How Can Gothic Sculpture Be Distinguished From Romanesque Sculpture?

Romanesque Sculpture

Sculpture from the Romanesque menses saw advances in metalwork, enamels, and figurative friezes and scenes found in compages.

Learning Objectives

Examine the characteristics of Romanesque sculpture

Central Takeaways

Key Points

• Romanesque art is the art of Europe from approximately 1000 CE to the rise of the Gothic style in the 13th century or later, depending on region.
• Sophisticated precious objects in metalwork , ivories , and enamels held high status in the Romanesque period.
• Many spectacular shrines made to hold relics have survived, such as the Shrine of the Three Kings at Cologne Cathedral by Nicholas of Verdun.
• Big reliquaries and chantry frontals were built around a wooden frame, but smaller caskets were made entirely of metallic and enamel. A few secular pieces such as mirror cases, jewelry, and clasps have also survived.
• During the 11th and 12th centuries, figurative sculpture was revived equally architectural reliefs became a hallmark of the later Romanesque period. Figurative sculpture was based largely on manuscript illumination and minor-calibration sculpture in ivory and metal.
• Most Romanesque sculpture is pictorial and biblical in subject. A great variety of themes are plant on building capitals , including scenes of Creation and the Autumn of Human, the life of Christ, and the Old Testament.

Key Terms

• portal: An opening in a wall of a building, gate, or fortification, especially a grand entrance to an important structure.
• enamel: A material made by fusing powdered glass to a substrate by firing, unremarkably between 750 and 850 °C (ane,380 and i,560 °F); the pulverization melts, flows, and so hardens to a smoothen, durable vitreous coating on metal, glass, or ceramics.
• tympanum: In compages, the semi-circular or triangular decorative wall surface over an archway, bounded by a lintel and arch and often containing sculpture or other imagery or ornaments.

Groundwork: Romanesque Fine art

Romanesque fine art is the fine art of Europe from approximately 1000 CE to the rise of the Gothic manner in the 13th century or after, depending on region. The preceding period is known equally the Pre-Romanesque period. The term was invented by 19th-century fine art historians specifically to refer to Romanesque architecture, which retained many features of Roman architectural style (notably circular-headed arches , barrel vaults , apses , and acanthus-leaf decoration) while also developing distinctive characteristics. Southern French republic, Spain, and Italia showed architectural continuity with the Late Antique, only the Romanesque fashion was the first to spread across the whole of Catholic Europe from Sicily to Scandinavia. Romanesque art was besides greatly influenced by Byzantine art, especially in painting, and by the anti-classical energy of the ornament of the Insular fine art of the British Isles. From these elements was forged a highly innovative and coherent style.

Romanesque Sculpture

Metalwork, Enamels, and Ivories

Precious objects in metalwork, ivories, and enamels held loftier status in the Romanesque menses. The creators of these objects are more well-known than contemporary painters, illuminators, and builder-masons. Metalwork, including decoration in enamel, became very sophisticated. Many spectacular shrines fabricated to hold relics have survived, of which the best known is the Shrine of the Three Kings at Cologne Cathedral by Nicholas of Verdun (circa 1180–1225). The bronze Gloucester candlestick is a superb example of metal casting , with intricate and energetic qualities that draw on manuscript painting. The Stavelot Triptych and Reliquary of St. Maurus are other examples of Mosan enamelwork. Large reliquaries and chantry frontals were built around a wooden frame, merely smaller caskets were made entirely of metal and enamel. A few secular pieces such every bit mirror cases, jewelry, and clasps have as well survived, but these no doubtfulness under-represent the corporeality of fine metalwork owned by the dignity.

The Gloucester candlestick, early 12th century: The bronze Gloucester candlestick is a superb example of metal casting, with intricate and energetic qualities that draw on manuscript painting.

