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University Micrcsilms International 300 N INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University MicrcSilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8305310 Cole, Harold David THE CLASSICAL MASTERS OF REIMS CATHEDRAL The Ohio State University PH.D. University Microfilms International300 N. Zeeb Road, Ann Arbor, MI 48106 Copyright 1982 by Cole, Harold David All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark-J . 1. Glossy photographs or p a g e s______ 2. Colored illustrations, paper or print______ 3. Photographs with dark background _ 4. Illustrations are poor co p y_______ 5. Pages with black marks, not original copy_______ 6. Print shows through as there is text on both sides of page______ 7. Indistinct, broken or small print on several pages______ 8. Print exceeds margin requirements______ 9. Tightly bound copy with print lost in spine_______ 10. Computer printout pages with indistinct print______ 11. P ag e(s)____________ lacking when material received, and not available from school or author. 12. P ag e(s)____________ seem to be missing in numbering only as text follows. 13. Two pages num bered____________ . Text follows. 14. Curling and wrinkled pages_______ 15. O ther_________________________________________________________________________ University Microfilms International IHE CLASSICAL MASTERS OF REIMS CATHEDRAL DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Harold David Cole, B.A., M.A., M.A. ***** The Ohio State University 1982 Reading Committee: Approved by Professor Franklin M. Ludden Professor Mathew Herban Professor Francis Richardson Adviser Department of the Professor Joseph Lynch History of Art ACKNOWLEDGMENTS Several individuals and institutions deserve my gratitude for helping my research on the classical sculpture of Reims cathedral. The subject of this study was suggested to me by Professor Franklin M. Ludden. For his helpful suggestions, en­ couragement, guidance and indulgence throughout the years, I remain profoundly grateful. Initial research was carried out in France during the year 1974-75, with the assistance of a Sabbatical granted by Baldwin- Wallace College. I am grateful to Mme. Baltrusaitis .who fa­ cilitated my work in Paris, as did the staff of the Archives des Monuments Historiques. I am also endebted to M. Andre and M. Pomar^de, in Reims, who offered their generous assistance. A fellowship from The Ohio State University during the summer of 1977 enabled me to continue the necessary research for the com­ pletion of this study. Professors Matthew Herban, Francis Richardson and Joseph Lynch have shared their ideas and made suggestions which, al­ though they may not concur in all of its conclusions, have helped to structure portions of this study. To my wife, Anna, and daughter, Eleanor, I offer special thanks for it is they who provided the personal sup­ port and encouragement without which I could not have com­ pleted my work. VITA. February 28, 1940 Born - Tulsa, Oklahoma 1964 ............. B.A., University of Tulsa, Tulsa, Oklahoma 1964-1965 . Teaching Assistant, Department of Art University of Tulsa, Tulsa, Oklahoma 1966 ............. M.A., University of Tulsa, Tulsa, Oklahoma 1966-1969 . Instructor, Department of Art Baldwin-Wallace College, Berea, Ohio 1969-1970 . Teaching Assistant, Department of the History of Art, The Ohio State University, Columbus, Ohio 1970-1971 . Research Associate, Center for Medieval and Renaissance Studies, The Ohio State University, Columbus, Ohio 1971-1978 . Assistant Professor, Department of Art Baldwin-Wallace College, Berea, Ohio 1972 ............. M.A., The Ohio State University, Columbus, Ohio 1978-1982 . Associate Professor, Department of Art Baldwin-Wallace College, Berea, Ohio FIELDS OF STUDY Major Field: History of Art Studies in Medieval Art. Professor Franklin M. Ludden Studies in Renaissance Art. Professor Maurice Cope Studies in Modern Art. Professors Franklin Ludden and Jack Kunin TABLE OF CONTENTS ACKNOWLEDGEMENTS............................................... .. ii VITA ............................................................ iv LIST OF FIGURES . vii INTRODUCTION................................................... 1 Chapter I. The Indigenous Classical Styles of Reims and the Interpretation of the A n t i q u e .......................... • 6 Reims, Porte de Mars ............................... 6 Reims, Roman Arena . ................................. 7 Reims Cathedral, West Facade, Central Portal .... 11 Olympia, Agrippina .................................... 11 Reims Cathedral, North Transept, Judgment Portal . 13 Gallo-Roman Works ........ 13 Gospel of E b b o ........................................ 15 Nicholas of Verdun .................................... 17 Ingebourg Psalter................... 20 Reims Cathedral, North Transept, Calixtus Portal ... 22 Reims Cathedral, North Transept, Porte Romane- . 23 Reims, Abbey Church of St. Remi, West Fagade, Upper S t o r y ...................................... 25 II. Reims and its Relation to Other Contemporary Centers of Sculpture Production in F r a n c e i 26 Reims Cathedral, West Fagade, Right Embrasure . 26 Chartres Cathedral, North Transept, Central Portal . 28 Paris Cathedral, West Fagade, Central Portal .... 29 Laon Cathedral, West Fagade, Left Portal ........... 33 Chalons-sur-Marne, Notre-Dame-en-Vaux, Cloister. 34 Senlis Cathedral, West Portal........................ 36 Reims Cathedral, North Transept, Judgment Portal . 37 Mantes, Collegiate Church, Left Portal ............. 37 Reims Cathedral, North Transept, Calixtus Portal . 40 Chartres Cathedral, North Transept, Right Portal . - 41 Amiens Cathedral, West Fagade, Right Portal......... 44 Amiens Cathedral, West Fagade, Left Portal ......... 46 v III. The Classical Masters at Reims: A Detection of Hands 48 Master of the Five Prophets ...................... 53 Simeon Master ...................................... 56 Last Judgment Abraham Master .................... 63 Assistant to the Abraham Master .................. 68 Andrew Master ..................................... 72 Master of St. Ja m e s ............................... 75 Master of Sts. Peter and P a u l ................... 78 Master of St. Eutropia ........................... 86 Master of St. Remigius. .................... 92 Visitation Master ................................. 112 IV. Conclusion .......................................... 118 FIGURES ..................................................... 128 APPENDIXES A. Restorations ................................... 207 B. Diagram of Stylistic Sources ......... ,... .... 215 BIBLIOGRAPHY................................................. 216 vi LIST OF FIGURES Porte de Mars, Reims. View from West. Photographed before 1914. (Photo Bienaime) Reims Cathedral, West Facade, Central Portal, right jamb. Visitation (Mary, left; Elizabeth, right) (Photo Cole) Museum of Antiquity, Olympia. Agrippina. (Photo Hamann- MacLean, fig. 165) Reims Cathedral, North Transept, Judgment Portal, left jamb. St. Peter (detail of Head). (Photo Cole) Museo Nazionale, Rome. Bust of Antonius Pius. (Photo Panofsky, 1927, fig. 12) Reims Cathedral, West Fajade, Central Portal, right jamb. Virgin of the Visitation (detail of Head). (Photo Cole) Mus£e Lapidaire, Reims. Jovan Sarcophagus (detail of Head of Phrygian). (Photo Frisch, fig. 37) Reims Cathedral, West Facade, Central Portal, right jamb. Elizabeth of the Visitation (detail
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