5.03 Romanesque Architectural Sculpture
The Romanesque period also saw a revival of monumental sculpture, again, certainly
inspired by the remains of Roman monumental carvings. The subject matter, of
course, was quite different, following in the tradition of Early Medieval ivories,
illuminated manuscripts and other such luxury items.
Saint-Lazare, west portal (ca. 12C) from AICT
Sculpture also appears on the exterior of Christian churches for the first time
during the Romanesque period as well. Although architectural sculptures decorate
many different parts of Romanesque churches, it was nevertheless most often
found in the large stone portals through which worshippers had to pass in order
to enter the building (see image at right).
It is important, therefore, that you learn the various parts of a Romanesque church portal, which include:
jamb column
jamb figure
trumeau
tympanum
voussoir
archivolt
spandrel
Saint-Pierre, Moissac, France
One of the most extensive sculptural programs can be found at Saint-Pierre
in Moissac, France (ca. early 12C). Our sample comes from the tympanum of the
south portal. Below, we see Christ, in hierarchical scale and centered, depicted
as the ultimate judge of the world. Like the marble slab from Saint-Sernin,
Christ is surrounded by the symbols of the Four Evangelists, who themselves
are flanked by two angels with scrolls (presumably holding the recorded deeds
of man). The remaining figures represent the twenty-four elders who accompany
Christ in His high priestly office
(cf. Rev. 4:1-4). The variety of figural shapes in this work (from the elongated
angels to the squat, "bobble-headed" elders) is another trait of Romanesque
sculptural compositions.
Christ in Majesty with angels and the Twenty-four elders, Saint-Pierre, south
portal tympanum (ca. early 12C) from from AICT
Directly below the tympanum, we have a sculpted trumeau, the right face of
which (pictured above, right) shows the elongated figure of an Old Testament
prophet (probably either Jeremiah or Isaiah). The prophet holds the record of
his prophecy in his hand and is dressed in linear drapery (which was characteristic
of the age). The prophet's cross-legged pose and melancholic expression reveal
the active and yet contemplative life of a man of God. Around the prophet six
roaring lions complete the composition, certainly owing a debt to the Early
Medieval animal style.
Lions and Prophet, Saint-Pierre, south portal trumeau (ca. early 12C) from AICT
Saint-Lazare, Autun, France
Saint-Lazare in Autun, France presents another more striking Last Judgment
composition by the artist Gislebertus (ca. early 12C). Again, the figure of
Christ, enthroned in a mandorla supported by angels, naturally dominates the
work. Here, Christ separates the saved to His right and the damned to His left.
For instance, at Christ's far left, we see an angel lifting up one of the saved
into the heavenly city, while in the lower register at Christ's left we see
the cowering, condemned souls.
Last Judgment, Saint-Lazare, west tympanum (ca. early 12C) from from AICT
Our detail (upper left image) shows the weighing of souls. Here, angels (to
our left) and demons (to our right) try to tilt the scales for or against a
soul. These are truly startling reminders of the rewards of pious duty and the
wages of unrepentant sin for all those who pass into the church!
Last Judgment detail, Saint-Lazare, west tympanum (ca. early 12C) from AICT
La Madeleine, Vezelay, France
Our final look at Romanesque architectural sculpture comes from the church of La Madeleine in Vezelay, France (ca. early 12C). In this work we see the ascended Christ in characteristic scale and position, sending out the promised Holy Spirit into the Apostles (cf. Acts 1:4-9) so they may carry on the work of the church.
Here, we see the the power and energy of the ascended Christ represented in
the deep, angular and swirling lines of the Lord's drapery, while the lines
coming from Christ's hands represent the instillation of the Holy Spirit. Below
Christ, the Apostles clutch their Gospel books, about which they preach to all
nations.
The eight compartments surrounding Christ and the Apostles are various representations of the unsaved of the world, whom the Apostles will endeavor to reach with the Good News.
The style of this piece, again, is characteristic of the age: variety of figural
forms, elongation, linear patterns and angular movement.
Ascension of Christ and Mission of the Apostles, La Madeleine, tympanum of the
central narthex portal (ca. early 12C) from from AICT
Slides to Memorize:
Lions and Prophet, Saint-Pierre, south portal trumeau
(ca. early 12C)
Gislebertus - Last Judgment, Saint-Lazare, west tympanum (ca. early 12C)
Terms to Memorize:
portal
jamb column
jamb figure
trumeau
tympanum
voussoir
archivolt
spandrel