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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

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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 of Head). (Photo Cole)

Musee de Saint Germain, Arles. Head of "Venus". (Photo EspSrandieu, III, 2530)

Mus^e Guimet, Paris. Head of "Phaedra". (Photo Esp^randieu, III, 1747)

Biblioth&que Municipale, 6pernay. Gospel Book of Ebbo (MS 1), St. Matthew (fol. 18v). (Photo Porcher, PI. 92)

Biblioth^que Municipale, £pernay. Gospel Book of Ebbo (MS 1), St. John (fol. 134v). (Photo Porcher, PI. 93)

Reims Cathedral, North Transept, Judgment Portal, left jamb. Left to right: Sts. Bartholomew, Andrew and Peter. (Photo Cole)

Reims Cathedral, North Transept, Judgment Portal, left jamb.. Detail of St. Bartholomew. Photographed before 1914. (Photo Vitry, II, PI. IX) 15. Nicholas of Verdun. Shrine of the Virgin, Cathedral of Tournai. (detail of Presentation in the Temple). (Photo Schnitzler, fig. 68)

16. Reims Cathedral, North Transept, Judgment Portal, tympanum, (detail of Abraham and Angels). (Photo Schnitzler, fig. 72)

17. Reims Cathedral, North Transept, Calixtus Portal, left jamb. Left to right: Angel, St. Nicasius and St. Eutropia. (Photo Schnitzler, fig. 73)

18. Nicholas of Verdun. Shrine of the Three Magi, Cathedral of Cologne (detail of Jonah). (Photo Rhin-Meuse, 315)

19. Nicholas of Verdun. Shrine of the Three Magi, Cathedral of Cologne (detail of Amos). (Photo Kitzinger, 22)

2 0 . Mus^e Conde, Chantilly. Ingebourg Psalter (MS 1695), Ascension of Christ (detail) (fol. 31r) (Photo Deuchler, PI. XXVII)

2 1 . Reims Cathedral, North Transept, Calixtus Portal, right jamb. Left to right: Samuel, St. Remigius, Angel. (Photo Cole) ..-vr '

22. Musee Cond£, Chantilly. Ingebourg Psalter (MS 1695), Entry into Jerusalem (detail) (fol. 22v) (Photo Deuchler, PI. XXVI)

23. Mus^e Conde, Chantilly. Ingebourg Psalter (MS 1695), Entombment (detail) (fol. 28v) (Photo Deuchler, PI. XXIV)

24. Mus"ie Cond£, Chantilly. Ingebourg Psalter (MS 1695), Last Judgment (detail) (fol. 33r) (Kitzinger fig. 30)

25. Reims Cathedral, North Transept, Porte Romane. (Photo C o l e )

26. Reims Cathedral, North Transept, Porte Romane, tympanum, (detail of Virgin and Child). (Photo Cole)

27. Reims Cathedral, North Transept, Porte Romane, archivolt support, (detail of Clerics) (Photo Warburg)

28. Reims Cathedral, North transept, Porte Romane, tympanum, (detail of Head of Virgin.) (Photo Warburg)

29. Abbey Church of St. Remi, Reims, West Facade, Upper storey. St. Peter. (Photo Cole) viii 30. Abbey Church of St. Remi, Reims, West Facade, Upper storey. St. Remi. (Photo Cole)

31. Reims Cathedral, West Facade, right embrasure. Six Prophets. Left to Right: Simeon, John the Baptist, Isaiah, Moses, Abraham and Isaac, and Samuel. (Photo Cole)

32. Chartres Cathedral, North Transept, Central (Coronation) Portal. (Photo Cole)

33. Reims Cathedral, West Facade, right embrasure. (detail of Simeon). (Photo Cole)

34. Chartres Cathedral, North Transept, Central (Coronation) Portal, left jamb. Left to right: Aaron (or Melchizadek), Abraham, Moses, Samuel, and David. (Photo Cole)

35. Chartres Cathedral, North Transept, Central (Coronation) Portal, right jamb. Left to right: Isaiah, Jeremiah, Simeon, John the Baptist, and Peter. (Photo Cole)

36. Musee Lapidaire du Carnavalet, Paris. Apostle fragment (Andrew?), from Paris Cathedral, Judgment Portal. (Photo Hoffmann, fig. 14)

37. Chartres Cathedral, North Transept, Left (Magi) Portal, right jamb. Left to right: The Visitation (Mary, left; Elizabeth, right), and Prophet. (Photo Sauerlander, 1972, PI. 95)

38. Reims Cathedral, North Transept, C'.lixtus Portal, trumeau figure. St. Calixtus. (Photo Cole)

39. Chartres Cathedral, South Transept, left Portal, left jamb. Left to right: St. Theodore (?), Stephen, Clement of Rome and J,awrence. (Photo Cole)

40. Chartres Cathedral, South Transept, Right Portal, right jamb. Left to right: St. Martin of Tours, Jerome, Gregory the Great and Avitus. (Photo Cole)

41. Reims Cathedral, North Transept. Calixtus Portal, tympanum. Bottom to top: Martyrdom of St. Nicasius, Miracles of St. Remigius, Life of Job, Miracles of St. Remigius and Christ with Angels. (Photo Sauerlander, 1972, PI. 245).

42. Chartres Cathedral, North Transept, Right Portal, tympanum. Job afflicted by Leprosy. (Photo Cole)

ix 43. Reims Cathedral, North Transept, Calixtus Portal, right archivolts. Left to right: Bishops, High Priests and Popes. (Photo Sauerlander, 1972, PI. 243)

44. Chartres Cathedral, North Porch, left arch, left side. Vita Activa, preparation of wool; outer arch: blessing of the body, (bottom to top) Pulchritudo, Libertas, Honor. (Photo Sauerlander, 1972, PI. 105, left)

45. Chartres Cathedral, North Porch, left arch, right side. Vita Contemplativa, meditation and reading; outer arch: blessing of the soul, (bottom to top) Securitas, Sanitas, Potestas. (Photo Sauerlander, 1972, PI. 105, right)

46. Reims Cathedral, North Transept, Judgment Portal, tympanum. Bottom to top: Paradise and Hell; Blessed, (?) Damned; Resurrection of the Dead, Diesis. (Photo Cole)

47. Chartres Cathedral, South Transept, Central Portal, tympanum. Last Judgment (Diesis Scene). (Photo Sauer­ lander, 1972, PI. 108)

48. Mus^e des Monuments francais, Paris. Unidentified > 7 figures from Laon Cathedral, Left (Magi) Portal, Left archivolt. Cast made before restoration. "(Sauerlander, 1972, fig. 51)

49. Mus^e Municipal, Laon. Angel from Laon Cathedral, Left (Magi) Portal, gable. (Photo Cole)

50. Mus6e Municipal, ChfMons-sur-Marne. Prophet fragment from Notre-Dame-en-Vaux, Cloister. (Photo Sauer lafnder, 1963, fig. 14)

51. Musee des Monuments franpais, Paris. John the Baptist, from Senlis Cathedral, West Portal, left jamb. (Photo Sauerlander, 1972, PI. 43)

52. Musee Municipal, ChSlons-sur-Marne. Seated Apostle from a capital, Notre-Dame-en-Vaux, Cloister. (Photo Sauer­ lander, 1963, fig. 29)

53. Mantes Collegiate Church, West Facade, Left Portal, lintel, (detail of Angel watching the Holy Sepulcher), (Photo Sauerlander, 1963, fig. 31)

54. Reims Cathedral, North Transept, Judgment Portal, right archivolt, (detail of outer arches). Left to right: Ecclesiastics, Angels with trumpets and croxvns. (Photo Sauerlander, 1972, Pi. 242) x 55. Reims Cathedral, North Transept, Porte Romane, (detail of apex of archivolts). Elevatio Animae. (Photo War­ burg )

56. Mantes Collegiate Church, West Fagade, Left Portal, tympanum. (detail of Angel holding censer). (Photo Sauerlander, 1963, fig. 39)

57. Amiens Cathedral, West Fagade, Right Portal, tympanum. Coronation of the Virgin. (Photo: Frisch, fig. 29)

58. Reims Cathedral, North Transept, Judgment Portal, right jamb. Left to right: Paul, James the Greater, John the Evangelist. (Photo.Cole)

59. Amiens Cathedral, West Facade, Left Portal, Left jamb. Left to right: Ulphia, Angel, Aceolus, Acius, Angel, Honoratus. (Photo: Sauerlander, 1972, PI. 169)

60. Reims Cathedral, West facade, Lower Portion. (Photo Cole)

61. Reims Cathedral, North Transept, Judgment and Calixtus Portals. (Photo Branner, 1961, fig. 1)

62. Reims Cathedral, North Transept, Judgment Portal, tympanum, upper zone of middle registers. Raising of the Dead. (Photo Sauerlander, 1972, PI. 238)

63. Reims Cathedral, North Transept, Judgment Portal, tympanum, lower zone of middle registers. Raising of the Dead. (Photo Sauerlander, 1972, PI. 239)

64. Reims Cathedral, North Transept, Judgment Portal, tympanum, left side of lower registers. Blessed. (Photo Sauerlander, 1972, PI. 238)

65. Reims Cathedral, North Transept, Judgment Portal, tympanum, right side of lower registers. Damned. (Photo Sauerlander, 1972, PI. 239)

66. Reims Cathedral, North Transept, Judgment Portal, trumeau reliefs. Unidentified scene. (Photo Sauerlander, 1972, PI. 242)

67. Chartres Cathedral, North Porch, center area, left side. Old Testament female figure. (Photo Sauerlander, 1972, PI. 98) xi 68. Reims Cathedral, North Transept, Judgment Portal, trumeau. Christ. Photographed before 1914. (Photo Sauerlander, 1972, PI. 237, left)

69. Reims Cathedral, North Transept, Judgment Portal, trumeau. Christ. (detail of Head) Photographed before 1914. (Photo Sauerlander, 1972, PI. 237, right)

70. Reims Cathedral, Exterior of Choir. Angel IX. (Photo Frisch, fig. 6)

71. Reims Cathedral, North Transept, Calixtus Portal, trumeau (interior). Angel. (Photo Branner, 1961, fig. 13)

72. Reims Cathedral, North Transept, Judgment Portal, trumeau (interior). Angel. (Photo Branner, 1961, fig. 14)

73. Reims Cathedral, North Transept, Calixtus Portal, left archivolts. Left to right: Popes, High Priests, and Bishops. (Photo Hinkle, 1965, fig. 37)

74. Reims Cathedral, North Transept, Calixtus Portal, right archivolts, (detail of lowest registelr). Left to' right: Bishops, High Priests, and Popes. (Photo Hinkle, 1965, fig. 38) ^

75. Reims Cathedral, Exterior of Choir. Angel I (Photo Cole)

76. Reims Cathedral, Exterior of Choir. Angel II (Photo Vi try, II, 1919, PI. LXXI, 2)

77. Reims Cathedral, Exterior of Choir. Christ. (Photo Frisch, fig. 2)

78. Reims Cathedral, Exterior of Choir. Angel X. (Photo Frisch, fig. 7)

79. Reims Cathedral, West Facade, embrasure between left and center portals. Isaiah (?) ("Man with the Odysseus Head"). (Photo Cole)

80. Abbey Church of St. Remi, Reims,.West Facade, upper storey. Restored parts of St. Peter. (Photo Cole)

81. Abbey Church of St. Remi, Reims, West Facade, upper storey. Restored parts of St. Remi. (Photo Cole)

82. Reims Cathedral, West Facade, right embrasure. Restored parts of the six Prophets. Left to right: Simeon, John the Baptist, Isaiah, Moses, Abraham and Isaac, and Samuel (Photo Cole) xii Reims Cathedral, Chapel of St. Joseph, South Side of Choir (exterior). Restored parts of Angel X (Photo Frisch, fig. 7). INTRODUCTION

Despite the extensive scholarship devoted to the sculpture of the cathedral of Reims for over a century, as yet no study has ap­ peared which concentrates on the respective styles of the classi­ cal masters, whose work provides evidence of the existence of a 1 single, on-going workshop between 1211 and 1233.

Earlier writers have attempted to designate these masters by identifying a series of "hands" responsible for the various styles apparent, when, for instance, the jamb sculptures on the portals of the north transept of the cathedral are compared with one an­ other. The advantage of this approach is in the detection of in­ dividual styles at Reims which could then be related to the styles entering these xvorkshops from other centers of production. Such a study concentrates, less on an examination of stylistic progression among the works of the classical masters than on an identification of various influential stylistic elements.

Voge and Panofsky acknowledged the difficulty in detecting and identifying various hands, and stressed, rather, the importance

*See Louis Demaison, Album de la cathedrale de Reims, Reims, 1902, for a thorough review of the older literature on the cathe­ dral and its sculpture. Hans Reinhardt, La cathedrale de Reims, Paris, 1963, brought the bibliography up to date. Willibald Sauer­ lander, Gothic Sculpture in France 1140-1270, New York, 1972, has the most complete account of recently published sources.

1 2 of characterizing the dominant styles of three of the classical

masters, i.e., the works by the Master of the Abraham reliefs in

the Last Judgment tympanum, the Master of Sts. Peter and Paul, and o the Visitation Master. Both of these writers also detected the

presence of a R^mois stylistic mode of expressive poses and fig­

ures of great bulk. While Voge saw this expression as unique to

Reims, neither he nor Panofsky discussed this trait ivithin the

context of earlier works produced at Reims, ones dating from the

Carolingian period onward.

Swarzenski's discussion of the origins of R^mois classicism

in the eleventh century illustrated in a broad context, the funda­

mental importance of the art of Carolingian Reims in the formation

of the sculptural style of the Mosan region. In addition he indi­

cated how the Mosan region, in turn, influenced the classical art 4 of Gothic Reims. The 1965 exhibition of Carolingian art, held at

Aachen, was helpful in revealing ways in which Reims influenced

other centers of production in that period and how the Remois style

2 See Wilhelm Voge, "Die Bahnbrechter des Naturstudiums um 1200," Zeitschrift fur bildende Kunst, XXV (1914) 193-215, and Idem., "Der Visitatiomeister und die Reimser Plastik des 13. Jahrhunderts," Bildhauer des Mittlealters, Gesammelte Studien von Wilhelm Voge. Berlin, 1958, 60-62. Cf. Erwin Panofsky, "(Jber die Reihenfolge der vier Meister von Reims," Jahrbuch fur Kunstwissenschaft, IV (1927) 55-82, 3Voge, "Die Bahnbrechter," 209.

%ans SwarzenskiMonuments of Romanesque Art, London, 1954. While there are no extant remains of low-relief carvings from Carolingian Reims, they likely existed in the thirteenth century and would have helped form a broader tradition of indigenous styles than we can extrapolate today. itself was gradually transformed.^ The Rhin-Meuse and Monumenta

Annonis exhibitions, held in Cologne during 1972 and 1975, have added further understanding of the problem of detecting the origins of Mosan

style and that of Nicholas of Verdun.^

However useful these broad surveys of medieval art have been in

illustrating the ways in which regional styles employed elements of

classicism in the Romanesque and Early Gothic periods, this was not

their primary purpose. The role of classicism, and for our purposes how it might apply to the classical masters of Reims, was better re­ vealed in the 1970 New York exhibition of the Year 1200.^ The reaf­ firmation of the view that classicism at this date was an instrument rather than a goal of artistic expression helps explain the tendency at Reims (as elsewhere), to emulate but never copy the styles of an­ tiquity. The styles of the classical masters of Reims do not pro­ gress to classical imitation, which may help to explain the absence of a discernable stylistic evolution toward a single, but shared classical mode in their work.

The search for an indigenous classicism in the sculpture of the twelfth century at Reims is limited among surviving monuments to the

^Aachen: Dorn. Karl der Grosse, Werk und Wirkung (exhibition catalogue) 1965.

^Cologne: Kunsthalle. Rhin-Meuse: Art et Civilisation 800- 1400 (exhibition catalogue) 1972, and Cologne: Schntitgen-Museum. Monumenta Annonis (exhibition catalogue) 1975.

^New York City: Metropolitan Museum of Art. The Year 1200. I (exhibition catalogue) 1970. extant sculptures of the Porte Romane on the north transept of the

cathedral and the figures of Sts. Peter and Remi on the west facade

of the Abbey Church of St. Remi. It will be shown that these.sculp­

tures possess garment folds, expressive gestures and thick-set

bodily proportions which establish a stylistic character that will

endure in the workshops of the classical masters. While Panofsky

stated in general terms the stylistic relationship of the Porte

Romane to the thirteenth century classical workshops, he did not

discuss the possibility that they were made by the same workshop 8 which carved the sculptures at St. Remi. Sauerlander recognized

the stylistic relationship of the Porte Romane and the St. Remi

sculptures, but he did not observe their affinities to the six

Prophets on the right embrasure of the west facade of ..the cathe­

dral.^ Yet it is in the stylistic mode of the six Prophets and

the R^mois sculptures of the 1180's, that the origins may be found

for the indigenous expressions of the classical masters.

This study, then, concerns itself with several imp< .rtant

issues pertaining to the origins and the characteristics of the

styles of the classical masters at Reims. In light of recent

scholaxship regarding the phenomenon of the Style 1200, the

further evidence of interchanges of styles between Reims and the

8Panofsky, "Uber die Reihenfolge," 73.

^Willibald Sauerlander, "Beitrage zur Geschichte der 'Fruhgotischen'- Skulptur," Zeitschrift fur Kunstgeschichte, XIX (1959) 1-34. Mosan region, and the continued effort to find Gallo-Roman sources for the classical styles of Reims, it is necessary to reassess this material in relationship to the entire production of the classical masters. No one, to my knowledge, has analysed the styles of the individual works of the classical masters and attempted to form a complete account of how many "hands" were involved in the workshops at Reims between 1211 and 1233.

A few procedural remarks are called for. The lack of documen­ tation for the dating of the sculptures by the classical masters requires the careful, and hopefully precise, detection of the ar­ rival of stylistic influences from contemporary centers of monu­ mental sculpture production. Many of these centers have reliable dates for the carving of their works. In addition, the dating of the architectural campaigns at Reims is a complex problem which

Branner has thoroughly discussed in several articles on the sub­ ject.^ A review of his observations will be made in relationship 11 to the dates of the arrival of sculptural influences at Reims.

*°See the Bibliography for a full listing of Robert Branner's articles on the architecture of Reims. 11 The major part of this thesis is the study of sculpture styles. I have not discussed the iconography of these works in great detail. See chapter three n62, for references to further sources. CHAPTER ONE

THE INDIGENOUS CLASSICAL STYLES OF REIMS AND THE

INTERPRETATION OF THE ANTIQUE

Although the cathedral of Reims is rich in sculptural examples of early thirteenth century "classicism," few mentions survive in contemporary documents to reveal the motives of the pa­ trons, among the clergy or nobility, who may have played a role in the selection of this style. During the period of the classical masters, Henri de Braine, Archbishop of Reims (1227-1240), is the only patron of the cathedral workshops who gives us a clue regarding contemporary respect for the art of antiquity. Early_in his reign

Henri rebuilt a chateau-fortress at the northwest side of the city, incorporating the Porte de Mars (fig. 1). This Roman triumphal arch, dating c. A.D. 250, was the only one of four arches erected p in Reims during the Roman period to retain its original name.

Since the tenth century the monument had been incorporated with

^See Pierre Desportes, Reims et les Remois aux XIIIe et XIV6 siecles (Paris, 1979) 61, 161-163, and Maurice Hollande, Essai sur la Topographie de Reims (Reims, 1976) 13. 2 Desportes, 57, and Hollande. See also Louis Demaison, et al., Guide des Conqres de Reims (Caen, 1911) 142-143 and E. Esp£randieu, Recueil g6n£ral des bas-reliefs, statues et busts de la Gaule romaine (Paris, 1913) V, 33-39, for material pertaining to the restorations on this monument prior to World War I. Little has been done to the structure since that time.

6 fortress structures built by the archbishops of the city. Nothing

remains of the chateau today, nor does the surviving documentation

allude to its appearance in the early thirteenth century. During

the civil uprising against Henri, 1233-35, the bourgeois system­

atically destroyed the chateau utilizing stones from the cathedral

stoneyard, tombs, and streets as the means of its destruction.4

For all of the devastation directed at the fortress, the adjacent

Porte de Mars suffered little damage. Following the concord be­

tween the archbishop and the bourgeois in 1237, the two constit­

uencies held a meeting of reunification in the Roman arena, dating

from the third century A.D. , located outside the west battlements 5 of the city, approximately 300 meters from the Porte.

These two events, which occur after the closing of the work- ^

shops of the classical masters, suggest a degree of respect for

Roman monuments by the citizenry. It is unclear to what extent

these Roman works were seen by Henri, or others, as a vestige of

^Today two capitals remaining from the chateau and dating from 1162-65 are located in the Mus^e lapidaire, Reims. Louis Demaison, Albumn de la cathedrale de Reims (Reims, 1899) 35, saw a parallel of the foliation of these capitals to the spiral interlace ornaments under the archivolts of the Porte Romane on the north transept of the cathedral. See also Willibald Sauerlander, "Beitrage zur Geschichte der frruhgotischen* sculptur," Zeitscrift fur Kunstgeschichte, XIX (1959) 3. 4 Desportes, 161-163, and P. Varin, Archives administratives de la ville de Reims (Paris, 1839) I, 1061-1062.

'’N o known fragments of the arena survive. It last appears on Remois maps dating from the seventeenth century. See Hollande, 16. an imperial past, evocative as much or' the Carolingian era as

the more distant Roman Empire. The archbishop was from a family

that was knowledgeable about the arts and proficient in the study

of classical literature.*’ The cathedral school of Reims, although

not as distinguished as those of Chartres and Orleans in the study

of classical letters, did witness a resurgence of interest in this 7 genre under archbishop William (1176-1202). A generation earlier,

the classical scholar John of Salisbury, who taught at the Abbey

of St.-Remi from 1164 to 1170, delighted in puzzling his contempo­

raries with references to obscure literary works of antiquity as g well as testing their discernment with bogus antiquities. It

appears that his students would have had some acquaintance with the

^See Teresa G. Frisch, "The Twelve Choir Statues of the Cathedral at Reims," Art Bulletin, XLVI, 1 (March, 1960) 5n38. Ac­ cording to Robert Branner, ’^Historical Aspects of the Reconstruc­ tion of Reims Cathedral," 1210-1241,” Speculum, XXXVI, 1961, 25, 26nl3, the Archbishops of Reims played a minor role in financing the reconstruction of the cathedral and there is no reason to be­ lieve that Henri de Braine, or his predecessor William of Join- ville (1223-1226), took any active interest in the building enter­ prise. Branner further stated that the canons of the cathedral were likely responsible for determining the iconography of the portals. In turn they were no doubt receptive to the classical styles which were used for the sculptures of these portals.

n Charles Haskins, The Renaissance of the Twelfth Century (Cambridge, 1927) 374-375. See also Norman Zacour, An Introduc­ tion to Medieval Institutions (New York, 1969) 216, on the twelfth century emphasis on classical learning at Chartres, Orleans, Beauvais, Soissons, Laon, and Reims.

Q Christopher Brooke, The Twelfth Century Renaissance (New York, 1969) 61-63, and R. L. Poole, Illustrations of the History of Medieval Thought and Learning (London, 1920) 177-186. works he discussed, although gust which works he used, and whether or not he utilized R^mois examples, is not known.

From this fragmentary evidence it seems clear that at Reims there was a tradition of interest in the preservation of local antique monuments, and possibly a perception of their civil and ecclesiastical import. The extraordinary significance of the cathedral of Reims which was the scene of the coronations of

French monarchs is also a matter that has bearing on thirteenth century Remois sensibilities. Archbishop William, who served as

Regent of France while his brother-in-law Philip Augustus (1180-

1223) participated in the Third Crusade, and who was a veritable prime minister for the king when the king was at home, would clearly have been aware of the imperial ambitions of the monarch.

Unfortunately there is no direct evidence of Philip's concern for architecture or sculpture as symbolic imperial forms, as there is in the instance of Frederick II, his contemporary in Italy and

Germany.^ Yet Philip was fascinated with the idea of establishing his domains on a pattern modeled after that of Charlemagne and, clearly, one of the characteristics of Carolingian art had been the

^Haskins, 375.

■^Frederick II was well aware of the uses of classical forms of art to augment his political ambitions. See Marc Bloch, Life and Work in Medieval Europe, trans. J. E. Anderson (New York, 1969) 23. 10 revival of classical forms.^ Whether Aubrey de Humbert (1206-

1218), who was the presiding archbishop of Reims when the re­ building of the cathedral was begun on May 6, 1211, would have ac­ cepted the idea of a sculptural style emulative of the Carolingian 12 era, or its imperial antecedent, Rome, is again not known.

An enduring question, then, among historians, and among his­ torians of Remois sculpture in particular, centers on the extent of the utilization of Gallo-Roman, and Greek, prototypes during the thirteenth century. This interest may be due partly to these people's reuse of Roman monuments as well as the remarkable "clas­ sical" qualities of the classical masters' works. Demaison de­ tected a clear imitation of antique models, citing the Gallo-Roman monuments surrounding medieval Reims as influential, although he did not cite specific examples. Male and Brehxer asserted that

-^The political ambitions of Philip Augustus and his desires to establish an empire much like that of Charlemagne's are amply demonstrated in Alexander Cartellieri, Philippe II, August, Konig von Frankreich (Leipzig, 1899) 1, 5-41; and Charles Petit- Dutallis, The Feudal Monarchy in France and England (London, 1936) 179-230. 12 That Aubry, like his predecessor, was close to the court of Philip Augustus is certain. He served as one of the six peers of the realm, and took an active part in the crusade against the Al- bigenses. Trained in the cathedral school of Paris, he travelled widely under ecclesiastical and royal prerogatives and spent much of his time away from Reims between 1215 and the year-of his death. See Petit-Dutallis, 240-241, and Achille Luchaire, Social France at the Time of Philip Augustus, trans. E. B. Krehbiel (New York, 1967) 154.

■^Demaison, Guide, 35. In contrast, Wilhelm Voge, "Die Bahnbrechter des Naturstudiums um 1200," Zeitschrift fur.bildende Kunst, XXV (1914) 193-215 remains silent on the possible influence of Gallo-Roman works. 11 the styles of the classical masters must have resulted from visits to Phidian monuments in Athens.'14 Vi try convincingly laid their assertions to rest, viewing the classical masters’ styles as the product of the general progress of Gothic sculpture. Others, notably Lefrancois-Pillion, Panofsky, Hamann-MacLean, and Rein­ hardt, have noted the paucity of relevant extant Gallo-Roman and

Greek sculptures in Reims, and have sought possible influences coming from surviving works elsewhere, while stating that similar works may have existed in the city during the thirteenth century.

Hamann-MacLean made an interesting observation. He compared the drapery folds of the Visitation group of Reims, often cited as one of the most significant classical characteristics to be de­ rived from classical sources (fig. 2), and those of Agrippina at

14§mile M&le, "La cathedrale de Reims," Review de Paris (1914) 306, and Louis Br£hier, La cathedrale de Reims (Paris, 1920) 185.

■^Paul Vi try, French Sculpture During the Reign of Saint Louis, 1226-1270 (New York, 1973 edition of Florence, 1929) 44. Vitry’s remarks about the natural progress of Gothic sculpture will be dis­ cussed later.

