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    Maiestas Domini Portals

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    r | | ELIANE VERGNOLLE > ‘MAIESTAS DOMINI’ PORTALS OF THE TWELFTH CENTURY HE EARLIEST attempts at Romanesque por when the sculpted tympanum became popu- tal sculpture reveal that from the start an all en-_ lar in’ many regions of Europe. Of course, one con~ compassing iconographic vision had already been im- tinue’ to find occasional solutions, but in the majority posed on the minds of its creators. We need only look of cases, the mandorla occupies the full height of the at (wo prominent examples in Roussillon for confix- tympanum while the Tetramorph i Fepresented on ‘mation: that at Saint-Genis-des-Fontaines, dated by “the sides, as at Montseugny, in Franche-Comté (Fig, inscription to 1019/1020, and that at Arles-sur-Tech, 1). The perfection of this formula is immediately probably completed slightly before 1046, the date of evident, no matter what the style of carving of the the consecration of the church. At the center of the tympanum. Saint-Genis lintel, che figure of Christ, seated in a In most cases, the lion and the ox occupy the largest figure-cight-shaped mandorla, is supported by two area of the tympanum at the bottom of the compo- angels and flanked by six apostles.* The image con- sition. Their feet are placed in a horizontal line that flates the themes of the Ascension and the Return of” evokes the ground, while the man and the eagle soar “Christ on the Final Day of Judgment. At Arles-sur- ~ Tech, the tympanum is carved with the Maiestas Do- ‘mini arranged within a large cross. Christ is enthroned at the center of the crass and the four symbols of the Evangelists occupy the arms of the cross.* ‘The theme of the Maiestas Domini did not reach its peak until the end of the second quarter of the twelfth I thank Deborah Kahn for trandating the ext of my elk and [Neil Stratford for translating the notes, 1,.On the iconography of the lintel, see P.Klein, “Les portale de Saine-Genis-des-Fontsines et de Ssint-André-de-Soréde, I. Le linteau de Saint-Genis” Cahier de Sain-Micel de Cuxa (1980), 122-144 2. The doorveay issetin the easter fade ofthe abbey church CEP Ponsich, "Sainte-Marie d’Avlos-sur-Tech," Congrs ard lopique de France. Rou (1954), 346-377-On she tympanum, sce M. Dusliat, Rowson oman ath evised. (La Pierre-qui-Vire, 1986), 120, PL 44. More recently: Catalunya romance, XXV, El Vallspt. El Caper. £1 Donasd. La Feolleds, El Perspertces (Bae- celona, 1996), 67-85 3.1 shall discuss neither the Maistas Agi nor the Maistas (Cees, as they 2 seldom found in Romanesque doors. shall discuss che theme of the Maiezas Dorin at it was defined by above in the upper area, their wings often following the curve of the archivolt. This arrangement for the symbols of the Evangelists wasnotthe invention of the Romanesque period, It emerged in the Early Middle ‘Ages, and became an enduring motif,no doubt in part because of the clarity of che symbolism. The semi circular shape of the tympanum, which suggested the van der Meet, Maistas Domini. Théaphanies de "Apocalypse dans an chien, Etude sur une iconographic spcale du Christ (Paris and Rome 1938):thatis, God the Father enthroned, blessing with his right hand, holding 2 book on his left knee and surrounded by the four symbols of the Evangelists, 4-E Vergnolle,“Le tympan de Notre-Dame de Montseugny (Hlaute-Ssdne). Une Maiestar Domini romane,” in Architektur saad Monumenaleulpar des 1215. Jarehundens / Archvcture et sealptune monumental du XII aw XIV" side, Fetch flr Peter Kuan 200 65. Goburstag / Manges offs & Peer Kurmann ouasion de som soixanteringue anniversaire (Bern, 2006),413~ 435 (esp- 428-435). The church of Montseugny was buile in che third-quarter of che ewelfth-century by the Hospiallers of St John of Jerusalem. The tympanum, which originally decorated the west door of the church, is now reset in the figade of the early ninetecnth-cencury tower-porch {179} BLIANE VERGNOLLE FIGURE 1, Montseugny, Notre-Dame, reused tympanum, celestial heavens, provided added significance. This is the perfect embodiment of the concept expressed by ‘St. Ambrose:""The Church, with its four gospels, fal- Fills the universe of its Evangelists”* ‘There is no a priori hierarchy among the four Evan- gelists.