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medieval-religion: Scholarly discussions of medieval religion and culture
From: John Dillon <[log in to unmask]>
> An Italian-language site, with exterior photographs and a floor plan,
on the rural church of San Gemiliano at Sestu (CA) is here:
> http://www.ilportalesardo.it/monumenti/casestu.htm
goodness, perhaps vying for the prize as Ugliest Church associated with a
Phyllistinean Saint.
looks like a danged tithebarn, but without the interesting carpentry.
> The church of San Gemiliano (San Miliano) at Villanova Truschedu was
begun in "romanesque" style in the 1500s and completed in next century
in Catalan Gothic.
> http://www.oristanoedintorni.it/online/cat082.htm
> http://web.tiscali.it/acres/
> http://www.oristanoedintorni.it/fdg/2005/02/16.htm
rather than seeing this as some sort of a "Romanesque revival" (or even the
persistance of the "style" in a provincial backwater) in the Italy of c. 1500,
unencumbered by any real knowledge of the place, region or country, i'd rather
see its sole "romanesque" element --the use of round arches over the doorway
and in the tracery of the rose window above-- as being an attempt by a
provincial shop to cater to the "Modern", Classical tastes which by then had
become universal in Italy.
the "romanesque" "style", universally found all over Europe in the 11th and
12th c., persisted well into the following century(s) in provincial backwaters
in France and elsewhere, examples of which sometimes earning the sobriquet
"second [or third, depending upon how one counts such things] romanesque"
among Art Hysterians trying to explain the phenomenon by piling yet another
Construct onto an already creaky constructural fabric.
as far as i am aware there was no "Romanesque revival" until the 19th century,
though elements of the style were consciously used in some 15th-16th c.
Flemish paintings when there was a reference to be made to an Old Testiment
topology especially within what was essentially and primarily a New Testament
scene.
cf. the clealry "romanesque" architecure here
http://www.wga.hu/art/e/eyck_van/jan/21paele/21paele1.jpg
complete with very, very accurately rendered "romanesque" historiated and
interlaced foliate capitals
http://www.wga.hu/art/e/eyck_van/jan/21paele/21paele4.jpg
or here:
http://www.wga.hu/art/e/eyck_van/jan/02page/25tripty.jpg
a brief discussion of this use of "architectural typology" as an integral
element in the iconography of such paintings is here
http://www.findarticles.com/p/articles/mi_m0422/is_1_81/ai_54517312/pg_2
"Broederlam appears to use the foreground Romanesque building to indicate the
period before the coming of the Savior, while the enigmatic Gothic structure
to the left would accommodate a future use made necessary by developments
following the Annunciation."
that's the idea, though the painting refered to,
http://www.mythfolklore.net/bibgreek/images/gallery/broderlam.jpg
from the end of the 14th c. is at the beginning of the exploitation of this
typological concept and, as executed, Broederlam's "romanesque" has a decidely
"gothic" flavor to it, asided from the round arches.
while, by van Eyck's time eyes had been sharpened sufficiently to allow a more
"realistic" distinction between the two styles.
within the context of middlevil art generally it is quite remarkable --and
significant-- to note how difficult it seems to have been for an artist of one
period to convincingly work in a style which was not of his own.
there's some Profound Truth hidden in that simple fact, but i forget just now
what it is.
best,
c
c
~~~~~~~~~~~~~~~~~~~~
"To initiate a war of aggression ... is not only an international crime, it is
the supreme international crime, differing only from other war crimes in that
it contains within itself the accumulated evil of the whole."
--International Military Tribunal at Nuremberg, Germany, 1946
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