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PETRIFIED PASSIONS BODILY RHETORIC in ARCHITECTURAL SCULPTURE, C.1100–C.1270

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PETRIFIED PASSIONS BODILY RHETORIC in ARCHITECTURAL SCULPTURE, C.1100–C.1270 Thesis submitted for the degree of Doctor of Philosophy in the History of Art University of East Anglia 2016 PETRIFIED PASSIONS BODILY RHETORIC IN ARCHITECTURAL SCULPTURE, c.1100–c.1270 Agata Anna Gomółka Volume I: Text This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there-from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. ABSTRACT This thesis is concerned with the making and workings of the rhetoric of the body in architectural sculpture. An abundance of expressive examples remains from the period that can be considered as the most dynamic in the history of western sculpture. Their communicative power derives from the conceptual modes of rhetoric, adapted by the carvers into the sculpted contexts. Pathos, ethos and logos (the underlying verbal authority of scripture and commentary) are in sculpture conveyed via bodily scale and proportion, spatial dynamics, physiognomies, gestures, and expressions. The analysis of those building blocks of sculpted rhetoric allows us to understand the formal dynamics within the structure of the sculpted performance and provides an insight into the source of its success. Chapter one aims to immerse the reader in the materiality of the sculpted body. The analysis considers the influence of the material and the processes of its manipulation on the form and rhetoric of the sculpted body, its communicative potential and general viewing experience. Chapter two looks at the aesthetic means of communication between the sculpted body and the beholder, as embedded in a network of physiognomic signs. This chapter shows the range of ways in which sculpted figures engaged with the viewer through the shapes and surfaces of their bodies. Chapter three discusses the use of the body language of the Fall, highlighting the range of invented expressions occurring at the various stages of the story, but particularly at the postlapsarian stage. These emotionally- laden depictions of events of crucial impact on the human condition related directly to every believer, implicating the audience alongside the protagonists. Chapter four deals with sculpted depictions of Job. The complexity of Job’s story fed into the ambitions of the artists who embarked on an exploration of the physiognomic and pathognomic language of their figures. While the attendants offer a range of pathognomic reactions, the body of Job became a field for experimentation with bodily form, surface and movement. The thesis aims to clarify how the language of the sculpted body is formed, and how it works to reach the audiences. Contrasting attitudes to the sculpted body not only demonstrate the breadth of its potential as a communicative tool, but offer a primary 1 insight into the genesis of the principles of corporeal rhetoric used to establish a link between the sculpture and its viewer. The thesis challenges the idea of a single trajectory of development of the physiognomic and pathognomic features in architectural sculpture. The refinement of physical mimesis was not intrinsically paired with the rhetorical sophistication of forms. The ubiquitous but complex artistic dialogues, evidenced in the petrified legacy of constant mediation, responding, updating and calibrating, testify to the volatile trajectories of the conception of the form and rhetoric of medieval bodies and medieval sculpture as a whole. 2 TABLE OF CONTENTS Volume I ACKNOWLEDGEMENTS 5 INTRODUCTION 6 Definition of bodily rhetoric and its components 8 Why body 10 Why sculpture 11 Chronological and geographic scope 14 Literature review 15 Themes and methods 22 The aesthetics of bodily form in ancient and medieval theory 28 Chapter outline 47 CHAPTER I MEDIATED RHETORIC: THE SCULPTED BODY IN MATERIAL CONTEXT 53 Materials 54 Stereotomy and iconography 58 Bodily scale, proportion, posture and gesture in relation to stereotomy 74 Relief and its impact on rhetoric 94 CHAPTER II SURFACE RIDDLES: STRUCTURING BODILY AESTHETICS 112 Satan and the saviour, or how to look perfect or perfectly ugly in a stroke of a chisel 120 The sinner and the serpent: the morning after the day of judgement 133 Updating the gods of old – the case of Adam and the Virgin 140 Conclusion: rhetoric before aesthetic 148 CHAPTER III AND GOD SAW THAT THEY WERE NOT SO GOOD: BODY LANGUAGE IN THE SCULPTED SCENES OF THE FALL OF MAN 151 The fall on a tympanum and lintel 155 The fall on a capital 159 The fall on a voussoir – thirteenth century 169 Modelling rhetoric in Bernward’s doors 181 CHAPTER IV BODILY RHETORIC IN THE SCENES OF JOB ON A DUNGHILL 190 The context of audiences and space 203 'Skin for skin': physiognomy in the surface and line 207 Comparison of the treatment of physical