval symbolic reality and to its graphic forms. By analyzing the inscriptions engraved near the Romanesque chrismons and looking for common factors allowing to gather very different forms and fonctions of this motive, this paper would like to propose some runways for the understanding of the semantic value of the Pyrenean chrismon and for its role in monumental implementation of sculptured decoration.

V diplomskem delu z naslovom Romanska stavbna plastika v Franciji predstavljam sakralno kiparsko okrasje zunanjščin. Delo je razdeljeno na dva dela. V prvem delu pri časovnem in zgodovinskem pregledu obravnavam razloge za zaton stavbne plastike, vplive meniških redov in križarskih vojn ter nastanek stavbne plastike. Sledi kratko poglavje o usodi skulptur po obdobju romanike, nato pa predstavljam estetske vidike dojemanja romanike, arhitekturo in stilni značaj stavbne plastike. V drugem delu s topološko razčlenitvijo zaokrožim stavbno plastiko in predstavim, kje je bila ta najizrazitejša in najbolj pripovedna. Pri tem sta kriterija stilna in ikonografska analiza. Namen diplomskega dela je predstaviti in analizirati romansko stavbno plastiko v Franciji. My diploma thesis, The Romanesque Architectural Sculpture in France, discusses outdoor church sculptures. The thesis consists of two parts. In the first part of this thesis, we discuss a variety of reasons for the decline of architectural sculpture within a given historic timeframe. We also discuss the influence of monastic orders and Crusades on the origin of architectural sculpture. In a short following chapter, we focus on the destiny of sculpting after the Romanesque period, followed by a representation of the aesthetic view in the Romanesque period, focusing on architecture and the stylistic character of building sculptures. The second part covers a topological analysis of architectural sculpture, pointing out places where architectural sculpture was most recognizable and narrative. This analysis has been completed using stylistic and iconographic criteria. The purpose of this thesis is to present and analyse Romanesque architectural sculpture in France.

[spa] A partir del estudio de la representación de Daniel en el foso de los leones, se plantean cuatro casos que permiten valorar la integración de Navarra en la Alta Edad Media en un espacio pirenaico, ámbito de frecuente de transmisión de formas y modelos artísticos. Uno de los talleres de escultores de San Pedro ad Vincula de Echano realizó tres de los capiteles de la iglesia landesa de Sarbazan. Asimismo, se han encontrado fuertes vinculaciones compositivas y estilísticas entre la escultura de San Pedro de Aibar y la de la iglesia de Mouchan (Gers). Ciertos paralelismos con obras catalanas, permiten proponer una reconstruc- ción virtual de la portada de la desaparecida iglesia de San Nicolás de Sangüesa. Finalmente, se propone, a partir de los modelos iconográficos de este episodio en el centro de Francia, la identificación del episodio de Daniel para una de las figuras de las enjutas de la portada de Santa María la Real de Sangüesa., [eng] From the study of Daniel in the lions' den episode, we propose four unknown cases for assessing the integration of Navarre in the early Middle Ages in a Pyre- nean area, frequent field of model and artistic form transmission. One of the ateliers of sculptors who worked at St. Peter ad Vincula of Echano made three of the capitals at Sarbazan church, in Landes. We also found strong composition and stylistic links between sculpture of St. Peter of Aibar and the church of Mouchan (Gers). Certain parallels with Catalan works, allow to propose a vir- tual recreation of the portal of the former church of St. Nicolas of Sangüesa. Finally, it is proposed, based on the central France iconographic models of this episode, the identification as Daniel for one of the figures in the spandrels of the portal of Santa María la Real de Sangüesa.

