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mente, aber auch fur die panoramatischen und zuriickwirft. Die Irritation, die von diesen chronophotographischen Bilder dessen, was Apparaturen und Instrumenten ausgeht, weist sich, folgt man der Kblner Ausstellungsthese, die Leistungsfahigkeit unseres analytischen das vorkinematographische Zeitalter nennen Sehens in ihre Schranken und ermoglicht lieEe. gerade dadurch eine ganz andere Perspektive, Da sowohl die Kolner Ausstellung als auch die namlich die auf uns selbst. Und so liegt das des Getty ihre Exponate nicht ausschliefilich Verdienst beider Ausstellungsunternehmen im musealen Modus petrifizierter Entriicktheit wohl weniger in der umfassenden Prasenta- prasentierte, sondern Spielraum fur die eigene tion einer veritablen Technik- und Appa- taktile Anwendung ausgewahlter Exponate rategeschichte vorkinematographischer Me- gewahrte, stellte sich dem derart animierten dien und Effekte, als im anschaulich vermittel- Betrachter unwillkiirlich die Frage, wie denn ten Erkenntnisgewinn, dal? wir es sind, die diese Apparate funktionierten, was denn bei diese Phanomene im Zusammenspiel von deren Anblick geschehe. So beruht die Faszi- physiologischer Wahrnehmung und psychi- nation nicht nur auf einem Modus des Spiels, schem Bildverarbeitungsprozef? erst pro- wie ihn Johan Huizinga in seiner beruhmten duzieren. Damit wiederum behandelten beide Schrift liber den homo ludens 1938 als eine Ausstellungen in ebenso anschaulicher wie Tatigkeit »mit einer ganz eigenen Tendenz« eindringlicher Weise implizit auch die Frage ausgewiesen hat (Homo Ludens: Versuch nach dem Bild, die die Kunstwissenschaft einer Bestimmung des Spielelements in der umtreibt. Fragen wir nach dem Bild - so kann Kultur [1938]. Amsterdam und Basel, Burg- man die Devices of Wonder und die Seh- Vlg. 1944, S. 13), sondern vielmehr auf einem maschinen und Bildenvelten heute wohl ver- ganzbesonderen Modus der Wahrnehmung, stehen -mlissen wir immer auch nach uns der unseren Blick immer wieder auf uns selbst selbst fragen. Lars Blunck

Martine Callias Bey, Veronique Chausse, Franchise Gatouillat , Michel Herold Les vitraux de Haute-Normandie Corpus Vitrearum , serie complementaire, Recensement des vitraux anciens de la France, volume VI. CNRS. Inventaire general des monuments et des richesses artistiques de la France. Paris, CNRS Editions I Monum, Editions du patrimoine 2001. 495 pp. with 341 b/w ill.; 59 colour plates. ISBN 2-85822-314-9

Since its inception in 1949, the Corpus Vi­ include works of stained glass among the cen­ trearum Medii Aevi (CVMA) has spearheaded tral accomplishments of artists and patrons a reawakening of interest in pre-modern alike during this period. This signals a dra­ stained glass. There is growing recognition matic shift in emphasis, for beginning in the across a broad spectrum of interests that late 16th century, this once dynamic medium stained glass constituted one of the most plunged into an oblivion that only began to expensive and prestigious pictorial mediums dissipate in the mid-i9th century, when both in Europe between the 12th and mid-i6th glaziers and researchers were forced to start, centuries, and authors of general studies of virtually ex nihilo, to rediscover the complex­ medieval art increasingly feel obliged to ities and the remarkable aesthetic qualities of