"^Louise Lefranjois-Pillion, Les sculpteurs de Reims (Paris, 1928) 30; Erwin Panofsky, "Renaissance and Renascences," Kenyon Review, VI, 2 (Spring, 1944) 214-215; Richard H. L. Hamann-Mac­ Lean, "Antikenstudien in der Kunst des Mittlealters," Marburger Jahrbuch fur Kunstwissenschaft, XV (1949-50) 182-230; and Hans Rein hardt, La cathedrale de Reims (Paris, 1963) 148-149. Jean Adhemar, Influences Antiques dans l*art du Moyen-'fige Francajs (London, 1939) 274, also notes the influences from Roman art, but believes that it was fused with Carolingian stylistic qualities. See my note 27. It is widely held that Reims had a substantial collection of Gallo- Roman and Greek works in numerous public buildings and cemeteries , during the medieval period. See Esp&randieu, V, 3-4. Olympia (fig. 3). He paid particular attention to the press of garment folds on the outer sides of the right legs and the sweep of folds at the busts and waists of the figures. Yet he found the differences to outweigh the similarities. While the garments cling to the body contours in a similar manner, the folds themselves are not at all the same. By contrast, the Remois gar­ ment folds are crinkled and arc at comparatively sharper angles than those of the Agrippina sculpture. More significantly, the 18 bodies beneath the garments show markedly different proportions.

To account for these differences and still maintain his thesis of an ultimate Greek source, Hamann-MacLean was led to the necessity of positing a probable, but now non-existent, provincial Gallo- 19 Roman work, itself inspired by an earlier Greek prototype.

Among the more compelling arguments for Remois stylistic parallels with ancient examples are those made by Panofsky, who noted similarities of physiognomy between works of the Antonine 20 period of Roman sculpture and those at Reims. He saw the head

17 Hamann-MacLean, 182-230, draws a large number of compari­ sons between Greek and Roman prototypes and sculptures from the north transept, west facade and choir of Reims cathedral. His most successful comparison is discussed here. •^Erwin Panofsky, Meaning in the Visual Arts (New York, 1955) 83-89, relates in detail the contrasts of Gothic and classical concepts of human proportions. 19 Hamann-MacLean, 230.

^Panofsky, ’’Renaissance'' 214 and Idem., "Uber die Reihenfolge der vier Meister von Reims," Jahrbuch fur Kunstwissenschaft, IV (1927) 70 n2, where the author notes the sarcophagus of Jovin as a possible stylistic and iconographic source for a capital from the choir of the cathedral. I would agree with Frisch, 28, that the comparison is not convincing. 13 of St. Peter, from the Last Judgment portal (fig. 4), as having an "unmistakable physiognomical similarity" to that of Antonius 21 Pius (fig. 5). However, the facial types are not the same: the brows form differently in each example; the rendering of eyelids is not alike; nor do the hair and beard conform to the surface planes of the cranium and face in the same way. Thus, the Remois work is not a paraphrase of the Antonine work in facial details and expression. Panofsky defended his proposal by stating that in the medieval period, sculptors who sought a classical style for their works were simultaneously concrete and non-dependent in their emulation of earlier forms.22 But, Frisch, in comparing a Phrygian horseman from the Jovan sarcophagus of Reims to the Remois Virgin of the Visitation (figs. 6 and 7), convincingly demonstrated that the thirteenth century Remois sculptor was not necessarily even interested in a concrete identification with an antique work.

Even when the rendering of eyelids, the contours of the upper lips, and some strands of hair of both works are much closer in style than the earlier comparison offered by Panofsky, Frisch is correct in noting that the physical similarities of the individual parts do not constitute a synthetic whole; there are conceptual dif­ ferences. For example, despite her physical similarities, the

Virgin's face expressively reveals a sense of her spiritual de­ tachment, while the face of the horseman shows gentleness and

^Panofsky, "Renaissance," 214-215.

22Ibid. 14 23 sensuality. It was Panofsky who aptly observed that medieval interpretations "congenial to current religious and moral ideas," might have deprived their classical prototypes of their "func­ tional immediacy."^4

Other difficulties in identifying exact ancient prototypes may result from a sculptor's simultaneous selection of motifs and treatments from several random sources, thereby creating a hybrid.

When the hair treatment of the Remois Virgin and St. Elizabeth

(figs. 6 and 8) is compared to that of a Greek "Venus" from Arles

(fig. 9) and a Roman "Phaedra" from Lyon (fig. 10), it is possible

nc to see evidence of such hybridization. The chevron-patterned strands of hair on the Arles head are almost identical to those of St. Elizabeth, whereas the more curvilinear strandsof hair on the Lyon head are similar to those of the Virgin. While

Panofsky warns that medieval sculptors did not possess an archaeo­ logical habit of mind, Remois traditions previous to the classical masters apparently do show a hybridizing from ancient and medieval

^Frisch, 28.

24Erwin Panofsky and Fritz Saxl, "Classical Mythology in Medieval Art," Metropolitan Museum Studies, IV (1932-33) 268.

25A headless Greek "Venus," dating from the fifth century B.C. and now located in the Louvre, was situated in Reims through­ out the medieval period, according to Esperandieu, III (Paris, 1910) 368. The head illustrated here was found in the Roman theater of Arles. See Ibid., V, 26. The "Phaedra" from Lyon, now located at the Musee Guimet, Paris, is similar to fragments found at Reims. See Ibid., III, 13-14. 15

"classical” w o r k s . 2 S

Following works from the Gallo-Roman period, the next cultural period having works that appear to relate to the styles of the thirteenth century classical masters, is the Carolingian. Among the surviving manuscripts of the Carolingian "renascence," the

Gospels of Bbbo is the most indicative of possible ninth century 27 influences on the classical masters. The most immediate charac­ teristic is the manner by which garment folds are rendered in both the Carolingian and Remois works. The Ebbo portraits of St.

Matthew and St. John (figs. 11 and 12) display a complexity of fold often crinkled and alternately stretched, or gathered in a manner which seems to anticipate the surface treatment of the garments of the later St. Peter sculpture (fig. 13) and the Visitation group (fig. 2). The gaxments of the Carolingian figures pull around their right legs in a way which also seems characteristic

26 Panofsky and Saxl, 268-269. For additional stylistic com­ parisons of classical prototypes from Roman and Greek sources, see Walter Oakeshott, Classical Inspiration in Medieval Art (London, 1959) and Peter C. Claussen, "Antike und Gotische Skulptur in Ftank- reich um 1200," Wallraf-Richartz Jahrbuch, XXXV (1973) 83-107. The latter cites the Agrippina used by Hamann-MacLean, as a strong com­ parison with the Visitation group. 27 For the implication of "renascence" with regard to Caro­ lingian art, see Panofsky, "Renaissance," 223, and Idem., Renais­ sance and Renascences in Western Art, Stockholm, 1960, 43-54. The Reims school of MS production shows influences from late Classical and Byzantine art. See C. R. Dodwell, Painting in Europe 800 to 1200 (Baltimore, 1971) 30-33, and Jean Porcher, et al., The Caro­ lingian Renaissance (New York, 1967) 71-188, 323-338. The Gospel of Ebbo, produced at Hautvillers in the first quarter of the ninth century and before 823 is now located at the Bibliothfeque Municipale, £pernay (MS 1). Throughout the medieval period the manuscript was located at the cathedral of Reims. The portraits of St. John (13v) and St. Matthew (18v) are discussed in the texts cited above. 16 of the thirteenth century examples. The contour line established by the ridges and depressions of the stretched garment fold of the Ebbo St. John (fig. 12) fortells that employed for the gar­ ments of the sculptured Virgin and St. Bartholomew (fig. 13).

Although the style of the Carolingian works seems frenzied by com­ parison to those of the Gothic period, something of the unique

Remois mixture of spiritual expression restrained by physical bearing is still felt in the deportment of the thirteenth century

Sts. Andrew and Peter, as well as in the poses of the Visitation group (fig. 2 and 13).

The expressive qualities which differentiate the Carolingian works from related classical models are different than those which occur between thirteenth century works and their classical models.

In the Ebbo evangelists, the most noticeable classical element is the rendering of the garment fold, but one which transcends its sources becoming the vehicle of expressive force. By contrast in the Remois sculptor's absorption of the garment fold motif, from wherever the source, the body and the drapery exist simultaneously but do not achieve an organic unity.

The assimilation of Carolingian influences by the classical masters may, however, be several times removed from its source.

Swarzenski has noted a continuous Rimois interest in Carolingian art throughout the Romanesque period, pointing to this enduring tradition in examples of Mosan enamels and manuscripts, works 17 28 which are close in date to those of the classical masters.

Nicholas of Verdun's metal work is the major example of this Mosan classicizing tradition at the end of the twelfth century. Like that of his Carolingian predecessors in Reims, the Nicholas' style contains elements of Greek "hellenism" inspired by Byzantine art.

Some writers view his classicism as a direct result of his sup­ posed travels to Greece, or from his assimilation of the styles of 29 Byzantine works imported to the West. Concerning the latter, further attention has been given to discerning which classicizing phases of Byzantine art are most dominant in his work, with examples from the "Macedonian Renaissance" and works from sixth century Ravenna being found most relevant to Nicholas' softly modu­ lated drapery folds, or "Muldenfaltenstil," his swaying poses, and

Hanns Swarzenski, Monuments of Romanesque Art, Second Edi­ tion (London, 1954) 19-35, details the relationship of Carolingian MS production of the Reims school to that of Romanesque art, es­ pecially in the Mosan region. See also Anne Prache, "Contribution a l'etude des contacts et des echanges etablis entre les sculpteurs du XIIIe siecle, a propos de la cathedrale de Reims," Gazette des Beaux-Arts, S6 , LVII (March, 1961) 135., Adhemar, 277-278, and Rhin- Meuse, Art et Civilization 800-1400, I, (exhibition catalogue, Cologne-Brussels, 1972) 161-168, 263-324, which seeks to prove that the styles of the Mosan region were in a continuous evolution from Carolingian times to the period of Robert Campin.

^The literature on the stylistic origins of Nicholas of Ver­ dun is substantial. See H. R. Hahnloser, "La technique et style du retable de Klosterneuburg," L'Art Mosan (Paris, 1953) 187-193. Swarzenski, 29-31, Floridus Rohrig, Per Verduner Altar (Klosterneu­ burg, 1955) 31-39, Hanns Schnitzler, Rheinische Schatzkammer: Die Romanik (Dusseldorf, 1959) 9-15, Ernst Kitzinger, "The Byzantine Contribution to Western Art of the Twelfth and Thirteenth Centuries," Dumbarton Oaks Papers, XX (1960) 39-40, Peter Lasko, Ars Sacra, 800- 1200 (Baltimore, 1972) 245-246, and Helmut Buschausen" "The Kloster- neuburg Altar of Nicholas of Verdun: art, theology and politics," Journal of the Warburg and Courtauld Institutes, XXXVII (1974'), 1-32. 18 30 his modelling of heads. The complexities of these studies underscore the richness of Nicholas1 style and if the range of in­ fluences suggested is correct, his varied contact with Byzantine art, pointing up the achievement of his subsequent synthesis of several of its styles within the overall context of Mosan clas­ sicism and his own emerging interest in naturalism.31 When the question of possible direct Byzantine influences on the classical sculpture of Reims is raised, it becomes apparent that these in­ fluences are largely those tvhich stem from contact with Mosan art 32 and, in particular, the work of Nicholas of Verdun.

The agitated poses and expressive power of later Mosan enamels seen on the Klosterneuburg altar are the first indications of Nicholas' mature yet intensifying involvement with Mosan 33 classicism of the 1180 s. But, in his later and more restrained works, the Prophets of the Three Magi Shrine at Cologne (1181-91) and the infancy scenes of the Shrine of the Virgin at Tournai

30see Kitzinger, "Byzantine Contribution," 40-41 and Lasko, 249.

^Swarzenski, 19-36, Kitzinger, "Byzantine Contributions," 41 and Lasko, 249-250.

^Among the writers who have noticed the influence of Nich­ olas on the works of the classical masters, see Hans Reinhardt, "Nikolaus von Verdun und die Kunst in Reims," Kolner Domblat, XXVI-VII (1967) 25-32, and Kitzinger, "Byzantine Contribution," 40-43, who are the most definitive. See also Henri Focillon, Art of the West, II, Paris, 1938, 85 nl, and Willibald Sauerlander, Gothic Sculpture in France 1140-1270, New York, 1972, 416, 427-28.

^ S e e Rohrig, 31-35, Kitzinger, "Byzantine Contribution," 41, and Lasko, 249-250. (1205), we see his closest approach to what will be the style of

the classical masters at Reims. The pose of the Tournai Simeon

from the Presentation in the Temple (fig. 15) is, in his gestures,

quite similar to the Remois Angels on either side of Abraham in the

tympanum of the Reims’ Last Judgment portal (fig. 16). The

pleating of the fold in Simeon's upper garment splices in a manner

similar to that of the Angel seen to the right of Abraham, while

the cloth held by Simeon hangs in a way reminiscent of those held by the Angels to the left of Abraham. Another comparison exists between the garments of the Tournai Presentation and those of the

Remois Angel and St. Eutropia from the Calixtus portal (figs. 15

and 17), where the sculptor exhibits a similar desire to show figure animation through the use of diagonal drapery folds.

Further, the St. Andrew of the Last Judgment portal at Reims (fig.

13) wears a garment which defines the contour of his left arm in

a way that is markedly similar to the same Nicholas of Verdun

treatment for the Prophet Jonah from the Three Magi Shrine (fig.

18). Moreover, the head of the Remois St. Peter, from the Last

Judgment portal, and that of Nicholas' Prophet Amos, from the

Three Magi Shrine (figs. 13 and 19), have a close relationship in

the manner by which the planes and beards of the two heads are rendered.^4

34 ^ See Reinhardt, Cathedrale, 147-49, Kitzinger, "Byzantine Contribution," 42, and Otto Homburger, "Zur Stilbestimmung der figurlichen Kunst Deutschlands und der Westlichen Europas im Zeitraum zwischeri 1190 und 1250," Formositas Romanica: Festschrift J. Ganter, Frauenfeld, 1958, 29-34, for additional comparisons. 20

It is apparent from this that the styles of the Remois

classical masters has more affinity to that of Nicholas of Verdun

than to the Carolingian and Gallo-Roman works suggested earlier.

For drapery folds, both Nicholas and the classical masters oppose

emphatic vertical and horizontal dispositions preferring softly

modeled diagonal ones. The Remois rendering of trough-shaped

garment folds appears clearly related to Nicholas” Mulden-

faltenstil. In addition, the use of drapery fold to indicate body movement, often suggesting a release of kinetic energy, are com­ monly shared attributes of the classicism of Nicholas and the 35 Remois sculptors. Yet, even with this, such characteristics

are not unique to Nicholas’ style, in fact, they are seen else­ where in the Mosan region toward the year 1200; even closer

analogies of the shared nature of the Muldenfaltenstil are ap­ parent, especially when comparing the works of the Second Master 36 of the Ingebourg Psalter with the sculpture at Reims.

35xhere is a change in the terminology of classicism in the later work of Nicholas which parallels that of the workshop of the classical masters. 36 The Ingebourg Psalter is located in the Mus£e Cond^-, Chan­ tilly (MS 1695). For the relationships of the Psalter to the work of Nicholas of Verdun, see A. C. Coppier, "Le role artistique et social des orfevres-graveurs francais au moyen-age," Gazette des Beaux-Arts, S6 , XVIII, 3 (March, 1937) 270-273, who is the first to indicate parallels between Nicholas' Tournai Shrine and the Psalter. See also Florens Deuchler, Der Ingeborgpsalter, Berlin, 1967, 143- 45, Eleanor S. Greenhill, "The Provenance of a Gothic Head," Art Bulletin, XLIX,2 (June, 1967) 108-09, Kitzinger, "Byzantine Contri­ bution," 40-41, and Reiner Haussherr, "Der Ingeborgpsalter Bemer- kungen zu Datierungs- und Stilfragen," The Year 1200, II: A Sym­ posium, New York, 1975, 237-238. 21

The provenance of the Ingebourg Psalter has been widely

debated, but the more plausible center of its production would

appear to be in northern France, not far from the locale of 37 Nicholas' work at Tournai, and dating from 1195-1205. The

Psalter has two distinct masters: the First is closer to Byzan­

tine art of the same phases as the early work of Nicholas of Ver­

dun at Klosterneuburg and the Second is closely related to Mosan

Muldenfaltenstil, to the late work of Nicholas at Cologne and

90 Tournai. Therefore, like Nicholas, the Second Master is closer

in style to that at Reims. In regard to this, Homburger stated

that the relationship between the sculpture of Reims and the Inge­

bourg Psalter can only be found in those works of Reims which 39 directly relate to the Visitation Master. Reinhardt correctly

expanded on this focus, including the jamb figures from the 40 Calixtus portal.

37 Rauscher, 245, gives a full summary of the various opinions regarding the date and provenance of the work. I would agree with Branner, Robert "Manuscript Painting in Paris around 1200," The Year 1200, II: A Symposium, 176-178, that the manu­ script was likely produced in northern France around the year 1200. See also Georgia S. Wright, "Review. The Year 1200: A Symposium," Art Bulletin, LIX, 1 (March, 1977) 131-33, for additional dis­ cussion on the dating of the Ingebourg Psalter. 38Ellen Beer, "Gotische Buchmalerei, Literatur von 1945 bis 1961,” Zeitschrift fur Kunstgeschichte, XXV (1962) 155, was the first to make a clear separation of hands for this manuscript. See also Deuchler, 141-145, and Haussherr, 231-41. 39 Homburger, 35-37.

^Reinhardt, Cathedrale. 147. Further discussion of the jamb sculptures of the Calixtus portal will be found in chapter three. Other contemporary sculpture workshops at Chartres and Paris show contact with the Ingebourg Psalter. See Greenhill, 107-09. Let us explore the fuller ramifi cat ions of this suggestion.

The lower garment folds of the Last Judgment Portal Apostle

Andrew, (fig. 13), compare favorably with the diagonal folds and

Muldenfalienstil qualities of the Apostle on the Virgin's right in the Ingebourg "Ascension" (fig. 20). Yet upon closer exami­ nation, the posture of Andrew is constricted and there are more crinkled pleats in his garment than in those of the Apostle of the

Ingebourg Psalter. Aside from his lower garment folds, the gen­ eral style of the Andrew figure is sufficiently different from that of the Ingebourg Psalter to cast doubt regarding a northern French or Mosan origin for the work. The difficulty in identifying

Remois prototypes in the Ingebourg Psalter is further seen when one notes the unusual portrayal of the garments of the Remois

Angel from the right jamb of the Calixtus portal (fig. 21). Only the upper portion of this garment bears favorable comparison with the extended sleeve of the figure to the right of the tree in the

Ingebourg "Entry into Jerusalem” (fig. 22). Likewise, the splicing of the Muldenfaltenstil garment folds on the second

Apostle to the right of the Virgin in the Ingebourg "Ascension"

(fig. 20) and passages of John's garment in the Ingebourg "En­ tombment" (fig. 23) are similar, though more muted in their volumetric form, than those seen in the Remois St. Elizabeth of the Visitation group (fig. 2). But a more striking similarity is found in the rendering of drapery folds on St. Bartholomew of the

Reims' Last Judgment portal (fig. 14) and on the Angel to the left of Christ in the Ingebourg "Last Judgment" (fig. 24). In both works the patterns of drapery folds and the press of garments defining the leg contours of the figures are virtually identi­ cal.41

To whatever extent the classical masters may have been in­ fluenced by the Mosan-inspired styles of Nicholas of Verdun and the Second Master of the Ingebourg Psalter, there still appear to be individual and significant differences in the classical quali­ ties in the figure styles of Reims. It is difficult to determine the degree to which there is an apparent reluctance to fully adopt the matrix of styles from the region of Mosan and whether or not it is a result of the desire to continue a traditional indigenous style at Reims.

Viollet-le-Duc was correct in stressing the importance of the bas-reliefs of the Porte Romane on the north transept of the cathedral of Reims as an indication of the attributes of Remois 42 sculpture at the end of the twelfth century (fig. 25). Of all the extant sculptures in Reims from that period, these give the clearest insight as to the nature of the continued fascination of Remois sculptors with a classical idiom. The image of this

4*Both Kitzinger, "Byzantine Contribution," 42, and Hom­ burger, 35-37, make additional comparisons between the Ingebourg Psalter and the Judgment portal jamb figures of Sts. Peter and Paul, as well as the tympanum.

Eugene Viollet-le-Duc, Dictionnaire raisonne de 1 * architecture, VII, Paris, 1867, 320, and quote by Sauerlander, "Beitrage," 3. work’s Virgin and Child (fig. 26) has prompted Hamann-MacLean to

suggest a Gallo-Roman model for it, although here, as in the in­

stance of Remois works of the thirteenth century, there are too

many stylistic differences to enable the suggestion to stand.^

Like their thirteenth century kin, the diagonal pleats of the

lower portion of the Virgin’s garment, combined with the full­

ness of her body, more appropriately suggest the metalwork of

Mosan, c. 1180, as a stylistic model.^ Further, the large­

headed figures of the Clerics (fig. 28) and the Angels in the

bas-relief's spandrels anticipate the proportions of the Saints

of the Calixtus portal, while their restrained gestures are remi­

niscent of many figures from the classical masters’ workshop.

Likewise, the Angels of the Porte Romane have flowing garments

which help to define their bodies in a manner that seems to an­

ticipate the drapery of the thirteenth century St. Andrew of the

Last Judgment portal (fig. 13). The closest analogy between the

Porte Romane and the classical masters' workshop is found between

the latter's St. Eutropia (fig. 17) and the Virgin of the

43 Hamann-MacLean, "Antikenstudium, 182.

^Cf. Sauerlander, Gothic Sculpture, 416, and Reinhardt, Cathedrale, 62, both of whom see a remote resemblance to figures on the Heribert Shrine at Deutz as well as the earliest portions of the Klosterneuburg Altar by Nicholas of Verdun. Greenhill, "Provenance," 108 n39, believes that the style of the Porte Ro­ mane sculpture is related to Sens and Burgundy, rather than the Mosan region. 25

Visitation (fig. 6 ).^~*

On the basis of stylistic affinities, the bas-reliefs of

the Porte Romane and the two sculptures depicting Sts. Peter and

Remi, on the west fascade of the Abbey Church of St. Remi (figs. 46 29 and 30) appear to be from the same workshop. Although

nineteenth century restorations have modified these works in some

details, the original carving of their essential form and gar-

AH ments is still evident. More than any other remaining works

at Reims, the postures of Sts. Peter and Remi recall those of the

Visitation group (fig. 2) and the Angel to the left of St.

Nicasius (fig. 17). The rotation in the body of St. Peter con­

veys a controlled agitation and torsion which simultaneously re­

calls the Carolingian evangelist portraits and t h e % 6rks of

Nicholas of Verdun. It is in this workshop that indigenous

Remois classicism survived, one which had inherited the Caro­

lingian classical tradition, and from which the classical masters found their most important stylistic models.

Additional compaxisons can be found in H. Kunze, Das Fassaden-problem der franzosischen Fruh- und Hochgotik, Leipzig, 1912, 62-70, Reinhardt, Cathedrale, 62-70, and SauerlSnder, "Beitrage,” 3-9.

^Ibid. , 4-8. Sauer lander has aptly observed that the facade design of the lower stories of the church of St. Remi have strong elements of Remois classicism. He further elaborates the stylistic parallels between the Porte Romane reliefs and the sculptures of Sts. Peter and Remi. 47 See Appendix A for a discussion on restorations. CHAPTER TWO

REIMS AND ITS RELATION TO OTHER CONTEMPORARY CENTERS OF

SCULPTURE PRODUCTION IN FRANCE

In studying the origins of the Remois classical tradition, the matter of monumental sculpture productions elsewhere in

Champagne and the Ile-de-France, and contemporary to the classical masters, must be considered. To be sure, Laon, Chartres, Paris,

Chalons, Mantes, Amiens and Senlis bear, in their respective styles, a relationship to the formation of the Gothic style at

Reims. The complexity of such relationships as regards Gothic elements of style and local classical traditions, takes us to another arena of concern. The question ultimately centers on the degree of uniqueness found in each center's use of the clas­ sical idiom, and how the nature of the Gothic period served to facilitate these classical developments and interchanges. The designation of these Gothic centers of production, and their effect at Reims will now be discussed.

Following commencement of work on the new cathedral of

Reims in 1211, the first sculptures to be completed by the newly-formed workshop were six Prophets, now located on the

26 27 right embrasure of the west facade (fig. 31J.1 For all their im­ portance in establishing a stylistic foundation upon which the subsequent works of the classical masters would be based, little critical attention has been given them. Adhtimar reflected widely held opinion when he stated that the six Prophets are not under­ stood for their own intrinsic merit but rather for being a trans- o lation of the statues of Chartres into a classical style. To

■^In chapter three there will be an extended discussion of the successive building campaigns of the cathedral and the problems of dating the sculpture of the workshop of the classical masters. While the six sculptures on the right embrasure are commonly called "prophets" they are today more properly designated Christo- phores.. Since they were originally carved for a Coronation portal in the first campaign for Reims-West, they may, indeed, have orig­ inally been planned to be prophets. Their attributes now suggest that Christophores is a more appropriate description of them. See also chapter three nl, 4 and 5. A Cf Adhemar, 274, and Marcel Aubert, French Sculpture at the Beginning of the Gothic Period, 1140-1225. (New York, n.d.) 83.

Due to the paucity of explicit documentation, the dating of the relevant sculptures of the cathedral of Chartres is as diffi­ cult as that for the cathedral of Reims. Louis Grodecki's arti­ cle, "The Transept Portals of Chartres Cathedral: The Date of Their Construction according to the Archaeological Data," Art Bulletin, XXXII,1 (March, 1951) 156-164, Paul Frankl's discussion in '^The Chronology of Chartres Cathedral," Art Bulletin, XXXIX, 1 (March, 1957) 33-47, and Grodecki's reply, "Chronologie de la Cathedrale de Chartres," Bulletin monumental, CXVI (1958) 91-119, have suggested that the.central portal of Chartres-North was com­ pleted after 1210; that work on the three portals of Chartres- South were begun by 1214-15; that the Chartres-North side portals and porch were carved simultaneously or immediately following Chartres-South, and that Chartres-North was completed by 1220-24. The classical masters' workshop at Reims, opening in 1211 and continuing through the 1 2 2 0 's, would have had ample occasions to have contacts with the on-going workshops at Chartres. More recently, see Jan van der Meulen, "Recent Literature on the Chronology of Chartres Cathedral," Art Bulletin, XLIV, 1 (March, 1967) 152-172. 28

be sure, the Prophets' resemblance to the sculptures of the

central portal of the north transept of Chartres (fig. 32) is

clear, their relevance to each other having been generally 3 accepted. Yet a close appraisal of the Reims Prophets show how

few stylistic characteristics derive from Chartres, and how much

this first Remois style and expressive content is independent of

this outside source. Indeed, as Reinhardt says, the styles of 4 the six Prophets are far from servile to their borrowings.