ailments and other physiognomic detail 210 Facing job and Satan 216 The rampant pathognomies 218 Job, Satan, and their pathognomic relationship 222 Relationship of physiognomy and pathognomy in the scenes – Beyond the act of Satan 228 3 CONCLUSION 238 BIBLIOGRAPHY 251 Volume II LIST OF ILLUSTRATIONS 2 DIAGRAMS 10 PLATES 12 FIGURES Introduction 18 Chapter I 20 Chapter II 49 Chapter III 81 Chapter IV 99 4 ACKNOWLEDGEMENTS Many wonderful people played a part in this venture. My special thanks go to: Sandy Heslop, for his heart and mind open to objects and ideas, and his restless brows ever on guard against the porosity of argument and oddities of ornamental prose. Bronwen Wilson and John Mitchell for their mindfulness at the beginning and end of this journey, respectively. The people behind the institution - the British Archaeological Association, for generously sponsoring the final months of this quest, and my many journeys to some of the best conferences ever held. The Master Mason and the apprentices of the Guild of St Stephen & St George based in Norwich, for generously welcoming me in their midst, and sharing insight to help me understand the aspects of architectural sculpture much neglected by art historians. Beatrice Leal, for her immense help not only with the editing but also with respectively feeding and battling this petrified monster. My dear friends, for exchanges of ideas, patience and endless support throughout, for egg hunts and Rolls-Royce rides, for the world's best postal service, and for the fun times on the only Greek island in Norfolk. Families Rols and Grimal, who dwell a stone-throw from Conques, for their hospitality and help during the Midi-Pyrénées escapades, and to uncle Gilbert Laval, for hosting the hungry pilgrims in Toulouse. My family, the Gomółkas and Omelans, who never stop believing in and missing me, and who cannot wait to see this thesis translated into some Slavic language. And, finally, to Lucas Rols, for standing by throughout the greater part of this adventure, for inspiration and patience during all the memorable photographic and measuring trips, and for all the happy returns to Conques. I dedicate this thesis to him. November 2016 5 INTRODUCTION The body of the sinner on the capital in the north transept of the cathedral of Santiago de Compostela (fig. 1, 2) is subjected to a violent assault by a group of five devils. Their physicality, and indeed their entire corporal existence, is governed by opposition – physical and mechanical – to the body of the man they are charged to punish. Their physiognomies, movement and gestures are conceived as contradicting and antagonising every aspect of the body of the damned man. Equally, the whole figure of the man is conceived as if to facilitate the drastic confrontation of the bodies. The devils' bodies show exaggeration of form and surface in almost every possible way – their eyes bulge, huge mouths grin, orifices belch, bones and tendons project, and the skin ruffles or stretches according to the need of producing the most appropriate (ugly) image. The man, on the other hand, presents himself rather differently. He is plump, smooth and shapely; although suffering, his face is almost incongruously unruffled; although bound, his pose is no more broken up and contorted than the poses of the devils, and so his entire body faces theirs in a direct visual confrontation. A thickly-woven rope tightens around the man's neck, pinning his body against the frame of the gallows. This pulling force, instigated by a demon bracing its leg against the scaffold, keeps the man's body suspended between the forms and means of torture: the strangling rope keeps him from dropping into the fire of hell, which ultimately consumes only the lower part of his body. His head is stabbed with a halberd and his ear bitten by a snake, applied to his body by two demonic torturers, while two more await on the opposite side, bearing more tools along with the incriminating object of the miser's sin.1 The movement and gestures of the demons are steady, focused solely on the practical 1 For identification as a miser, see Durliat 1990, 316. 6 purpose of inflicting torture, and the apparent flickering chaos of the surface of the capital is caused by the physiognomic features of the demons’ bodies, not their behaviour. On their faces, however, their grotesque physiognomy is reinforced with facial expressions that stretch the already oversized mouths and nostrils into horrific grins. In the face of the grisly suffering inflicted by the fearsome creatures, the damned man appears completely resigned to his fate. His body showing no sign of rebellion, and the face but a faint sign of despair, struggle or pain; he seems to be but a blank canvas for punishment. The absence of emotions could be read simply as a sign of the utter subjection of the damned to a deserved punishment.
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