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stained glass. While the discipline of art his­ material that needed to be dealt with: it has tory has more adamantly resisted the re-inser­ been claimed that France contains more tion of stained glass into the study of Renais­ medieval stained glass than the entire rest of sance art, old barriers are rapidly being bro­ the world, and there is an enormous amount ken down, and the dismissive category of the from the Renaissance, as well. This was the »Decorative Arts« is well on the way to initial rationale for the series, » Recensement becoming a strictly historical phenomenon.des vitraux anciens de la France^, which was Perhaps the most formidable impediment to initiated in 1972 by Jean Taralon, Fran^oise this resurgence of interest in stained glass is Perrot and Louis Grodecki and conceived as a access both to the primary material itself and collaboration between the CVMA, the Inven- to scholarly study of it. This was the challenge taire general des monuments et des richesses facing the fledgling CVMA, which set itself the artistiques de la France and the Centre task of conducting fundamental research on national de la recherche scientifique. all surviving pre-modern stained glass and This volume, covering Haute-Normandie, is subsequently publishing it. In the heady the sixth in the Recensement series, and it enthusiasm of its youth, nobody perhaps real­ almost completes coverage of northern ized the full extent of the prodigious task that France. The previous volumes are: Louis lay ahead. In order simply to ascertain how Grodecki, Frangoise Perrot and Jean Taralon, much restoration a panel of stained glass has Les vitraux de Paris, de la Region parisienne, undergone, scrupulous examination is re­ de la Picardie et du Nord-Pas-de-Calais, quired, and this ideally necessitates dismount­ Recensement vol. I (Paris, 1978); Les vitraux ing the panel for study at close range in a du Centre et des Pays de la Loire, Recensement restoration workshop. In a single church, hun­ vol. II (Paris, 1981); Les vitraux de Bour­ dreds of panels might require such study. This gogne, Franche-Comte et Rhone-Alpes, Re­ may serve as an indication of the logistical and censement vol. Ill (Paris, 1986); Les vitraux de financial difficulties faced by the teams of Champagne-Ardenne, Recensement vol. IV CVMA researchers who have laboured at this (Paris, 1992); Michel Herold and Fran^oise laudable project over the intervening half cen­ Gatouillat, Les vitraux deLorraine et d’Al­ tury. sace, Recensement vol. V (Paris, 1994). Only Since the CVMA was organized by national Basse-Normandie, Bretagne and the south of committee, the difficulties of carrying out the France (which contains much less stained glass project of making all pre-modern stained glass than the north) are yet to appear. accessible to researchers have varied accord­ This volume is particularly welcome, since ing both to the regional exigencies of survival, was animportant manufacturing damage and restoration and to the organiza­ region for window glass, particularly during tion of each national committee. The French the Renaissance, and contains important sur­ committee managed to produce some of the vivals of stained glass from a number of peri­ first monographs published by the CVMA. ods. Although fragments of Carolingian They were also the first national committee to stained glass have recently been found during publish a study volume, envisioned as a help­ excavations at , stained glass fulauxiliary step in publishing a more mono­ is not plentiful in Normandy before the 13th graphic treatment. The extent of surviving century. The earliest works to survive in situ stained glass in France also occasioned the ini­ date only from c.1200, and only later in the tiation of a series of regional inventory vol­ 13th century are survivals plentiful. Many of umes, both to aid in safeguarding thisinvalu­ the latter partake of the “mannerist” style that able heritage and to catalogue the scale of the characterized court patronage. The impor-

