Romanesque
Sculpture
K.J. Benoy

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.

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

Introduction
Adam & Eve, Pecs
Cathedral, Hungary

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

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

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.

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.

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

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

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

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

Romanesque Capitals

Romanesque Capitals
St. Foy, Conques

Romanesque Capitals
St. Foy, Conques

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

Romanesque Capitals
The Arrest of Christ

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

Romanesque Capitals
Puy-en-Velay, France

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

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

Wall Decoration
King David and his Harp,
Denaude, France

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

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

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

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

Entry Portals
Entry Portal, West
Façade, St. Foy

Entry Portals
Entry Portal, West Façade, St. Foy

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 – St. Pierre, Moissac
Entry to St. Pierre,
Moissac
Tympanum of St. Pierre, showing Christ sitting in judgment – a favourite scene.

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.

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

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.

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

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

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.

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.

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.

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.