International audience

This study is centered on the figure of the so-called “Adulterous Woman”, located in the south portal of the Cathedral of Santiago de Compostela. Although it seems evident that this work was installed in the tympanum in a scarcely orthodox manner —proof of which are the mutilations it suffered— and it is difficult to establish its relationship with the principal theme (the Temptations of Christ), it has integrated— itself into the sculptural group, as demonstrated by the art historians who have managed to carry out a coherent reading of this relief within the ensemble. The idea that the piece served as a “backdrop” for a portion of the marriage ceremonies carried out “ante ostium templi” is defended here.Este trabajo se centra en la figura de la llamada “Mujer Adúltera”, situada en la portada sur de la catedral de Santiago de Compostela. Aunque parece evidente que dicha pieza fue instalada en el tímpano de manera poco ortodoxa —como prueban las mutilaciones que sufrió—, y que su relación con el tema principal del mismo (las Tentaciones de Cristo) es difícil de establecer, lo cierto es que acabó por “integrarse” en el grupo escultórico, como lo demuestra el que diferentes historiadores del arte hayan encontrado la posibilidad de realizar una lectura coherente del relieve dentro del conjunto. Aquí se defiende que, efectivamente, la pieza se convirtió en “telón de fondo” para parte de las ceremonias matrimoniales llevadas a cabo “ante ostium templi”.

At the end of the 12th century, the Spanish Romanesque sculpture knows a great renewal, which leads to the creation of true masterpieces. In Santo Domingo de Silos, one of the greatest sculptor of the time, the Second Master creates one of the most beautiful example of Romanesque sculpture. With Maître Mathieu, he is the principal initiator of a vast movement, which spread over the entire Northern Spain. At this time, the prosperity of the country involves an important development of the architectural activity. In Aragon, Navarra, Castile, Spanish sculptors take inspiration from the great masters and carry out the decoration of many monuments. They work in Burgo de Osma, Soria, Estella, Tudela, in cloisters and cathedrals, but in small churches as well. This research tries to determinate how the art of the Second Master of Silos spread over in the latest Romanesque sculpture of Spain., Dans le dernier tiers du XIIe siècle, la sculpture romane espagnole connaît un renouvellement de grande ampleur qui aboutit à la création de véritables chefs-d’œuvre et suscite une production d’une exceptionnelle fécondité. Au monastère de Silos eurent lieu à cette époque d’importantes transformations, au cours desquelles intervint un des plus grands sculpteurs de la période : le Second Maître de Silos. Celui-ci, fut, avec Maître Mathieu à Compostelle, le principal inspirateur d’un vaste courant de sculptures qui envahit tout le Nord de l’Espagne, à la fin du XIIe et au début du XIIIe siècle. La prospérité que connaît alors le pays entraîne en effet un développement considérable de l’activité architecturale. En Aragon, en Navarre, en Vieille-Castille, les sculpteurs espagnols s’inspirèrent des grands maîtres et décorèrent jusque dans les années 1200-1210, un grand nombre de monuments alors en chantier. De cette abondante production se dégagent d’importants pôles régionaux, qui apparaissent comme des relais de l’art de Silos : c’est le cas notamment pour Burgo de Osma, Soria, Estella ou Tudela. Ce renouvellement de la sculpture concerne aussi bien de grands ensembles, comme les cloîtres et les grandes façades, que des productions plus modestes, églises rurales ou petits reliefs. Ce travail visait à déterminer dans ces sculptures ce qui provient de Silos, de Compostelle ou d’ailleurs. Cela nous a permis d’émettre des hypothèses sur les chemins de diffusion de l’art du second Maître de Silos. La domination de l’art de Silos paraît claire dans les régions les plus proches du monastère, c’est-à-dire dans la meseta castillane. Dans les anciens évêchés de Burgos et d’Osma, l’empreinte de Silos est des plus prégnantes, et marque durablement les artistes, qui deviennent à leur tour des relais de l’art de Silos, qui se diffuse ainsi dans les régions voisines. Dans les zones plus éloignées du monastère castillan, la propagation de l’art de Silos est parfois plus complexe à déterminer, car s’y mêlent des éléments venus d’ailleurs, de Compostelle, notamment, ou des influences locales.

