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Sculpture of the Chartres Royal Portal

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ARTICLES Page Written in Stone: The impact of the properties of quarried stone on the design of medieval sculpture .......................................... .1 by Janet Snyder Oh Master, You're Wonderful! The Pro6lem of Labor in the Ornamental Sculpture of the Chartres Royal Portal. ........................................................ .6 by Vibeke Olson Dendn>chronology for Medieval Studies ...................................................... -13 by Lynn T. Courtenay REVIEWS Angevin Architecture in the Kingdom of Naples: a review of recent studies.. ....................................................................... .18 by Michael T. Davis CONFERENCE NOTES AVISTA Sessions at Thkly-eighth Medieval Congress, 2003 Program and abstracts of papa ................................................................ .21 AVISTA Sessions at Thirty-seventh Medieval Congress, 2002 Program and abstracts of papers.. ............................................................... -25 AVISTA Sessions at the Leeds Medieval Conference, 2002 Program and abstracts of papers.. ........................................................ BULLETIN BOARD.. ............................................................................ AVISTA Bushess Meeting, 2002.. ..............................................................32 Notes for Contributors.. ...........................................................................-33 Editorial Board and Membership Application.. ............................................... -34 wlUTrEN IN STONE: THE IMPACT OF THE PROPERTIES OF QUARRIED STONE ON THE DESIGN OF MEDIEVAL SCUL- Janet Snyder West Virginia University No CLUE CAN BE OVERLOOKED in the study of medieval sculpture. The investigation of the impact of the properties of quarried stone on the design of twelfth-century architectural sculpture has unfolded like the plot of a mystery novel. In her study of ornamental colonnette sculpture Vibeke Olson has discovered evidence for the sequence of labor that cre- ated the ornamental sculpture in west faqade of Chartres Cathedral.' Recognizing that surface finish offers clues of successive stages of work, she suggests that the different "hands" apparent in portal sculpture might actually be the product of the last artistlmason (ymagier) working on the carving rather than of individual geniuses working from start to finish on a single sculpture. At Saint-Ayoul in Provins I have observed evidence of @AVISTA Inc. the penultimate and ultimate stages of carving, extending Olson's discov- Association Villard de Homecourt for ery concerning workshop practice to the column-figure sculptures. Interdisciplinary Study of Medieval In the more than thirty church portal sculpture programs installed in Technology, Science, and Art northern France between the 1130s and the 1160s, a stunning new feature Department of Art and Art History was the inclusion of rows of over-life-size column-figures elegantly Bucknell University dressed in contemporary court clothing. The language of dress conveys Lewisburg, PA 17837 part of the iconographical meaning conveyed by these coherent programs (www.chass.utoronto.ca/-avistdindex.htm1) of ~culpture.~The column-figures appear to be garbed as contemporary matrons, young ladies, courtiers, knights, clerics, dukes, and consecrated officers monarchs. United by the fashionable costumes they wear, the column- President: Lym Courtenay, Univ. of Wisconsin- figures were carved by various ymagiers who used a type of limestone Whitewater, emerita, found only in Paris, liais de Paris. Vice President: Kathryn Talaico, CUNY, Coll. One of the most baffling aspects of these mid-twelfth-century of Staten Island French ensembles is the contradiction between the similarities of form Secretary: Barbara Bowers, Ohio State Univ. and the pronounced differences in finished detail' While essentially no Treasurer: Evelyn Lane, Wheaton Coll. written documentation of the processes of the design and carving of stone sculpture exists, clues to workshop practice are revealed by the Counsel: Holbrook Bunting, Jr. sculpture." Once the ymagiers chose to work with liais de Paris for sculp- Directors ture, the specific physical properties of this limestone-- its fine grain, to May 2003 hardness, and the dimensions of the beds in the quarries-along with its Carl F. Barnes, Jr., Oakland Univ. rarity and expense, shaped portal design and dictated aspects of column- Kelly Devries, Loyola Coll., Baltimore figure execution.' This essay will look again at the hard evidence and Robert Jamison analyze its implications. Ellen Shortell, Massachusetts Coll. of Art Steve Walton, Pennsylvania State Univ. to May 2004 The architectural envelope of churches across northern France