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tance of Rouen as a glazing centre is already ensembles as those at Caudebec-en-Caux, evident at this time, and during the 14th cen­ Bernay, Verneuil-sur-Avre, and, of course, tury, it emerges in a blaze of glory. both Rouen and Evreux. The significance of Normandy for French Survivals of 15th-century stained glass in Nor­ stained glass during the early 14th century is mandy are much richer than previously, but due not only to such splendid surviving ensem­ the Renaissance eclipses all previous periods. bles as those in the east ends of Saint-Ouen in The amount of early 16th-century stained Rouen and Evreux Cathedral, but in the evi­ glass inventoried in this volume comes as a dently close connections with court produc­ revelation. Of the 1,367 stained glass win­ tion in Paris, where nothing at all has survived dows, in 230 buildings, inventoried in Haute- from this period. Some of the earliest evidence Normandie, 863date from the 16th century, for the use of silver stain comes from Nor­ and of those, 756 date from the first half of the mandy, and Rouen appears to have been 16th century. What is more, the authors have instrumental in the development of the rich provided much more than an inventory. Care­ tradition of architectural canopywork that ful archival research has gone beyond past distinguishes French stained glass of this studies to provide a valuable contribution to period. There is also significant evidence in scholarship. A more nuanced picture of Re­ Norman stained glass for the importation of naissance stained glass in Normandy is pre­ Italianate forms of spatial representation, dis­ sented than has previously been possible. Not cussion of which is usually more exclusively only are the major glazing workshops and limited to the manuscript illuminations of artists - such as Jean and Engrand Le Prince, Jean Pucelie and his followers.Arnoult de Nimegue, Romain Buron, several Normandy becomes even more singular in the generations of the Le Vieil family, etc. - placed later 14th century, when the Hundred Years in both a regional context and in the broader War largely disrupted the production of scope of the evolving French Renaissance. As stained glass elsewhere in northern France, well, profiles of their patrons are outlined, and making the »Royal Windows« in Evreux a picture emerges of Renaissance stained glass Cathedral, for example, crucial survivals of production in Normandy as a dialectical rela­ court-style works. Norman stained glass is tionship between patrons and artists. There is essential for the study of the courtly arts of the also much valuable insight into workshop later Middle Ages, and this volume provides practice, particularly in the dissemination and the first comprehensive access to this material. use of prints in designing stained glass and the From this time, as well, the archives yield copying of other models. Access to the more and more names of glass painters. Such remarkable number of survivals of Renais­ information increases through the 15th cen­ sance stained glass inHaute-Normandie - in tury, and signed works begin to appear. the various churches of Rouen (pp. 332-417), Stained glass artists such as Guillaume Barbe Conche-en-Ouche, Gisors, Pont-Audemer, begin to emerge from the shadows, and as Elbeuf and many others - is gathered together with all the arts, the »anonymity« of previous here into a single, systematic and fundamental artistic production begins to dissipate. Rouen study. and Evreux both functioned as important The depth of coverage of the period between glazing centres through the 15th century, and the wars of religion in the later 16th century it is possible to trace their influence through and the constitutes another their surrounding areas. Changes in format, valuable aspect of this work. Of course, the style and iconography can be charted through fate of all this stained glass during the ipth stained glass surviving in such remarkable and 20th centuries, when so much restoration

2.2.4 Rezensionen

work was undertaken, is also thoroughly cov­ most important buildings are included. There ered, and the Introduction usefully gives a follows a listing of all the windows in the brief outline of »modern tendencies* in building containing pre-modern stained glass, stained glass, which puts restoration efforts including the form and size of the window, the into a broader context. subjects and dates of the stained glass, brief This volume presents the full scope of surviv­ but very useful indications of damage and ing stained glass in Haute-Normandie for the restoration work, technical details of note, rel­ first time. A historiographic account of previ­ evant bibliography and photographic docu­ ous scholarship is also included, in the Intro­ mentation. Where known, or where firm attri­ duction. From this account, and throughout butions have been made, patrons and artists the volume, the enormous contribution of are also included. All pre-modern stained glass Jean Lafond (1888-1975) to the scholarship which is known to have been destroyed or dis­ on Norman stained glass is constantly appar­ placed is listed after the individual windows, ent. This book can be considered as an hom- and the entry for each building ends with a mage to this pioneer of stained glass studies. bibliography. The experienced team of authors who com­ Each window is identified through the stan­ piled this volume has followed ably in his - dardized window numbering system used by and others’ - footsteps, and their work paves the French CVMA committee. Standardized the way for all future scholarship. Despite a numerotation systems are one of the funda­ few early studies, the bibliography on Renais­ mental accomplishments of the CVMA and sance stained glass in Normandy, in particular, allow precise reference to individual stained has only very recently begun to flourish, and a glass windows in a way that was previously remarkable number of the studies cited in this impossible. This numbering is particularly book appeared only in the 1990s. The useful for the stained glass in the choir of St Recensement volume for Haute-Normandie Ouen in Rouen, which was the subject of one thus appeared at a highly opportune moment. of the first monographs to be published by the The book begins with a lengthy Introduction French CVMA, and the only CVMA mono­ (pp. 17-66) which provides a synthesis of the graph so far produced for Normandy: Jean research conducted here; it is useful both as a Lafond, with Franchise Perrot and Paul historical overview and to orient the reader to Popesco, Les vitraux de I’eglise de Saint-Ouen particular aspects of the material inventoried. de Rouen, tome I (Paris, 1970). This book has The Inventory follows, organized into the two proveduseful to a generation of researchers departements making up Haute-Normandie: now, but it appeared before the CVMA num­ Eure and Seine-Maritime. Within each bering system had been fully adopted, and its departement, cities containing stained glass numbering system is more difficult to use. The are listed alphabetically, and for those cities entry here on Saint-Ouen (pp. 367-84) uses with several churches containing stained glass, the CVMA numbering system, with Lafond’s the cathedral is listed first, followed by the numerotation identified for each window; and other churches in alphabetical order; secular it also includes the and win­ buildings and museums follow. The entry for dows, which were envisioned as the subject of each building is prefaced with a brief profile, a second monograph that has yet to appear. focusing on factors relevant to the stained After the Inventory for each departement, glass and its later history, particularly con­ there are also independent lists of stained glass cerning 19th and 20th-century restorations. that has been been smashed, or has been dis­ Any modern stained glass in the building is placed, or has been lost since the time of the also given summary treatment. Plans of the French Revolution. This is particularly wel-