° They transmit the divine revelation as an in- dissoluble unit—the Tetramorph. To return to the ‘words of St. Ambrose:“Thus the Church has only a 5*Sed exes, cum quate eangeli libos habeat, per universon ‘nun eoangelitis edundat” (Se, Ambeose, On St, Luke,t:2).For Se. Ambrose on the Tetramorph,see A.-O,Poilpré, Maiestas Do win. Une mage de Elise on Oxident, VIX see (Pars, 008), I-85, For early exegesis on the theme, see the general study IM. Fromaget, Maisat Domini. Les guste vinants de VApocalypee dans Part (Turnhout, 2003); PSkubiszewski, “Masts Domini et Tivrgie” in Cinguante années dudes médtvales, Actes du cllogue onan ocasion du Cinguantenine du Cent Eades Supt. res de Chilton Médiévale (Pins, "4 sep. 2003) 04. CL Ar~ rignon, M.-H. Debits, Cl. Galderis, and E. Palazzo (Turnhout, 2006), 309-407 (esp. 312-318), 6, However, distribution of the Evangelists can sometimes take on a particular meaning In several Carolingian manuseripee (che Weingarten Gospels the Movitier-Grandval Bible, che fst single Gospel and teaches one God.” Nor do the Vi- sions of Ezekiel and of St John specify the respective positions of the four figures. Ezekiel says simply: ‘And I looked, and, behold, a whirlwind came out of the north, a great cloud, and a fire enfolding itself, and a brightness was about it, and out of the midst thereof was the color of amber, out of the midst of the fire, Also out of the midst thereof came the like Bible of Charles che Bal), Se: Matchew's symbol spliced a the bottom, beneath Gods fet, while St John’ symbal is above his head, in whae YolantaZaluska has designated as“the ais ofthe Incarnation’: ¥.Zalska, L'Engle de Remirmont. Une eure ‘anoniole des années 1200 (Tuenbout, 1096), 70. With the eympa- rum of Montseugny (Fig. 1), St. Matthew’ syrbol (he isthe Evangelist of che Incarnation) istrikingly picked out:he stands, head slightly inclined towards the Godhead, pointing with his right index finger, while in his drape left hand he holds the book. He alone among the four symbols it identified by imserip= tion (saTHAS). His human aspect is underined by the “Byzan tiniging” rendering of his draperieshis right legis modelled and Ihe hasan unusual physical presence. CEE, Vergnolle“Letympan de Notre-Dame de Montscugay” (an note 4),432°433 ‘MATESTAS DOMINI’ PORTALS OF THE TWELFTH CENTURY ness of four living creatures... And they went every. cone straight forward: whither the spirit was to go, they went; nd they turned not when they went At the beginning of the Apocalypse, St Joh his Vision as 1 was in the spirit: and, behold, a throne was set in heaven, and one sit on the throne ... and in the midst of the throne, and round about the ¢hrone, where four beasts... Although the iconographic arrangement_of the..§ Evangelist symbols really took form in the Carolin- ‘gian era, it only crystallized and became omnipres¢ in the Romanesque period. The brilliance and power Of the image ensured its success. The choice of a ra- diating composition showing the divine revelation in, all its manifestations was an umbrella formula that al- lowed some variations. For instance, while the sym- bol of St. Matthew is generally placed to the right of Christ, this did not rule out his occasional position on the left. The same can be observed of the symbols of St. Luke and St. Mark.’ These variations need not be interpreted as significant for the iconography, but they do provide insight into the complex transmission of ‘models from Antiquity through the twelfth century. ‘The Western tradition retains little trace of the Eastern form of the theme where protomes emerge from the ring of divine light around the Lord, exactly as described in Ezekiel vision.