medieval-religion: Scholarly discussions of medieval religion and culture
From: Diana Wright <[log in to unmask]>
> Now WHAT is going on in that frieze,
stuff like that can be the subject of whole monographs by art historians
wishing to not perish.
a JSTOR search doesn't turn up anything on the frieze itself, though there is
an article in Gesta on the "The Foliate Capitals of Perrecy-les-Forges:
Implications for Cluny" by Masuyo Tokita Darling (Gesta, Vol. 27, No. 1/2,
Current Studies on Cluny (1988), pp. 73-82), who wrote her dissertation on
"The Romanesque Sculptures of P-l-F" in 1980 under Ilene Forsythe at
available here for those with subscriptions to JSTOR:
or i can probably send the .pdf file to anyone who wants it, if it's not too
but it looks like it is a very, very thorough study of, well, the foliate
capitals only, not the portal iconography.
note 3 : "The porch ensemble of Perrecy has not been sufficiently studied..."
>& is that a cat bed someone is carrying?
what else could it be?
a very, very rare surviving representation of a cat carrier.
From: Marjorie Greene <[log in to unmask]>
> The person waiting for the "definitive" photos of Perrecy-les-Forges is your
humble servant, not Phyllis
no, you've got that backassward, MG --we're all waiting for Phyllis to get her
head out of those defective hagiography books and surf the web for us.
> From memory
an inherently untrustworthy source.
as i know all too well.
>- here's what's going on in the frieze: from left to right Gethsemane with
two apostles awakening while the rest sleep, Christ at the angle where the
frieze makes a 90 degree turn holding up a finger and
(probably) asking "Could you not watch one hour with me?", the consoling
angel of extraordinary beauty and very moving, the betrayal (I may have
> skipped something here), the arrest, Saint Peter, outsized and apparently
cutting off the ear of the servant in a twisting motion, Christ before Pilate,
sudden shift to the avenging angel, and, I think, Saint Paul at the end.
so, where does the cat carrier fit in?
>Somewhere in the mess that is my library, I have a booklet that
describes all this in detail.
ahhh, yes, "the booklet".
one of those little Zodiac offprints, i suppose that would be.
if it's the one by the Oursels which Darling mentions, it might be somewhat
but iconography is a Tricky Thing, and things are not always what they
>As to Cluny/Fleury connections, I forget...
my original source for that factoid was a mention of it in Minot Kerr's
excellent dissertation on Paray-le-Monial, available on-line here:
Darling also says that P-les-F was a priory of Fleury, being mentioned as such
in both Andre of Fleury's _Vita Gauzlini_ and Raoul Tortaire's _Miracula St.
so, i suppose that "connection" is settled: Perrecy was a priory of Fleury,
perhaps from at least the 9th c.
again, to my eye, the figure style of the Perrecy portal is totally
Cluniac/Burgundian --there are several styles surviving in the 11th and 12th
c. sculptures at Fleury (and perhaps others from that very important and
influential mother house which have not survived at all), and none of them
look like they are part of this Stylistic Sequence.
i attribute that to the fact that, at the time of this portal's construction,
there was a florishing, full generation old, ultimately Cluniac regional style
in sculpture in Burgundy, and there was no necessity for the importation of
one from far away Fleury.
this was not the case, for example, in the 11th and very early 12th c.
Chartrain region, which seems to have been rather poor in sculptural monuments
and where it appears (to me) that the monks of Marmoutier imported their own
particular style (and, de facto, workshop) to execute the modest portals of
their priories in the Chartrain Beauce.
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