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come for monuments such as the abbey church One of the advantages of the Recensement for­ at Jumieges, now in ruins, since elements of its mat is that it provides access not only to the stained glass survive in several Norman primary material, but also to scholarship and churches, as well as in other French and Amer­ photographs. It can be used both by students ican collections. It is useful, as well, for the interested in specific churches, artists or church of Saint-Vincent in Rouen: the pre­ stained glass windows and by scholars work­ modern stained glass was removed for safe­ ing on a wide range of research interests. Alto­ keeping during the Second World War, but the gether, this book forms an invaluable church itself was completely destroyed by resource. bombardment in 1944. Many of the windows Over the 23-year period between the first and are now remounted in the church of Sainte- this latest Recensement volume, the scope and Jeanne-d’Arc, built in 1972. on the site of format have changed somewhat: the Introduc­ Saint-Vincent; others are in Rouen Cathedral, tion has become far more substantial; the cat­ in museums and in storage. alogue entries in the Inventory are fuller; there Although the Bibliography at the end of the are many more colour plates; andthe sub ­ volume only contains works which directly sidiary sections - »Vitraux disparus«, »Vi- document the stained glass inventoried or traux deplaces«, »Vitraux reduits a 1’etat de which establish dating, patronage or context, fragments« - are more developed. These it is, nevertheless, in itself a valuable compo­ changes respond to the growing realization nent of the book. So too is the very full index, that fully monographic treatments may not be which includes places, names and subject mat­ possible for all the surviving pre-modern ter (in my own research, for example, I have stained glass in France in the foreseeable used the index of this volume and those of the future. At the very least, their appearance will other Recensement volumes in charting early probably be much slower than originally 13th-century devotion to St Eustace across anticipated. Thus, a greater burden of schol­ northern France). arly responsibility falls to the Recensement The research for this project extends consider­ project. The volume for Haute-Normandie - ably beyond the book under review. A full despite an understandable number of small photographic record was made of all the errors in production - assumes this responsi­ stained glass in the region, and the entry for bility admirably and does more than simply each window contains references to these and provide an indispensible catalogue of the other archival photographs. Thus, although stained glass in this important region. It also the book is generously illustrated, researchers constitutes an important work of art historical are not limited to the choices of photographs scholarship, which provides new perspectives included here. All the documentation com­ on the history of French art during the later piled for the project can also be consulted at Middle Ages and Renaissance. the Service regional de 1’Inventaire in Rouen. James Bugslag

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