La present tesi doctoral és un estudi sobre l’escultura monumental del segle XIII de la Seu Vella de Lleida (l’antiga catedral romànica que presideix aquesta ciutat), que constitueix un dels conjunts escultòrics més rics del panorama artístic del segle XIII català. La principal finalitat de la investigació és contextualitzar i comprendre les raons de la seva presència en relació amb el moment en què fou creat. L’aportació que es realitza rau en proposar una mirada inèdita, global i completa sobre aquest conjunt d’imatges fonamentada en materials de diferent caràcter: documentació, bibliografia, dades arqueològiques i les pròpies escultures com a fonts materials. Davant la insistència en determinats temes bíblics es planteja, com a punt de partida, la hipòtesi que una de les línies que va marcar el disseny general del conjunt de temes fos un ideari eclesiàstic de lluita contra de les heretgies, principalment l’Islam i el catarisme, que es va traduir en una notable presència de representacions relacionades amb l’Encarnació de Crist, que era negada per aquestes doctrines., La presente tesis doctoral es un estudio sobre la escultura monumental del siglo XIII de la Seu Vella de Lleida (la antigua catedral románica que preside esta ciudad), que constituye uno de los conjuntos escultóricos más ricos del panorama artístico del siglo XIII catalán. La principal finalidad de la investigación es contextualizar y comprender las razones de su presencia en relación con el momento en que fue creado. La aportación que se realiza radica en proponer una mirada inédita, global y completa sobre este conjunto de imágenes fundamentada en materiales de diferente carácter: documentación, bibliografía, datos arqueológicos y las propias esculturas como fuentes materiales. Ante la insistencia en determinados temas bíblicos se plantea, como punto de partida, la hipótesis que una de las líneas que marcó el diseño general del conjunto de temas fue un ideario eclesiástico de lucha contra de las herejías, principalmente el Islam y el catarismo, que se tradujo en una notable presencia de representaciones relacionadas con la Encarnación de Cristo, que era negada por estas doctrinas., This doctoral thesis is a study of the 13th Century monumental sculpture in the Seu Vella in Lleida (the old romanesque cathedral that presides over this town), which constitutes one of the richest sculptural bodies in the 13th Century Catalan artistic panorama. The main goal of the investigation is to contextualise and understand the reasons behind its presence in relation to the moment in which it was created. The contribution being made lies in offering an unprecedented, global vision of this body of images, based on various types of materials: documents, bibliography, archaeological data and the sculptures themselves as source material. Faced with the persistence of biblical themes, the starting point chosen will be the hypothesis that one of the approaches that influenced the general design themes was an ecclesiastic ideology of the fight against heresy, mainly Islam and Catharism, which resulted in the presence of representations of the incarnation of Christ, which was denied by those doctrines.

Opposer écriture manuscrite et écriture épigraphique n’aurait dans le contexte culturel de l’Occident médiéval pas plus de sens que d’intérêt. Si les supports varient tout autant que les contenus, les techniques de réalisation ou les procédés de lecture, c’est la même praxis graphique qui est en jeu, et sans doute bien plus encore la même culture visuelle qui s’exprime. Les variations matérielles ou textuelles sont des adaptations aux objectifs et aux circonstances de la communication écrite. À la fois texte et matière, idée et objet, l’inscription se définit, au-delà des contenus et des fonctions qu’elle partage avec d’autres productions écrites médiévales, par une étendue physique qui lui accorde une réalité objectale. La communication épigraphique expose au passant une portion d’espace inscrit, quantité d’information visuelle reçue par le spectateur/lecteur potentiel de l’inscription. Comme le manuscrit, celleci se place donc dans un premier temps dans le domaine du visuel et du sensible. Elle cherche à donner à voir avant de donner à lire, et c’est pourquoi les conditions techniques de la réalisation de l’inscription cherche à figurer dans la matière l’image d’un texte., In the cultural context of Medieval West, it would have no more sense than interest to set manuscript and epigraphic written practices. Content, material support, techniques of realization and processes of reading change from one media to another, but it is still the same graphic praxis and the same visual culture. Material or textual variations are adaptations to objectives and circumstances of written communication. At the same time text and material, idea and object, the inscription is defined by a physical extent which gives it objecthood and materiality, whatever its content and function. Epigraphic communication exposes to passers-by a portion of inscribed space, a quantity of visual information received by the potential spectator/ reader of the inscription. As the manuscript, it first takes place in the field of visual and sensitive. It gives something to see and not to read, and that is why technical conditions of the realization of an inscription try to represent in material the image of a text.

