Wiligelmo s influence can be traced throughout Italy and as far away as Lincoln Cathedral in England. THE PRIORY CHURCH OF SAINT-PIERRE AT MOISSAC The Cluniac priory of Saint-Pierre at Moissac was a major stop on the pilgrimage route to Santiago de Compostela.The shrine at the site dates back to the Carolingian period, and after affiliating with Cluny in 1047, the monastery prospered from the donations of pilgrims and local nobility, as well as from its control of shipping on the nearby Garonne River. During the twelfth century, Moissac s monks launched an ambitious building campaign, and much of the sculpture from the cloister (c. 1100, under Abbot Ansquetil) and the church portal and porch (1100 1130, under Abbot Roger) has survived. The quantity and quality of the carving here are outstanding. A flattened figure of CHRIST IN MAJESTY dominates the huge tympanum ( FIG . 15 22) , visualizing a description of the Second Coming in Chapters 4 and 5 of Revelation.This gigantic Christ is an imposing,iconic image of enduring grandeur.He is enclosed by a mandorla; a cruciform halo rings his head. Although Christ is stable, even static, in this apocalyptic appearance, the four winged creatures symbolizing the evangelists Matthew the man (upper left),Mark the lion (lower left),Luke the ox (lower right),and John the eagle (upper right) who frame him on either side move with dynamic force, as if activated by the power of his unchanging majesty.Rippling bands extending across the tympanum at Christ s sides and under him perhaps representing waves in the sea of glass like crystal (Revelation 4:6) delineate three registers in 15 21 Wiligelmo CREATION AND FALL, WEST FAÇADE, MODENA CATHEDRAL Emilia, Italy. Building begun 1099; sculpture c. 1099. Height approx. 3 * (92 cm).
ROMANESQUE ART CHAPTER 15 475 which 24 elders with gold crowns on their heads and either a harp or a gold bowl of incense (Revelation 4:4 and 5:8) twist nervously to catch a glimpse of Christ s majestic arrival. Each of them takes an individually conceived pose and gesture, as if the sculptors were demonstrating their ability to represent three- dimensional human figures turning in space in a variety of postures, some quite challengingly contorted. Foliate and geometric ornament covers every surface surrounding this tableau. Monstrous heads in the lower corners of the tympanum spew ribbon scrolls, and other creatures appear at each end of the lintel, their tongues growing into ropes encircling acanthus rosettes. Two side jambs and a trumeau (central portal pier) support the weight of the lintel and tympanum. These elements have scalloped profiles that playfully undermine the ability of the colonettes on the door jambs to perform their architectural function and give a sense of instability to the lower part of the portal, as if to underline the ability of the stable figure of Christ in Majesty to provide his own means of support. St. Peter and the prophet Isaiah flank the doorway on the jambs. Peter, a tall, thin saint, steps away from the door but twists back to look through it.
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