Of the six Prophets at Reims, Simeon is closest in style to

the jamb figures on the central portal of Chartres-North.^ His narrow shoulders, restricted pose, and the tightly-formed folds of his garment correspond to many of these same elements seen in

the Chartres j'amb figures of Moses, Samuel and Isaiah (figs. 33,

34 and 35). While no specific Chartres model can be designated

^Vo'ge, "Die Bahnbrechter," 210 n5, Demaison, Albumn, 52, Br&hier, 106, Panofsky, "Uber die Reihenfolge,11 73, Vi try, 42, Focillon, 84 n2, Louise Lefrancois-Pillion, Maitres D rOeuvre et Tailleurs de Pierre des cathedrales (Paris, 1949) 161, Aubert, French Sculpture, 83, Richard Hamann-MacLean, "Reims als kunstzentrum im 12. und 13. Jahrhunderts," Kunstchronik, IX (1956) 288, Louis Grodecki, "A propos de la sculpture francaise autour de 1200," Bulletin monumentale, CXV (1957) 124, Prache, "Contacts," 133, and Frisch, 3 nl7, who maintains that the six Prophets are also derived from the central portal of Chartres- South, giving evidence in the manner of pose, three-dimensional proj’ection, and details in the rendering' of eyes. Her com­ parisons., here, are not convincing since similar qualities are found in sculptures at the Porte Romane and on the west facade of St. Remi at Reims.

^Cf Reinhardt, Cathedrale, 145, and Sauerlander, Gothic Sculpture, 483.

5See note 3 above, especially Grodecki and Prache. 29

for the Reims Simeon, the general Chartres influence approaches

the Reims example most intimately. There are, however, in-'

digenous Remois elements evident in the style of Simeon: the

proportion of his limbs to his body and the tension derived from

his tauntly stretched veil. Both traits recall the figures of

Sts. Peter and Remi on the west facade of the Abbey Church of

St. Remi (fig. 29 and 30).

Hamann-MacLean, Greenhill and Sauerlander, among others,

have tried to establish a Paris source for Simeon, citing a

fragment of an Apostle (St. Andretv?), possibly from the Last Judg­

ment portal of Notre-Dame, Paris, c. 1200 (fig. 36), and a 7 smaller torso in the Musee Cluny. While Hamann-MacLean and

Sauerlander see close stylistic affinities between the Paris

Apostle and the Reims Simeon, especially in their shared

^0n the problem of the Paris fragments and their relation­ ship to contemporary sculpture production in the Ile-de-France and Champagne, see Hamann-MacLean, "Reims als Kunstzentrum," 287-88, Idem., "Zur Baugeschichte der Kathedrale von Reims," Gedenkschrift Ernst Gall (Berlin, 1965) 195-201, Grodecki, "La Premiere Sculp­ ture," 277-78, Greenhill, 104-05, Reiner Haussherr, "Review, 'Sauerlander, W. Von Sens bis Strassbourq'," Kunstchronik, XXI (1968) 302-321, L6on Pressouyre, "Sculptures retrouvee de la cathedrale de Sens," Bulletin monumental, CXXVII (1969) 107-118, Sauerlander, Gothic Sculpture, 453, Konrad Hoffmann (ed.), The Year 1200, I (exhibition catalogue, Metropolitan Museum of Art, New York, 1970) 11, and Willibald Sauerlander, "Review, The Year 1200," Art Bulletin, XIII, 4 (December, 1971) 507.

See Sauerlander, Gothic Sculpture, 453-54, illus. 75-76, and Greenhill, 104, 109, who further suggest that the corbel figure beneath the feet of the St. Peter on the Reims Judgment portal is additional evidence of Parisian contact. 30

animated, diagonal garment-folds, dissimilarities emerge that

Q are like those found in the Chartres-Reims comparison. Again,

limb-body proportions are different, and the Paris works have no

suggestion of a tautly stretched veil. While the classicism of

the Paris and Chartres workshops may be considered by scholars as

equally important as contributing centers for Reims, there is a paucity of further examples from the workshop of the Last Judgment portal at Paris, making further support for Parisian influence difficult. In the instance of Chartres, however, many more

Remois parallels have been proposed, parallels which emerge when

Remois and Chartres pieces are compared.

In contrast to Reims Simeon with his general Chartres simi­ larities, his adjacent companion, St. John the Baptist, has an augmented volumetric form, freer movement and substantially different proportions than the figures at Chartres. However, one favorable comparison for him with Chatres-North, Central Portal figures does emerge when the proportionate size of St. John's head to the width of his shoulders is compared to that of

Chartres' Melchizadek, Abraham or Jeremiah (figs. 31, 34 and g 35). The relevance of this same observation is also true for

SHamann-MacLean, "Zur Baugeschichte," 233 n24, Sauerlander, "Review, The Year 1200," 507. g See Frisch, 17, for an extended comparison of head types from Chartres and Reims.

G ottfried Schlag, "Die Sku.lpturen des Querhauses der Ka- thedrale von Chartres," W allraf-Richartz Jahrbuch,XII-XIII (1943) 31 the heads of St. John the Baptist's further companions, Isaiah and Abraham, at Reims; although all these Remois figures ha,ve faces which are more vigorous in expression than their counterparts at Chartres. This difference in facial expression is made clearer when the Reims and Chartres John the Baptists (figs. 31 and 35 are compared. The eyes of the Reims St. John have thin upper lids and puffy lower ones; in comparison, those of the Chartres figure are thick and puffy in both the upper and lower lids. The orbs of the eyes of the Reims face are carved as to produce an intense outward gaze; the elliptical orbs of the eyes of the Chartres face are flatly carved, conveying a transfixed gaze, one of in­ ward meditation. The Reims St. John has a large nose, square jaw and firmly pressed lips, which are in marked contrast to the thin and narrow nose, open mouth and indeterminate jaw of the Chartres figure. In its every detail, the Reims face has strong features and an alert countenance; the face of the Chartres St. John is evocative of an inwardly turned being.

No greater contrast with Chairtres figures is evident than when the forceful posture and implied movement of the Reims

156 n43, saw in the Melchizadek figure of Chartres a posture and garment treatment which derives from the more advanced style of the six Prophets at Reims. Grodecki, "A propos," 124, correctly suggests a reverse relationship by reason of dating the respective works. Yet as Emile MSle suggests in his article, "La Cathedrale de Reims," Gazette des Beaux-Arts, 5s, III (1921), 81, the figures of St. Avitus and Laudomarus (dating c. 1235), from the south transept, right portal, of Chartres, are directly influenced by the classical masters of Reims. On this point, see Prache, "Con­ tacts," 133, and Sauerla'nder, Gothic Sculpture, 434. 32

Isaiah is compared with them (fig. 31). The contrapposto posi­

tion of the Remois figure is overlaid with diagonally sweeping garment folds which contribute to a heightening of the figure's physical tension. This sense of movement is further amplified by the width and tilt of the shoulders and their freedom in contrast to the columnar shaft of the sculpture. This characteristic is less apparent at Chartres-North and is again more directly remi- 10 niscent of earlier stylistic traits found at Reims. Reinhardt aptly observes that the treatment of the hanging sleeve of the

Reims Isaiah is most likely derived from that of the sleeve of St.

Peter at St. Remi (fig. 29) rather than from that of Simeon of

Chartres-North (fig. 35).’*’’*’ Further, on the Reims figure, the sculptor carves the sleeve's hanging pleats so as to.stress gravity's effect, thus heightening the sense of kinetic movement in the arm adding to the figure's over-all sense of naturalism.

Above all, then, the Reims Isaish has a greater affinity to in­ digenous Remois classicism. This is seen in the rendering of garment folds and the figure's thick-set bodily presence. By contrast, the more static sculptures at Chartres-North appear more linear in the treatment of their forms.1 2

■^For a discussion of the Remois tradition of depicting figures with forceful postures and thick-set body types, see Voge, "Die Bahnbrechter," 209, and Frisch, 11.

■^Reinhardt, Cathedrale, 146. For further observations on this motif, see Sauerlander, "Beitra'ge," 6 . 22 For a discussion of Chartrain linearism in the treatment of garment fold, see Greenhill, 108. Both the Reims Isaiah and the St. Remi St. Peter are the re­ sult of an assimilation of the traditional, unique Remois interest in ’’classical” style, one which I have suggested had its origins in the Remois sculptors’ respect for the surviving classical monu­ ments at Reims and in the Carolingian period; it is a tradition that was maintained in the succeeding styles of Mosan art. In contrast, at Chartres there was no long-standing association with an indigenous, ’’classical” style of sculpture. The sculptors of the central portal for Chartres-North transept worked in a style 13 imported from the Cathedral at Laon.

As Prache observed, all the sculptures at Reims having rap­ port with Chartres reveal an aspect of classicism.1 4 A similar relationship exists between the sculpture of the cathedrals at

Laon and Chartres.As Sauerlander and Prache noted, the

^ S e e below nl5.

■^Prache, "Contribution,” 133. 15 The terminus post quern for the sculpture of the west facade of Laon cathedral is c. 1190, from the beginning of the third building campaign when work was started on the remainder of the nave and the fapade. Since the Coronation portal at Chartres, which shows strong influence from a Laon workshop, was begun directly sifter 1204, it is assumed that this date serves as a terminus ante quern for the Laon workshop. For further discussions of .the stylistic relationships between Laon and Chartres, see Marcel Aubert, Die gotische Plastik Frankreichs 1140-bis 1225 (Florence, 1929) 89-95, Idem., La sculpture francaise au Moyen-age (Paris, 1946) 214-15, Grodecki, "A propos," 124-25, Idem., "La sculpture Francaise," 119-23, Deuchler, 161, Sauerlander, "Beitrage, 9-27, Idem., Gothic Sculpture, 427-28, Prache, "Contribution,” 133-34, and A. Lapeyre, Des facades de Saint-Denis et de Chartres aux portails de Laon (Paris, 1960) 266-70. 34

sculpture of Chartres-North displays a direct influence from

Laon's left portal in fluency of handling drapery folds and ,

curving contours and in restraint in facial expression."*-^

Sauerlander aptly observed that Chartres' Simeon in the Corona­

tion portal (fig. 35) has garment folds which gather and press

against the body in a similar manner to those found on an unidenti- 17 fied archivolt figure at Laon (fig. 48). Yet the later Chartres

work is more linear in its treatment of garment folds, and the

posture of the body is more static than its Laon counterpart. An

even more informative comparison occurs when the Reims Isaiah

(fig. 31) is set alongside Laon and Chartres examples. While the

Reims sculptor carves garment folds with a closer affinity to the

rounded, soft drapery seen at Laon, the static proportions of

Isaiah's lower body are closer to Chartres' Simeon. It appears,

then, that the Reims sculptor was aware of both centers of sculp­

ture production and sought his own stylistic expression by

selecting aspects from both and providing his Isaiah with more

dramatic gestures.

At Ch&lons-sur-Marne, there is additional evidence for how

the stylistic traditions of late twelfth-century Champagne

•^Sauerlander, Gothic Sculpture, 430-31, and Prache, "Contri­ bution,” 131-32. See also Grodecki, "A propos," 123-25.

^See Sauerlander, Gothic Sculpture, 430-31, Idem., "Beit­ rage," 27. 35 18 contribute to the vocabulary of classicism at Reims. The

Prophet torso, originally located in the cloister of Notre-Dame-

en-Vaux, is reminiscent, in its dramatic arm gestures, of Reims-

West* s Isaiah (figs. 50 and 31). While the arm positions of the

two figures are reversed, there is an identical spiral movement

in the respective treatments of downward and upward thrust.

Further, the hanging sleeve impeding the arm's movement in each

work, adds dramatic tension. To be sure, for all the gestural

similarity, these works* garment styles are markedly different, a

fact explained by the more than thirty years which separate their 19 carving.

•^The cloister sculptures of Notre-Dame-en-Vaux at Chalons- sur-Marne were given a provisional dating of c. 118C>'by Sauer- lander, "Twelfth-Century Sculpture," 125-26, who also established stylistic connections between Chalons, Senlis and Mantes in the 1170*s and the "Porte des Valois" of St.-Denis from c. 1175. For additional discussions on the styles of the Chalons sculptures, see Sauerlander, Gothic Sculpture, 412, L6 on Pressouyre, "Fouilles du cloitre de Notre-Dame-en-Vaux de Chalons-sur-Maxne," Bulletin de la Societe National des Antiquaires de France, 1964, 23-28, William Wixom (ed.), Treasures from Medieval France (exhibition catalogue), Cleveland Museum of Art, 1967, 98, Hoffmann, The Year 1200, I, 5-6, and William Wixom, "Romanesque Sculpture in American Collections. XVIII. The Cleveland Museum of Art," Gesta, XVIII, 2 (1979) 43-44, where a column figure of an Apostle from the ChSlons cloister is dated 1170-1180.

For further observations on Senlis and the "Porte des Valois," see Willibald Sauerlander, "Die Marienkronungsportale von Senlis und Mantes," Wallraf-Richartz Jahrbuch, XX (1958) 115-20.

■^We may accept a date of c. 1180 as probable for the Chalons cloister sculptures, and c. 1215 for the Reims-West Isaiah. For the dating of the Chalons works, see above nl8 . The dating of the Reims figure will be discussed in chapter three. For a series of observations relating to the Chartrain influences on the Reims Isaiah, see above. 36

Sauerlander noticed a close similarity between this same

Chalons torso and the St. John the Baptist on the left jamb of the 20 west portal, Cathedral of Senlis (fig. 51). The same character­

istics noted in the torso comparison with Reims’ Isaiah are to be

noted between Senlis' St. John and Reims' Isaiah. Moreover, the

sway of the lower garment of the Senlis Baptist, which reinforces

the directional movement of his arm, corresponds to a similar

treatment in the Reims Isaiah. Yet the Baptist's garment folds

show an emphatic linearism not to be seen in the Reims Isaiah, and which is only faintly suggested in the Chalons fragment.

In my discussion of the inherent linearism of Chartres'

sculptural style I asserted that Reims rejected this aspect of

Chartres* influence at the same time that it assimilated the

rounded body type and fluid garment-fold rendering from Laon. This

same Reims* preference for indigenous Champagne area characteristics

appears with respect to Chatlons, where the dynamic pose of the

20 The terminus ante quern for the sculpture of the west portal of the cathedral of Senlis has been determined by the 1191 dedica­ tion of the portal; recently Sauerlander, Gothic Sculpture, 408, has suggested that a date of c. 1170 can be deduced for the execu­ tion of the actual carving. His opinion is based upon the stylis­ tic parallels of the sculpture at Senlis with those at St.-Denis, the Saint-Anne portal at the cathedral of Paris, and Mosan gold­ smiths of the mid-twelfth century. Also see Idem., "Twelfth- Century Sculpture," 123. For further observations on the dating and style of Senlis, see Marcel Aubert, "Le portail occidental de la cathedral de Senlis," Revue de l'art chretien, LX (1910) 157-63, Idem., La cath6drale de Senlis (Senlis, 1910) 100-11, Emile M&le, "Le portail de Senlis et son influence," Revue de l'art ancien et modern, 1911, 161-176, idem., Art et artistes du moyen-gqe (Paris, 1928) 209-13 j Aubert, La sculpture, 205-06, Vo'ge, "Der Visitatio- meister," 54-56, Grodecki, "La premiere sculpture gothique," 281- 89, and Lapeyre, 239-43. 37 earlier Senlis Baptist is assimilated without losing any of its torsion. Simultaneously, the preference for rounded body forms and softer garment folds is also expressed in this Chalons work.

The Reims Isaiah amplifies the Chalons sense of bodily contact with an even softer and more complex garment fold, and fully maintains the kinetic power of the gestural motif from Senlis.

When Reims' workshop attention turns to the Last Judgment portal sculptures, a possible influence from ChSlons is also seen. A seated Apostle from a Chalons cloister capital (fig.

52), as well as the Angel watching the Holy Sepulcher on the lintel of the left portal of the collegiate church at Mantes

21 u (fig. 53), due to the fact that Sauerlander suggested the close similarities in their posture and drapery folds," indicates another possible set of contacts with the Ile-de-France for the 22 Reims sculptors of Champagne. The Angels in the right

21 Of the three portals of the west facade at Mantes, only the left (from c. 1170) and center (toward 1180) remain in their twelfth century forms; the right portal was extensively re­ modelled in 1300. During the French revolution the sculpture of all three portals were extensively damaged. For the dating and stylistic analysis at Mantes, see Aubert, Die gotische Plastik, 81-90, Idem., La sculpture francaise, 212-17, Jean Bony, "La collegiale de Mantes," Cahiers d Art, CIV (1946), 163-175, Grodecki, "La premiere sculpture gothique," 281-86, and Sauer- l&nder, Gothic Sculpture, 408-09.

For stylistic comparisons between Senlis and Mantes, see Marcel Aubert, "T^tes gothiques de Senlis et de Mantes,” Bulle­ tin monumentale, XCVII (1938) 1-12, and Sauerlander, "Twelfth- Century Sculpture,” 123-27, who also includes the Chalons cloister sculpture in his discussion.

2 2 Ibid., 126, PI. XLIII, figs. 29 and 31. 38 archivolt of the Reims Last Judgment portal (fig. 54) compare favorably with both the Chalons (Champagne) and Mantes (Ile-de-

France) figures' postures and the stretched garments which fall between their legs. At ChSlons, Mantes' linearism is not ap­ parent, however, with the Chalons' figure having a softer garment fold and rounded body. Therefore, it appears that ChSlons, of the two, would be the more likely source for Reims, where the garment folds are similar; but, once again the Reims' pieces are even more complex and supple in comparison with their more immediate counterpart at Chcflons (figs. 52 and 54).

To further elaborate on the question of response to in­ digenous Champagne models as opposed to those from outside:

Voge observed that on the Last Judgment portal at Reims there was a similarity between the facial type of the Christ in the

Diesis scene, located in the apex of the tympanum (fig. 46, and // that of the Diesis Christ in the central portal of Chartres- oq South (fig. 47). But, as Frisch noted, the Reims face is ar­ ticulated better; the head is more plastic, and rests on 24 broader shoulders than those at Chartres. Moreover, an even

^Voge, "Visitatiomeister , " 60-61. 24 Frisch, 17, also suggests that the elongated head type with high cheek bones seen in the head of Christ, as well as in the Calixtus portal jamb figures, trumeau, and tympanum, derive from Chartres. The large, elongated head type appears, however, earlier at Reims in the figures of the Porte Romane and at Notre- Dame-en-Vaux at Chatlons-sur-Marne. On this last point, see Sauerlender, "Twelfth-Century Sculpture", 121. 39

greater, and Northern French, relevance is to be found between

the pose and garment folds of the Diesis Christ at Reims and the

Christ in the Ingebourg Psalter "Ascension" (fig. 20). Again,

this underscores the independent nature of, and Champagne-domi­

nant predilection in, the selective and intricate process of 25 borrowing practiced by R^mois sculptors.

A much closer affinity between the style of Reims and Laon becomes apparent when a Laon archivolt figure (fig. 48) is com­ pared with the Angels on either side of Abraham in the Reims

Last Judgment tympanum (fig. 16). In all these figures, the roundness of bodies and manner by which the garment folds cling to their contours are similar. Likewise, a delicate swing to the drapery of their lower garments creates a subtle, diagonal move-

o / i ment. This suggests that the classical qualities to which the

25 Greenhill, 108, saw the style of the Ingebourg Psalter appearing at Chartres-North only at second hand.

Additional stylistic parallels have been seen by Willi­ bald Sauerlander, Von Sens bis Strassbourg (Berlin, 1966) 87, PI 137 and 142, in the similarity of hand gestures of the Elect in the Judgment tympanum at Reims and the Eli and Hannah figures of the North Porch at Chartres. Elsewhere, Sauerlander, Gothic Sculpture, 484 PI 98 and 242, has seen close affinities in gar­ ment treatments, between the socle reliefs of the Reims Judgment trumeau and the North Porch at Chartres. Cf Frisch, 17. These reliefs may also be compared to works at Laon. See below n26. 26 This parallel can be seen in unison with the figures of the Presentation scene in the Shrine of the Virgin at Tournai, by Nicholas of Verdun, as further proof of a common northern French and Mosan ancestry for some of the stylistic traits of both Laon and Reims. See Reinhardt, Cathedrals, 147-49, and Homburger, 35-37. 40

sculptors of both Reims and Laon most often respond are similar,

as are their attempts to portray subtle garment details. At

Reims, there is greater attention to a second wave of influence

from Chartres, as in the Abraham to either side of whom the 27 Angels stand; apparently, this indicates that the classical

masters have moderated, to some extent, their direct stylistic

attention to influences from Laon. Even so, the classically

rendered subtlety of gestures which the Remois sculptors found

in Chartres models likewise derive from Laon, where Reims sculp­

tors appear to have directly encountered it, as well.

To the right of the Last Judgment portal at Reims is the

Calixtus portal. Its sculptures have frequently been dated

O Q .. -v ■; earlier than those of the Last Judgment. However, Frisch con­

vincingly demonstrated the close parallels between the styles of

the two portals, suggesting that the carvers were working simul­

taneously, and that, in many instances, the Calixtus sculptors

are dependent on the Last Judgment carvings for ideas pertaining 29 to poses, facial treatment and handling of garment folds.

For a discussion of the second wave of influence from Chartres on the Reims Judgment portal, see chapter three.

^8See Lefrancois-Pillion, Les sculpteurs, 13, Vitry, 45, Aubert, 85, Reinhardt, Cathedrale, 146, and Sauerlander, Gothic Sculpture, 484. 29 Frisch, 16, further indicates that the Calixtus portal sculptors made two distinctive contributions to the development of indigenous Remois sculpture; a new realization of three- dimensional form and a serenity of expression. Further, in some of the Last Judgment figures, the impact of

Chartres' styles is seen to be more immediate, subsequently being modified when a comparable handling appears on the Calixtus portal. For example, the figure on the extreme left of the Job tympanum at Chartres-North (fig. 42) stands in a manner found later for that of the second Angel to the left of Abraham in the

Reims Judgment portal (fig. 16), where the garment folds of the

Reims figure compliment the body beneath, lending a greater sense of mass to the figure, and amplify the directional movement of the limbs. For the, thence derived, Angel on the left jamb of the Calixtus portal (fig. 17), the arrangement of diagonal pleats suggests a walking movement, but does not define the body beneath as clearly as for the Last Judgment Angel, or its sug­ gested model at Chartres.

When a comparison between the Calixtus portal at Reims and

Chartres-North is undertaken, an attitudinal change on the part of R^mois sculptors is noted. Remois adaptations from Chartres are more apparent; at the same time, there is an integration of these outside stylistic influences with the precedent styles of

Reims. As Msile originally stated, and Reinhardt and Sauerlander have more recently re-iterated, St. Eutropia of the Calixtus portal has a direct antecedent in the St. Elizabeth of the 30 Chartres-North Visitation group (figs. 17 and 37). Although

^^M^le, "La cathedrale," 80, Reinhardt, Cathedrale, 149, and Sauerlander, Gothic Sculpture, 483-84. 42

St. Eutropia's body is more rounded and the folds of her garment have greater density than Chartres1 St. Elizabeth, the movement of both figures is similar.

Reims St. Calixtus, the portal's trumeau figure (fig. 38), has been compared to works on both transepts at Chartres.

Lefran^ois-Pillion and Vitry believed that a close parallel exists between the Reims figure and the Chartres-South side portal, the embrasure statues of Popes Clement and Gregory the Great (figs. 31 39 and 40). But neither Chartres figure possesses the ex­ pressive volumetric form and physical strength of St. Calixtus.

Sauerlander sees a closer relationship between St. Calixtus and

Chartres-North's St. Peter, the Coronation portal (fig. 35), al­ though here too, the Reims figure exhibits a greater sensation of 32 physical presence in its thick-set proportions.

Both St. Eutropia and St. Calixtus are of stylistic modes different from their suggested Chartres counterparts. While they may resemble their proposed prototypes in pose, the Reims figures have greater strength, one which translates into a commanding psychological presence; a quality that conforms to the con­ clusion set forth in chapter one as characteristic of the

"classical" art of Reims. It is true that respective differences

^Lefrancois-Pillion, Les sculpteurs, 157, and Vitry, 43.

^Sauerlander, Gothic Sculpture, 483-84. 43 in iconographic intent might be a contributing factor to ex­ pressive differences. Yet, elsewhere on the Calixtus portal we find a narrative scene which is thought to derive from Chartres; however, again, the physical presentation and emotional context of the figures substantially differ. In the middle register of the Calixtus tympanum, the Life of Job is depicted (fig. 41).

Voge, Brehier and Sauerlander hold that the Remois version is derived from the right portal tympanum of Chartres-North (fig.

42). Yet in the Remois right portal version the dramatic action is emphasized more by presenting a wider range of gestures and 33 facial expressions. Further, and a development moving beyond the Reims-West facade Prophets, the rendering of the Remois figures' garment folds is more in harmony with the bodies beneath them, a characteristic noted previously in St. Eutropia and St.

Calixtus.

Paradoxically, there are areas on the Calixtus portal where Remois sculpture based on suggested Chartres stimuli lack expressive force. Sauerlander points to the uppermost register of the tympanum (fig. 41), and to the right archivolts (fig. 43) where the classical master's style is restrained in rendering of garment folds, and less assertive in narrative expression than their probable immediate sources, the left-bay figures

^ V o g e , "Die Bahnbrechter," 196 n9, Brehier, 106, and Sauerlander, Gothic Sculpture, 484. See also Emile M&le, L*art reliaieux du XIIT siecle en France (Paris, 1919) 367 n4, and Frisch, 17. representing the Vita Active and the Vita Contemplativa at 34 Chartres-North (figs. 44 and 45). A solution to this will be proposed in my designation and discussion of individual masters

(chapter 3).

In addition to the influences from Chartres, and elsewhere, the cathedral of Amiens has been suggested as a possible source for the styles of the Last Judgment and Calixtus portals. While it is widely acknowledged that the style of Amiens appears in­ fluential on the sculpture of Reims carved during the middle of the 1230's and outside the scope of this discussion, Frisch de­ tected stylistic relationships between Amiens and the classical 35 masters workshops at Reims c. 1224. She attempted to identi­ fy the tubular, widely-pleated and crinkled garment,fold style seen at Amiens-West, in the Coronation of the Virgin tympanum 36 and jamb sculptures (figs. 46, 13, and 58). As a means of

Cf. Sauerlander, Gothic Sculpture, 484, and Frisch, 18. For further discussions of Chartrain influences on the Calixtus portal, see M&le, L'art religieux, 367, and Wilhelm Voge, "Der Visitatiomeister," 60-62. ^Frisch, 19. See. also Vitry, 45, Francis Salet, "De Sen­ lis a Reims, Second Moite du XIIIe si^cle," Cathedrales (Paris, 1962) 58, and Wixom, Treasures, 138. 36 See Wolfgang Medding, Die Westportale der Kathedrale von Amiens und ihre Meister (Augsburg, 1930) 55-56, for a discussion of the relationship between the Amiens portal of the Virgin tympanum and that of the central portal of Chartres-North. See also Vitry, 45, and Lefrancois-Pillion, Les sculpteurs, 13-14, for observations on the Reims trumeau figure of Christ in the Last Judgment portal as a possible descendant of the Beau Dieu of Amiens. As Prache, "Contribution," 137, has said, the attempt to establish an Ami6nois influence on this work is disputable. The lack of an Amiens contact can be judged on stylistic grounds as well as on dating. Cf, Sauerlander, Gothic Sculpture, 485. 45 explaining the differences in garment style which become apparent when these works are compared, she held that apparently newly- arrived sculptors had come to Reims, blending Reims' older sty­ listic traits with those of both the older Amiens style and the succeeding, newer Amiens workshop style to produce a Remois style employing heavy, plain and crinkled drapery. Her principal

Remois example of this fusion of two Amiens styles with Remois style was the Samuel figure on the right jamb of the Calixtus portal (fig. 2 1 ), a figure who wears a mantel containing some

Q *7 crinkled drapery. Yet this figure can more effortlessly be seen as an outgrowth of the earlier six Prophets at Reims-West, particularly as seen in the rendering of St. John the Baptist's over-mantel and Isaiah's thick-set body proportions^ * :Ihe large head type set on a columnar neck seen on each of the Reims-West

Prophets, except Simeon, is clearly the prototype for the

Calixtus portal Samuel. Like the Reims St. John the Baptist,

Samuel's hair frames his face in a series of zigzag waves. Both heads likewise have high cheekbones and eyelids with thin upper lids and puffy lower ones. From this, it is most accurate to say the Samuel figure's sculptor received his principal sty­ listic influence from his own Reims workshop.