* In Western art it with the four beasts adoring the One-who is seated on. “the throne; the beasts can be arrange either facing to- ward the One or facing away? In the pre-Carolingian era, the dominant iconog- raphy depicted the four Evangelist symbols with both body and head facing the center.asif they where about to converge. This composition was all but ignored in Romanesque times—except, of course, in regions where there was a particular interest in the past. It is 7.On the distribution of the symbols, see ¥. Christe, L {ypse de Jean. Senet développement de ss visions spuhéiqus (Pats, 1996), 123-131 8.The Eastern iconography of the Maietas Domini i die- rather the Vision of St.John that came to dominate, s1GURE 2. Arles, Saint~Trophime, tympanum of the west door. not without significance that by far the greatest num- ber of examples of this type are found in the Empire and in northern Italy—although there are also oc- casional examples elsewhere as at Cluny, Saint-Tro- phime at Arles (Fig, 2), Verdun Cathedral (Fig. 15),and Rochester Cathedral (Fig. 20). ‘The earliest examples of the “outward facing” com- position appear in the decade between 830-840 in the manuscripts of Tours. By the time of the third gen eration of Carolingian illuminators it was a standard practice. In these examples, the bodies of the animals are turned towards the exterior of the composition, while their heads face inward towards the Lord—with the sole exception of St. Matthew, who is usually rep- resented standing and facing the center. This solution proved profoundly seductive to Romanesque sculp- tors who so often animated the body with contradi tory movements, in order to heighten the dramatic intensity of the composition. From the beginning, the Maiestas Domini_was “conceived as a manifestation of the presence of the Word in the universe, The metaphorical represent “tion of the animals holding books belongs to a v 9. CE supra note 7. 10, The firs art historian to show how che image was crested in the Carolingian period was Frederik van der Meer, Maier ‘Domini (as in note 3), See aso H.L. Kessler, The lasted Bible: cussed in P. Skubiszewski, “Maiests Domini et liurgie" (asin fom Tous (Princeton, 1977); A.-O. Pilpre, Maietas Domini (as note $), 319-329. in note 5), 230-248 182, LIANE VERGNOLLE FIGURE 3. Dijon, Musée archéologique, tympanum from the cloister of Saint-Bénigne. established tradition from the fifth century." This no- tion is encapsulated by the standard image of the Lord holding the book in his left hand, as he blesses with his right—which, incidentally before becoming a sign of benediction, had been a gesture used by Roman ora- tors—that is to say the expression of word." Following the tradition of Antiquity again, it is the throne itself that expressed the Matestas—a term that ‘was wed during the earliest days of Christianity to ~ describe the celestial sovereignty of God; divine character ofthe thro roots in numerous biblical passages. Isaiah (6¢ iy throne ai the throne in sight like unto an emerald.” The repre- 11.A.-O Poilpeé, Maiestas Domini fs in note §) 81-8. 12. HB LOrange, Studies onthe Ieonography of Cosmic King ship inthe Ancient World (Oso, 1953), 171-184 ("The Gesture of ‘Thought. The Sign of Logos") 13, How the throne should be interpreted has been long in- fluenced by Andeé Grabar,L’Empeneur dans l'art bysantin (Pars, 1936); Les oes de a aaton en sonapraphiecntenne (Pats, 1979). arth is my foot= oni sentation of the Lord seated on a rainbow, or a heav- cnly vault, from Carolingian times onwards isa literal illustration of this seriptural passage. Despite the fre quency of this iconography in Romanesque painting and liturgical furniture, it is rare on ¢ympana, where material thrones were generally represented At the beginning of the Apocalypse, (1:8), St.John hears the voice of the Lord pronounce: “I_am the _ Alpha and the Omega, the beginning and the ending” inifesting He adds the commentary, “He is, He was, and He is “his absolute, universal, and eternal superiority.) The. -oming.” In order to express the concept that the “This concept was occasionally expressed directly by inscriptions,as on the Dijon tympanum (Big. 3),where the open book held by the Lord reads:""Lam the end,L- am the Beginning, and the Creator of the world,” an But see che critique of Grabar conclusions in Th. F Mathews, ‘The Clash of Gods: A Reinterptation of Early 1 Art (Princeton, 1993);A.