Architectural Sculpture

With the fall of the Roman Empire, the tradition of etching large works in rock and sculpting figures in statuary died out, every bit information technology did for religious reasons in the Byzantine earth. Some life-size sculpture was washed in stucco or plaster, but surviving examples are rare. The best-known surviving sculpture of Proto-Romanesque Europe is the life-size wooden crucifix commissioned by Archbishop Gero of Cologne in about 960–65, apparently the epitome of a pop form . Beginning in the twelfth centure, these were set up on a beam below the chancel arch, known in English as a rood, and flanked past figures of the Virgin Mary and John the Evangelist.

During the 11th and twelfth centuries, figurative sculpture was revived as architectural reliefs became a hallmark of the late Romanesque menses. Figurative sculpture was based largely on manuscript illumination and minor-scale sculpture in ivory and metal. The extensive friezes sculpted on Armenian and Syriac churches were some other likely influence. These sources together produced a distinct manner that tin be recognized across Europe, although the most spectacular sculptural projects are concentrated in Due south-Western French republic, Northern Kingdom of spain, and Italy.

Images in metalwork were frequently embossed . The resulting surface had ii main planes with incised details. This treatment was adapted to stone carving and is oft seen in the tympanum in a higher place the portal , where the imagery of Christ in Majesty with the symbols of the Four Evangelists is drawn directly from the gilt covers of medieval gospel books. This style of doorway occurs in many places and continued into the Gothic period.

Most Romanesque sculpture is pictorial and biblical in subject. A great diversity of themes are plant on building capitals, including scenes of Creation and the Fall of Man, the life of Christ, and Old Attestation depictions of his Death and Resurrection, such as Jonah and the Whale and Daniel in the lions' den. Many Nativity scenes occur, nearly frequently the Three Kings. Some Romanesque churches characteristic an extensive sculptural scheme which covers the expanse surrounding the portal and sometimes much of the facade. The sculptural schemes were designed to convey the message that Christian believers should recognize wrongdoing, repent, and be redeemed. The Last Sentence reminds the believer to repent, while the carved or painted Crucifix, displayed prominently within the church, reminds the sinner of redemption.

Vézelay Abbey, Burgundy, France: The tympanum of Vézelay Abbey in Burgundy, completed in the 1130s, has a dandy deal of decorative spiral item in the draperies.

Romanesque Sculpture: Majestat Batlló

The Batlló Majesty is one of the finest and best-preserved examples of Catalan sculptures from the 12^th century.

Learning Objectives

Discuss the triumphant symbolism and Romanesque characteristics of the Batlló Majesty.

Fundamental Takeaways

Central Points

• Carved wooden images were a fundamental element in churches equally objects of worship. I of the most elaborate types in Catalonia was the Christ in Majesty: images of Christ on the Cross that symbolize his triumph over decease.
• The most outstanding of these is the Majestat Batlló, also one of the finest and best-preserved examples of Catalan sculptures.
• One of the striking features of the Majestat Batlló compared to Catalan sculptures is the well-conserved polychromy .
• The frontal geometric composition of Christ's tunic decorated in circles and floral motifs is reminiscent of the refined Byzantine and Hispano-Moorish fabrics held in high esteem in the Christian West during this time. The chronology of the Majestat Batlló is difficult to date; the inscription on the cross and the painting could be placed in the 11th century, although other authors date it back to the twelfth century.

Fundamental Terms

• polychromy: The practise of combining dissimilar colors, peculiarly brilliant ones, in an artistic way.
• abacus: The uppermost portion of the capital of a column, immediately under the architrave.
• iconographic: Of or pertaining to a religious icon.

The Majestat Batlló, or Batlló Majesty, is a 12^th century Romanesque polychrome forest carving now held in the Museu Nacional d'Art de Catalunya in Barcelona, Catalonia. Carved wooden images were a cardinal element in churches equally objects of worship, and one of the nearly elaborate motifs was the Christ in Majesty: images of Christ on the Cross that symbolize his triumph over death. The most outstanding of these is the Majestat Batlló, also one of the finest and best-preserved examples of Catalan sculpture.

Majestat Batlló: The Majestat Batlló is a 12th century Romanesque wooden crucifix, now in the National Fine art Museum of Catalonia in Barcelona. Information technology is one of the most elaborate examples in Catalonia of an epitome of Christ on the Cross symbolizing his triumph over expiry.