On the Reims Last Judgment portal, Frisch also saw close

^Frisch, 1 9 } identified the figure on the Calixtus right jamb as Job. Hinkle, 34, convincingly demonstrated that the figure is Samuel, although Sauerlander, Gothic Sculpture, 481, saw both identifications as conjecture ana preferred to leave it unidentified. 46 affinities between the figure of St. Ulphia, left portal,

Amiens-West (fig. 59), and those of Reims St. Bartholomew and 38 St. John the Evangelist (figs. 13 and 58). But, it appears to me that the garment styles of the Sts. Bartholomew and John the

Evangelist are really closer to those of the Mosan region, the art of Nicholas of Verdun, and the Second Master of the Inge­ bourg Psalter, because the Reims figures’ thick-set body pro­ portions and contrapposto are in direct contrast to the more 39 elongated and stationary figures of Amiens.

This lack of substantial ties between the style of the classical masters at Reims and that of the classical workshop at

38 Frisch, 19. For a discussion of the St. Ulphia figure and other examples of sculpture from this workshop at Amiens, see Medding, 93-94, who dated the work 1220-30; Georges Durand, Monographie de l’eglise Notre-Dame d ’Amiens (Amiens, 1901 32, who believed that the terminus ante quern for the workshop was 1235, and Sauerl&nder, Gothic Sculpture, 466, who established a date of 1225-35. 39 Frisch, 18, saw a strong correspondence between Reims and Amiens in the use of a round head type, with uplifted, rounded chin and cheeks, high arched brow, and hair style. Yet, as she noted, the same head type is used by the sculptors of the cathe­ dral of Paris in the left (1210-20) and central (1220-30) portals of the west facade. She also stated that in comparing the head type of all three centers of production, it is evident that it was Amiens, not Reims, which first initiated the head type from Paris. Salet, 58, has also attempted to see the Head of a Bishop from the Calixtus portal, now located in the Musee Salle du Tau, Reims, as belonging to the imported style of an Amiens workshop. See also Wixom, Treasures, 138, PI. iv 11, who supported Salet’s observation. The characteristics which Frisch and Salet cited regarding Amienois stylistic traits evident in the Reims heads can also be seen in the Ingebourg Psalter and works from the west facade of the cathedral of Laon. For a Paris influence on Reims, independent of Amiens, see Hamann-MacLean, "Reims als Kunstzentrum,” 287, and Greenhill, 109 n57. Amiens help to set the limits on the range of acceptable in­ fluences effective upon Remois traditions before 1233. Without doubt, Chartres and Laon emerge as the dominant outside centers of influence for Reims because their respective styles were closer to the indigenous classical style at Reims, making Remois sculptors open to them. ChSlons provides fewer examples, but ones which suggest that it, too, was at certain times likely an influence at Reims. However, if more examples from Paris were still extant, it might prove more important. In all instances, it is clear that the Remois sculptors synthesized, or augmented, traits from other centers which confirmed, or reaffirmed, their own indigenous, unique strivings for a classical idiom. The motivation for this must, in part, be a desire to reaffirm their reverence for their Remois heritage and its place as a major center for the production of ’'classical" art. CHAPTER THREE

THE WORKSHOPS OF THE CLASSICAL MASTERS: A DETECTION OF HANDS

The sculptural program of the west portals of Reims cathe­

dral has an awesome scale and complexity which appears, at first,

to establish a cohesive entity with the elevation of the west

facade (fig. 60). Yet, the design of the present facade, and the

subsequent placement of sculpture, is the final of three programs which were initiated; further, the jamb sculptures alone dis­

close a succession of styles dating from shortly after 1 2 1 1 to

about 1250.1

■^An extensive array of scholarship has been devoted to the problems of dating and the succession of programs for the sculp­ ture of the west facade of Reims cathedral. Of the thirty-five monumental statues presently located on the west facade, twenty- six bear placement markings which indicate the positions for which they were intended in an earlier project. Henri Deneux, "Signes lapidaires et epures du XIIIe siecle a la cathedrale de Reims," Bulletin monumental, LXXXIV (1925) 99-130, was the first to discover and interpret these markings during the restoration of the monument following the bombardments of World War I. Hans Reinhardt, Cathedrale, 105-07, who worked closely with Deneux on the restorations, discusses a schematic program for the sculp­ tures based on his interpretation of the placement markings. Reinhardt is unsuccessful in his extrapolation of this evidence in relation to the several decades spent in the carving of the sculptures and does not take into account fully the evolutionary phases which took place in the planning and execution of the design for the west facade. The most objectionable part of his hypothesis is seen in the placement of the six prophets on the four buttresses of the west fapade (107, fig. 9). For a review of earlier scholarship attempting to establish the succession

48 49

The archaeological evidence for the first building cam­

paign at the cathedral has most recently and convincingly been

discussed by Branner, who demonstrated that this preliminary

stage, designed by the first architect, Jean d' Orbais (1210-c.

1 2 2 0 ), comprised the ground floor of the chevet and transepts, 2 including the three eastern-most bays of the nave aisles.

Further, he stated that Jean d' Orbais planned simple doorways

for the transepts: the Porte Romane, to provide access to the

cloister adjacent to the north, and a smaller opening in the

east bay of the south transept, to connect the cathedral with

the archbishop's palace.

The extant evidence for a west facade design from this first

campaign includes sculptures for a Coronation portal of the

Senlis iconographic type; the six Prophets, now located on the

right embrasure of the west facade, and the sculptures from the

peak of a tympanum portraying the Last Judgment, now

of designs for the west fafade, see Hinkle, Portal, 68-69, and Idem., "Kunze's Theory of an Earlier Project for the West Portals of the Cathedral of Reims," Journal of the Society of Architectural Historians, XXXIV/3 (Oct. 1975) 208-14. See also n.4 below. 2 See Robert Branner, "The Labyrinth of Reims Cathedral," Journal of the Society of Architectural Historians, XXI (1962) 18-25, who reviews the scholarship on the now-lost labyrinth for the dating of all of the building campaigns and the succession of architects who worked at the cathedral, and Idem. , "jean d* Orbais and the Cathedral of Reims," Art Bulletin, XLIII (1961) 131-133.

^Ibid., 22. See also chapter one, n55 and 45. 50

incorporated with later sculptors' works in the Last Judgment 4 tympanum of the north transept. Since the first building cam­

paign has a terminus post quern of 1 2 1 1 , and a terminus ante quern

of c. 1 2 2 0 , we can consider these dates as those of the first

classical masters' work at Reims.^

According to Deneux, the second building campaign at Reims

was undertaken without significant interruption from the first, 6 and was initiated by the architect Jean Le Loup, c. 1220.

During his tenure, lasting until 1236, the construction of the

chevet and transepts continued to the triforium and clerestory 7 areas, with the addition of two more bays to the nave. Frisch and Branner have noted that the production of sculpture for the portals of the west facade was undertaken by 1225, which

^See Ibid., Hinkle, Portal, 68-69, and Sauerlander, Gothic Sculpture, 483. Doris Schmidt, "Portalstudien zur Reimser Kathedrale," Munchener Jahrbuch der bildended Kunst, ser. 3, Xl/2 (1964) 24-26, has suggested that the six Prophets were originally located in the center of the facade of the first program in a portal of the Senlis type. She observes that the architectural elements of the embrasures are now located on the Calixtus portal of the north transept. Hinkle, Op. cit., 6 8 , convincingly refutes the latter observation. ^For an extensive summary of the evidence supportive of the dating of the first campaign, see Robert Branner, "Historical Aspects of the Reconstruction of Reims Cathedral, 1210-1241," Speculum, XXXII,1 (1961) 23-24 n4-6, and Idem., "Labyrinth," 22.

^See Henri Deneux, "Modifications apportees a la cathedrale de Reims au cours de sa construction du XIIIe siecle au XVs siecle," Bulletin monumental, XVI (1948) 121-140, and Marcel Aubert, .'^Les architectes de la cathedrale de Reims," Bulletin monumental, CXIV (1956) 123-125. 7 Deneux, Op. cit., 123-125. Cf Branner, "Labyrinth," 22-23. 51

presupposes that Jean Le Loup's program for the facade was by Q then established in detail. Branner stated that by 1228 this

second program was rejected and another plan was conceived for

the west facade, work on which had not yet commenced.^ It fol­

lows, according to Branner, that the now-completed sculptures for

the west facade, with the exception of the six Prophets, were

originally inserted between the eastern buttresses of the north

transept, thereby forming the program for the portals we now know 10 as the Last Judgment and Calixtus portals (fig. 61). Given the

significant number of works in these portals, and the short inter­

val of time allowed by Branner and Frisch for their production,

approximately a decade, it seems quite plausible that some of

these works would have had to have been started prior to 1 2 2 0 .

Later, I will show that several works, previously seen as

having originated during the period of the second classical

masters' production, have closer stylistic affinities to those

of an earlier master's production. As well, examples of close

8 Ibid. See also Frisch, 20, who cites influences from Chartres-North and Amiens-West which'would establish a date after 1224-25 for the Reims works. She further states that the time re­ quired for the completion of the Reims transept sculpture cannot have taken longer than 6 to 7 years (i.e. to 1231).

^Branner, "Labyrinth," Idem., "The North Transepts and the First West Facade of Reims Cathedral,” Zeitschrift fur Kunstgeschichte, XXIV, 3/4 (1961) 220-241.

l^Branner, "Labyrinth." See also Sauerlander, Gothic Sculp­ ture , 481, who believed that the Last Judgment portal was created specifically for its present location. 52

relationships in styles to the first masters' workshop take

place in successive masters' work at Reims. On this basis, it

follows that an on-going, intimate relationship exists between

the original and succeeding classical masters working from 1211 11 to 1233.

During the last three years of Jean Le Loup's tenure as

architect (1233-1236), work on the cathedral was suspended as a 12 result of civic disturbances. It is likely that he remained on

duty during this period and, as Demaison suggested, some of the 13 then-unemployed skilled labor stayed in the city. It seems

probable, however, that the workshops of the classical masters

permanently disbanded during this period, but not before the com­ pletion of the Visitation group, which would ultimately be placed 14 on the west facade.

When work on the sculpture for the west facade commenced

after 1236, a new style emerged which had its primary influential

11 The significant change of styles evident when the Joseph Master assumes leadership of the sculpture workshops at Reims, suggests that no sculptors of the earlier classical styles con­ tinued working beyond 1233. See Wolfgang Medding, "Die Joseph- meister von Reims," Jahrbuch der koniglichen preussischen Kunstsammlungen, L (1929) 299-320, and Sauerlander, Gothic Sculpture, 487. 12 See Branner, "Labyrinth,” 22-23 and Idem., "Historical Aspects," 23-24. 13 Demaison, Guide, 159. 14 „ See Branner, "Historical Aspects," 24-25 and Sauerlander, Gothic Sculpture, 487. 53 origins at Amiens.'1''* The Joseph Master and succeeding master sculptors of the cathedral were most likely brought to the city by the architect of the third building campaign, Gaucher de

Reims, whose tenure was from 1236 to 1244, or 1254. Gaucher, who saw to it that the chevet, transepts, and first three bays of the nave were finished, was however, apparently, primarily occupied with directing the continuing work on the sculpture of 17 the west facade. Branner, among others, has observed that

Bernard de Soissons, who succeeded Gaucher as architect by 1254, and remained at Reims until 1289, undertook direction of the construction of the western bays of the nave, the architecture of the present facade, and the general overseeing of the final completion of its sculpture, although it appears that Gaucher de

Reims may have remained to complete overseeing the sculptural program; this would explain the later, often suggested, 1254 18 date for the conclusion of his tenure.

Master of the Five Prophets

From the preceding, it appears that before c. 1220, Jean d*

"^See above nil.

1 / i Branner, "Labyrinth," 24 17 Ibid. 18 Ibid., 24-25. See also a review of the scholarship on Bernard de Soissons in Schmidt, "Portalstudien," 14-58. Sauer­ lander, Gothic Sculpture, 474-76.and 487, briefly alludes to the final arrangement of sculpture on the west facade during the tenure of Bernard de Soissons. 54

Orbais placed the remnants of what was probably a niche tomb, carved c. 1180 (salvaged from the fire of 1 2 1 0 ), into the westernmost bay of the north transept, thence called the Porte 19 Romane (fig. 25). Now it appears that the sculpture from this tomb was from the same workshop responsible for the statv.es on 20 the west facade of St. Remi at Reims. These sculptures of Sts.

Peter and Remi (figs. 29 and 30) were cited earlier as having stylistic affinities with the rendering of postures and garments of several of the six Prophets now on the right embrasure of the 21 west facade of the cathedral (fig. 31). Jean d ’Orbais appears to have formed a new sculpture workshop shortly after 1 2 1 1 so as to begin work on the Coronation portal of the cathedral.

Yet, given the stylistic similarities which are apparent among the sculptures of the Porte Romane, the west facade of St. Remi, and five of the six Prophets from the cathedral, it seems likely that most of the sculptors whom he selected had previously worked together in the same workshop. The outside stylistic influences found relevant to the six Prophets of Reims have their origin in the Ile-de-France, most especially from Chartres-North. This was discussed earlier, in regards, most specifically, to the St.

19 See chapter one n44 and Prache, Saint-Remi, 56, who dates the Porte Romane work c. 1175. 20 See chapter one n46. 21 See chapter one, n45 and 46. The postures and garments of Sts. Peter and Remi may have also been stylistically related to now-lost stucco reliefs which might have been placed in the Carolingian or Romanesque cathedral at Reims. 55

Simeon sculpture and, to a lesser extent, to the St. John the

Baptist (fig. 31). Further, this suggests the possibility that at least one sculptor from Chartres-North had entered the Reims workshop, possibly shortly after the new cathedral workshop was 22 formed.

Only St. Simeon of the six Prophets appears to have been entirely carved by a sculptor who had not earlier been a member of the workshop at Reims. When the body of Simeon is compared to those of the five other Prophets, it is found to be less volu­ metric, with garments revealing little anatomy beneath; so, too, his head is much smaller in proportion to the rest of his body.

The prominent noses and broad foreheads, carved by the Master of the Five Prophets, are likewise, in marked contrast to the thin face and delicate bridge of the nose carved by the Simeon

Master. The eyelids of the five other Prophets are rendered with thin upper lids and full lower ones, in contrast to Simeon, who has both thin upper and lower lids. The hair around the foreheads of these five Prophets is rendered by a series of concentric, curvilinear lines, whereas the treatment of Simeon's hair consists of a series of compact, spiraling ringlets. While the beards of these five Prophets vary somewhat In their render­ ing, all are complex in surface pattern and none have the nearly symmetrical patterns of Simeon's beard. A similar quality of

22 See chapter two, n6 . 56

restricted surface treatment is seen in the rendering of

Simeon’s garment folds, in contrast to the more fluid folds, of 23 the other prophets, which show the effect of gravity.

The Simeon Master

It is in the degree of ponderous weight and body movement

that the most striking difference appears between the style of

the Master of the Simeon figure and the Master of the Five

Prophets. As pointed out in chapter two, the axial symmetry of

the Simeon figure contrasts markedly to the energetic movements of Isaiah and Abraham and, to a lesser extent, of the other three

OA Prophets. When the figure style of the reliefs representing

the Reims Diesis, in the apex of the Last Judgment_portal of the north transept (fig. 46), is compared to that of Simeon, we see

a similar, static symmetry in the poses of the figures and virtually an identical hesitation in the portrayal of body con- 25 tact with the garments. The strength of the similarities in

these works' styles exists despite the additional stylistic

The motif of the hanging sleeve on the figure of Isaiah seems to be derived from the sleeve of St. Peter on the facade of St. Remi. See chapter two, nil. 24 See chapter two, nlO. 23 The pattern of the garments of the Reims Deisis figure, portrayed in wide, irregular pleats and spliced with occasional loops, do show a more complex handling in comparison to the Simeon or the models from Chartres-South, but the patterns do not consistently relate to the form of the body beneath. 57 1 ^ influences seen on the Reims Diesis figures, influences that derive from the central portal of Chartres-South (fig. 47) and, a suggested, contact with the style of the Second Master of the

Ingebourg Psalter (fig. 24).^ The Simeon/Diesis stylistic similarities, therefore, suggest that a single carver is responsi­ ble for both, works which appear in contradistinction to the in­ digenous Remois style seen in the five other Prophets. When later, sculpture at Reims is examined, these differences give credence to the possible existence of two separate workshops at 27 Reims during the 1211-1220 period.

Further, this persistence of the influence of the Simeon

Masters' style on the slightly later relief figures on the Last

Judgment portal suggests that he may have superseded the Master of the Five Prophets in primary responsibility for this work.

The Simeon Master may, in turn, have also been responsible for the completion of the now-lost reliefs for the tympanum and 28 archivolts of the Coronation portal. Since the stylxstxc

See chapter two, n24 and 25. 27 The sculptures of Moses and Abraham by the master of the Five Prophets display a linearism in the treatment of their gar­ ment folds which suggests that this master's style was influenced by that of the Simeon master. The thick-set body proportions and head types of the Moses and Abraham, however, differ from that of the Simeon figure and therefore do not absorb the full impact of the Simeon Master's chartrain style. 28 This observation is made on the assumption that if the Master of the Five Prophets had continued working at Reims he would have carved the sculpture of Simeon thereby completing the entire ensemble of six prophets. Given the amount of work 58 origins of the Simeon Master and his workshop are from the central portal of Chartres-North, his arrival at Reims would most likely be around 1215. The effective dates for the work of 29 the Five Prophets would then be £. 1211 to c. 1215.

While the probable terminus post quern date for the work of the Simeon Master can be readily determined by his transmittal of the sculptural style of Chartres-North, c. 1215, the subtle evo­ lution of his style as seen in the upper registers of the Judg­ ment portal at Reims makes a terminus ante quem for his work more difficult to establish. The observation by Voge, that the long, high cheekbones of Christ in the Reims Diesis (fig. 46) are derived from the Diesis Christ in the central portal of Chartres-

South (fig. 47), is still regarded as correct by more recent 30 writers. A similar rendering of long, noble features is seen

that the Simeon Master carved for the Judgment tympanum, it would have been entirely possible for him to have carved the missing reliefs for the Coronation portal, if they were ever carved at all. Since there is no uniformity in the naming of the various classical masters of Reims, the most representative work or group of works by a given master has been used to identify the indi­ vidual workshop. 29 While the date for the completion of the central portal of Chartres-North is after 1210, the south transept was not under­ way until 1214-15, thus a date of c. 1215 for the arrival of the Simeon Master at Reims seems probable. For the dates of the Chartres transepts, see chapter two, n2. 30 v6'ge, "Die Bahnbrecher," 196, and Idem., ’'Der Visitio- meister," 60-62. Frisch, 17, acknowledges Voge’s observations, but feels that the trumeau figure of Christ in the central portal of Chartres-South is closer to the head type of the Reims in the heads of St. John the Evangelist and the two Angels of the Reims Diesis but, as Frisch and Sauerlander have suggested, there is a mildness in the expression in these Reims faces, and their heads rest on broader shoulders, than those of their in- 31 fluential counterparts at Chartres. The proportional trait first appeared at thirteenth century Reims in the head and shoulder proportions of figures carved by the Master of the Five

Prophets; this suggests that not only did the Simeon Master bring much from Chartres-North but that he in turn gradually adopted this as well as certain other indigenous stylistic ele­ ments of the Master of the Five Prophets.

His adoption of the head-shoulders proportions of the Remois masters is complimented by his progressively increasing the softness with which he articulates his figures' anatomy. The body of the Reims Diesis Christ is more supple than its counter­ part at Chartres-South (figs. 46 and 47), and suggests, in addition to Remois influence, possible stylistic attention to

Diesis Christ. While it is clear that the trumeau Christ at Chartres-South has a contour in his hair treatment which is closer to that of the Reims Christ, the physiognomy of the Chartres tympanum Christ is much closer to Reims. Further, the hair of the Christ in the Chartres-South tympanum appears weathered, which makes a precise comparison difficult. 32 ^ Ibid., and Sauerlander, Gothic Sculpture, 484. 60 developments like those of the second master of the Ingebourg 32 Psalter. But, the bodies suggested beneath the garments of the supposedly later Diesis St. John the Evangelist and Angels move with greater freedom than that of the Simeon Master's own

Diesis Christ, and they do not suggest parallels to the style of the Second Master of the Ingebourg Psalter. Thus, the Angels and St. John the Evangelist appear to represent a slightly later progression in his style. Then, it was Branner who correctly held that some of the other figures of the Reims Last Judgment tympanum were close to the figure style of the Evangelist in the k 33 Diesis. These "resurrected" figures appear, then, to continue and expand the repertory of movements depicted by the Simeon master Diesis grouping. The soul rising from his coffin in the upper zone of the middle register, fifth figure from the right, positions his left leg and foot in a manner reminiscent to that of St. John the Evangelist (figs. 46 and 62). More compelling are the similarities in the hand gestures of other figures from this same zone, second and third on the left, with those of both the Diesis virgin and St. John. Elsewhere, the garments of the souls often paraphrase or expand upon the manner by which the

32 See chapter two, n3 and cf. figs 24 and 46. The treat­ ment of the Virgin's garment, and to a lesser extent that of the angel to her left, differ from that of St. John, but their poses are equally graceful. The difference in garment renderings, here somewhat forced, may suggest another hand in the workshop of the Simeon Master.

^Branner, "North Transepts," 240 n36. 61 drapery folds stretch across the protruding portions of the anatomy of the Virgin and St. John; this is seen in the lower zone of the middle register, figures one, seven, and nine from the left (fig. 63). Further, the Simeon master’s increasingly subtler renderings of human anatomy are seen in the depiction of arm and leg muscles pushing against a resistant surface, as graphically portrayed in the upper middle register, figures four, five, nine, eleven and fifteen from the left, and in the lower middle register, figures one, four, seven, nine, ten and eleven 34 from the left. In the proportions of the figures of the dead rising we also find a continuation of the larger head-size pro­ portion earlier adopted by the Simeon Master for the Diesis

Christ, his emulation of the head-shoulder proportions, used by the Master of the Five Prophets.

In spite of this rapid stylistic development seen in the works of the Simeon Master, and his clear departure from the restraints of Chartrain styles, his sculpture lacks the ex­ pressive power of the Master of the Five Prophets. While it is easy to recognize that the Simeon Master’s subsequent figure style was influenced by the Master of the Five Prophets, his figures lack the earlier master's works' physical presence;

34 This degree of observation of the movements of the nude body has been observed by Kenneth Clark as indicating the probable study of human anatomy in the public baths of Reims. See The Nude, Washington D.C., 1956, 407. 62 in comparison, the Simeon master's are stiff, if not lifeless, forms. Further, the developmental fluctuations in the Simeon

Master's style do not reveal a gradual progression toward a more

Remois classically-inspired portrayal of forms, however much his later work on the middle register of the Judgment tympanum shows him striving for greater Remois naturalism in articulation of poses and gestures. By comparison, the energetic movements and ponderous weight of the sculptures carved by the Master of the

Five Prophets is much more classical, and it was in this master's workshop that the model for the Remois classical tradition was established in thirteenth century Reims.

Ihe specific style used by the Simeon Master is not seen elsewhere at Reims following the completion of the middle regis­ ter of the Judgment tympanum. As stated earlier, work was suspended on the Judgment portal £. 1220, probably as a result of the termination of Jean d'Orbais' tenure as architect. Yet, his successor, Jean Le Loup, must have permitted resumption of sculptural activity on the portal soon after, since the later work on the Last Judgment tympanum reveals several closely related stylistic affinities with, but not of, the production 35 of the Simeon Master.

3 5 Cf. Branner, "North Transepts,'.' 231. 63

The Last Judgment Abraham Master

Although several heads having the long facial features and

high cheekbones portrayed by the Simeon Master do recur in the

figures on the lowest two registers of the Judgment tympanum,

their body proportions and garment renderings are not the same

as his. The heads of the Blessed, especially those on the second,

fourth, and sixth figures to the right of the angel (figs. 64

and 65), are the ones closest to those of the Simeon Master, yet

all of them have broader shoulders and more pliable garment

folds. While an influence from the central portal of Chartres-

South is seen on them, as well, especially in the rendering of

the heads of these figures, there are new stylistic.elements,

also to be found elsewhere in the same register, which suggest

that another sculptor, who I will call the Last Judgment Abra- 36 ham Master, had taken up work on the Last Judgment portal.

As pointed out earlier, the second Angel to the left of

Abraham (located on the left of the bottom register of the

36 Frisch, 18, has also seen the Blessed figures of the fourth register of the Reims Last Judgment tympanum as having a favorable comparison to the figure style of the young girls in the St. Nicholas scene on the tympanum of the right portal of the south transept at Chartres. It would appear that the Abraham Master was indeed aware of the right portal reliefs at Chartres- South, in addition to those of the central portal of the same transept, although the synthesis of these styles is modulated by the styles of the Magi portal at Laon. See below n39. 64

Reims Last Judgment tympanum) has a pose similar to that of the figure on the extreme left in the Job tympanum, Chartres-North 37 (figs. 64 and 42). Yet, physical presence is much greater in the Reims Angel, and its garment folds amplify the directional movement of its limbs with greater consistency than its counter­ part at Chartres. Ihe departures from Chartres’ influence are greater still in the other three Angels who accompany Abraham

(fig. 16). Their roundness of body, made more descriptive by clinging garments, and the delicate swing of drapery at its bottom edge, was discussed earlier as having parallels with 38 figures on the Magi portal at Laon (figs. 16, 48, and 49).

The Last Judgment Abraham Master, then, appears to have modified the classical qualities apparent in the sculpture be was in­ fluenced by at Laon through his knowledge of the sculpture at

Chartres and his more immediate contact with the style of the

Simeon Master of Reims. What distinguishes the style of the

Reims Angels from that of the Leon Angel, and certain other "name­ less figures there, is his greater emphasis on the splicing of garment folds, more angular portrayal of movements of limbs, and use of less rounded bodies.