-O. Poilpeé, Maiestas Domini (3 in note 3), 35-70.AboveallPilpré has demonstrated chat the theme mani- ested the divine sovercigaty of Jupiter before it became asymbol of imperial power. _iswithourend:"* ‘MAIESTAS DOMINI’ PORTALS OF THE TWELFTH CENTURY 183 around the tympanum itself is carved: “Since all that is visible must come to an end, only the In chapter four of the Apocalypse, St.John avoids describing God in human form of even naming him, He portrays him only as a vision of light."® This is echoed in certain inscriptions, such as the one found on the tympanum of Saint-Aventin in che Pyrenees: “Lam he light of the World” (John, 7:12).! The doctrine of consubstantility of Fatherand Son_ vias given material form through asimpleiconographic {i *. a device, namely the eruciform nimbus,"” Occasional 3. mr? attempts at underlining this theological meaning are cue 4, Estella, San Miguel, ympanom. suggested. At San Miguel de Estella, in Navarre, the ee inscription on the tympanum reads:"Neither God nor at San Nicolas de Tudela, the image of Pateritas shows manis present when you contemplate this image, but Christ seated on the knee of the Father—a tangible how this sacred image is portrayed is indeed God and_ indication that the Son was engendered from time im- man” (Fig. )."* AtSanto Domingo de Soria (Fig. s) or memorial by the Father. 14 Onthebook:svat MINIS SVU PRINCIFIVM / MVNDIQNE onenié par le CESCM, Poitiers, 26-29 sept1990), publ. in Cahiers ‘CREATOR. Around the tympanum:CvM SIT SUDIECTYM FINT de ciation médiévale (1901), 379-384. See also S. Lomartire, QvODCYMaVE VIDETUR: $S0TA DEI (NUILO MATJESTAS "I campiones al duomo di Modena” in I mast compiones, ed FINE TENETVA. The original position ofthis litle tympanum sR, Bostaglis and G, A. Dell Acqua (Bergamo, 2993). 97-82 (esp. not clear. Cf, Neil Stratford,"Remarques sur les quatre tympans 74-77). Thete is also the example of Rosheim. in Aliace, where du xin siele de Saint-Bénigne de Dijon,” in Congrs archiolo-_ the Tetramorph frames the axial window of the ape sique de Frame. Cie d'Or, (1904), 225-239 (ep. pp. 232-236). 16.860 SVM Lvx MvwDI, CEM. Dutlat and W Allegre, ‘The author advances a relatively late date (not eather than the Pyrénées omanes (La Pietre-qui-Viee, 1969), 60-61, Pl. 26; Em 11708)-The mention of certain Peterin the insripti that en- manuel Garland, “Saint-Aventin, Un grand atelier de seulpeure es the tympanum probably refersto abbot Pieerede Grancey commingeos: son rayonnement, s formation, s1 dispersion.” (1180-1204), eputed for his decorative works in the monastery: Revue du Canomnges (2989), 65-803 R. Favreau, Michaud and BEDDIDIT AMISSYN MICH PETRI evRA DECOREM / {27 BL Leplnt, Compu des imcrpions dele France médile, Vol. 8, DEDIT ANTIOYA rORMAM MULTO MELIONEM ("Peters cate Ave, Howe-Ganomte, Hautes Pyréds, TamcteGarnne Pais has given me back my ost beauty, and he as given me at ap- 1983) 48, Fig. 3. pearance much superior tothe old one”). See also R. Faveess 17. In Some rate examples a at Saine-Trophi and J. Michaud, Cops ds inscriptions de a Franc médiévale, Vol. even see a crown topped by 2 cos (Fig) 20, Cbed'Or (Pais, 199), 33. TS.NEC DEVS EST NEC HOMO FRESENS QYAM CERNIS 15. At Szint- Gabriel, in Provence, 3s on many Umbrian fi- IMAGO, SET DEVS EST ET HOMO QYAM SACRA FICVRAT ‘ades.theTetramorph encicled the physicalsourceoflight—the IMAGO. See R. Favreau, “Linscription du tympan nord. de culusthatwassetin he gable of the westigade See K.Nochles, San Miguel Estella.” Biblonkue de Eosle der Chars (1973), “Die fasade von San Pietro in Tuscania: Bin Beitrag zur Frage 237-246,See also LM. de Lojendio, Navure rome La Pierre der Antikenrezeprionim 13.und 13,Jrhundertin Miteitalien,” qui-Vie, 1967), 317-321; C. Fernando Ladreds,]. Martinez de ois Jahrbuch fi Kunth, 1X-X 1961/62},13-72.The Aguiere and C.J. Martner Alaa, El ate romano en Navara same idea may have been