1. Romanesque Sculpture K.J. Benoy

2. Introduction  Monumental sculpture in stone did not really revive in the Carolingian and Ottonian periods.  However, Wooden works, like the Gero Crucifix did exist in Medieval times prior to the Romanesque period.

3. Introduction  Stone carving in the Early Middle Ages survived in shallow relief and as architectural ornament. 9 th Century Ivory from Monza in Italy

4. Introduction Adam & Eve, Pecs Cathedral, Hungary

5. Origins of Romanesque Sculpture  Romanesque sculpture, like architecture, began along the pilgrimage route to Santiago de Campostela in Spain. Pilgrims wearing the cockle shell badge walked hundreds of kilometers to Santiago

6. Origins of Romanesque Sculpture  Very early Romanesque sculpture was often shallow relief carved on architectural features, like this lintel at St. Genis, France (1019- 1020) Christ framed by a mandorla (halo) and supported by angels.

7. Origins of Romanesque Sculpture  Romanesque got its name from being “like Roman”.  This was true of much sculpture, as well as architecture. Note the classical reference in the Apostle from St. Sernin.

8. Origins of Romanesque Sculpture  Sculpture had obvious advantages over painting as decoration. –It is more solid and lasting – few Romanesque frescos have survived. –Because it is three dimensional, it seems more real, even when stylized.

9. Origins of Romanesque Sculpture Jesus at the Temple, Nantola Abbey The Adoration of the Magi, Nantola Abbey

10. Origins of Romanesque Sculpture  Romanesque sculpture is generally linked to its architectural settings Late Romanesque figures from Italy

11. Romanesque Capitals  Carved capitals were particularly popular during the Romanesque period.  They featured stylized designs.  And figures in scenes. Bird & Foliage Design Pilgrims

12. Romanesque Capitals  Typically, the figures were stylized and recognizable as people, but not realistic.

13. Romanesque Capitals

14. St. Foy, Conques

15. Romanesque Capitals St. Foy, Conques

16. Romanesque Capitals  Stories were told to a largely illiterate audience of parishioners and pilgrims. Christ at the Last Judgment

17. Romanesque Capitals The Arrest of Christ

18. Romanesque Capitals Death of John the Baptist, Attributed to Gislebertus, St. Etienne

19. Romanesque Capitals Puy-en-Velay, France

20. Romanesque Capitals  Scenes would also act as warnings against the consequences of sin. Capital at St. Michele, Pavia

21. Wall Decoration  Wall niches, both on the interior and exterior of churches might feature carved decoration. Angel, Pecs Cathedral, Hungary

22. Wall Decoration King David and his Harp, Denaude, France

23. Wall Decoration Samson’s Enigma. Samson takes honey from the mouth of a lion.

24. Wall Decoration St. Andrew. Attributed to Gislebertus, St. Etienne

25. Wall Decoration  Romanesque sculpture remains firmly rooted to its architectural setting. Peter & Paul Jamb, Vezelay

26. Entry Portals  Nowhere is this clearer than in the entry portals of the great Romanesque pilgrimage churches of Southern France.

27. Entry Portals Entry Portal, West Façade, St. Foy

28. Entry Portals  Beneath the entry arch, but above the lintel, was the tympanum, a large area of stone that need did not bear the weight of the building above.  Sculptures used this as a magnificent canvas for their greatest works. Entry Portal, West Façade, St. Foy

29. Entry Portal – St. Pierre, Moissac Entry to St. Pierre, Moissac Tympanum of St. Pierre, showing Christ sitting in judgment – a favourite scene.

30. Entry Portal – St. Pierre, Moissac  Jambs on either side of the door and even the trumeau were decorated lavishly.  At St. Pierre the prophet Jeremiah is stretched to fit on the side of the trumeau.

31. Entry Portal – St. Pierre, Moissac Detail of the face of Jeremiah.

32. Entry Portal – St. Lazare, Autun  The same scene, the Last Judgment, was given a little differently by Gislebertus at St. Lazare, Autun.  The basic scene remains the same. –A large Christ figure rules on who is saved (on his right) and damned (on his left). –Souls await judgment in a miniature register beneath him.

33. Entry Portal – St. Lazare, Autun The separation of good and evil on the lower register.

34. Entry Portal – St. Lazare, Autun Christ, in his mandorla, sits in judgment Disembodied hands pluck up a soul for judgment

35. Entry Portal – St. Lazare, Autun  As souls are weighed, demons unfairly tip the balance.  Such detail and virtuosity is typical of the work of Gislebertus – one of the only medieval sculptors to sign his work.

36. Entry Portal – St. Madeleine, Vezelay  From the portal of the Narthex of St. Madeleine comes this scene.  This time Jesus sits not in judgment, but to direct the apostles to spread the Gospel.  St. Madeleine is directly linked with the crusades. –Urban II had intended to preach the first crusade here. –St. Bernard preached the second from here. –Richard the Lionheart and Phillip I departed from here.

37. Entry Portal – St. Madeleine, Vezelay  The archivolts display the signs of the zodiac and work that occurs at each of these times.  This symbolizes the need to have faith at all times and in all circumstances.  It also provides the pilgrim visitor with a feast of visual detail to enjoy.

38. Conclusions  Romanesque sculpture was richly detailed and expressive.  It was rooted firmly to the architecture that housed it.  Figures are symbolic and positioned and poised according to significance. Size indicates importance.  Reality is implied, but is not important.  Forms are expressive, rather than naturalistic.