The Last Judgment Abraham Master retained some of the stylistic qualities seen in the postures and arm gestures of the

3 7 Cf. chapter two, n26.

38 Ibid.T, . , Simeon Master’s later work, that in the middle registers of

the Last Judgment tympanum of Reims. Yet, his poses for the

Angels on either side of Abraham show his greater awareness of

subtle movement and appears to reveal, in addition to the con­

tact with Laon, an influence from the later style of Nicholas of

Verdun. At Tournai, the Shrine of the Virgin (fig. 15),

Simeon's garments, where he is portrayed in the Presentation in

the Temple scene, have a splicing of folds and an effect of

gravity on hanging cloth which is close to that of the Angels 39 on either side of the Reims Abraham (fig. 16). Since neither

the greater degree of delicacy in the rendering of anatomy and

the strength of the classical style of clinging garments from

the Laon region nor the pervasiveness of the muldenfaltenstil

of Nicholas are seen at thirteenth century Reims with such

emphasis prior to this time, it may be assumed that these quali­

ties were given their first combined emphasis by the Last Judg­ ment Abraham Master at the time of his taking up work at Reims,

c. 1 2 2 0 . 4 0

While the styles of the Master of the Five Prophets and

the Simeon Master, respectively, contain elements of expression

and naturalism in the rendering of details of anatomy which

39fcf. chapter one n32.

^Although influences from the metalwork of the Mosan region may have influenced the Porte Romane figures of the Vir­ gin and Child, especially in the rendering of their garments, no exact parallels can be found. See chapter one n44. 66 reveal a continuing Remois tradition of "classicism," the Last

Judgment Abraham Master was the first sculptor of thirteenth century Reims to depart entirely from the restrained body poses derived from Chartres sculpture. The first exposition of this particular classical style was established by the Master of the

Five Prophets, being largely confined to expressive body move­ ments and ponderous stature. The Last Judgment Abraham Master's style is more graceful and naturalistic, without losing the in­ herited indigenous Remois quality of strong physical bearing.

The further development of the Last Judgment Abraham Masters'

"classical" style includes a more detailed treatment of garment folds, a greater concern for showing the pull of garments around the body, and a more proportionate head size.

His "classicism" is best typified by the Angel Holding a

Censer and Incense Boat, to the right of the Archbishop on the upper zone of the lower registers of the Last Judgment tympanum

(fig. 64). Here, the figure's body stands in three-quarter view with a subtle contrapposto. The garment folds exert some pressure on the right side of the body which restates the weight shift suggested by the tilting of the shoulders and the extended right knee. Both arms are so placed that they give the illusion of holding objects having a certain weight, at the same time that they continue the directional movement of the body.

The Angel's head is rendered in the smaller proportions 67 preferred earlier by the Last Judgment Abraham Master and tilts and leans slightly to the right, subtly continuing the movements established elsewhere in the figure. The face possesses the same high cheekbones seen elsewhere on the tympanum, but the

Master gives more care to the rendering of the contours of the jaw and the delicately modeled planes of the chin, mouth and nose.

While similar physiognomies can be seen in the faces of the

Blessed in the background, this Angel’s face, seen in isolation, has the quality of living flesh.

In the archivolts of the same portal, the Last Judgment

Abraham Master continues to expand his interests in the rendering of naturalistic body movements, drapery folds which subtly reveal the body beneath, and a controlled, yet strong sense of volu­ metric form. The body of an Ecclesiastic, bottom figure, middle register of the right archivolts (fig. 54), has broader shoulders and more flexible arm gestures than the Abbot to the left of the

Archbishop in the upper zone of the lower register of the tympanum (fig. 64). The Ecclesiastic's garment folds are fewer but more pliable than those of the Abbot. In both figures the sleeves tug at the right arm, but that of the Ecclesiastic gathers and falls more convincingly from the weight of the gar­ ment. Although the facial features are similar on both heads, those of the Ecclesiastic are softer, suggesting his relative 68

... 41 youth.

Another Ecclesiastic, located directly above the preceding

one, sits in a similar position, his knees appear to press more

strongly against the heavier garment of his pallium, creating a

stronger volumetric effect, one heightened as well by the use of

pouched pleats (fig. 54). This latter trait recalls the Abbot’s

garment rendering (fig. 64) and reinforces our perception of the

close stylistic relationship between the bottom register of the

tympanum and the archivolts. The crinkled drapery of the Angel

Blowing a Horn, to the right of the second Ecclesiastic, like­ wise can be closely related to that of the two figures of the

Blessed to the left of the Abbot (figs. 54 and 64). The works,

then, appear to be done by the Last Judgment Abraham Master, a

slightly later representation of his style.

Assistant to the Abraham Master

Differences in the treatment of garment folds do occur in

the Last Judgment archivolt figures, and appear to suggest the

work of an assistant to the Last Judgment Abraham Master. The

mantle of the Angel Blowing a Horn, directly below the above

mentioned one (fig. 64), has tubular pleats with fewer crinkles

■*-As Sauer lander, Gothic Sculpture, 482, has suggested, the placing of the Wise and Foolish Virgins in the archivolts, as well as the absence of the Coronation of Souls from the tympanum, are reminiscent of the iconography of the Last Judgment at Laon. 69 and relates stylistically to the figures of the Damned being led to the cauldron of Hell, to the right in the lowest register of the tympanum (fig. 65). Tubular-pleated garments with long, nearly vertical folds, appear elsewhere in the Last Judgment portal, note the figures on the socle reliefs of the trumeau

(fig. 6 6 ). In these reliefs, we see a return to a Chartres proto­ type, especially for the figures of the women around the mer­ chant's counter; their garments appear to be adaptations of the type worn by a female figure from Chartres-North (figs. 6 6 , top, 42 and 67). But, the Assistant to the Abraham Master intensifies the sense of his figures' volumetric form and in the process de­ creases the effect Chartres linearism might have had on his borrowing. Since the female figure on the north porch-of

Chartres, influential on his works, can be dated to the late

1220's, the sculptor of the Reims Last Judgment portal trumeau re­ liefs must have carved his works toward 1230. This determination also enables us to date the Last Judgment portal trumeau figure

43 of Christ (fig. 6 8 ) toward 1230.

42 Ibid., 484. A similar portrayal of tubular, pleated gar­ ments, is seen in the figure of the "Man with the Odysseus Head." See nlOO of this chapter.

43 ft »i Branner, North Transepts, 237, noted a later date for the trumeau reliefs, based on the observation that their iconography, which according to local traditions relates to the tale of a sinful draper and his reconciliation with the Virgin, might refer to the events at Reims between 1233-36. As discussed in chapter one, during that period the townsmen, who participated in an active textile industry, were involved in an insurgency against the clergy and archbishop. While the parallels in the The style of the trumeau Christ is a blend of the strong sense of volumetric form, contrapposto movement, and crinkled garment-folds seen in the work of the Last Judgment Abraham

Master, with the added use of heavy, tubular garment-folds com­ mon to the style of the Assistant to the Abraham Master. The low positioning of Christ's bent right knee is similar to the low position in relation to the total length of the leg found in the

Angel Holding the Censer and Incense Boat, in the upper zone of the lower register of the Last Judgment tympanum, a figure carved by the Last Judgment Abraham Master himself (fig. 64). In ad­ dition, the angle of the drapery as it is pulled by the knee and the crinkled folds within the pleats are virtually identical in both Christ's and the Angel's garments. Yet, it is,.in the lower garment folds of the trumeau Christ, which are tubular, where the style of the Assistant to the Abraham Master, as seen in the garments of the Damned (fig. 65), is most especially to be noted.

The head of the trumeau Christ is rendered in the smaller proportions preferred by the Last Judgment Abraham Master, and has facial features which resemble those of the Blessed from the upper zone of the lower register. So, too, Christ has the same high cheekbones and heavy eyelids, which cast down on the outside,

traditional story and the historic events are compelling, I would agree with Sauerlander, Gothic Sculpture, 482, who doubts the propriety of the depiction of this event, and suggests that it likely refers to an undetermined legend of the Virgin. In any case, the style of the reliefs suggests a date of the early 1230's. 71 further suggesting that the same hand carved all of the heads of the Blessed as well. The concentric curves of hair around

Christ's head are analogous to the hair style of the second

through fourth heads from the left of the Blessed, as well as

that seen on the Last Judgment portal's Abraham, the lower zone of the register (figs. 6 8 , 64 and 65). This suggests that the trumeau Christ is largely the work of the Last Judgment Abraham

Master, with some areas of the lower portion of his garment dis­ playing the style of his Assistant.

When the six Apostle jamb sculptures of the Last Judgment portal are compared to those of the tympanum, archivolts and trumeau, their sharing of similar stylistic qualities suggests r: 44 that all the figures are the product of an on-going workshop.

The Remois tradition of rendering figures with broad shoulders, columnar necks and thick-set bodily proportions is seen in all of the jamb sculptures and ties them to the styles of the work­ shops of the Master of the Five Prophets and the Last Judgment

Abraham Master. Further, all six jamb sculptures have eyes de­ picted in a similar manner: all have a thick upper lid casting down to the outside and a puffy lower lid. Yet, in further com­ parison, these sculptures often differ in the rendering of the

Voge, "Die Bafrnprecher,," 209, further noted that the dominant sense of physical strength, portrayed in the bodily proportions of the figures in the Judgment portal, is unique to Reims in the thirteenth century. See also Frisch, 11. 72 arrangement and texture of their garments, giving one the im­ pression that a fusion of the two workshop traditions took place at the time they were carved.

The Andrew Master

When the garment renderings of the six Apostles are com­ pared, at least three different masters seem to have been re­ sponsible for their carving. St. Andrew, the middle figure of the left jamb of the Last Judgment portal, is unique among these works in its restrained pose and tightly-stretched garments

(fig. 13). The carver of this work portrays a garment which clings closely to the body, in a manner which was shown in chap­ ter one as likely having been influenced by the Three Magi Shrine of Nicholas of Verdun and the Second Master of the Ingebourg 45 Psalter. So, like the Reims Last Judgment Abraham Master, who was seen as having received influences from this late work of

Nicholas, the carver of St. Andrew employs the xnuldenfaltenstil of Nicholas in the rendering of garment folds, especially In the 46 drapery over the lower body of the figure. Yet, the style of the Last Judgment Abraham Master also contained a softened quality in the splicing of the garment folds and more graceful rendering of arm gestures. Both of these stylistic qualities of the Last Judgment Abraham Master derived from his knowledge

45 See chapter one, n34 and 35. 46 See chapter one, n32. 73 of Laon region sculpture and are absent in the style of the

Andrew Master figure.4^

The style of the Andrew Master underwent changes when he carved his St. Bartholomew, seen to the left of Andrew on the same embrasure (fig. 13). While the faces of Bartholomew and

Andrew are similar in their broad foreheads and large noses and in the treatment of facial hair, the pose of St. Bartholomew is more relaxed; there is greater ponderousness, and his head rests more comfortably with his upper chest than does Andrew's. St.

Bartholomew also has greater freedom in his arm gestures and the garments around his arms do not restrain movement or cling as closely as those of St. Andrew's. Yet, both figures pull their garments around their bodies with their left hands, creating similar diagonal movements and splicing of folds. The garment folds of St. Bartholomew are more crinkled and define the right contour of the body with greater clarity than do St. Andrew's.

This modification in the rendering of garment-fold type suggests that the Andrew Master had subsequently assimilated some aspects of the style of the Last Judgment Abraham Master, as seen in the

47 The style of the Abraham Master consistently combined an interest in detailed renderings of garment folds with animated gestures that were independent or restrictions from the arrange­ ment of garments on the figure. This unencumbered and graceful movement of limbs and the softened quality of garment folds has its stylistic source at Laon. In contrast, the garments of the Andrew Master hinder movement and often prevent the free gestures of limbs, qualities which make his style closer to that of the Simeon Master. 74 garments of the Angels to either side of Abraham in the Last

Judgment tympanum (fig. 16).^® Given a probable date of _c. ' 1225 for the works carved by the Last Judgment Abraham Master, the

Andrew Master must have completed his sculptures for the left jamb of the Last Judgment portal by the later 1220’s.

On the basis of stylistic affinities with the works of the

Andrew Master, a similar dating of the later 1220’s can be established for the figures of St. James the Greater and St. John the Evangelist, the middle and right sculptures on the right jamb of the Last Judgment portal (fig. 58). While both of these works have many of the stylistic traits of the Andrew Master, especially in the patterned and linear arrangement of their garment folds, the bodies of the two are more thick-set and have proportionately broader shoulders and larger heads than those of Sts. Andrew and 49 Bartholomew (figs. 13 and 58). Therefore, there must be an­ other master working on them.

48 The figure of St. Bartholomew has a subtle use of con- trapposto which is more evident than in any of the other five jamb sculptures of this portal. As a result, the serenity of this figure is close to that seen in the tympanum reliefs of the Abra­ ham Master. Frisch, 14, stated that the stylistic differences of the St. Andrew and St. Bartholomew figures are so great that the works cannot be considered by the same hand. Yet the body pro­ portions and drapery arrangement are virtually identical in these figures. Moreover, Frisch does not take into account the frequent borrowings from other master's styles, that is seen throughout the Judgment portal, which could have moderated the earlier, severe style of the Andrew Master. 49 Frisch, 13, has observed that the bodies of St. James and St. Bartholomew appear slim through the diaphragm, in comparison with the other jamb figures of the Judgment portal. While this 75

The Master of St. James

The sculptor of the figures of St. James the Greater and

St. John the Evangelist, henceforth called the Master of St.

James, assimilate.d some of the stylistic qualities for garment

renderings from the earlier works of the Last Judgment Abraham

Master, in a way which closely followed that of the Andrew Master.

In the sculpture of both the Andrew Master and the Master of St.

James, the immediate origin of their garment styles was the

draperies of the Blessed and the Angels to either side of Abra­

ham (figs. 13, 58 and 16). Unlike the Andrew Master, the Master

of St. James rendered his garment folds less subtly in relation

to the anatomy of the bodies beneath; the folds on the loiver portion of his figures establish linear patterns which reinforce weight shift more than the descriptive contours of anatomy.5^

The Master of St. James' hanging sleeves convey the ap­ pearance of having weight, and fall in a way reminiscent of the

earliest thirteenth century sculptures carved for the cathedral by the Master of the Five Prophets (figs. 58 and 31). Upon

may be so, the width of the lower figure of St. James is con­ siderably greater than that of St. Bartholomew and approaches that of its companion work, the figure of St. John.

^Similar qualities are seen in the garments of the angels on the left and right jambs of the Calixtus portal, which suggests that the masters of the Calixtus portal ivere also working on their respective figures in the later 1220's. closer examination, it is the work of the Master of the Five

Prophets which seems to have most directly influenced the Master

of St. James. The arm gestures and contrapposto of the figure

of Reims-West's Moses are virtually identical to that of his St.

John the Evangelist; similar too, are the head proportions in

the sculptures of Reims-West's St. John the Baptist, Isaiah, and

Moses, to those of his Sts. James the Greater and John the

Evangelist. Stylistic affinities are also seen between the

treatment of facial hair, large noses, broad foreheads and high

cheekbones in the heads of Reims-West's Isaiah and Reims-North's

St. Jaimes the Greater. Perhaps the most dominant trait which the

Master of St. James assimilated from the Master of the Five

Prophets is a sense of expressive body movement, which is ampli­ fied by the use of thick-set proportions. An additional ex­ pressive device, first used for Reims-West's Isaiah by the Master

of the Five Prophets, is the pull of drapery at a rapidly left-

rising diagonal movement which subsequently falls in heavy folds

over the figure's right arm. This same convention is repeated

in the garment of St. James and made more expressive through the 51 use of a heavier garment with deeper folds.

When the two jamb figures carved by the Master of St. James

The pull of drapery at a rapidly rising diagonal move­ ment from the left, which subsequently falls over the right arm, is also seen in the St. John by the Master of St. James, and later in the angel on the left j’amb of the Calixtus portal carved by the Master of St. Eutropia. 77

are compared with each other, their garment renderings and

contrapposto are found to have an intimate relationship. Yet

an experimental aspect in his work seems evident due to the sub­

stantial differences in the two figure's body types. Both of

the figures seem to reflect more influences from the style of the

Master of the Five Prophets than to represent a stylistic pro­

gression xvithin their own grouping. It is this that connotes an

experimental quality in the works of the Master of St. James,

indicating that he observes, explores, and selects from the

earlier Remois tradition of employing expressive movement and

volumetric presence for human figures. The same stylistic ex­ perimentation is evident in the works of the Andrew Master, with­

out the same result, perhaps underscoring how muchr.the. Andrew

Master also relied upon the figure style of the Last Judgment 52 Abraham Master, and how much the two of them are drawn indi­

vidually to different aspects of the two Remois workshops' pro­ duction which preceded them.

52 The style of the Andrew Master also seems to have been in­ fluenced by that of the Second Master of the Ingebourg Psalter and the muldenfaltenstil of Nicholas. These stylistic influences are not seem in the works of the Master of St. James, whose pri­ mary dependence on the styles of the previous Remois masters foreshadowed a similar tendency in the Visitation Master. The sculptor of the Visitation group, however, will have a broader stylistic milieu in which to assimilate his approach to classi­ cism. 78

The Master of Sts. Peter and Paul

There is one other sculptor who worked on the Last Judg- 53 ment portal; he is called the Master of Sts. Peter and Paul.

His work, represented by the two innermost figures, located re­

spectively on the left and right embrasures of the portal (figs.

13 and 58), arrived at a broader synthesis of the stylistic quali­

ties seen in the previous work done by the workshop masters of

the Last Judgment portal. The subtle variations of crinkled pleats formed in bold patterns on the garments of both Sts.

Peter and Paul are immediate descendants of those seen on the garments of Sts. John and James, carved by the Master of St.

James (fig. 58). In comparison, the garment pleats carved by the

Master of St. James are more linear and conform to larger sweeps

of folds, while the style of the Master of Sts. Peter and Paul

employs similar pleats, they extend more substantially from the

surface of the bodies with resultant strong contrasts of light

and dark patterns around the surface of the sculptures. In spite of this stronger volumetric treatment of garment folds, they maintain bodily contact wherever they cover the figure. In com­ parison to the works by the Master of St. James, his proportions for the bodies beneath the garments of Sts. Peter and Paul are

53 With the exception of the Simeon Master who completed his sculpture c. 1220, the other five masters of the Judgment portal appear to have concurrently worked from the middle and later 1220’s to c. 1230. The Master of Sts. Peter and Paul, then, was the last sculptor ivho began his work on the portal in the late 1220's. 79 more closely naturalistic, and they move with more subtle and 54 convincing contrapposto.

The stylistic elements of garment folds and natural body movements combine to form, in the sculptures of Sts. Peter and

Paul, a bodily presence which is more emphatic and, at the.same time, more consistent than that of any of the other sculptures on the Last Judgment portal. A greater sense of naturalism is also found in the proportions of the heads of Sts. Peter and

Paul, and in the rendering of their facial features. The physiognomy of St. Peter, as discussed in chapter two, had an affinity to the head of the Prophet Amos from the Three Magi

Shrine of Nicholas (figs. 13 and 19). In comparison, both heads have similar treatments of eyelids and brows^general facial planes and hair. Yet the style of the Master of Sts.

Peter and Paul has a softened quality in the way that the indi­ vidual details of the head meld to form a complete whole. This subtle assimilation of stylistic influences from the Mosan region by the Master of Sts. Peter and Paul is a characteristic reminiscent of the style of Reims' Last Judgment Abraham Master and suggests that the Master of Sts. Peter and Paul was more directly influenced by his style than was that of the Master of

^See Voge, "Die Bahnbrecher," 207, who observed that the layered patterns of garments in the sculptures of Sts. Peter and Paul animate the figures with their interplay of light and shadow. 80 55 St. James.

Therefore, upon comparison, a close similarity emerges be­ tween the styles of the Last Judgment Abraham Master and the

Master of Sts. Peter and Paul in their respective treatments of crinkled garment pleats which form layered patterns of folds.

The garments on the middle portion of the body of the Blessed figure, third from the left on the upper zone of the lower regis­ ter of the Last Judgment tympanum, and that of St. Peter (fig. 64 and 13) both have subtle variations of pleats which give the illusion of deep, convoluted layers of cloth. The pleats and folds in the garments of Sts. Peter and Paul define the bodies more exactly, however, and in their more exaggerated crinkled pleats they lose some of the classicism of the Last Judgment

Abraham Master's style. In the St. Paul, a further departure from the classicism of this earlier Master is seen, especially in the degree of the garment's pliability, which is tucked between the left side of the figure's chest and its upper left arm as if to prevent it from falling. This flourish of illusionism sug­ gests that the Master of Sts. Peter and Paul was as interested in the possibilities of expressive naturalism as he was in the classicism of the Last Judgment Abraham,Master's style. His involvement with the pleating of garments and their subsequent

“^Frisch, 22, observed that the head of St. Peter is seeming­ ly derived from Roman works while that of St. Paul is not. No work now exists at Reims which can be favorably compared to that of St. Peter. 81

variations of patterns upon being layered is further demon­

strated in the garments on the upper torsos of Sts. Peter and

Paul and in the garment falling over the left arm of St. Paul.

The latter motif was also a concern of the Master of St. James,

in the rendering of drapery over the left arm of St. John, but

here the texture of the garment is less complex in its layered

folds and does not fall upon the body as it does on the St. Paul.

The similarity in motif use with different formal solutions once

again underscores the experimental nature of these later classi- . , 56 cal masters styles.

While the Master of Sts. Peter and Paul arrived at a form

of "classicism" which was more naturalistic than that of the

Last Judgment Abraham Master, he remained within the pervasive

Remois tradition of thick-set bodily proportions combined with

expressive movements and garment renderings. Similar traits are

seen in the sculpture of Angel IX, on the exterior of the choir, which has been convincingly attributed to the Master of Sts. 57 Peter and Paul by Frisch (fig. 70). Like the lower garment of

St. Paul, which falls in irregularly cut and overlapped layers,

the scarf of Angel IX is arranged to create a strong sense of

The energetic renderings of garment contours around the bodies of the seated Evangelists of the Ebbo Gospel may also have influenced the Master of Sts. Peter and Paul. The manuscript was located at the cathedral of Reims in the thirteenth century. See chapter one ,n27.

5^See Frisch, 14. 82 volumetric form and a sharp contrast of light and dark patterns.

The arm movements are virtually the same as those of St. Peter and the garment falls across the right arm in similar, thick folds. The over-all stylistic character of Angel IX is a distillation of the essential naturalistic elements of the style of the Master of Sts. Peter and Paul, a figure is adjusted so that it could have been seen to advantage from its intended van­ tage point. It seems likely that this distillation also reveals the master's own dependent, yet independent, perception of the 58 principal ingredients of his style.

The on-going workshop of the Last Judgment portal closed with the completion of the sculpture by the Master of Sts. Peter and Paul. The stylistic qualities of this master’s style have been seen as originating in the workshop of the Last Judgment

Abraham Master and of the Master of St, James. On the basis of

CQ Frisch, 16, suggested that the common type for five of the angels of the exterior of the choir derives from the judgment portal. While the masters who carved the angels may also have been responsible for the works from which they were directly in­ spired, only angel IX can be directly attributed to the work of a single master. Generally, angels III-VI show a blend of several Judgment portal styles, although they lack the subtle carving and detail of the works from which they are derived. Angel III, holding a reliquary, is inspired by the Angel on the lowermost register of the tympanum; Angel IV, bearing the Cross, has much in common with the Angel of the third row, left side, outer archivolt; Angel V, carrying the aspersorium, is similar to the two angels to the right of Abraham on the lowest register of the tympanum; Angel VI can be compared in drapery type with various figures of angels on the outer archivolt of the Judgment portal. See Vitry, II, pis. XXVI, XL, LXI, LXIII-IV, for these compari­ sons. 83 these stylistic affinities, the Master of Sts. Peter and Paul probably began carving his sculptures in the late 1220's and 59 completed his last work, Angel IX, by c. 1230. While the style of the Reims-West's Visitation group, on the right jamb of the central portal, is related to that of the Master of Sts. Peter and Paul, substantial stylistic differences emerge when these works are compared. The style of the Visitation Master, however much it may be indebted to that of the Master of Sts. Peter and

Paul, also contains influences from the Calixtus portal workshops.

Because of this influence, a discussion of the style of the 60 Visitation group will follow that of the Calixtus portal.

Unlike the sculptures of the Last Judgment portal, which were carved by six masters with as many different stylist emphases, those of the Calixtus portal appear to have been the work of only two masters. Unlike the Calixtus portal, the traditional iconographic importance and complexity of the Last

Judgment theme may offer a reason for the fact that such a large number of sculptors could and did work on the portal. In addition, the respective styles of this portal have a vigor and quality of carving which is consistently superior to that of the

Calixtus portal. It is the quality of its carving that forms

59 For the dating of Angel IX, see below n61.

^°Voge, "Die Bahnbrecher," 215 and "Der Visitatiomeister," 60, was the first to acknowledge difficulties in the attribu­ tion of the Visitation group to the Master of Sts. Peter and Paul. See also Frisch, 22. 84 its stylistic cohesion, suggesting that it might have been meant initially to serve also as a model of a Remois mode to be emulated by later workshops at the cathedral. However, the suspension of building activities in 1233 and the departure of

Jean Le Loup in 1236 appears to have nullified this as a direct possibility, but not nullify its residual effect. This will be­ come evident as the work of the various masters of the Calixtus portal, who completed their work by c. 1230, is examined; they derived much stylistic inspiration from the Last Judgment . . 61 portal.

The dating of the sculptures of the Calixtus portal may be determined, in part, by taking into account the probable reason for the differences in scale between the jamb figures and that of the trumeau. As Branner observed, the St. Calixtus statue on the trumeau extends upward, in front of a blank area of the lintel; and, that it may be deduced from this that the tympanum, 62 archivolts and trumeau were designed as a single unit. The

The terminus ante quern of c. 1230 for the completion of the Calixtus portal may be determined from the interruption of building activities on the clerestory of the transepts in 1233. Prior to that date the angels on the exterior of the choir, carved by the two masters of the Calixtus portal, must also have been inserted into the fabric of the structure, since the tri- forium level of this portion of the cathedral was completed during the tenure of Jean LeLoup. See above n7. 62 Branner, 'North Transepts, 234. The iconography for the program is fully delineated in Hinkle, Portal, 9-63. The program of the portal gives emphasis to the saints who were important to the church at Reims, 85

larger scale of the trumeau figure in comparison to the jamb

figures further suggests that the latter were carved prior to

the decision to move the portal from its originally planned lo­

cation on the west facade, to its final position between the

Last Judgment portal and the Porte Romane on the north transept.

