INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the original text directly fi*cm the copy submitted. Thus, some dissertation copies are in typewriter &ce, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize m aterials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand com er and continuing firom left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6"X 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. 11 Accessing theUMI World's Information since 1938 300 North Zeeb Road. Ann Arbor, M! 48106-1346 USA Order Number 8812291 The sculptural program of the royal collegiate church of San Isidoro in Ledn. (Volumes I and II) Orr, Beverty Anne, Ph.D. The Ohio State Unimsity, 1988 Copyright ©1988 by Orr, Beverly Azme. All rights reserved. UMI SOON. Zeeb Rd. Ann Aibor, MI 48106 PLEASE NOTE: in all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V 1. Glossy photographs or pages. 2. Colored illustrations, paper or print _____ 3. Photographs with dark background ____ 4. Illustrations are poor copy _____ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page. 7. Indistinct, broken or small print on several pages _______ 8. Print exceeds margin requirements _____ 9. Tightly bound copy with print lost in spine ______ 10. Computer printout pages with indistinct print. 11. Page(s) 184 lacking when material received, and not available from school or author. 12. Page(s) 515 & 617 seem to tie missing in numbering only as text follows. 13. Two pages numbered ** . Text follows. 14. Curling and wrinkled pages _____ 15. Dissertation contains pages with print at a slant, filmed as received ________ 16. Other Paces 514 and fi18.____________________________________________ UMI THE SCULPTURAL PROGRAM OF THE ROYAL COLLEGIATE CHURCH OF SAN ISIDORO IN LEcJj Volume I DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Beverly A. Orr, B.A., M.A. ***** The Ohio State University 1988 Dissertation Committee: Approved by Franklin Ludden Christine Bornstein Adviser Christian Zacher Department of History of Art Copyright by Beverly A. Orr 1988 f To A.S. 11 r' ACKNOWLEDGMENTS I would like to thank all the people who assisted me in the completion of this task. I would first like to thank Franklin M. Ludden, Professor Emeritus of the History of Art and director of the study, for his assistance. He posed questions which led me to some of the major conclusions of this study. I would also like to thank Christine Verzar Bornstein, Associate Professor of the History of Art, for her comments, suggestions, and ability to get things done. I would also like to express my gratitude to Professor Christian Zacher, Director of the Center for Medieval and Renaissance Studies, for his comments and advice. In addition to the members of my committee, I would like to thank Vincente Cantarino, Professor of Romance Languages and Literatures, for his help and bibliographic suggestions. I would also like to express my gratitude to Antonio Vi^ayo Gonzalez and the clergy of San Isidoro for allowing me to spend several months analyzing and photographing the sculptured capitals of the interior of San Isidoro, and to S. Maria Camino Redondo for permitting me to examine the documents preserved in the Archive de San Isidoro. Ill I would also like to thank Joseph Lynch, Professor of History, Fr. Lawrence James, Ph.D., and Franklin Pegues, Professor of History, for their contributions. Others assisted me in the completion of this goal, and I would like to thank them. I would like to thank Susan Wyngaard, librarian of the Fine Arts Library, Martha Jackson, of Carnegie Technical Institute, Dr. Tony L. Archeleta, Ph.D., Dr. Linda Fisher, Ph.D., Ann Bremner, and Susan M. Gozs for their assistance in the different details involved preparing the text. I would also like to thank Jane Sims for editing and typing several drafts and thank you, too, Ms. Lillian Heller, whose technical knowledge and long hours of work enabled me to meet my deadlines and produce the final draft. Finally, I would like to thank Ms. Sue Trimbach for her assistance, and my son, Benjamin, for his incessant prodding to '‘get it done." All of these people provided assistance which enabled me to complete this task. Its errors and weaknesses remain my entire responsibility. IV VITA February, 23, 1947 ............ Born — Youngstown, Ohio 1 9 7 1 ...........................B.A., History of Art The Ohio State University Columbus, Ohio 1973-1975 ..................... Teaching Associate, Department of the History of Art; The Ohio State University 1975-76 ....................... Research Associate, The Center for Medieval and Renaissance Studies, The Ohio State University 1978 ........................... M.A., The History of Art, The Ohio State University 1978-1979 ..................... Teaching Associate, Department of the History of Art, The Ohio State University 1979 - p r e s e n t ................ Instructor of Art History, Devision of General Studies, The Columbus College of Art and Design FIELDS OF STUDY Major Feild: Romanesque sculpture of the pilgrimage roads. r- TABLE OF CONTENTS ACKNOWLEDGMENTS........................................ iii VITA.................................................. V INTRODUCTION......................................... 1 CHAPTER PAGE I. THE KINGS OF ASTÜRIA AND LEm AND THE ROYAL PATRONS OF SAN ISIDORO........ 39 The Kings of Asturia and Leon......... 40 The Royal Patrons of San Isidoro....... 52 Conclusion............................ 70 List of References. ................ 72 II. DESCRIPTION OF THE SCULPTURED CAPITALS OF THE INTERIOR OF SAN ISIDORO............................... 94 The Architecture................. 94 The Sculpture of San Isidoro — Motifs, Subject Matter, and Placement on the Church.............. 99 A Closer Examination of a Select Group of Sculptured Capitals in the Interior of San Isidoro........................... 104 Conclusion............................ 162 List of References................... 165 III. THE ICONOGRAPHY OF THE FIGURATIVE CAPITALS IN THE INTERIOR OF SAN ISIDORO.................................... 174 The South Nave Arcade — Remedies (Auctoritas)............. ............ 176 VI r' The North Nave Arcade — The Struggle against Evil and the Law of the Victor............................... 218 The Figurative Capitals of the South Nave Arcade and Other Works of Art at San Isidoro....................... 267 The Figurative Capitals of the North Arcade and Other Works of Art in San Isidoro.......................... 277 Discussion of the Literary and Visual Sources.... ................ 303 Conlusion............................ 318 List of References................... 320 CONCLUSION................................. 368 Vll r INTRODUCTION The royal collegiate church of San Isidoro in Lewi was a major pilgrimage church in Romanesque Spain (Figure 1). The building shares its western wall with a small, crypt-like structure called the Pantedn (Figure 2). This eleventh-century structure houses the tombs of several family members of the Leon royalty.^ In the eleventh- and twelfth-centuries, a palace of the kings of Ledh was in close proximity to San Isidoro and the Pante"ôn. However, these palatial buildings no longer exist. San Isidoro functioned as a capella palatina, serving especially the funeral and penitential needs of the families of the kings of Leon and Castile. Both the Pantecxi and the church of San Isidoro are profusely decorated with sculpture. The historiated capitals of the Panteon are among the earliest examples of the renewed appearance of the medium of monumental sculpture in Spain. The church of San Isidoro has four portals with sculpture. The two portals on the south side of the church, the Puerta del Cordero (Figures 3 and 4, for location on church, see Diagram 1) and the Puerta del Perdon (Figures 7 an 8), have sculptured tympana and additional sculptures distributed on the walls. An older portal on the northern wall toward the western end of church has columns with sculptured capitals (Figure 10). The portal on the north transept has lost its tympanum, but sculptured capitals can be seen on the columns flanking either side of the entrance way (Figure 11, for the portal; Figures 12 and 13 for the sculptured capitals). The interior of the church of San Isidoro is em­ bellished with approximately one hundred sculptured capitals. There, foliate, addorsed bird, demon motifs and figurative scenes can be observed. It is the iconography of the sculptured capitals of the interior of San Isidoro that will be my primary concern in this