Symbolism and Description

The Majestat Batlló is a large wooden crucifix that presents Christ begetting his suffering with noble stoicism and triumph. He is wearing a colobium, or a long, sleeveless tunic. Although the corners of his mouth turn slightly downward, Christ's open eyes and unfurrowed brow create the impression of a self-possessed impassivity. A Latin inscription above his head reads, "JHS NAZARENUS REX IUDEORUM" ("Jesus of Nazareth King of the Jews"), equally in biblical accounts (Matthew 27:37, Mark fifteen:26, Luke 23:38, John 19:19).

1 of the striking features of the Batlló Majesty compared to Catalan sculpture is the well-conserved polychromy. Christ's colobium, in fake of rich oriental silk, is decorated with blueish floral designs surrounded by circular red frames embellished with dots and circles. A thin belt with an elaborate interlace knot pulls the tunic in higher up Christ'south hips, making the fabric to a higher place it swell out slightly and curving the path of its apartment, broad vertical folds. Such robes are linked with royal and priestly functions and conveyed a message of force to the audience. They can be seen as a visualization of the Apocalyptic Christ from the Book of Revelation.

The frontal geometric limerick of the tunic decorated in circles and floral motifs is reminiscent of the refined Byzantine and Hispano-Moorish fabrics held in high esteem in the Christian West during this time. The great reference for this blazon was the Volto Santo in Lucca (Tuscany, Italy), regarded as having miraculous origins and as the object of pilgrimage and extraordinary devotion from the end of the 11th century. The iconographic tradition of Jesus in a colobium dates to 586 CE in a manuscript of the Syriac Gospels called the Rabbula Gospels, written by the monk Rabbula somewhere in Mesopotamia . The tradition of depicting Christ in such costume was likely brought to Catalonia past artisans from Pisa, who arrived in 1114 to aid Ramon Berenguer III, Count of Barcelona, in his conquest of the Balearic Islands.

Chronology

The Majestat Batlló is difficult to date, but the inscription on the cross and the painting could be placed in the 11^th century. However, other authors date information technology dorsum to the 12^th century based on the painting'due south similarity to others from the area of Ripoll, mid-12^th century. The tunic is analogous to an Islamic motif of the cloister of the abbey of Saint-Pierre de Moissac, which seems to prove the spread of this mode during the Romanesque menses.

Romanesque Sculpture: Mary equally the Throne of Wisdom

Mary as the Throne of Wisdom was a pop biblical theme represented throughout Romanesque sculpture.

Learning Objectives

Compare the various depictions of Mary seated on the Throne of Wisdom

Key Takeaways

Key Points

• Images of Mary equally the Throne of Wisdom are especially prevalent in Roman Catholic art.
• When the Virgin is depicted in sedes sapientiae ("Throne of Wisdom") icons and sculptural representations, she is seated on a throne with the Christ Child on her lap.
• This concept of Mary likens her to the Throne of Solomon, referring to her status as a vessel of the incarnation carrying the Holy Child. The sedes sapientiae icon also appeared in Romanesque illuminated manuscripts , frescoes , mosaics , and seals.

Fundamental Terms

• Romanesque: The art of Europe from approximately k CE to the rise of the Gothic style in the 13th century or subsequently, depending on region.
• iconography: The branch of fine art history which studies the identification, description, and interpretation of the content of images.

Background

In the Roman Catholic tradition, the epithet "the Seat of Wisdom" or "Throne of Wisdom" is one of many devotional titles for the Female parent of God. The phrase was coined in the xi^th and 12^thursday centuries by Peter Damiani and Guibert de Nogent and likens Mary to the Throne of Solomon, referring to her status as a vessel carrying the Holy Child. Every bit the phrase associates the Blest Virgin with glory and teaching, Madonnas in this tradition are especially popular in Catholic imagery .

Mary as the Throne of Wisdom: Madonna as Seat of Wisdom, 1199, inscribed as by Presbyter Martinus, from the Camaldolese abbey in Borgo San Sepolcro near Arezzo, Italian republic.