The date of c. 1228 for the change of the west facade design and

the start of work on the Calixtus portal in its new location,

establishes a terminus post quern of the mid 1220’s for the

carving of the jamb sculptures. Given the close stylistic re­

lationships between the jamb sculpture and the later sculpture of

the portal, it follows that there was no significant lapse in

carving activity, or change of masters, when the work ..continued, 63 c. 1228.

especially Pope Calixtus I, whose body was preserved in the cathedral, Nicasius, who was a local martyr Bishop, and Remigius, who annointed Clovis as a Christian King of the Franks. The implications, according to Hinkle, lead to a reinforcement of the unique position of Reims with regard to Royal Coronations. The trumeau depicts Pope Calixtus. On the left jamb St. Ni­ casius is flanked by an angel to his left and his sister, St. Eutropia, to his right. On the right jamb, St. Remigius is accompanied by Samuel to his left and an angel to his right. The bottom register of the tympanum relates to the jamb program: on the left the martyrdom of St. Nicasius, on the right, the Baptism of Clovis. The second and fourth registers depict miraculus events associated with St. Remigius. The third register portrays the story of Job and the apex depicts an Enthroned Christ with angels. In the inner archivolt are the figures of Bishops; the figures in the middle are High Priests, and the outer archivolts depict Popes. 63 Branner, "North Transepts," 234-35. From the time of Voge, writers have observed that the jamb

sculptures.of the Calixtus portal seem more emphatic in their

physical bearing, despite their 5:1 proportions, proportions

identical to those of the jamb sculpture of the Last Judgment 64 portal. Thxs apparent strength results from a greater emphasis

on thick-set volumetric forms for the shoulders, chest and upper

arms of the figures, a characteristic which, in turn, makes

them appear to be more restricted in movement than their Last

Judgment portal counterparts. Yet, the jamb sculpture on the

left side of the Calixtus portal consistently displays less re­

stricted movement than the sculpture of the right jamb; this suggests the possibility that different masters were responsible for each grouping. The style of the left jamb figures also shows greater influence from sources outside Reims, a fact that indi­

cates that this master may have begun working on the portal shortly before that of the right jamb; this sculptor appears to derive several of his stylistic techniques from the figures on the left.

The Master of St. Eutropia

As noted in chapter two, the style of the left jamb sculp­ ture of the Calixtus portal has a direct antecedent in the 65 sculpture on the left portal of Chartres-North. But, this

^Voge, "Die Bahnbrecher ," 209. 65 See chapter two nl3. 87

Reims sculptor, who we will now call the Master of St. Eutropia,

has a style whose only outside influence appears to be that of 66 Chartres-North. When Reims' St. Eutropia is compared with

Chartres-North's St. Elizabeth, the middle figure on the right

jamb of the Magi (left) portal there, only the over-all effect

of the drapery sweep and general pose of St. Eutropia indicate

that the Reims carver had an intimate knowledge of the Chartres

work (figs. 17 and 37). St. Eutropia's body is more rounded than

St. Elizabeth's, and her weight shift is suggested with a more ponderous movement. Further, St. Eutropia's body is thick-set

in comparison, and her arm gestures imply greater strength that

those of St. Elizabeth.

The thirteenth century Rimois tradition of thick-set bodily proportions and vigorous arm gestures, first seen in the work of

the Master of the Five Prophets, and continued by the carvers of

the Last Judgment portal, is assimilated by the Master of St.

Eutropia. In all three embrasure figures, this master also maintains the established Remois tradition of rendering facial features with broad foreheads; thick, linear brows; large 67 noses; and, with the exception of St. Nicasius, thin upper eyelids and puffy lower ones. The rounded, dimpled chin seen

66 See chapter two n34.

The decapitated head of St. Nicasius has thick upper eye­ lids which are descriptive of the glazed eyes in death. 88 on the face of St. Eutropia and the Angel to St. Nicasius'

left, is seen earlier on the face of the Last Judgment portal's

St. John, a figure carved by the Master of St. James (figs. 58 68 and 17).

In the treatment of garment folds and arm gestures, the

Master of St. Eutropia is also close to the style of the Master of St. James, which suggests that both were working simultaneously in the later 1220's. Like St. John the Evangelist's rapidly de­ scending sweep of drapery, that of St. Eutropia contains shorter folds between the larger ones, giving the illusion of a thick, 69 yet pliable, garment. Similar, too, is the way in which the garment flattens into delicate vertical folds across the upper chests of both figures. The contours of the stretched, pressing garment areas has an identical choppy effect on St. Eutropia,

St. John the Evangelist and St. James the Greater. While the drapery hanging from St. Eutropia's right arm differs in treat­ ment from that found in the work of the Master of St. James, it can be seen with few modifications in the drapery over the left

On the similarities of certain facial traits, common to the jamb sculptures of both the Last Judgment and Calixtus portals, see Frisch, 16.

^ I n chapter one the diagonal sweep of drapery over the figure of St. Eutropia was compared to that of Simeon from the Shrine of the Virgin at Tournai. It is probable that the Master of St. Eutropia assimilated this motif, not from Nicholas of Verdun, but from the Master of St. James who in turn was in­ fluenced in the style of his garment folds by the Abraham Master of the Last Judgment portal. 89

arm of St. Bartholomew, located on the left jamb of the Last

Judgment portal and carved by the Andrew Master (figs. 13 and 17).

The folds of St. Eutropia’s garment are thinner and not as deeply

carved as those of St. Bartholomew's, but both hang in a similar

pattern and conform to a slightly diagonal disposition, as if

held in place by the garment beneath.

The sculpture of St. Nicasius, the middle figure on the left

jamb of the Calixtus portal, has similar body proportions to

that of St. Eutropia. In both works, the broad shoulders and

firm arm gestures enhance a stalwart character established by

their thick-set proportions. St. Nicasius' upper garments, partially covered by a pectoral and rational, are flatly pleated with the same delicate, vertical folds which were used by this master in the upper garment of St. Eutropia. The Angels poised

above the shoulders of St. Nicasius also exhibit a subtle

delicacy in the rendering of their garments. Concerning the

lower portion of St. Nicasius, the heavy pallium falls naturally

in a series of concentric folds, which nevertheless are spliced

in a manner reminiscent of those in St. Eutropia's outer garment.

The over-all stylistic qualities of the St. Nicasius piece

seem more accomplished and controlled than those of St.

Eutropia, due in part to a finer carving of details.

The style of the left jamb Angel seems to be more experi­ mental than its other jamb figure companions. While its large­ headed proportions and columnar neck, the subtly carved folds and closely held pleats of the garment about the chest, and the similar arm gestures are similar to the Angel's companions' , the diagonal sweep of drapery, pulled around the Angel's right side, is less linear and more convoluted in its pleating than the drapery of the over-mantel on St. Eutropia. Further, the

Angel's drapery falls over its left arm in longer pleats than those found falling over the left arm of St. Bartholomew, Last

Judgment portal, but a similar, tubular effect is achieved, which is closer to the Andrew Master's style than what is found on St.

Eutropia (figs. 13 and 17). The over-all effect of the Angel's garment folds is more complex in variety of texture and thus closer to the styles of the Last Judgment portal; this treat­ ment is especially noticed in comparison to St. Eufr.cpia's gar­ ment folds, which retain much of the linearism of the pervasive influence from Chartres-North. In addition, the Angel's pose suggests a subtle contrapposto which is not seen in the figures of St. Nicasius or St. Eutropia. The effect of the Angel's prominent right knee is not seen on any other Calixtus portal jamb figure and is reminiscent of the same recurrent treatment 70 on five of the jamb figures of the Last Judgment portal. Yet, the knee, given the Angel by the Master of St. Eutropia, bends

70 All of the jamb sculptures of the Judgment portal, ex­ cept St. Peter, have k prominent bend of the right knee. While the left knees are bent in the figures of St. Eutropia on the left jamb and the Angel on the right jamb of the Calixtus portal, the effect is not accompanied with contrapposto or an implied walking movement.- 91 in a manner that suggests a walking motion, and effect unique to it among all the other jamb figures on Reims-North. This sug­ gested movement lends a further element of naturalism to the

Angel, at the same time vivifying it to form a sensation of the body's classical grace.

For all of his subtle achievement in rendering his j'amb figure's poses, the Master of St. Eutropia employed essentially similar solutions for rendering the lower portions of his figures. St. Eutropia wears a heavy cloak over her long tunic, which creates a strong sense of volumetric form in contrast to countervailing, thick garment folds. St. Nicasius, while less massive in bodily presence, has a lower garment which falls in wide, vertical pleats that likewise enhance his sense of width and stability. The Angel, like St. Eutropia, has a long tunic over which a pallium creates a complex series of countervailing 71 garment folds that intensify the sense of weight and support.

Their long tunics under the Angel's pallium and under the cloak of St. Eutropia, spread in a bell-shape over their re­ spective bases and barely reveal their feet. The bending of the cloth into a series of short pleats, serves as a formal

71 While the Abraham Master used a long tunic on the figure of the Blessed, third figure from the left on the second regis­ ter of the Last Judgment tympanum, the garment folds are not like those of Chartrgs-North or the Calixtus portal, and do not serve the same purpose as a base.or termination of the garment. transition from the horizontal position of the bases to the rapidly ascending arcs of the garment folds, thereby creating a greater sense of visual unity. This effect, which is also seen in the Visitation group of Chartres-North (fig. 37), was not utilized for the jamb figures of the Reims Last Judgment portal, although the Reims Visitation Master adopted it for his two sculptures, now located on the right jamb of the central portal,

Reims-West (fig. 2). In addition, the Angel on the right jamb of the Calixtus portal has a knee action such as that seen in the

Visitation group, but one rendered perhaps with less conviction

(fig. 19).

The Master of St. Remigius

When the Calixtus left jamb Angel and the right jamb one are contrasted, the inherent differences in their styles are most dramatically seen (figs. 17 and 21). The left jamb Angel, carved by the Master of St. Eutropia, displays garment folds in a variety of textures, revealing a certain knowledge of the Andrew

Master's style on the Last Judgment portal. Then, his subtle use of contrapposto, seen in the pose of the Andrew Master's

St. Bartholomew, is amplified by him for his Angel to suggest a walking motion, a movement which was further enhanced by the complimentary usage of garment folds. In contrast, the master of the Angel on the right jamb, henceforth called the Master of

St. Remigius, is less successful in rendering the contrapposto of his figure. The movement of the Angel's right leg is not 93

compensated for by a corresponding movement in its shoulders or

upper body. There is also an absence of complimentary movement

in its garment folds. Despite the long, diagonal pleats which

span virtually the entire length of the figure, there is little

suggestion of a body beneath. Further, the Master of St.

Remigius1 proportions for the Angel's body are awkward in contrast

to those of the Master of St. Eutropia's Angel, which show care­ fully modulated relationships, torso to legs and head size to 72 shoulder width. The Master of St. Remigius' lack of consis­

tency in rendering proportions suggests that he had tried to

emulate the more advanced classical style of his fellow portal 73 carver, but without full comprehension, or requisite skill.

The character of the Master of St. Remigius' style is seen more fully in his statue of St. Remigius, the middle figure of the right jamb. Unlike the head of his Angel, which is round

72 In chapter one, further possible influences from the Ingebourg Psalter were cited for the drapery of the angel on the right jamb of the Calixtus portal. While the occasional, random loops and smaller pleats do have an affinity to the style of the Second Master of the Psalter, a more immediate influence on the style of the Master of St. Remigius would be that of the Andrew Master from the Judgment portal. See also Reinhardt, cath^drale, 147, who stated that the earlier \vorks of the Calixtus portal relate to the Ingebourg Psalter. 73 In the workshop of the Master of St. Remigius there is less stylistic progression than a manipulation of the respective stylistic influences which contribute to his style. The jamb sculptures seem to follow in time beginning with the Angel and Samuel, folloived by two angels, now located on the rear sides of the trumeaus of the Calixtus and Last Judgment portals. The sculptures of St. Remigius on the right jamb, then, appears to be a prelude to the trumeau figure of St. Calixtus. and shows little articulation of the cheek, the head of St.

Remigius is elongated with high cheekbones and has deeply set eyes. The Master of St. Remigius frequently renders hair with a series of spiral curls, as seen in the beards of St. Remigius and his Samuel, on the jamb's left, as well as in the brushed back hair of his Angel, on the right. By contrast, the Master of

St. Eutropia renders hair in a series of subtle, closely-lined locks with waves that terminate in shallow spirals. The effect of the hair rendered by the Master of St. Remigius is one that is more complimentary to the strongly modeled features of his figures' faces and more classical in expression than that of the Master of St. Eutropia.

The shoulders of St. Remigius, broader than those of the

Angel to his right, are rendered however, in the manner estab­ lished by the Master of St. Eutropia. The drapery beneath St.

Remigius1 pectoral and rational is also close in its subtle pleating to that of the garment of the Master of Eutropia's St.

Nicasius; the treatment of garment folds around the upper arms and the right arm’s hanging sleeves is virtually identical in both works. St. Remigius’ heavy pallium falls in a broader series of concentric folds than those of St. Nicasius, thereby increasing the effect of his bodily presence. In his lower

74 The head type of the angel by the Master of St. Remigius is close to those of the Angel and St. Eutropia of the left jamb, carved by the Master of St. Eutropia. 95

garment, the long tubular folds fall in a manner moving away

from a vertical arrangement to the right, thereby establishing

a complimentary movement to his arm gestures. Yet, while the

garments augment St. Remigius' gestural movements, the propor­

tions of the body are cumbersome, and the over-all effect is less

expressive of classical composure than that attained in the Master

of St. Eutropia's figure of St. Nicasius.

The damaged sculpture of Samuel, the left figure on the

right jamb of the Calixtus portal, has an elongated head and high

cheekbones like those of St. Remigius. Samuel's broad shoulders 75 and, originally, stalwart gestures are also similar to those of

St. Remigius, although their over-all effect does not convey the

same degree of physical strength. Samuel's garment, with its

long pleats falling directly from shoulder to ankle, has the random loops and smaller pleats contained within wide folds seen

in the Angel's garment from the same jamb. In Samuel's garment, however, there is even less bodily contact with the garment, as

the folds are uniform as they pass down over the body.

It is in the style of the trumeau figure of St. Calixtus

that we see the Master of St. Remigius as most independent of

the influence of the St. Eutrppia Master (fig. 38). As pointed

out earlier, Lefran^ois-Pillon and Vitry believed that there were close stylistic affinities between the Reims St. Calixtus

75 /JI have not located a pre-1914 photograph of the right jamb Calixtus portal sculpture which gives clear details o'f Samuel. trumeau figure and the figures of Pope.Clement, on the left jamb of the left portal of Chartres-South (fig. 39), and the figure of Pope Gregory the Great, on the right jamb of the right 76 portal of Chartres-South (fig. 40). Yet, there are substantial stylistic differences between the Reims’ and Chartres' sculptures.

Neither Popes Clement nor Gregory the Great possess the expressive volumetric form and physical presence of St. Calixtus. The treat­ ment of garment folds in the Chartres-South sculptures is flat and linear, while St. Calixtus' garment has deeply-cup folds.

Further, St. Calixtus' broad shoulders and stalwart pose are in marked contrast to the narrow shoulders and closely-held gestures of both Clement and Gregory the Great. The same differences emerge in these comparisons that were observed and-discussed earlier when the character of works by the Remois Master of the 77 Five Prophets and the Chartrain Simeon Master were set forth.

The Remois tradition of thick-set bodily presence and assertive gestures prevails in the style of the Master of St. Remigius, if indeed any contact had been established with Chartres by the sculptor of the Calixtus trumeau.

As discussed earlier, Sauerlander's observation that the

Calixtus trumeau's style has a correspondence with the sculpture of St. Peter, from the Coronation portal of Chartres-North

7 6 „ See chapter two, n31. 77 See above, n27. (fig. 35), is more convincing than those offered by Lefranpois- 78 , Pillon and Vitry. To be sure, St. Peter s long-head type- with high cheekbones, furrowed brow and closely-formed beard compares favorably with that of St. Calixtus, as well as with that of St. Remigius. Yet, the treatment of St. Peter's gar­ ment folds is smoother, thinner, more linear, and less suggestive of weight than are those of the Calixtus figure. Once again, the

Chartres St. Peter lacks the expressive, volumetric form and physical strength of the Calixtus trumeau figure, for his gar­ ment folds and ponderous stature are stylistically much closer 79 to those of the Eutropia Master's St. Nicasius.

Branner considered two Angels, now located on the interior sides of the trumeau of the Calixtus and Last Judgment portals

(figs. 71 and 72), as additional works produced by the on-going 80 workshops of both portals. However, the close stylistic affinities of these Angels to the Master of St. Remigius*

78 See chapter two, n31 and 32. 7g Frisch, 17, noticed that the two scenes on the base of the trumeau statue of Calixtus seem to be derived from Chartres: St. Martin and the Beggar, which at Chartres occurs on the lintel or the right portal of the South transept, and Samson and the Lion, which appears on the archivolts of the right portal of the North transept. The styles of the respective scenes are nevertheless consistent with other works by the Master of St. Remigius. 80 Branner, "North Transepts," 237. Illustrations of the two trumeau angels have only been published in Branner's article. I have not had an opportunity to see these works in situ, but their styles appear to be easily characterized. 98 workshop ivould make it appear likely that both sculptures were

carved by this particular Calixtus portal sculptor. The Angel's

thick-set body proportions and assertive gestures are close to

those of all the figures of the Calixtus portal left jamb (fig.

21). The Angel's garments' long, tubular folds are similar to

those of Samuel's. Additionally, the pattern of garment folds

around the upper left arm of the Angel on the Calixtus trumeau

is virtually identical to the same motif on St. Remigius' and

those of the Angel on the right jamb. The narrow garment pleats of both trumeau Angels are carved in a way similar to those of the Angel on the right jamb, and the heads are of the same type as that of the Angel on the right jamb. All Have broad fore­ heads, linear eyebrows, and undefined cheekbones. -Their upper eyelids are linear in treatment while the lower lids are puffy.

The Last Judgment trumeau's Angel is rendered with the same linear and spiral forms as the Angel's hair on the right jamb.

The Angel's hair on the Calixtus trumeau is brushed back away from the face, and is close to the linear style seen for 81 Samuel's hair.

From the time of Voge, writers have generally agreed that the Calixtus portal's archivolts and tympanum sculptures were

81 The zigzag waves of hair on the head of the Angel of the Calixtus trumeau are reminiscent of the pattern seen in the hair of St. Eutropia on the left jamb, however, this may only be a borrowed motif by the Master of St. Remigius. done by the same two masters who earlier had carved the jambs 82 and trumeau figures. The Masters' respective styles translate

to smaller scale and relief in ways that are often more subtle

and expressive than what they achieved in their jamb sculptures.

The differences in scale and carving techniques may, in part,

explain the appearance of greater subtleties in the tympanum

and archivolt figures. However, this increased proficiency in

carving may also indicate chat both Masters benefitted from their more extensive experience in carving the jamb figures, and thus worked more comfortably in this low relief carving. Their use

of thick-set body proportions, with broad shoulders and assertive gestures, is maintained here. So likewise are garment folds, head types and facial features, often seeming to be copied from

the jamb sculptures. Smaller versions of all nine of the large jamb figures.carved by these Masters can be identified in the

tympanum and archivolts, with many additional figures directly. 83 inspired by the jamb and trumeau figures.

The Calixtus tympanum is divided into five registers.

The upper two and the lowest one were carved by the St. Remigius

82 i See Voge, "Die Bahnbrecher," 91, Lefran^ois-Pillon, Les sculpteurs, 21, and Frisch, 13. 83 The archivolts and tympanum of the Last Judgment portal do not have a similar stylistic relationship to their jamb and trumeau since the former sculptures were carved earlier. The styles of Angels III-VI on the exterior of the choir, do have a similar relationship to the jamb sculptures, archivolts and tympanum reliefs of the Last Judgment portal. See above n58. 100

Master, while the third and fourth were carved by the Master of St. Eutropia (fig. 41). In the first zone, or apex of the tympanum, the Angels kneeling on either side of the Enthroned

Christ have direct stylistic antecedents in the Angel of the right jamb (fig. 21). Ihe treatment of their round, full faces, framed by hair which is brushed back into spiral curls, is simi­ lar to that of the jamb Angel. Further, the Angels of both the first zone and the right jamb have garment folds rendered in long, diagonal pleats which gracefully encompass most of the length of the figures. The smaller scale of the Angels in the apex has permitted the sculptor to carve garment details with greater subtlety, and employ more expressive gestural movements.

On the left of the second register, the Clerics also have head types which are derived from the Angel of the right jamb, but their garments, rendered in long, vertical pleats with occasional short loops, are closer to the style of the Samuel figure of the right jamb. The two figures of St. Remigius, the fifth figure from the left and third figure from the right on the second register, correspond in their head types, with strongly modeled features, high cheekbones and full beards, to that of the St. Remigius on the right jamb. Their garment style is a blend of.trie styles of all three jamb figures, com­ bining long, vertical pleats with loops and varied textures.

In the fifth or bottom register, the figure of St. Nicasius

Kneeling Before a Vandal also has a head type similar to St. lOl

Remigius on the right jamb. St. Nicasius' upper garments,

rendered in more complexly spliced folds, have their origin in

the garments of the St. Remigius on the right jamb. The damaged

tympanum figure of St. Remigius, located to the right of the

Baptismal font in the lower register, is likewise inspired in head type and garment fold by the style of the jamb St. Remigius 84 and the trumeau St. Calixtus (figs. 21, 38, and 41).

As pointed out earlier, Voge, Br^hier and Sauerlander, have noted that the iconographical source for the Job scene in the

third or middle register of the Calixtus tympanum is that of Job

Afflicted by Leprosy in the tympanum of the right portal at 85 Chartres-North (figs. 41 and 42). This direct emulation of a

Chartres model is reminiscent of the influence found on the

Eutropia Master's from Chartres-North's St. Elizabeth, the left portal, which served as a model for his St. Eutropia (figs. 17

and 37. In both instances, the Remois works have a wider range

of gestures. The scene in the Reims tympanum has a greater

variety of poses, the garments are more descriptive of the body \ ' beneath, and their thick folds stretch and gather in a manner

84 t See chapter two, n34 for a discussion of Sauerlander s remarks regarding the transformation of Chartrain style in the upper registers of the Calixtus tympanum. Through the examina­ tion of the interrelationships of the jamb sculptures to the tympanum reliefs, it seems that the newly-assimilated Remois traditions in the jamb sculptures dominate the stylistic in­ fluences from Chartres-North. 85 See chapter two, n33. 102 similar to the Angel’s garments on the Calixtus left jamb. In the Reims tympanum, the veiled woman to the right of Job has the head type and facial features of St. Eutropia. The veiled woman's thick-set body and assertive gestures are also similar to St. Eutropia's, while the former's garment is more complexly patterned and relates to the style of the St. James Master, as seen in the Angel on the right jamb of the Last Judgment portal

(figs. 58 and 41). This garment-fold motif is also seen on the standing woman to the left of the Job in the Reims tympanum, and is again derived from the same source. From these examples, it is clear that the Master of St. Eutropia relied more on his previous work experience on the left jamb of the Calixtus portal, than he did on the more distant linear and less expressive

Chartres style. This same observation can be made regarding the figures in the fourth register of the Calixtus tympanum, also carved by the same master.

The St. Remigius figure (e:xpelling the Devil from a Young

Woman of Toulouse), in the center of the fourth register, wears a garment inspired by that worn by St. Nicasius on the Calixtus portal left jamb. St. Remigius* heavy pallium, like St.

Nicasius', falls in concentric folds, which break into smaller pleats. Montanus, the third standing figure from the left in this register, has a sleeve which is likewise close in style to

St. Nicasius1 right sleeve. In both works the garment folds become flat and rounded at the bottom of the sleeve; simultaneously, they convey both a specific heavy and soft character. St. Remigius* mother, seated to the right of

Montanus, wears a garment which through its crinkled and clinging pleats, relates to the style of garments carved by the St. James

Master in the Last Judgment portal, although the Master of St.

Eutropia carved his garments in a manner more subtle and classi­ cal. In the delicately pleated garments of the figure to the right of St. Remigius* mother, a similar subtlety appears. The garment folds cling to the body of this figure and splice in a series of smaller pleats, which carefully define both the outer contours and the surface anatomy of the body. The subtle con­ trapposto of this figure has its origin in the Angel of the left jamb of the Calixtus portal; although, the serenity- of the pose is closer to the style of St. Bartholomew on the left jamb of the Last Judgment portal, carved by the Andrew Master (figs.

41, 17 and 13). This assimilation-of-styles characteristic, which occurred in the Calixtus tympanum, is seen in the archi­ volts carved by these same Masters. As mentioned earlier,

Sauerlander saw the archivolts as having their stylistic origins in the figures of Vita Activa and Vita Contemplativa from the north porch at Chartres (figs. 42, 73, 44 and 45).®^ Further,

OA See chapter two, n34. The placement of a terminus post quern, ”well-before 1225," by Sauerl&nder for the Calixtus por­ tal archivolts does not take into account the order of carving on the portal by the workshops. The jamb sculptures preceding the tympanum and the archivolts, would place the latter toward 1230. The style and iconography of Chartrain works served as a continuing influence throughout the 1220*s at Reims. For the dating of the works on the north porch at Chartres, see chapter two, n2. 104 he observed that the Calixtus portal Masters were less assertive in their narrative expression, less volumetric in their render­ ing of garment folds and more restrained in their use of gestures and body movements than the master who carved the works at Chartres.Yet the figures on the Calixtus portal's lowest- level right-jamb archivolts which typify its master's works, simultaneously reflect the stylistic affinities with their

Chartres models and the enfolding Remois styles of their re­ spective carvers (fig. 74).

The Bishop on the inner righ-t archivolt at Reims has a head type which the Master of St. Eutropia preferred in his figures on the left jamb of the Calixtus portal: rounded cheeks;

thin upper eyelids with puffy lower lids; wide nostrils; and, 88 a proportionally small, tightly-set mouth (figs. 17 and 74).

In addition, the Bishop's pallium also contains small, crinkled pleats, which splice the larger folds and cling to the body in

87 ♦ Sauerlander, Gothic Sculpture, 484, Frisch, 18, also notes similarities of the Calixtus archivolts to those of the fifth archivolts of the right portal of Chartres-South, although closer affinities can be seen with those archivolt figures cited by Sauerl&nder. OQ All of the inner archivolts on both sides of the Calixtus portal were carved by the Master of St. Eutropia. Those of the middle and outer archivolts on both sides were carved by the Mas­ ter of St. Remigius. Several of the heads of figures from all three archivolts on the Calixtus portal are now in the MusSe du Tau at Reims. See Anne Paillard, "T^tes sculpties du XIIIe si£cle provenant de la cath^drale de Reims," Bulletin monumental , CXVI, 1958, 29-40; illustrations of these works may be found in J. L. M. Muller, Joyaux de sculpture, Reims, Paris, 1954, pis. 1-14. 105

a manner reminiscent of those seen in St. Remigius' mother's

garments (located in the fourth register of the Calixtus

tympanum), as well as in the woman's garments to the right of

Job (in the third register). Both women's garments were carved

by the Master of St. Eutropia (fig. 41). In contrast, the first

and second figures from the bottom of the inner, right archivolt

of the left arch of the north porch at Chartres (fig. 45), have

volumetric drapery folds with deeply furrowed pleats and an

absence of crinkled patterns. Unlike the garments of the Master

of St. Eutropia, those of the Chartres master dominate the con­

tours of the figures' bodies; the figures' gestures seem merely

to augment the drapery flow. The Chartres heads are also of a

different type, featuring ovoid faces, thick noses:;,'-and full

mouths with dimpled cheeks. While the Master of St. Eutropia

may have been influenced by the poses seen in these Chartres

xvorks, the gestures of his figures are more subtle; at the

same time, they help to exert a greater physical presence.