seen on the figade of che cathedral of (Pamplona, 2002), 248~257;} Lacoste, Les mates del lpure Modena, prior tothe insertion of abig Gothic roxe-window. So romane de 'Eipapne da plringe 3 Composed, Sud-ues snuch a least is sugested by the rune above the rote, of four 2006 302-8. Note that inthe tympani of Estella the book relief ofthe Evangel symbols, se around s Christin Majesty on the Lord’ et knee is decorated with chrism. To the right dating rom the beginning ofthe thirteenth century:Cf Adriana a female gue (the Virgin? tothe lef aman (St. jo). Peroni,“La fgade de i eathédrale de Modine avantTintroduc- 19. At Santo Domingo de Soria, one again finds inthe ty- tion dela rosace,"in Lage romane (Acts du cllagueintemationl_ pam the Vegin (co the right) and St. Job the Bapust (to the in Ales, we 184 LIANE VERGNOLLE F1cuRe 5.Soria, Santo Domingo, tympanum of the west door. In the twelfth century asin the Carolingian period, the glory that surrounds the central figure defines the eld of his holiness. Shown as a round halo of light in the fist representations, the glory assumed an almond form in Carolingian times.» By the Romanesque pe- riod the mandorla had become an abstract and solid. frame that—even in painting—had los all connection, ‘with the evocation of the firmament. The evolution of the rigidly formed mandorla was accentuated by the medium of stone-carving, especially in cases where it was embellished with a molding or gilded. ‘The paucity of surviving color on sculpted tym- pana makes the role of painting difficult to assess. Even when pigment remains there can be no certainty as to its date. Despite the traces of orange at the bottom of ‘Christ's mandorla on the great tympanum of Cluny (Fig.6),*" there is no conclusive evidence that this was its original color. Nonetheless it should be remarked that if orange were the intended pigment, the divine figure of Christ would have stood out in flamboyant contrast to the blue of the sky in which the angels and ‘Tetramorph hovered. It is perhaps worth noting that cone finds traces of just such dramatically contrasting colors in the Baptistery of Parma where the compo- left) thus the Mother of God and the witnes of the descent of the Holy Spit 20.On the history of the mandosa in the early Christian period, see Th F Mathews, The Clash of Gods (as i note 13), 116-117. The anthor casts doubt on the relationship traditionally accepted between the imago clippeat of Antiquity and the halo of light, which is seen in certin eastern representations of the ‘Maistas Domini (eg. at Hosios David at Thessalonica) 21. The polychromy of the portal was relatively well preserved atthe moment of its destruction after the Revolution, It had been protected from the elements by the narthex: "Le grand Christ vétu d'un manteau rouge étai entouré par une mandorle de couleur orange rehaussé d'or. Cette mandode, es eréatures| quil'entouraiens,ctles personnages dlinteas se détachaient sur un fond blew cba Aiasi les mocifimportants resortient fran chement, dautane plas que les motifs subsidiaiceséeientrebaus~ sés de couleurs differentes,—vermeil, cre jaune, ver fait ’ocre de cobalt,—qui donnaientj ensemble de Pencadrement un effet antomnal” CF. K.J. Conant, Cluny: Les élies et la maison du chef donde (Micon, 1968), 102.To the fragments studied by ‘Conant have recently heen added those uncovered in 1988, dur- ing works on the site of the narthex, See particularly che Frag- ‘ments of the head and the paw of the lion of St. Mark, which show traces of yellow paint, with touches of re forthe lips, CE, (Cluny II: La Maior ecisia, Exhibition catalogue. Clony, Musée Ochier (Cluny, 1988) 84-8. ‘MAIESTAS DOMINI’ PORTALS OF THE TWELFTH CENTURY 185 FIGURE 6.Cluny 11, tympanum of the great portal (reconstruction K.J. Conant) sition by Benedetto Antelami was produced around dorla is altogether absent echo the Late Antique solu= the year 1200. The Sacramentary of the cathedral tion, TUissignificant that the Maiestas Domini painted in Saint-Etienne of Limoges, illuminated about 1100, the apse of Sant’ Angelo in Formis is represented shows the same juxtaposition between gold, vibrant “outa mandorl, in che context of the renewed interest blue, and bright red. We might also guess that a cer-- in Early Christian art fostered by Desiderius, abbot of tain number of cosmic elements, such as clouds and _Monte-Cassino from 1072 until 1087."