In the cultural context of Medieval West, it would have no more sense than interest to set manuscript and epigraphic written practices. Content, material support, techniques of realization and processes of reading change from one media to another, but it is still the same graphic praxis and the same visual culture. Material or textual variations are adaptations to objectives and circumstances of written communication. At the same time text and material, idea and object, the inscription is defined by a physical extent which gives it objecthood and materiality, whatever its content and function. Epigraphic communication exposes to passers-by a portion of inscribed space, a quantity of visual information received by the potential spectator/ reader of the inscription. As the manuscript, it first takes place in the field of visual and sensitive. It gives something to see and not to read, and that is why technical conditions of the realization of an inscription try to represent in material the image of a text., Opposer écriture manuscrite et écriture épigraphique n’aurait dans le contexte culturel de l’Occident médiéval pas plus de sens que d’intérêt. Si les supports varient tout autant que les contenus, les techniques de réalisation ou les procédés de lecture, c’est la même praxis graphique qui est en jeu, et sans doute bien plus encore la même culture visuelle qui s’exprime. Les variations matérielles ou textuelles sont des adaptations aux objectifs et aux circonstances de la communication écrite. À la fois texte et matière, idée et objet, l’inscription se définit, au-delà des contenus et des fonctions qu’elle partage avec d’autres productions écrites médiévales, par une étendue physique qui lui accorde une réalité objectale. La communication épigraphique expose au passant une portion d’espace inscrit, quantité d’information visuelle reçue par le spectateur/lecteur potentiel de l’inscription. Comme le manuscrit, celleci se place donc dans un premier temps dans le domaine du visuel et du sensible. Elle cherche à donner à voir avant de donner à lire, et c’est pourquoi les conditions techniques de la réalisation de l’inscription cherche à figurer dans la matière l’image d’un texte.

The Romanesque monastery of San Pedro el Viejo in the city of Huesca (today a parish church) preserve in the cloister an extraordinary sculptural heritage, depicted chiefly in the capitals that conform their four galleries. The artistic set was altered on account of the reforms performed toward 1890. Before assessing artistic aspects, it was thought indispensable to revise the current state of the capitals, which had hitherto not been studied in detail. Through the comparison between sculpture pieces and professional sources (some unpublished), has been verified that after the restoration and subsequent relocation of the pieces, the emplacement and configuration of some of them was altered. This article presents a proposal on the original design of the cloister arcade, interpreted with relation to its particular topography and iconography. El monasterio de San Pedro el Viejo de Huesca conserva en su claustro románico un extraordinario legado escultórico, plasmado principalmente en los capiteles que conforman las cuatro galerías. El conjunto fue alterado a causa de las reformas efectuadas hacia 1890. Antes de valorar aspectos artísticos, se ha creído imprescindible revisar el estado actual de los capiteles, que hasta ahora no había sido estudiado en detalle. A través de la comparación entre las labras y diversas fuentes textuales y gráficas (algunas inéditas), se ha constatado que tras la restauración y posterior recolocación de las tallas se cambió la disposición y configuración de algunas piezas. En este artículo se intenta reconstruir la topografía e iconografía de la arquería claustral original.

Cuadernos de investigación del Monasterio de Santa María la Real; International audience; This paper offers a study of medieval written solutions for visual creation and some answers about the generation of meaning in medieval sculpture. The inscriptions are one of the most frequent solutions used by works of art to exist, mean and act. The semiotic nearness between alphabetical and iconic signs makes writing a special way for sculpture to make sense. In the framework of the difficult equation between creation and devotion, this paper studies two inscriptions carved in the phylactery hold by two angels in the western façade of Santa María la Real Church in Aguilar de Campoo. Traditionnaly studied for their liturgical or poetic origins, these texts actually give more information about how medieval Art has thought the capacity of sculptured images to mean; for that motive, this paper proposes a new reading of these inscriptions and put them in perspective with similar productions.