Cultural History

In Christian iconography , sedes sapientiae ("The Throne of Wisdom") is an icon of the Female parent of God in majesty. When the Virgin is depicted in sedes sapientiae icons and sculptural representations, she is seated on a throne with the Christ Child on her lap.

This blazon of Madonna epitome was a variant of the Byzantine Hodegetria type, in which the Virgin Mary is depicted property the child Jesus at her side while pointing to him as the source of salvation for flesh. It appeared in a wide range of sculptural and painted images in Western Europe, specially near 1200 CE. In these representations, structural elements of the throne invariably appear, even if just handholds and front legs. The Virgin'southward anxiety often balance on a depression stool. Subsequently Gothic sculptures are more explicitly identifiable with the Throne of Solomon, where "two lions stood, one at each hand. And twelve little lions stood upon the half dozen steps on the one side and on the other" (I Kings ten, 19-20).

Aechen Cathedral, 11th Century: The cloisonné enamel donor plaque with the donor's portrait and the enthroned Madonna, on the processional Cross of Mathilde, Ottonian, early 11th century (Aachen Cathedral)

In addition to Romanesque sculpture, the sedes sapientiae icon appeared in illuminated manuscripts, frescoes, mosaics, and seals of the fourth dimension. The icon possesses allegorical exact components: the Virgin every bit the Throne of Wisdom is a trope of Damiani or Guibert de Nogent, based on the typological estimation of the passage in the Books of Kings that describes the throne of Solomon (I Kings 10: eighteen–20, repeated at II Chronicles nine: 17–nineteen). This motif was frequently used in Early Netherlandish painting in works like the Lucca Madonna by Jan van Eyck.

Romanesque Sculpture: Tomb of Rudolf of Swabia

The tomb of Rudolf of Swabia is a prime instance of Romanesque sculpture.

Learning Objectives

Depict the expressive Romanesque artistry on the tomb of Rudolf of Swabia

Key Takeaways

Key Points

• Rudolf of Rheinfelden was the alternative rex, or antiking, for the politically oriented anti-Henry German language aristocrats. He died during the Nifty Saxon Rebellion in the tardily 11th century.
• Rudolf's tomb sculpture reflects the Romanesque beloved of inventive surface patterns and an expressive approach to the human body, using elongation, unnatural poses, and emphatic gestures to convey states of mind.
• The intricate metalwork on Rudolf's tomb is also indicative of Romanesque sculpture.

Key Terms

• Romanesque: The art of Europe from approximately 1000 CE to the rising of the Gothic style in the 13th century or afterward, depending on region.

Rudolf of Rheinfelden (1025 – 1080) was Duke of Swabia (1057–1079) and German Antiking (1077–1080). He was the son of Count Kuno of Rheinfelden and eventually became the alternative king, or antiking, for the politically oriented anti-Henry German aristocrats. This rebellion became known as the Great Saxon Defection. He died equally a result of battle wounds as his faction met and defeated Henry's in the Battle of Elster.

Tomb of Rudolf of Rheinfelden

Rudolf of Rheinfelden'due south tomb, located at the cathedral of Merseburg, is a fine instance of Romanesque sculpture. Sculpture of this era is marked by a love of inventive surface patterns and an expressive approach to the human trunk, using elongation, unnatural poses, and emphatic gestures to convey states of mind. Rudolf'southward tomb reflects these characteristics. The sculpture of his body is elongated and lies with a scepter in 1 hand and an orb in the other, symbolic of the regal title he claimed but never held in life. He is depicted in majestic garments and a crown.

The material used to construct the tomb besides reflects the loftier condition of metalwork in Romanesque sculpture. Indeed, precious metal objects, enamel work, and ivory carried a much college significance than paintings during this time. Metalwork and enamel decoration became especially sophisticated during the 10^thursday and 11^thursday centuries. Rudolf of Rheinfelden's tomb reflects this aesthetic with its bronze relief of Rudolf's body encased inside of a raised border edge. An inscription is also etched into the edge, demonstrating the skill involved in the tomb'southward construction.