* The Maiestas stars, were painted on the stone, Atany rate, stars were “Domini from the west portal of Nonantola, carved at sometimes sculpted on che mandorla,and we even find. che beginning of the twelfth century by a disciple of occasional ved representati ne sun and the. Wiligelmo, appears to have emerged from the same moon (Fig. 7). - historical current, as is confirmed by the symbols of “‘Therare Romanesque compositionswheretheman- the Evangelists in circular medallions (Fig. 8).** On lai 22. The Mais Domi’ of the Pena baptistery is found in- gold stars All the borders are picked out in gold. CED, Gabort- side, in one ofthe lanertes ofthe tll blank steading a fire Chopin, adoration der mara Saint Marl de Limon story level On cob blue hickgrvind with gold wears Chit Limousin d IX au XI ie (Gene, 1969) 126-140; Cah, 'sdeaped wih aright red mantle, parcly covered bya big Ble Romanegue Manat The Tuelth Century: A sey of ment overmantel. There are ao traces of gold on the background scp iluminted in Fone (London 1996): 49-50. Of the andor, ad he border ofthe mandora seems to have 24.0 the Christ book: Fo svat ALA ®7 O(4#ECA) been highlghed ned See A.C.Qinevlle, Baton di Parmar extn (is) HY NOVISSIMYS. Se J Wetstein, La fue omane I id eter Pare, 1987); Bede Anton, Cates dele Ponce. la. Espagne. Etudes compares (Geneva and Pars, pee cin di Arty Calzonae Gteppa Z. Zan (Exhibition 1972) 67-68.The wal paintings of Sant Angel in Formis ave Catlogue Parma, Salone delle Seudersin Pot, 190),(Miln, an extensive bibliography forthe exenials of which, sce M. 1990), coe pate p63. Onoftio and V. Pace, Campane romane(La-Piere-qui-Vire, 23. arin ANF, ttt 943 fl. 56% As at Choy, Chit has 198) 277-178, relmante Fe enthroned agains blue firmamencn the form 35.The 1117 earthquake chat damaged the chrch of Noman Of igure of ight, imcribed in ed andor decorsed with aed to restoration fs we ce From the inscription on the ELIANE VERGNOLLE the west portal of Saint-Bénigne, Dijon (known only from an eighteenth-century engraving), the image of | the Maiestas Domini is associated with other icono- gtaphic elements of Late Antique inspiration, nota~ lintel of che portal. There are thus some delicate questions was the portal complete in 1117 and damaged inthe earthquake? Or was ic executed 5 part of the retoration of the church, begua Jn 1121? Asco the relief that decorate the tympanum, were they conceived fiom the start for this position, or on the contrary are they elements of gil furniture created for us elsewhere? eis dus bos co remain agnostic onthe point, and partly since the carved ympans is of rae occurrence in Norther aly in he frse-qurter ofthe twelfth conta, there is ile vo pro- wide comparions.CER. Savini Hilger dl sata remarice (Milano, 1956) 139-163+A.C. Quinta Nonaneala € Modena, on pulpit ricomposto cla Botega di Wiligelmo” sn Romano pan, cit d'Ocidene(Preae, 1969), 33-#7:5. rrouRE. 8, Nonantola, San Silvestro, tympanum of che Stocchi Eni rmane(LaPierre-qui-Vite, 198), p.291-30". west door ‘MAIESTAS DOMINI’ PORTALS OF THE TWELFTH CENTURY riGuRE 9. Clermont-Ferrand, Notre-Dame-du-Port, south door, FIGURE 10. Soest, Sankt Patroklus, tympanum of the north transept door. bly the representation of Church and Synagogue that flank the central group. The six-winged seraphim, described by Isaiah in 6:1~3 as chanting: “Holy, holy, holy is God / his glory fillsall the world,” are also pic- tured on each side of the Lord’s throne.