This doctoral thesis provides an extended formal and iconological analysis of the celebrated choir capitals of Cluny III, now installed in the Musée Farinier. The Cluny hemicycle capitals are considered to be one of the great artistic achievements of the Romanesque period and have been the subject of numerous studies over the years. Several generations of art historians have identified the capitals as representations of quarternities (i.e., the seasons, the winds, the virtues, liberal arts, the rivers of paradise, and musicians). However, there has been no extended analysis of how the capitals' sculptural form may shed light on their meaning. The present study intends to achieve this through an examination of the complex relationships that bind together the sculpted foliage, figures, and inscriptions.; Généralement cités parmi les créations majeures de la période romane, placés au centre des débats qui ont marqué l'historiographie de cette période, les chapiteaux du rond-point de la troisième église abbatiale de Cluny (aujourd'hui conservés dans l'ancien farinier de l'abbaye, transformé en musée au milieu du XXe siècle) ont fait l'objet de nombreuses études, sous les deux aspects du style et de l'iconographie. Aucune monographie de grande ampleur ne leur a pourtant été consacrée jusqu'alors. La présente thèse de doctorat entend combler ce manque. Elle s'attache en particulier à la question de la signification des chapiteaux, et surtout à leur conception esthétique. Plusieurs générations d'historiens de l'art se sont efforcées de réunir les différentes quaternités incarnées par les figures des chapiteaux (saisons, vents, vertus, arts libéraux, fleuves du paradis et musiciens) au sein d'un " programme iconographique " ou de prouver l'inexistence d'un tel " programme ", et cela au détriment de l'analyse de la construction figurative des chapiteaux. L'apport de la présente thèse concerne ce dernier point. On y démontre que la compréhension de l'œuvre dépend d'une description analytique précise des relations extrêmement fines qui s'y nouent entre le décor végétal des chapiteaux, les figures qui y prennent place et les inscriptions qui, parfois, les accompagnent.

This doctoral thesis provides an extended formal and iconological analysis of the celebrated choir capitals of Cluny III, now installed in the Musée Farinier. The Cluny hemicycle capitals are considered to be one of the great artistic achievements of the Romanesque period and have been the subject of numerous studies over the years. Several generations of art historians have identified the capitals as representations of quarternities (i.e., the seasons, the winds, the virtues, liberal arts, the rivers of paradise, and musicians). However, there has been no extended analysis of how the capitals' sculptural form may shed light on their meaning. The present study intends to achieve this through an examination of the complex relationships that bind together the sculpted foliage, figures, and inscriptions., Généralement cités parmi les créations majeures de la période romane, placés au centre des débats qui ont marqué l'historiographie de cette période, les chapiteaux du rond-point de la troisième église abbatiale de Cluny (aujourd'hui conservés dans l'ancien farinier de l'abbaye, transformé en musée au milieu du XXe siècle) ont fait l'objet de nombreuses études, sous les deux aspects du style et de l'iconographie. Aucune monographie de grande ampleur ne leur a pourtant été consacrée jusqu'alors. La présente thèse de doctorat entend combler ce manque. Elle s'attache en particulier à la question de la signification des chapiteaux, et surtout à leur conception esthétique. Plusieurs générations d'historiens de l'art se sont efforcées de réunir les différentes quaternités incarnées par les figures des chapiteaux (saisons, vents, vertus, arts libéraux, fleuves du paradis et musiciens) au sein d'un " programme iconographique " ou de prouver l'inexistence d'un tel " programme ", et cela au détriment de l'analyse de la construction figurative des chapiteaux. L'apport de la présente thèse concerne ce dernier point. On y démontre que la compréhension de l'œuvre dépend d'une description analytique précise des relations extrêmement fines qui s'y nouent entre le décor végétal des chapiteaux, les figures qui y prennent place et les inscriptions qui, parfois, les accompagnent.

La cripta y su vestíbulo, como cuerpo más occidental de la catedral de Santiago de Compostela, conforman la subestructura de la basilica. Para elaborar una cronología relativa de su construcción se investigaron a fondo sus partes arquitectónicas y escultóricas. Los trabajos en la cripta avanzaron paso a paso, y en varias ocasiones se alteró profundamente el plan constructivo. Analizando los muros del pseudotransepto situado bajo el nártex y el vestíbulo de la cripta, se encuentran evidentes indicios de varias etapas que reflejan la evolución del proceso de construcción de la parte occidental de la catedral. Lo mismo se puede constatar en los capiteles de la cripta, que guardan una estrecha relación estilística con los capiteles de las partes occidentales de la nave. Al estilo escultórico del Pórtico de la Gloria sólo pertenecen algunos capiteles, siendo reconsiderada en este sentido la intervención del maestro Mateo.