Tomb of Rudolf of Swabia: The tomb of Rudolf of Swabia is exemplary of Romanesque sculpture.

Romanesque Sculpture: Reiner of Huy

Reiner of Huy was a 12^thursday century metalworker and sculptor to whom the baptismal font at St. Bartholomew's Church is attributed.

Learning Objectives

Describe the Reiner of Huy'south masterpiece, the baptismal font at St. Bartholomew's Church in Belgium

Key Takeaways

Key Points

• Reiner of Huy was a 12th century metalworker and sculptor idea to be the creator of the famous baptismal font at St. Bartholomew'due south Church building.
• Nothing is known of Reiner's life other than that he was mentioned in an 1125 document as a goldsmith, but a 14th century chronicle mentions him every bit the creative person of the font.
• Reiner of Huy's status equally the creator of the font and the Mosan origin of the font have been questioned.
• The font is a major masterpiece of Mosan art, remarkable for the classicism of its style . The five scenes can be read in chronological sequence and include depictions of John the Baptist, the Baptism of Christ, St. Peter baptizing Cornelius the Centurion, and St. John baptizing Craton.
• The just other work generally agreed to be by the same principal as the font is a minor bronze crucifix figure at present located in Schnütgen Museum, Cologne.

Key Terms

• lost-wax casting: The process by which a duplicate metal sculpture (frequently silver, gold, brass, or statuary) is cast from an original sculpture.
• font: A receptacle in a church for holy water, especially ane used in baptism.
• Mosan: A regional style of art from the valley of the Meuse in present-day Belgium, the Netherlands, and Federal republic of germany. Although in a broader sense the term applies to art from this region from all periods, information technology by and large refers to Romanesque fine art, with architecture, stone etching, metalwork, enameling, and manuscript illumination reaching its peak from the 11th through 13th centuries.

Overview: Reiner of Huy

Reiner of Huy was a 12^thursday century metalworker and sculptor to whom many masterpieces of Mosan fine art, including the baptismal font at St. Bartholomew'south Church in Liege, Kingdom of belgium, are attributed. The Meuse River valley in modern Belgium and French republic, roughly comprising the Diocese of Liège, was the leading 12^th century centre of Romanesque metalwork , which at the fourth dimension was still the most prestigious art medium . Nothing is known of Rainer'southward life other a mention in an 1125 document as a goldsmith; all the same, a fourteen^thursday century chronicle mentions him as the artist of the font. He may have died around 1150. Although Reiner of Huy is traditionally accepted to be the creator of the font, this attribution and the Mosan origin of the font, have been questioned.

Baptismal Font at St. Bartholomew's Church

The font is a major masterpiece of Mosan fine art, remarkable for the classicism of its fashion. The bowl is 91 centimeters (36 inches) across at the top, tapering slightly toward the base of operations , and described as brass or bronze. It was made using the lost-wax casting technique with the basin cast in a unmarried piece. The size was non necessarily infrequent, as both church building bells and cauldrons for large households were probably comparable sizes. Some church doors cast in a unmarried piece, though flat, were much larger.

The font sat on 12 oxen (two of which are at present missing) that emerged from a stone plinth, a reference to the "molten sea… on twelve oxen" bandage in bronze for Solomon's temple. The five scenes shown, identified past Latin inscriptions (tituli) on the rim higher up and in the image field, can be read in chronological sequence. They include two scenes of John the Baptist, the Baptism of Christ, St. Peter baptizing Cornelius the Centurion, and St. John the Evangelist baptizing the philosopher Craton.

Baptismal Font at St. Bartholomew's Church: Reiner of Huy, a twelfth century metalworker and sculptor, is generally attributed with creating the baptismal font at St. Bartholomew'southward Church.

Possible Other Works

The only other work generally agreed to exist by the aforementioned primary as the font is a small bronze crucifix effigy now located in Schnütgen Museum, Cologne. Another crucifix in Brussels is probably from the same mold but with actress chasing. Others in Brussels and Dublin may have come from the same workshop, as they have many similarities to the Cologne bronze crucifix.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/romanesque-sculpture/

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