was William Clark, Queens Coll., CUNY made of local limestone that was difficult to cut into blocks and was even more difficult to sculpt, so a different kind of stone was required for the Paul Gans, New York Univ. production of detailed architectural sculpture. Liais de Paris, a fine and Evelyn Lane, Wheaton Coll. hard limestone that is very resistant to weathering, was acquired from Janet Snyder, West Virginia Univ. quarries in the environs of Paris. Among the beds of lutetian limestone Marie-Thtrkse Zemer, independent scholar exploited in the ancient quarries of the Parisian region during the Middle to May 2005 Ages, the liais bed is the finest and hardest: its hardness results from its a Jean Givens, Univ. of Connecticut biopelmitric composition in which the pores are replaced by fine crystals Janice Mann, Bucknell Univ. of microsparitic ~alcite.~These qualities of the liais de Paris affected both Carol Neuman de Vegvar, Ohio Wesleyan Univ. the techniques employed by its carvers and the extraordinary quality of Richard Sundt, Univ. of Oregon the carving that achieved a precision of the detail previously seen only in small ivory or gold sculpture. The advantages of liais de Paris must have Harry Titus, Wake Forest Univ. been evident to sculptors across northern France where it was in constant AVISTA PO= Journal (ISSN 1041-69940) demand: it was used for the column-figures installed in the jambs of is indexed by the BHA Saint-Denis and of Parisian churches; it was exported for the column-fig- AVISTA Forum Journal is produced by Copy Cat ures of the Royal Portal of Chartres Cathedral and it has been recognized South Hadley, MA at ~tam~es,Auxerre, Saint Maurdes-Fosses, Saint-Ayoul of Provins, Saint-Loup-de- Naud, Donnemarie-en-Montois, Meaux and the church at front cover: Naples Cathedral, vaults of the Capella Tocco (M.T. Davis) 11 Rampillon.' The Limestone Sculpture Provenance Project has been able Page 2 to identify quarry sources for liais sculpture with reasonable certainty ymagien working as individual artists, called "Headmaster," "assistant", through the process of characterization by neutron activation analysis and and so on." Modern scholars concur that ymagjen must have been aware multivariate statistics. of contemporary developments in portal design at regional churches--and The blocks of liais de Paris from which the column-figures were that the same ymagier worked on the figures of Mary as Throne of carved were set en dClit (placed vertically) as part of the fa~adewalls Wisdom at Chartres and at Notre-Dame in Paris--and that they also might of the portal jambs. For this study, I measured the plans of the stepped have met each other in the quarries." It seems nearly certain that in embrasures, that is, the sides of the bases of the column-figure blocks, twelfth-century Burgundy particular types of capitals were fabricated in at twenty-four extant twelfth-century church portals. The stepped embra- series in an atelier and then were sent to churches during the course of sures of the west fa~adesof Saint-Denis and of Chartres Cathedral show their construction." The substantial weight and size of column-figures in no regular pattern in their dimensions, but at other contemporary build- northern France disallow the same practice. As much as possible, blocks ings where portal sculpture programs were installed, there are striking might have been reduced in weight before shipping, with rough cuts similarities in their plan dimensions. The width and depth of the en dClit made at the quarry before shipment to the onsite chantier where the fin- blocks arranged as contiguous steps along the doorway embrasures con- ished details were made after installati~n.'~ sistently measure between 34 and 37 cm, even when portals have very different proportions. That is, despite significant variations in the height of the finished column-figures, the height of the figures above the ground level, the width or height of the door opening, or whether or not there was a trumeau supporting the lintel, the modular space left for the base of each column-figure conforms within a few centimeters. One dimension in each block's plan measures less than 36.5 cm. This standard dimension must have been determined by the thickness of the bed of liais in the old quames of Paris, which was between 20 cm and 45 cm.' The thickest beds were used for monumental sculpture, the mid-sized for colonnettes, and the beds of 20 cm and less served for flooring and tombstones. While the length of quamed pieces might vary considerably, and the width of a block might vary a bit according to choices taken as it was removed from the quarry (broader pieces were required for lintels or tympanums), the depth of the beds in the quames must have contributed to a standardiza- tion of the dimensions of church portal
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