Titre erroné dans la publication. - ISBN : 978-2-249-62022-5 ; 283 p.; National audience; L'Apologie à Guillaume de saint Thierry, texte que Saint Bernard rédigea aux environs de 1125, renferme deux chapitres fascinants qui concernent les images figuratives, l'architecture, la sculpture, la peinture, les pavements et les objets d'orfèvrerie. Il n'existe, peu ou prou, aucune réflexion sur les arts visuels et leur fonctionnement au Moyen Âge, qui n'ait pris en compte l' 'Apologie', jusqu'au très récent ouvrage d'Olivier Boulnois. IL semble à l'auteur que la lecture de l' 'Apologie' a été un peu biaisée au cours des siècles et qu'elle ne dit pas exactement, ou du moins pas simplement, ce que les historiens de l'art y ont successivement trouvé. Après avoir rapidement présenté le texte dans son ensemble, l'auteur questionne cette longue tradition afin d'en mieux comprendre les enjeux et les approches, ce qui permet ensuite d'en suggérer une lecture différente.

The study is dedicated to one of the key monuments of Croatian art, the lunette of the portal of Trogir Cathedral by Master Radovan and dated 1240. In particular , ettention has been accorded to Eadovan's use of formulaic materials in the light of the resaerch by M. Parry and A. Lord into the question of the epic poetry.