Also, his garment folds, much more complex and varied in texture,

remain within the Remois tradition of classicism.

The High Priest and Pope figures, also located on the

lowest level of the right archivolts of. the Calixtus portal (the

middle and outer positions), were carved by the Master of St.

Remigius (fig. 74). These figures' head type corresponds to

those of Samuel and St. Remigius on the right jamb of the portal

(fig. 21). in all instances, the. heads are elongated with high cheekbones, deeply set eyes, and hair rendered in a series of

spiral curls. The High Priest's upper tunic hangs with long,

thin, tubular pleats encompassing smaller, looped folds, remi­ niscent of both Samuel's garments and those of the figures to

the left of St. Remigius in the second register of the Calixtus

tympanum, carved by the same Master. These figures' physical presence is manifested by arms and knees which press through

their garments and determine the drapery flow pattern around

them. Like the garment falling to the feet of the Enthroned

Christ in the apex of the tympanum, the High Priest's garment

breaks into smaller folds, which denote feet beneath. In con­

trast, the first and second figures, from the bottom of the inner-

left archivolt on the left porch of Chartres-North -.(fig. 44) have garment folds which seem metallic in the way that they

spread across the bodies. The Chartres works also have garments which are less varied in texture and, while more expressive of

a body beneath, the placement of the limbs appears to be de­

termined by the Patterns of the folds. While at both Chartres

and Reims the garments fall to the feet of the figures, the

Chartres clothes do not contain the subtle pleats which break

the long folds and do not have a corresponding sense of plia­ bility as do the Reims garments. Further, the head types at

Chartres are in marked contrast to those of the Master of St.

Remigius. The Chartres works-have ovoid faces with full cheeks,

thick noses and puffy eyes, in contrast to the more detailed and modeled heads of the High Priest and the Pope at Reims. Similar 107

contrasts xvith Chartres are seen in the Pope’s garments. Here

the stylistic sources are from the St. Remigius of the Calixtus portal right jamb, the trumeau of St. Calixtus, and the St.

Remigius in the second register of the tympanum of the same portal, all of which were carved by the Master of St. Remigius

(figs. 44, 74, 21, 38, and 41).

The style of the Master of St. Remigius seems further re­ moved from a Chartres model than those of the Master of St.

Eutropia. Here, the Master of St. Remigius returns to his own earlier figural style, seen on the right jamb, trumeau, and

tympanum of the Calixtus portal. In those works it was suggested that the garment’s physical bearing and treatment were derived from the Master of St. Eutropia. It follows, then, that the

Remois reaction aivay from the style of Chartres-North is more

clearly seen in the works of the Master of St. Remigius.

The sharpest contrast between the Master of St. Remigius' style, and that of Chartres-North, is seen in the seated Vita, third figure from the bottom of the inner right archivolt on the left arch at Chartres-North's porch (fig. 45), and in the

High Priest, fourth figure from the bottom middle portion of the right archivolts of the Calixtus portal (fig. 43). In both figures, arms extend outward in virtually identical posi­ tions and, in both instances, their garments fall to the bases of their socles. Yet, the expressions of these sigures are not the same. In the Reims figure, a subtle contrapposto is achieved in the rendering of the upper portion of the body, beginning with the head's tilt to the right from a central, vertical axis. This movement is combined with his right shoul­ der's compensatory elevation and continues through his right arm's slightly lowered position. The shifting of his over­ garment toward his right side heightens the illusion of this movement and reaffirms the Remois tradition of rendering gar­ ments pressed and stretched through bodily contact. In con­ trast, the Chartres Vita figure shows little implied movement, aside from arm gestures and the head's dpwnward tilt. Garment drapery here, while more deeply folded and heavier in texture, does not press against the body as descriptively and adds little to the bodily presence of the figure.' While both figures are convincingly engaged in the act of reading texts, the body of the Reims figure has a reflexive pose, at once more subtle than its Chartres counterpart, and one which imparts a more complex narrative.

Following completion of the Calixtus archivolts, the St.

Remigius and St. Eutropia Masters continued working on four sculptures destined for the cathedral's choir: Angels I, II, 89 X, and a figure of Christ. Angel I, carved by the St.

89 See above n58, for a discussion of Angels III-VI and IX. Angels VII and VIII, while influenced by the Calixtus portal in the sense of bodily presence, incorporate elements such as gar­ ment renderings which go beyond the style of this workshop. The carver of these works arrived at Reims from Amiens c. 1230. See Frisch, 20.. Angel XI was completely redone following World War 109

Remigius Master, is virtually a duplicate in all essential de­ tails of head type, hair treatment and garment fold of the first figure on the right of the bottom register of the Calixtus tympanum, by the same Master (figs. 41 and 75). Further, the

Angel's proportions, on the right jamb of the Calixtus portal, are the antecedents for both the tympanum figure and Angel I (fig. 21).

This Master's immediate stylistic sources for Angel II are diffuse, but they are derived from his own earlier works. The Angel's garments seem to be a synthesis of several figures located in the bottom register of the Calixtus tympanum. Angel II's head type, however, is close to that of the Angel on the right jamb, es­ pecially in the treatment of eyelids, hair and cheekbones (figs.

41, 21 and 75). In these comparisons it appears that the St.

Remigius Master continued the manipulation of his earlier style in the renderings of Angel I and II; there is little that is new here. This characteristic was observed in the stylistic compari­ sons of his jamb and tympanum sculpture, where there was little stylistic progression aside from a general increase in subtlety of rendering garment details and body movements.

The figures of Angel X and Christ, by the St. Eutropia Mas­ ter, are more varied and complex in their stylistic courses than the choir sculptures by the Master of St. Remigius. Panofsky ob­ served that in body proportions and stance, the Christ was close

I, and no prior photographs exist of it but the most general of views. See Vitry, II, pi. XIII. 110 to the sculpture of St. James in the right jamb of the Last 90 Judgment portal (figs. 58 and 77). Yet Christ s broad shoulders and crisp garments are closer to the style of the Master of St. Eutropia's own sculptures on the left jamb of the Calixtus portal (fig. 17). The pull of drapery around the right knee and the corresponding splicing of garment folds is also similar to that of the Angel on the left jamb. While the fall of drapery into long pleats on Christ's tunic is reminiscent of St. James the

Great and St. John the Evangelist's garment style (fig. 58), the garments carved by the St. James Master also contain linear pat­ terns, forming subtle diagonal movements, which reinforce the contrapposto of those figures, a quality not found on the garments of Christ. Further archaic tendencies are seen in Christ's elongated head type, which has a zigzag patterning of hair simi­ lar to that of St. Eutropia (fig. 17). Paradoxically, the two curls on Christ's forehead, as well as the zigzag patterning of hair recall that found on Isaiah's forehead on the right jamb of the right portal of Reims-West, carved by the Master of the Five

Prophets. The same rendering of two curls is also found on the foreheads of the Angels on the apex of the Calixtus tympanum, carved by the St. Remigius Master, and on St. James and St.

Bartholomew's foreheads, the latter figure carved by the Andrew

^°Panofsky, "fiber die Reihenfolge," 69-70, suggested that the Christ on the.exterior of the choir.was originally intended as the trumeau for the Judgment portal. While his argument is compelling, -the size of the Christ figure is too small in rela­ tion to the scale of the jambs and the height of the trumeau post of the Judgment portal. Ill 91 Master (figs. 77, 31, 41, 58, and 13). The emulation of

this motif from any one of these multiple sources, again sug­

gests the tendency of the classical masters at Reims to borrow

broadly from the indigenous examples of the on-going thirteenth

century workshops at the cathedral.

Angel X's style is so close to that of the Christ that it

must be considered as a companion work, done by the Master of

St. Eutropia (fig. 77). The body proportions and ponderous

stance are the same; the crisp drapery folds also fall across

the bodies and pull at the right knees in a similar manner.

The elongated, looped splices of the pulled garments are formed

in identical patterns to those of the Angel of the left jamb of

the Calixtus portal (fig. 21). While the Angel's head is a

modern replacement, the shoulders' tilt and width suggest that

it would have been of the same elongated type as that of the 92 , Christ and the Angel of the left jamb. Like this Master s

other large figures, Angel X also combines a quality of strong physical bearing with a sense of serenity.

^Frisch, 14-15, also commented about the archaic qualities of the Christ figure. Her observations that this figure is closer to the style of Christ in the apex of the tympanum does not, however, take into account the differences in the treatment of their garment folds. 92 Ibid., and 7 n58. According to Frisch, the head was re­ placed by Deneux after World War I. I have not found a refer­ ence to this restoration in the documents deposited by Deneux in the Archives des Monuments Historiques, Paris. 112

The Visitation Master

The on-going workshops of the Calixtus portal closed

around 1230, with the completion of the sculptures on the ex­

terior of the choir. While Angels VII and VIII on the choir re­ veal some influences from the St. Remigius Master's works, their dominant stylistic characteristics are derived from Amiens, and are therefore different from those of the Calixtus portal and go the classical qualities which that Master sought in his works.

A closer rapport with the indigenous Rimois styles expressed in the works of the St. Eutropia Master is found in the Visitation

Master’s sculpture. Voge observed that the differences in body

03 See Frisch, 20-21, illus. 4, 5, 13, 31, 32.,,-34-36, who observed a close stylistic interrelationship among Angels VII and VIII, a King to the left of Synagogue on the rose level of the South transept, and the Visitation group at Reims. The sub­ stantial differences of body types and garment folds outweigh their similarities of pose and head types. Her incorporation of an intermediate stylistic source from the statues of Amiens-West, which were carved in a plain drapery style, does not take into account the earlier stylistic evidence of the lower register of the Judgment tympanum at Reims, which is partially Chartrain in origin, and equally close to the tubular folds of the choir angels. Angels VII and VIII, while related in pose to the figure style of the Visitation Master, do not have the body type or garment folds of the Visitation figures. It seems more likely that the sculptor of Angels VII and VIII, coming to Reims from Amiens c. 1230, was directly influenced by the styles of the Calixtus portal and the Visitation master. On the basis of the similarity of head types, the King of the South transept may al­ so have been carved by this Master, following his assimilations of style from the visitation Master.

Frisch, 23, also attributes a capital on the South-East pier of the fourth bay of Reims cathedral to the Visitation master. Given the lack of comparable motifs in this work which can be related to the Visitation group, it is difficult to ac­ cept her attribution. 113 proportions between the St. Peter figure, on the left jamb of the Reims Last Judgment portal, and the Virgin of the Visita- i tion, were sufficient to cause hesitation in attributing them 94 to the same master (figs. 13 and 2). However, St. Eutropia s body proportions supply the connecting link between St. Peter and the Virgin. Other motifs which illustrate the close sty­ listic relationship of the Visitation Master to the work of the

Master of St. Eutropia include the contours of the bodies press­ ing through St. Eutropia and the Virgin’s pulled garments, and the patterns of irregular and broken folds falling across the

Virgin's feet and those of the Angel of the left jamb (fig. 16).

In light of these direct assimilations from the works by the Master of St. Eutropia, it now becomes necessary to recon­ sider the observations of Hamann-MacLean, who among others, sought indigenous Gallo-Roman models or ancient Greek works as the sources for this new phase of classicism, the third and last before 1233, which emerges in the Visitation Master’s 95 works. Hamann-MacLean's comparison of the Agrippina figure at

Olympia (fig. 3) with those of the Visitation group gives atten- 96 tion to the similar press of folds at their busts and waists.

The same motifs can be more profitably found, however and again,

Q A. ‘i Voge , "Der Visitatiomeister,11 60-62.

9 5See chapter one, nl3, 14 and 20. 96_ See chapter one, nl7. 114

in St. Eutropia. Further, the crinkled pleats of the Virgin

and Elizabeth's garments, not seen on the Agrippina figure; are

derived from Sts. Peter and Paul on the left and right jambs of

the Last Judgment portal (figs. 13 and 58). Further, Agrip­

pina's broad shoulders do not rest upon a body of thick-set proportions as the figures portrayed in the Visitation group do,

and, which in turn, reflect the continuing, indigenous figure

proportions of the Masters of both the thirteenth-century north-

transept portals and the works by the Master of the Five Prophets V on Reims-West.

Although some resemblances in head types do occur in a com­ parison of the Virgin and Elizabeth with the "Venus" from Arles

(fig. 9) and the "Phaedra" from Lyon (fig. 10), the prototypes for the Visitation group's heads had already become commonplace 97 on thirteenth century portals at Reims. St. Eutropia*s head, for example, is closer to the Virgin than either that from Arles,

or Lyon. Like St. Eutropia1s eyelids, those of the Virgin and

Elizabeth have thin upper lids and puffy lower ones. lhe eye­ brows are executed as slightly raised lines separating the fore­ head from the ridge of the brow in all three heads; similar,

too, are their small mouths and dimpled chins. The Virgin and

Elizabeth's hair, formed in zigzag patterns, resembles a type of hair rendering common at Reims since the Master of the Five

97 See chapter one, n25. 115 , ^ 98 Prophets.

The sources for the Virgin and Elizabeth's ponderous

stances are as indigenous, yet varied and complex, as these

other motifs. Several figural poses from the Calixtus tympanum's

third and fourth registers can be seen as models (fig. 41),

along with a blend of styles reflected in the jamb sculptures

of the Last Judgment portal carved by the Andrew Master, the

Master of St. James, and the Master of Sts. Peter and Paul

(figs. 13 and 58). The Visitation group's gestures likewise

appear to be a synthesis of several movements expressed in the

figures of the Blessed on the fourth register of the Last Judg­

ment tympanum by the Abraham Master (fig. 64).

While the stylistic influences received from the earlier

classical master at Reims contained the principal repertory of

motifs utilized by the Visitation Master, he arrived at a syn­

thesis of style and expression that is unique. More than any of

the other nine Masters who preceded him at the thirteenth cen­

tury cathedral, he appears to have sought his inspiration en­

tirely from Remois works. Yet, his classicism was as complete

and subtle as that of the other two principal contributors to

a- classical style at Reims: the Abraham Master and the Master of Sts. Peter and Paul. In a very tangible way, the style of

his works realized the full potential of the Remois sculptural

Qo See chapter one, n45. 116

traditions, the quest to portray simultaneously a form of

naturalism in body movements, a classical subtlety in garment

renderings, and a noble serenity of expression. Because of the

extensive range of knowledge which the Visitation Master appears

to have had of all of the permutations of the classical styles

at Reims, a terminus ante quern of 1233 must be suggested for his 99 work.

While the Visitation group may be the only certain works which the Visitation Master carved for the cathedral of Reims,

the impact of his style will be immediately seen in the "Man with the Odysseus Head," carved by a sculptor who began this figure shortly after the 1236 resumption of work at the cathe- a dral (fig. 7 9 ) . But this new master departs from the Visita­

tion group's style, and from the earlier Remois traditions, in

his use of large, harshly delineated garment folds which have

their model at Amiens.Even though the details of the

"Odysseus" head and the deportment of his body resemble the Visi­

tation Master's style, they lack his subtlety of expression. The continuing strength of an indigenous, classical tradition at

99 See above, nil.

*®®Voge, "Der Visitatiomeister," 61, gave this work the accolade of a "Head of Odysseus." It is located on the front of the second embrasure from the right of the west facade.

"^•^Sauerlander , Gothic Sculpture , 485. 117 102 Reims ended with the career of the Visitation Master.

102 In the conclusion there will be a brief discussion of the later influences from the workshop of the Visitation Master upon thirteenth century Gothic sculpture. CONCLUSION

This study has been concerned with the classical styles

employed by the sculptors who worked at the on-going workshop of

Reims cathedral between 1211 and 1233. The impact of wide- ranging stylistic influences upon them has been found as one of moderation and enhancement, rather than source, for the in­ digenous, Remois predilection of rendering figures with thick­ set body proportions, strong physical bearing and expressive gestures. It has also been shown that influences from Chartres and other contemporary centers of sculpture production in the

Ile-de-France as well as from Laon and other centers in the in­ digenous region of Champagne have been assimilated in a selective manner, suggesting that the sculptors at Reims were consciously striving for a classical idiom which was consistent with and unique to their region, in general, and to Reims, in particular.

Three distinct classical styles emerged at Reims - those of the Abraham Master, the Master of Sts. Peter and Paul, and the Visitation Master. In addition, there are the styles of at least seven other masters working at Reims in this period; fre­ quently, they, too, served as means for the fusion of stylistic sources from outside of Reims while continuing the indigenous styles which had been established in the late twelfth century

118 119

workshop at the Abbey Church of St. Remi and continued by the

three major classical masters at the cathedral. The detection

and identification of all these sculptors' hands during this

period was one of my complex tasks; a summary listing of them

follows.

Master of the Five Prophets (c. 1211-1215):

St. John the Baptist, Isaiah, Moses, Abraham and Isaac, and Sam­ uel, now on the right jamb of the right portal, west facade (second through sixth figures from the- left).

Simeon Master (c. 1215-c. 1220):

Simeon, now on the right jamb of the right portal, west fa9 ade (first figure from the left). Diesis figures, Last Judgment Portal, tympanum (apex). Raising of the Dead, Last Judgment Portal, tympanum (middle regis­ ters ).

Last Judgment Abraham Master (toward 1220-toward 1230):

Blessed and Damned, Last Judgment Portal, tympanum (lower regis­ ters ). Virgins and Ecclesiastics, Last Judgment Portal, archivolts (in­ ner and middle). Christ, Last Judgment Portal, trumeau figure (exterior).

Assistant to the Abraham Master (late 1220's-toward 1230):

Angels, Last Judgment Portal, archivolts (outer). Socle reliefs, Last Judgment Portal, trumeau base (exterior).

Andrew Master (later 1220's):

St. Andrew and St. Bartholomew, Last Judgment Portal, left jamb (second and third figures from the right).

Master of St. James (later 1220's)

St. James the Greater and St. John the Evangelist, Last Judgment Portal, right jamb (second and third figures from the left).

Master of Sts. Peter and Paul (later 1220's to c. 1230):

St. Peter, Last Judgment Portal, left jamb (first figure from the 120 right). St. Paul, Last Judgment Portal, right jamb (first figure from the left). Angel IX, exterior of choir.

Work that falls in the sphere of the Abraham Master and his As­ sistant (c. 1230):

Angels III, IV, V and VI, exterior of choir.

Master of St. Eutropia (middle of 1220*s-c. 1230):

St. Eutropia, St. Nicasius and an Angel, Calixtus Portal, left jamb (first through third figures from the right). Story of Job, Calixtus Portal, tympanum (middle register) Miracles of St. Remigius, Calixtus Portal, tympanum (fourth regis­ ter from top) Bishops, Calixtus Portal, archivolts (inner). Angel X, exterior of choir. Christ, exterior of choir.

Master of St. Remigius (middle 1220*s-c. 1230):

Samuel, St. Remigius, and an Angel, Calixtus Portal, right jamb (first through third figures from the left). ... St. Calixtus, Calixtus Portal, trumeau figure (exterior). Enthroned Christ and Angels, Calixtus Portal, tympanum (apex). Miracles of St. Remigius, Calixtus Portal, tympanum (second register from top). Martyrdom of St. Nicasius and Baptism of Clovis, Calixtus Portal, tympanum (bottom register). High Priests and Popes, Calixtus Portal, archivolts (middle and outer). Angel, Calixtus Portal, trumeau (interior). Angels I and II, exterior of choir.

Visitation Master (c. 1230-1233):

Virgin and St. Elizabeth, west facade, central portal, right jamb (third and fourth figures from the left).

The stylistic affinities which the works carved, c. 1211-

1215, by the Master of the Five Prophets have in common with the sculptures of the west facade of St. Remi strongly suggest a desired continuation of an already-established sculptural tra­

dition at Reims. In fact, his Isaiah figure reveals all of the 121 components that will later be elaborated upon and developed by later masters. It is also indicative of what other masters will respond to in the works done in their own on-going workshops and those of others.

The Simeon Master took up work at Reims c. 1215, emplpying a style strongly influenced by Chartres-North, but one soon adapted to the prevailing, indigenous traditions of Reims. In his later works, carved toward 1220, he also displays a knowl­ edge of the sculpture of Chartres-South, although in this in­ stance his work was, again, more significantly within the tra­ dition established by the figural style of the Master of the

Five Prophets.

Around 1220, the Abraham Master began working in a style revealing that he had assimilated those stylistic qualities from the workshop of the Simecu Master, especially the charac­ teristics which that master had derived from both transepts of

Chartres. In addition, the Abraham Master reveals a strong awareness of several emphases only then latent in the work­ shops of the cathedral: a classical style from Laon and the muldenfaltenstil of Nicholas of Verdun. His borrowing from these sources enabled him to arrive at a classical style at' once more graceful and naturalistic than those of his prede­ cessors at the cathedral, without losing the indigenous

Remois quality of bodily presence which they all shared in com­ mon. The style of the Assistant to the Abraham Master, often 122

close to that of his master, nevertheless shows influences

from Chartres-North, either directly from the Simeon and Abra­

ham Masters, or all. His new emphases appear at Reims in the

late 1220’s and modify or enhance the styles of the remaining

works to be carved by the Abraham Master toward 1230.

The style of the Andrew Master suggests that he had his

origins in the Mosan region, where a certain knowledge of the muldenfaltenstil of Nicholas of Verdun was more readily avail­

able, as Nicholas’ Three Magi Shrine at Cologne. In addition,

the Andrew Master had contact with the prevailing style of northern France, as seen in the influence the Second Master of

the Ingebourg Psalter possibly had on him. Yet, the Andrew

Master's early figural style lacks the graceful poses of that of

the Laon-influenced Abraham Master, who, like the Andrew Master, had been influenced, more latently, by the styles originating in northern France and the Mosan region. However, the later work of the Andrew Master, more naturalistic and graceful in poses, reveals an assimilation of the Abraham Master's in­ fluence, thus establishing a date in the later 1220’s for his work.

The Master of St. James follows this later style of the

Andrew Master, joining him in emulation of the graceful body poses of the Abraham Master. Yet his later, more experimental style, reintroduces the expressive gestures and head types of the Master of the Five Prophets. His affinities with the later 123

style of the Andrew Master places the beginning phase of his

career in the later 1220's.

The work of the Master of Sts. Peter and Paul connotes a

broader and fuller synthesis of the stylistic qualities seen in

the works of the Master of St. James. Further, the Master of

Sts. Peter and Paul assimilates stylistic influences from the

Three Magi Shrine of Nicholas of Verdun in a manner that is

reminiscent of the Abraham Master's synthesis from the same

source. However, the Master of Sts. Peter and Paul does not

closely emulate the style of the Abraham Master. In his concern with expressive poses and greater attention to the rendering of

the bodies beneath garments, he establishes still another stage

in the on-going development of Reims' classical style. While he is influenced by outside sources, notably from the Mosan

region, the work of the Master of Sts. Peter and Paul reveals more indigenous Remois elements: his use of expressive body poses and intense involvement with naturalistic details of

garment renderings. Because of influences on him from the Abra­ ham Master and the Master of St. James, the Master of Sts. Peter

and Paul would have had to have commenced work at Reims in the

later 1220's. His later sculptures, those for the choir of the

cathedral, indicate that he remained at Reims until c. 1230.

The sculptures carved by the Master of St. Eutropia have a direct stylistic antecedent in the sculpture of Chartres-

North, yet they simultaneously show pervasive influence from 124 the works by the Master of the Five Prophets, the Master of St.

James and the Andrew Master. Further, the indigenous Remois stylistic influences of expressive gestures and thick-set body proportions prevail even in those works which appear to most immediately derive from the sculpture at Chartres. Because of the succession of influences from the Master of St. James and the

Andrew Master, during the middle phase of his career, the Master of St. Eutropia must have begun working at Reims shortly after

1225. His later works for the choir of the cathedral would suggest that he continued xvorking until c. 1230.

The Master of St. Remigius carved his works at Reims during the same period as the Master of St. Eutropia and followed that

Master's lead in a similar series of progressions away from

Chartrain influences and toward the indigenous Remois styles of the thirteenth century.

With the achievement of the Visitation Master at Reims c.

1230, a final complete synthesis of external and indigenous

Remois styles occurs. His style is dominantly, if not entirely derived from the on-going workshop at Reims. The simultaneous portrayal of naturalistic facial features, classical subleties in garment renderings and a sense of serene deportment in the poses and gestures of his figures, establishes his work as a third and final mode of classicism in thirteenth century Reims.

Of all the classical masters who worked at Reims, only the

Visitation Master had a discernible impact on the development 125 of later thirteenth century sculpture. While it is possible

that the Visitation Master proceeded to work on the sculptures of the South portal at the cathedral of Strasbourg, following

the suspension of building activities at Reims in 1233, the differences in the classical style of these works suggests

that they were done by another master.3" None of the figures at

Strasbourg depict the subtle relationship of garment fold to the movement of the body beneath that is expressed in the figures by the Reims Visitation Master. Moreover, the sculp­ tures at Strasbourg do not convey a quality of serenity in their gestures and poses. Contemporary with the Master of the South portal at Strasbourg, a sculptor at the cathedral of Bamberg carved a Visitation group closely derived from the.sculptures 2 of the Reims Visitation Master. Yet the sculptures at Bamberg do not have garment folds, body proportions and gestures which maintain the qualities of subtle detail and graceful pose that

On Strassbourg see Hans Jantzen, Deutsche Bildhauer des 13. Jahrhundert, Leipzig, 1925; Erwin Panofsky, Die Deutsche Plastik des 11. bis 13. Jahrhunderts, Munich, 1924; Idem., "Zur Kunstlerischen Abkunft des Strassburger 'Ekklesia- meisters’," Oberrheinische Kunst, IV (1960) 124 ff; Louis Grodecki and~lf] Recht, "Le bras sud du transept de la cathedral: Architecture et Sculpture,” Bulletin monumental, CXXIX (1971) 7-31 and Sauerlander, Gothic Sculpture, 441, 445.

20n Bamberg see Wilhelm Voge, "Uber die Bamberger Dom- sculpturen,” Bildhauer des Mittelalters, 1958, 130-200; Erwin Panofsky, Die Deutsche Plastik; Wilhelm Boeck, Per Bamberger Meister, I?Ibingen, 1960; Teresa Frisch, "Review, Wilhelm Boeck, Per Bamberger Meister,” Art Bulletin, LII, 3 (Sept., 1970) 309-10; and Willibald Sauerlcihder, "Reims und Bamberg,” Zeitschrift fur Kunstgeschichte, XXXIX, 2-3 (1976) 167-192 126 are seen in his work. The unique Remois tendency of rendering expres'-rve gestures and subtle, but complex surface details, are lost as the diffusion of the Visitation Master*s style takes place.

The origins of the enduring desire to express an indigenous classical style at Reims appears to ultimately have its origin in the Carolingian period, its imperial sense and surviving monuments. While little remains of the art created at Reims during the Romanesque period, the style of the sculptures of the

Porte Romane and the Abbey Church of St. Remi suggest an aware­ ness of the twelfth century "renaissance" of classical styles produced in the region of Mosan and elsewhere in Champagne. Yet, the influence from all these sources is transformed into an in­ digenous, and unique, Remois style. The general renewal of interest in classically styled art around the year 1200, in the regions.of the Royal Domain, Mosan and Champagne, clearly in­ fluenced the on-going styles of the Remois workshop, especially the sculptors working after 1211; it provided them with additional ways of rendering garments, portraying head types, and depicting body movements and ponderation. Even so, in­ fluences from areas outside Reims were always modified and transformed to adapt and enhance an indigenous Remois ex­ pression. The styles of the Abraham Master, the Master of Sts.