The study is dedicated to one of the key monuments of Croatian art, the lunette of the portal of Trogir Cathedral made by Master Radovan and dated 1240. It contains an in-depth analysis of the subject-matter, form and content of the lunette, taking into consideration traditional iconography, and Radovan’s familiarity with the drama of the medieval church. In particular, attention has been accorded to Radovan’s use of formulaic materials in the light of the research conducted by Millman Parry and Albert Lord into the question of the oral tradition in epic poetry. It is concluded that such an approach may deepen our understanding of Radovan’s art within the epic style of the Middle Ages, and his position as a truly significant artist at the very end of the Romanesque period., Neka od najvrjednijih djela srednjovjekovne umjetnosti na tlu Hrvatske razmjerno su malo istražena. Ne umanjujući značenje vrijednih priloga ranijih istraživača, valja ustvrditi da spomenici poput zagrebačke katedrale, velikih samostanskih crkava u Topuskome, Bijeloj ili Nuštru, zvonik Sv. Marije u Zadru i zvonik splitske katedrale (uključujući skulpturu) kao i Buvinove vratnice nemaju recentnih monografija ili disertacija. Isto vrijedi i za umjetnost Majstora Radovana koji godine 1240. potpisuje lunetu portala katedrale u Trogiru, kao jedan od najvećih predstavnika epskog stila u umjetnosti srednjeg vijeka općenito. Razmatranjem upravo te epske komponente ovim se radom nastoji produbiti razumijevanje Radovanove umjetnosti i njezine uloge na samom kraju europske romanike. Romanička umjetnost, posebice fasadna plastika, odavna je prepoznata kao epski izraz. Pritom se uglavnom dosta nejasno misli na njezinu monumentalnost, jednostavnost, snagu izražavanja. Na neke vidove srednjovjekovne (epske) umjetnosti može se uspješno primijeniti način analize epskoga pjesništva, kako to u svojemu epohalnom radu čine Millman Perry i Albert Lord. Oni su prepoznali da se velik dio tijela epske pjesme sastoji od ponavljanih formula (riječ ili dvije), formulaičkih izraza (nekoliko riječi) i tema (nekoliko stihova, npr., vijeće, dolazak glasnika, gozba itd.). Formulaički materijal služi za lakše memoriranje pjesme, a i kao ukrasni umetak, a nadahnuti umjetnici ne izbjegavaju formule, već ih koriste na nov i originalan način. Vjerujemo da je Radovan upravo takav umjetnik. Radovan se u izboru materijala obilno služi formulama ustaljenim u bizantskoj i zapadnoeuropskoj umjetnosti. Taj tematski formulaički materijal nadopunjuje se poznavanjem srednjovjekovne crkvene drame, Officium stellae i Officium pastorum, odnosno ovih dvaju oblika spojenih zajedno (najbolji primjer toga je Officium iz Fleuryja). Kao skulptor, Radovan je naravno morao prilagoditi svoje izbore mediju koji postaje nečitljiv ako ga se pretrpa pojedinostima. Razmjerno je jednostavno utvrditi formule na području naracije. No Radovana valja pohvaliti za odlično prevođenje literarnog materijala u svijet vizualnih oblika. Upravo svijet tih oblika konačan je test umjetničke vrijednosti djela, budući da se umjetnički jezik izražava kroz oblik. Analiza lunete pokazuje da je Radovan zaista u stanju preuzeti kompozicijske i oblikovne formule repertoara romaničke umjetnosti dajući im nov, originalan život, no, a to je bitno, ostajući unutar okvira ključnih elemenata koji određuju romaniku kao stil. Prostor se izražava paralelnim planovima, pokret se odvija paralelno s površinom prikaza, otkrivaju se heraldički motivi (čahure), vezanje ljudskih, životinjskih i biljnih elemenata u nizove poput vitica ili friza. Radovan se dakle otkriva kao pravi kripto-konzervativac, umjetnik na kraju stila kojim suvereno vlada, ali koji ne želi prevladati. Tradicionalni se materijal ne prepoznaje kao takav jer je njegov dojam vrlo suptilan i subliminalan. Radovan se oslanja na umjetnost dekorativnog ukusa koja je cvala u predrimskim i nerimskim (ili provincijalnim rimskim) krugovima, koja se u Europi duboko ukorijenila u doba seobe naroda i procvala u monumentalnom obliku u romanici. Vitice, zakon kadra, heraldička kompozicija, horror vacui, slaganje nizova “živih slika”, sve su to iskušana izražajna sredstva te umjetnosti. Začuđuje da Radovanovu primjenu velike epske tradicije ne doživljavamo kao zastarjelu branu našem promatranju i razumijevanju njegova rada i uživanju u njemu, već kao živo umjetničko ostvarenje koje daje nositeljima drame smisao i značenje. Radovan je ostvario pravo homersko djelo, ne možda Homera Ilijade, nego Homera Odiseje. No kao što Odiseja, koja je manje monumentalna i manje usmjerena na temeljna pitanja postojanja, nije sentimentalna ni deskriptivna, ukratko, nije “gotička”, tako to nije ni Radovanova skulptura - premda je majstor, tehnički govoreći, poznavao neke od značajki francuske gotike. Radovan se nalazi na kraju niza velikih “epskih” ostvarenja romaničke skulpture koji započinje s lunetom crkve u Clunyju III, a završava upravo u Trogiru.

The Romanesque Sainte-Christine church of Croute, which was formerly dedicated to Saint-Barthelemy, is a little known building, both complex and interesting. If very few researchers focused on this building of disorderly appearance and modest outer aspect, the study of its architecture, through the remains of interior and exterior elevations, together with the analysis of its sculpted decoration, reveal a monument that can be compared to the great Romanesque buildings of the region. The study of the church of Croute also renews our knowledge concerning the position of the central part of Gascony in the field of religious commande during the Romanesque period and its decoration reveals a perfect knowledge of contemporary sculpted entities, the motives and images of which were disseminated by the artists themselves during their travels., L’église romane Sainte-Christine de Croute, anciennement dédiée à saint Barthélemy, est un édifice peu connu, complexe, mais particulièrement intéressant. Si un très petit nombre de chercheurs s’est penché sur ce bâtiment à la structure désordonnée et à l’aspect extérieur modeste, l’étude de son architecture, par le biais des vestiges des élévations intérieure et extérieure, et l’analyse de son décor sculpté révèlent un monument digne des grands édifices romans régionaux. L’étude de l’église de Croute renouvelle également nos connaissances sur la place qu’occupe la Gascogne gersoise dans le domaine de la commande religieuse à l’époque romane et l’élaboration de son décor démontre la parfaite connaissance des ensembles sculptés contemporains dont la diffusion des motifs et des images est assurée par les artistes eux-mêmes à travers leurs pérégrinations., Balagna Christophe. L’église romane de Croute à Lasserrade (Gers) : un édifice inachevé de Gascogne centrale autour de 1125. In: Archéologie du Midi médiéval. Tome 26, 2008. pp. 59-91.