Peter and Paul, and the Visitation Master have not been found elsewhere prior to their appearance at Reims, and the other 127 masters working at Reims are primarily dependent on them.

Their styles, which are the most unique and classical of all

the sculptors who worked at Reims between 1211 and 1233, could only have been carved by individuals who intimately knew and helped to continue, the enduring classical traditions of Reims. 128

I'iiotitlriiia* 1. Ri»nairai|, Reims REIMS avant la Guerre -- Pone M.hv

Figure 1. Reims. Porte de Mars. Before 1914 129

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Figure 2. Reims Cathedral, West Facade, Central Portal, right jamb: Visitation. Figure 3. Museum of Antiquity, Olympia. Agrippina. 131

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Figure 4. Reims Cathedral, North Transept, Judgment Portal, left jamb: St. Peter. Figure 5. Museo Nazionale, Rome. Antonius Pius 133

Figure 6. Reims Cathedral, West Facade, Central Portal, right jamb: Virgin of the Visitation. 134

Figure 7. Mus^e Lapidaire, Reims. Jovan Sarcophagus (detail of Phrygian). 135

Figure 8. Reims Cathedral, West Facade, Central Portal, right jamb: Elizabeth of the Visitation. 136

Figure 9. Mus^e de Saint Germain, Arles. "Venus.” 137

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Figure 10. Musee Guimet, Paris. ’’Phaedra." Figure 11. Bibliotheque Municipale, Epernay. Gospel Book of Ebbo. St. Matthew (18v). 139

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Figure 12. Bibliotheque Municipale, Epernay. Gospel Book of Ebbo. St. John (134v). 140

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Figure 13. Reims Cathedral, North Transept, Judgment Portal, left jamb: Sts. Bartholomew, Andrew and Peter. 141

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Figure 14. Reims Cathedral, North Transept, Judgment Portal, left jamb: St. Bartholomew. Before 1914. 142

Figure 15. Nicholas of Verdun. Shrine of the Virgin, Tournai. Presentation in the Temple. 143

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Figure 16. Reims Cathedral, North Transept, Judgment Portal, tympanum, lowest register: Abraham and Angels. 144

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Figure 17. Reims Cathedral, North Transept, Calixtus Portal, left jamb: Angel, St. Nicasius, and St. Eutropia. 145

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Figure 18. Nicholas of Verdun. Shrine of the Three Magi, Cathedral of Cologne. Jonah. 146

Figure 19. Nicholas of Verdun. Shrine of the Three Magi, Cathedral of Cologne. Amos.

■4- 147

Figure 20. Musee Cond£, Chantilly. Ingebourg Psalter. Ascension of Christ (31r). 148

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Figure 21. Reims Cathedral, North Transept, Calixtus Por­ tal, right jamb: Samuel, St. Remigius, Angel. 149

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Figure 22. Musee Conde, Chantilly. Ingebourg Psalter. Entry into Jerusalem (22v). Figure 23. Musee Conde, Chantilly. IngebQurg Psalter. Entombment (28v). 151

Figure 24. Mus£e Cond£, Chantilly. Ingebourg Psalter. Last Judgment (33r). 152

Figure 25. Reims Cathedral, North Transept, Porte Romane. Figure 26. Reims Cathedral, North Transept, Porte Romane tympanum: Virgin and Child. Figure 27. Reims Cathedral, North Transept, Porte Romane, archivolt support: Clerics. 155

Figure 28. Reims Cathedral, North Transept, Porte Romane, tympanum: Head of Virgin.

4 156

Figure 29. Abbey Church of St. Remi, Reims. West Facade, upper storey: St. Peter. 157

Figure 30. Abbey Church of St. Remi, Reims. West Facade, upper storey: St. Remi. 158

Figure 31. Reims Cathedral, West Facade, right'embrasure. Six Prophets: Simeon, John the Baptist, Isaiah, Moses, Abraham and Isaac, and Samuel. 159

Figure 32. Chartres Cathedral, North Transept, Central Portal. Figure 33. Reims Cathedral, West Facade, right embrasure: Simeon. 161

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Figure 34. Chartres Cathedral, North Transept, Central Por­ tal, left jamb: Aaron, Abraham and Isaiah, Moses Samue1 and David. 162

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Figure 35. Chartres Cathedral, North Transept, Central Portal, right jamb: Isaiah, Jeremiah, Simeon, John the Baptist, and Peter. 163

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Figure 36. Mus£e Lapidaire du Carnavalet, Paris. Apostle fragment (Andrew?), from Paris Cathedral, Judg­ ment Portal. 164

Figure 37. Chartres Cathedral, North Transept, Left Portal, right jamb: Visitation group and Prophet. 165

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Figure 38. Reims Cathedral, North Transept, Calixtus Por­ tal, trumeau: St. Calixtus. 166

Figure 39. Chartres Cathedral, South Transept, Left Portal, left jamb: Sts. Theodore (?), Stephen, Clement of Rome and Lawrence. 167

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Figure 40. Chartres Cathedral, South Transept, Right Portal, right jamb: Sts. Martin of Tours, Jerome, Gregory the Great and Avitus. Figure 41. Reims Cathedral, North Transept, Calixtus Portal, tympanum: Martyrdom of St. Nicasius, Miracles qf St. Remigius, Life of Job, and Christ with Angels. 169

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Figure 42. Chartres Cathedral, North Transept, Right Por­ tal, tympanum: Job afflicted by Leprosy. 170

Figure 43. Reims Cathedral, North Transept, Calixtus Por­ tal, right archivolts: Bishops High Priests and Popes. 171

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Figure 44. Chartres Cathedral, North Porch, left arch, left side: Vita Activa. 172

Figure 45. Chartres Cathedral, North Porch, left arch, right side: Vita Contemplativa. 173

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Figure 46. Reims Cathedral, North Transept, Judgment Portal, tympanum: Last Judgment. Figure 47. Chartres Cathedral, South Transept, Central Portal, tympanum: Last Judgment, Diesis. 175

Figure 48. Musee des Monuments francais, Paris. Unidenti­ fied figures from Laon Cathedral, Left Portal. Cast made before restoration. 176

Figure 49. Musee Municipal, Laon. Angel from Laon Cathe­ dral, Left Portal, gable. 177

Figure 50. Mus£e Municipal, ChSlons-sur-Marne. Prophet fragment from Cloister, Notre-Dame-en-Vaux. Figure 51. Mus^e des Monuments francais, Paris. John the Baptist, from Senlis Cathedral, West Portal, left jamb. 179

Figure 52. Mus£e Municipal, ChSlons-sur-Marne. Seated Apostle from a capital, Cloister, Notre-Dame- en-Vaux. 180

Figure 53. Mantes Collegiate Church, West Fajade, Left Portal, lintel: Angel watching the Holy Sepulcher. .181

Figure 54. Reims Cathedral, North Transept, Judgment Portal, right archivolts: Ecclesiastics, Angels with Trumpets and Croxvns. 182

Figure 55. Reims Cathedral, North Transept, Porte Romane, apex of archivolts: Blevatio Animae. 183

Figure 56. Mantes Collegiate Church, West Facade, Left Portal, tympanum: Angel Holding Censer. 184

Figure 57. Amiens Cathedral, West Facade, Right Portal, tympanum: Coronation of the Virgin. 185

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Figure 58. Reims Cathedral, North Transept, Judgment Portal, right jamb: Paul, James the Greater, John the Evangelist. 186

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Figure 59. Amiens Cathedral, West Facade, Left Portal, left jamb: Ulphia, Angel, Aceolus, Acius, Angel, Honoratus. 187

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Figure 60. Reims Cathedral, West Facade, Lower Portion. 188

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Figure 61. Reims Cathedral, North Transept, Judgment and Calixtus Portals. 189

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Figure 62. Reims Cathedral, North Transept, Judgment Portal, tympanum, upper zone of Middle registers: Raising of the Dead. 190

Figure 63. Reims Cathedral, North Transept, Judgment Portal, tympanum, lower zone of middle registers: Raising of the Dead. 191

Figure 64. Reims Cathedral, North Transept, Judgment Portal, tympanum, •left side o f lower regis­ ters: Blessed. 192

Figure 65. Reims Cathedral, North Transept, Judgment Portal, tympanum, 'left side of lower regis­ ters: Damned. 193

Figure 6 6 . Reims Cathedral, North Transept, Judgment Portal, trumeau reliefs: Unidentified scene. 194

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Figure 67. Chartres Cathedral, North Porch, center area, left side: Old Testament female figure. 195

Figure 68. Reims Cathedral, North Transept, Judgment Portal, trumeau: Christ. Photographed before 1914. 196

Figure 69. Reims Cathedral, North Transept, Judgment Portal, trumeau: detail of Head of Christ. 197

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Figure 70. Reims Cathedral, Exterior o f Choir, Angel IX. Figure 71. Reims Cathedral, North Transept, Calixtus Portal, trumeau (interior): Angel. 199

Figure 72. Reims Cathedral, North Transept, Judgment Portal, trumeau (interior): Angel. 200

Figure 73. Reims Cathedral, North Transept, Calixtus Portal, left archivolts: Popes, High Priests and Bishops. 201

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Figure 74. Reims Cathedral, North Transept, Calixtus Portal, right archivolts: Bishops, High Priests and Popes. Figure 75. Keims Cathedral, Exterior of Choir, Angel I. Figure 76. Reims Cathedral, Exterior of Choir, Angel II 204

Figure 77. Reims Cathedral, Exterior of Choir, Christ. 205

Figure 78. Reims Cathedral, Exterior of Choir, Angel X. 206

Figure 79. Reims Cathedral, West Facade, Embrasure between left and center portals: Isaiah (?) ("Man with the Odysseus Head") APPENDIX A: RESTORATIONS

The important restorations of the sculpture by the clas­

sical masters of Reims began following the damages which occur­

red during World War I. Henri Deneux, architect en chef at the

cathedral during the years of restoration submitted detailed

estimates of expenses to the ministere de 1* Instruction Pub-

lique et des Beaux-Arts. None of his reports gave specific ac­

counts of the damages done to individual statues. The pre-1914

photographs which I have utilized for comparisons clearly show

the areas which sustained damages.'*' From 1974 to the present,

the firm of Noel et Fils, Reims, has been cleaning the exterior

of the north transept of the cathedral under the supervision of

Monuments Historiques, Paris. Following the completion of that work further detailed evidence of repairs may be detected on the

sculptures.

The sculptures of Sts. Peter and Remi, on'the west facade

of the Abbey Church of St. Remi, Reims, were restored in

There are no documents on deposit at Monuments Historiques, Paris, which indicate restorations on the sculpture of the north transept from any period. Whenever available I have used pre- 1914 photographs of the north transept sculpture for the text plates. These are also found in Reinhardt, Cath£drale, PI. 21- 25, and 27-29. 207 208 2 1839. When their current state of preservation is compared to that seen in pre-1914 photographs, it appears that no further 3 restoration has been made on these sculptures.

LIST OF RESTORATIONS

I. Upper Storey, West Facade. Abbey Church of St. Remi, Reims (1839 restorations)^:

A. St. Peter (fig. 80).

Hands.

B. St. Remi (fig. 81). Head and Hands

II. Right Jamb, Right Portal, West Facade, Cathedral of Reims (Deneux restorations)5:

A. Isaiah (fig. 82)

Head, Right Arm (from elbow), Feet.

B. Moses (fig. 82).

Head, Right Shoulder, Right Arm (from middle forearm), Tablets.

Monuments Historiques, Paris. Saint-Remi, document 821 bis, dated August 23, 1839, mentioned the restoration of the head and hands of St. Remi and the hands of St. Peter. The head of St. Peter appears to have sustained damages from the level of the eyes upward. See also Prache, Saint-Remi, 54 n37.

5Cf. Ibid., PI. XVIII, 36 and 37, and my chapter one, Figs. 29 and 30.

^See above n2. 5See Monuments Historiques, Paris. Cathedrale de Reims, document 1966, dated November 5, 1917, and document 698, dated February 18, 1919, for Deneux's description of the materials used for the restoration of Isaiah and Moses. 209

III. Exterior, Chapel of St. Joseph South Side of Choir, Cathedral of Reims (Deneux restorations).

A. Angel X (fig. 83).

Head.

B. Angel XI.

This statue gras completely redone after Wor Id War I.

For a distant view of Angel XI prior to the 1914 damage, see Vitry, II, PI. VIII. See Monuments Historiques, Paris. Cath^drale de Reims, document 6975, dated November 15, 1927, for Deneux's description of the materials used for the restoration of Angels X and XI. 210

Key to Restoration Photographs

Restored in mastic or cement

%% New stone

4 + + + + +■ +■ + Recut stone 4- 4- 4- 4 4“ + + + 211

Figure 80. Abbey Church of St. Remi, West Facade, upper storey: restored parts of St. Peter 212

Figure 81. Abbey Church of St. Remi, West Fapade, upper storey: restored parts of St. Remi. 213

Figure 82. Reims Cathedral, West Facade, right embrasure: restored parts of the six Prophets: Simeon, John the "Baptist, Isaiah, Moses, Abraham and Isaac, and Samuel. 214

Figure 83. Reims Cathedral, Chapel of St. Joseph, South Side of Choir (exterior): Restored parts of Angel X. APPENDIX B: DIAGRAM OF STYLISTIC SOURCES

Notre-Dame-en-VauXj Reims Cathedral, Abbey Church of St. ChSlons-sur -Marne, North Transept, Remi, Reims, West Fa­ Cloister (c. 1180) Porte Romane cade, Sts. Peter and (c. 1180) Remi (c. 1175) J, --- 4- —- MASTER OF THE FIVE PROPHETS (c. 1211-1215)

Chartres Cathedral, 3 L North Transept, Cen­ SIMEON MASTER tral Portal (Aft. 1210) (c. 1215-c. 1220) Chartres Cathedral, South Transept, Centra] Portal (aft. 1214-1215) Chartres Cathedral, North Transept, Right LAST JUDGMENT Portal (aft. 1214-1215) ABRAHAM MASIER Laon Cathedral, West (toward 1220-toward 1230) Fa9ade, Left Portal (Bef. 1190) Nicholas of Verdun Shrine of the Virgin, Tournai (1205)______

ASSISTANT TO ABRAHAM MASTER Chartres Cathedral, (late 1220*s-toward 1230) North Porch, Central Bay, Left Side (Aft. 1214-1215)

Nicholas of Verdun, Shrine of the Three Magi I ANDREW MASTER Cologne (1181t 1191) 1 (later 1220’s) 4- Second Master, Ingebourc I Psalter (c. 1200)

MASTER OF ST. JAMES ? (later 1220’s) Nicholas of Verdun, MASTER OF STS. PETER AND PAUL Shrine of the Three Magd (later 1220's to c. 1230) Cologne (1181-1191) I VISITATION MASTER I Chartres Cathedral, (c. 1230-1233) North Transept, Left JMASTER OF ST. EpTROPIA ^ Portal (aft. 1214-1215) (middle 1220's-fc. 123&) ' ------Chartres Cathedral, MASTER OF ST. REMIGIUS L North Transept, Central (middle 1220's-c. 1230) Portal (aft. 1210) 215 BIBLIOGRAPHY

This bibliography is not intended to be exhaustive of all discussions of the sculpture of the cathedral of Reims. The in­ tent is to cite those sources which are of particular use in the study of the classical masters and the origins of their respec­ tive styles of work. A more extensive bibliographical record can be found in the sources listed.

Adhemar, Jean. Influences Antiques dans l*art du Moyen-^ge Frangais. London, 1939.

Aubert, Marcel. "Les architectes de la cath^drale de Reims." Bulletin monumental, CXIV (1956), 123-125.

______. La cathedral de Senlis. Senlis, 1910.

______French Sculpture at the Beginning of the Gothic Period, 1140-1225. New York, n.d.

______. Die gotische Plastik Frankreichs 1140 bis 1225. Florence, 1929.

______. "Le portail occidental de la cathedrale de Senlis," Revue de 1 * art chr^tien, LX (1910) , 157-163.

______. La sculpture frangaise au Moyen-^ g e . Paris, 1946.

______. "T^tes gothiques de Senlis et de Mantes." Bulletin monumentale, XCVII (1938), 1-12.

Beer, Ellen. "Gotische Buchmalerei, Literatur von 1945 bis 1961." Zeitschrift fur Kunstgeschichte, XXV (1962), 134-158.

Boeck, Wilhelm. Per Bamberger Meister. Tubingen, 1960.

Bony, Jean. "La Collegiale de Mantes." Cahiers d'Art, CIV (1946), 163-175.

Bloch, Marc. Life and Work in Medieval Europe. New York, 1969.

Branner, Robert. "Historical Aspects of the Reconstruction of Reims Cathedral, 1210-1241." Speculum, XXXVI (1961), 23-37.

216 217

. "Jean d'Orbais and the Cathedral of Reims." Art Bulletin, XLIII (1961), 131-133.

______. "The Labyrinth of Reims Cathedral." Journal of the So­ ciety of Architectural Historians, XXI (1962), 18-25.

______. "Manuscript Painting in Paris around 1200." The Year 1200, III: A Symposium. New York, 1975, 173-179.

______. "The North Transepts and the First West Facade of Reims Cathedral." Zeitschrift fur Kunstgeschichte, XXIV (1961), 220-241.

______. "Villard de Honnecourt, Reims and the Origin of Gothic Architectural Drawings." Gazette des Beaux-Arts, S6, LXI (1963), 129-146.

Brehier, Louis. La cathedrale de Reims. Paris, 1920.

Brooke, Christopher. The Twelfth Century Renaissance. New York, 1969.

Buschhausen, Helmut. "The Klosterneuburg Altar of Nicholas of Verdun: art, theology and politics," Journal of the Warburg and Courtauld Institutes, XXXVII (1974), 1-32.

Cartellieri, Alexander. Philippe II, August, Konig von Frank- reich. I, Leipzig, 1899.

Cerf, Charles. Histoire et description de Notre-Dame de Reims. 2 vols. Reims, 1861.

Clark, Kenneth. The Nude. Washington, D.C., 1956.

Claussen, Peter C. "Antike und Gotische Skulptur in Frankreich urn 1200" Wallraf-Richartz Jahrbuch, XXXV (1973), 83-107.

Cocquault, Pierre. Histoire de l^glise, ville et province de Reims. III. (MS 1609, Biblioth^que municipale, Reims).

Cologne: Kunsthalle. Rhin-Meuse, Art et Civilization 800- 1400. I. Cologne, 1972.(

Coppier, A.C. "Le role artistique et social des orfevres- graveurs francais au Moyen-ftge." Gazette des Beaux-Arts, S6, XVIII (1937), 261-282.

Demaison, Louis. Albumn de la cathedrale de Reims. Reims, 1899.

______. "Les cath&drales de Reims anterieures au XIII6 siecle." Bulletin monumental, LXXXV (1926), 67-116. 218

Damaison, Louis, et al. Guide des Congres de Reims. Caen, 1911.

Deneux, Henri. "Modifications apportees a la cathedrale de Reims au cours de sa construction du XIIIe si^cle au XVe siScle." Bulletin monumental, XVI (1948), 121-140.

______. "Signes lapidaires et epures du XIII6 siecle k la ca- th^drale de Reims." Bulletin monumental, LXXXIV (1925) 99-130.

Desportes, Pierre. Reims et les Remois aux XIIIe et XIVe siecles. Paris, 1979.

Deuchler, Florens. Per Ingeborgpsalter. Berlin, 1967.

Dodwell, C.R. Painting in Europe 800 to 1200. Baltimore, 1971.

Durand, Georges. Monographie de l'eglise Notre-Dame d'Amiens. Amiens, 1901.

Espirandieu, E. Recueil general des bas-reliefs, statues et busts de la Gaule romaine. Ill, V. Paris, 1913.

Flodoard. "Historia Remensis Ecclesiae." Monumenta Germaniae Historica, Scriptores Rerum Merovingicarum. XIII, 409-599.

Focillon, Henri. Art of the West. II. Paris, 1938.

Frankl, Paul. "The Chronology of Chartres Cathedral." Art Bulletin, XXXIX, (1957), 33-47.

Frisch, Teresa G. "The Twelve Choir Statues of the Cathedral at Reims." Art Bulletin, XLII (1960), 1-24.

"Review, Wilhelm Boeck, Der Bamberger Meister." Art Bulletin, LII (1970), 309-310.

Greenhill, Eleanor S. "The Provenance of a Gothic Head." Art Bulletin, XLIX (1967), 101-110.

Grodecki, Louis. "A propos de la sculpture franyaise autour de 1200." Bulletin monumentale, CXV (1957), 119-126.

______. "Chronologie de la Cathedral de Chartres." Bulletin monumental, CXVI (1958), 91-119.

______. "La 'premiere sculpture gothique', Wilhelm Voge et l'etat actuel des problemes." Bulletin monumental, CXVII (1959), 265-289. 219

______. "The Transept Portals of Chartres Cathedral: The Date of their Construction according to the Archaeological Data." Art Bulletin, XXXII (1951), 156-164.

Grodecki, Louis and Recht, R. "Le bras sud du transept de la cathedrale: Architecture et Sculpture." Bulletin Monu­ mental , CXXIX (1971), 7-31.

Hamann-MacLean, Richard H.L. "Antikenstudien in der Kunst des Mittlealters." Marburger Jahrbuch fur Kunstwissenschaft, XV (1949-1950), 182-230.

______. "Reims als Kunstzentrum im 12. und 13. Jahrhunderts." Kunstchronii . IX (1956), 287-288.

______. "Zur Baugeschichte der Kathedrale von Reims." Gedenk- schrift Ernst Gall. Berlin, 1965, 195-201

Haskins, Charles H. The Renaissance of the Twelfth Century. Cambridge, Mass., 1927.

Haussherr, Reiner. "Der Ingeborgpsalter Bernerkungen zu Datierungs-und Stilfragen." The Year 1200, III: A Sym­ posium. New York, 1975, 231-245.

______. "Review, Sauerl'ander, W. , Von Sens bis Strassbourg." Kunstchronik, XXI (1968), 302-321.

Hinkle, William M. "Kunze's Theory of an Earlier Project for the West Portals of the Cathedral of Reims." Journal of the Society of Architectural Historians, XXXIV (1975), 208-14.

______. The Portal of the Saints of Reims Cathedral. A Study in Medieval Iconography. New York, 1965.

Hahnloser, H.R. "La technique et style du retable de Klosterneuburg." L'Art Mosan. Paris, 1973.

Hoffmann, Konrad (ed.). The Year 1200, I. (exhibition cata­ logue), Metropolitan Museum of Art, New York, 1970.

Hollande, Maurice. Essai sur la Topographie de Reims. Reims, 1976.

Homburger, O. "Zur Stilbestimmung der figurlichen Kunst Deutschlands und des westlichen Europas im Zeitraum zwischen 1190 und 1250," Formositas Romanica: Festschrift J. Ganter, Frauenfeld, 1958, 29-45. 220

Jantzen, Hans. Deutsche Bildhauer des 13. Jahrhundert. Leipzig, 1925.

Kitzinger, Ernst. "The Byzantine Contribution to Western Art of the Twelfth and Thirteenth Centuries." Dumbarton Oaks Papers, XX (1960), 27-47.

Kunze, Hans. Das Fassaden-problem der franzosischen Fruh-und Hochgotik. Leipzig, 1912.

Lambert, Elie. "La construction de la cathedrale de Reims au XIIIe siicle." Gazette des Beaux-Art, S6, LVII (1961), 217-228.

______. "Le Labyrinthe de la cathedrale de Reims." Gazette des Beaux-Ar t s , S6, LI (1958), 273-280.

______. "Les portails sculptes de la cathedrale de Laon." Gazette des Beaux-Arts, S6, XVII (1937), 83-98.

Lapeyre, A. Des facades de Saint-Denis et de Chartres aux portails de Laon. Paris, 1960.

Lasko, Peter. Ars"Sacra, 800-1200. Baltimore, 1972.

Lefran^ois-Pillion, Louise. Maitres D ?Oeuvre et Tailleurs de Pierre des cathedrales. Paris, 1949.

______. Les sculpteurs de Reims. Paris, 1928.

Luchaire, Achille. Social France at the Time of Philip Augus­ tus. New York, 1967.

Metle, Emile. Art et artistes du moyen-^ge. Paris, 1928

______. L fArt religieux du XIIIs siecle en France. Paris, 1919.

"La cathedrale de Reims." Revue de Paris (1914). 306-308.

"La cathedrale de Reims." Gazette des Beaux-Arts, 5s, III (1921), 73-88.

______. "Le portail de Senlis et son influence." Revue de 1 * art ancien et modern (1911), 161-176.

Wedding, Wolfgang. "Die Josephmeister von Reims." Jahrbuch der K&niglichen preussischen Kunstsammlungen, L (1929), 299-320. 221

______. Die Westportale der Kathedrale von Amiens und ihre Meister. Augsburg, 1930.

Meulen, Jan van der. "Recent Literature on the Chronology of Chartres Cathedrale." Art Bulletin, XLIV (1967), 152- 172.

Moreau-N^laton, £tienne. La cathedrale de Reims. Paris, 1915.

Muller, J.L.H. Joyaux de sculpture. Reims, Paris, 1954.

Oakeshott, Walter. Classical Inspiration in Medieval Art. London, 1959.

Paillard-Prache, Anne. "T§tes sculptees du XIIIG siecle provenant de la cathedrale de Reims." Bulletin monumental, CXVI (1958), 29-40.

Panofsky, Erwin and Saxl, Fritz. "Classical Mythology in Medieval Art." Metropolitan Museum Studies, IV (1932- 1933), 228-280.

Panofsky, Erwin. Die Deutsche Plastik des 11. bis 13. Jahrhunderts. Munich, 1924.

______. Meaning in the Visual Arts. New York, 1955-

______. "Renaissance and Renascences." Kenyon Review, VI (1944), 201-236.

______. Renaissance and Renascences in Western Art. Stock­ holm, 1960.

______. "Uber die Reihenfolge der vier Meister von Reims." Jahrbuch fur Kunstwissenschaft, IV (1927), 55-82.

______„ "Zur Kunstlerischen Abkunft des Strassburger ’Ekklesiameisters*." Oberrheinische Kunst, IV (1930), 124ff.

Petit-Dutallis, Charles. The Feudal Monarchy in France and England. London, 1936.

Pillon, Louise. "Le Jugement dernier de la cathedrale de Reims." Congres Archeologique, LXXVIIIe session tenue a Reims en 1911, Paris, 1912, 247-258.

Poole, R.L. Illustrations of the History of Medieval Thought and -Learning. London, 1920 222

Porcher, Jean et al. The Carolingian Renaissance. New York, 1967.

Prache, Anne. "Contribution a 1*etude des contacts et des echanges etablis entre les sculpteurs du XIIIe si&cle, a propos de la cathedrale de Reims." Gazette des Beaux- Arts, S6, LVII (1961), 129-142.

______. "Restauration des sculptures de la cathedrale de Reims." Gazette des Beaux-Arts, S6, LXVI (1965), 183-187.

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