Stylistic analysis o Medvedgrad sculpture in the light of Slovakian (Spiš) and Hungarian (Ocsa) comparative materials, with correction of traditional dating to pre-Tratar period.

This article continues our investigations ofthe sculpture at Medvedgrad concentrating on non-figured materials, the portal and the non-figured capitals of the Chapel, and the fragments ofthe Palas capitals. Thanks to new insights into the patronage ofHerceg Koloman in the Spiš area ofSlovakia, and its monuments, it proposes a new, earlier dating ofthe Medvedgrad complex giving credence to proposals ofNada Klaić who ascribed Medvedgrad to the patronage ofHerceg Koloman which, in our opinion, seems quite likely for the Chapel and the Palas., Ovaj prilog nastavlja s razmatranjem skulpture na Medvedgradu usredotočujući se na nefiguralne elemente -portal inefiguralne kapitele kapele te fragmente kapitela palasa. FiguraIna skulptura Medvedgrada, kako smo predložili u prošlome broju SHP-a, pokazuje veze medvedgradske skulpture s kraljevskim radionicama ranijih desetljeća 13. st., što još jasnije izražavaju nefiguraIni radovi. Novi uvidi u umjetnost vezanu uz patronat hercega Kolomana u regiji Spiša u istočnoj Slovačkoj (kapiteli palasa na Spišskom Hradu, Spišska Kapitula, fragment iz Spišskih Vlachov u Spišskoj Novoj Vesi) mogu se, koliko je to uopće moguće pri studijama ranogotičkih kapitela ("a crochet" i slični), uspješno usporediti s medvedgradskim materijalima (ugaone volute fragmenata s palasa, oblik očuvanih pupova u kapeli i na fragmentina s palasa), unutar, naravno, opće produkcije takvog materijala u širokom krugu od talijanskog Mezzogiorna preko Bamberga do Panonsko -karpatskog bazena (Esztergom, Pilisszentkereszt, Vertesszentkereszt). Medvedgradski portal pokazuje nadalje sličnosti s portalima u 6csi (dovršena oko 1234.), koji opet pokazuju veze sa spiškim materijalom. Ovime se proširuje zona patronata hercega Kolomana, i otvaraju se jasne mogućnosti datiranja palasa i kapele na Medvedgradu u pred tatarsko razdoblje. Također se potvrđuju i uvidi Nade Klaić o predtatrskom datumu Medvedgrada (odnosno, po našem mišljenju, nekih njegovih dijelova) i ulozi hercega Kolomana u njegovoj izgradnji. Potvrđuju se i nalazi Vladimira Bedenka o posttatarskom nastanku južne kule koju podiže zagrebački Kaptol. Ni uvidi povjesničara, a niti formalna analiza sami po sebi ne bi bili dovoljni da se predloži da je dio Medvedgrada nastao u vrijeme uprave hercega Kolomana u dukatu Slavonije (1225.-1241.), no oni se međusobno potvrđuju i osnažuju. Kompleks djelovanja kraljevskih radionica na području srednjovjekovne Slavonije u ranijim desetljećima 13. stoljeća, odnosno počeci gotike u Hrvatskoj predstavljaju jedno od vrhunskih razdoblja u povijesti umjetnosti kontinentalne Hrvatske (Gora, Topusko, Čazma, Medvedgrad, Novo Mesto Zelinsko, Sv. Ivan Zelina, Vinica). Produbljeno razumijevanje tog sloja moglo bi biti i temelj za buduće studije o velikim spomenicima o kojima znamo tako malo iz tog vremena, kao što su zagrebačka i đakovačka katedrala.