** This rep- resentation of the seraphim, rare on Romanesque ‘ympana, is found also in the church of Notre-Dame- du-Port at Clermont-Ferrand, where they frame an image of Majesty—which, as at Dijon, has no man- dorla (Fig.9).” The relationship to the Early Christian tradition is, even more obvious, where Christ is represented as a bust, as, for example, at Sankt Patroklus in Soest (Fig. 10)28 Comparison with the mossics surmounting. the triumphal arch of Saint-Panl's-outside-the-Walls clearly demonstrates the source of this iconography, even if,as was the norm in this architectural position, 26.W. Saueshinder, La sulpture gohique on Paace, 1140-1270 (Pacis, 1972), 71-733 N. Stratford, "Remarques sur es quatre tympans” (asin note 14), 326-230, where a date of about 1150 1160 is proposed 27.B, Craplet, Auvergne romane (La Pie 59, More recently, se L, Cabrero-Ravel, "Clermont-Ferrand, Végse Notre-Darne-du-Port," Congres archolegique de France Bave-Limagne (2000), 159-177, who dates the construction of Notre-Dame-du-Port in the first third of the ewelfb century ‘onthe basis of comparisons with more firmly dated monuments, thus rejecting the late ewelfh-century datings which are often proposed qui-Vite, 1972), tion became popular throughou the fives figures are aligned in a row. [tis worth noting that even though the solution found at Saint-Paul’ ‘outside-the-Walls was embraced in the early twelfth: ‘century mosaics at San Clemente, it remained the exception outside Rome. The theme of the Maiestas Domini reached its apo~ gee in the Romanesque period, when its representa- ope. Despite its importance in the eleventh and twelfth centuries no comprehensive study has yet appeared and [ can only bring a few significant books to your attention, The first of these isthe pioneering work of Robert Berger, published in 1926,%° which focuses on both the pre- cious and monumental arts. Herbert Schrade’s study published in Cologne in 19633 concentrates primar- 28.The eympanum that decorates the north eransept por- tal of the Oxzonian church probably belongs to the big rene- vations carried out in the frst quarter of the twelfth century LU, Lobbedey, Westphalie mane (La Pierze-qui-Vite, 1999), a17-280. 29, H. Toubers,“La rinascta paleocrisiana a Roma all'nizio del x1 secoo,"in Un’are orientate, Rifrm gegviana eiconegrafia (Milan, 2001), 197-228 30.R Berger, Darceliang des thronenden Christus in der Rome nischen Kunst (Reutingen, 1926) IH, Schrade, Die omanische Malet, Te Maietas (Cologne, 1963). 188 ily on that most privileged of iconographic fields— painting. Only the book by Yves Christe, Les grands portails romons, published in 1969, is entirely dedi~ cated to the carved tympanum. However, as the title indicates, the field of study is limited to the greatest portals, and the Maiestas Domini tympana occupy few pages.®* Unlike these pioneering studies that related to all theophanies, recent research conceives of the ‘Maiestas Domini in the more literal sense as defined by Frederick van der Meer—the Lord seated on a throne, between the symbols of the Four Evangelists. Yves Christe blazed the trail with his work L’Apocalypse de Jean, which appeared in 1996. This book was at the foreltont of a great resurgence in research on the Ma- iestas Domini, as witness the 2003 publication by Mi- chel Fromaget,"* and above all the important article by Piotr Skubiszowski, “Maiestas Domini et liturgie,” published earlier this year. While none of these three publications s completely devoted to the eleventh and” twelfth centuries, they do nonetheless provide paths _po% for research in the Romanesque. I shall not be able to treat the subject in a comprehensive fashion in this short essay. Instead I shall merely content myself with raising a range of issues and questions, even if many of them will remain unresolved. 32.Y. Christe, Les grands pols romans: Bude say Panag des hephanies omnes (Geneva, 1969), 135-145. 33:Y. Christe, L’Apoalypse de Jean (ain note 7), 135-133, 134-M,Fromaget Maes Domin (an note 8), 35.2, Skubisrewsk, “Meier Domi et lcargie” (sin note 5), wih an extensive bibliography: Se aio by the same author the article “Cristo” in Enidopeia define medal, Vol. ¥, pp s93~sat 36.The exceptional rarity of che Matar Domini i Kay ix surprising In fic, the apse paincing of San’ Angelo in Fortis seems to have had no followers, while the Nomantla poral is excepsonal in Norchera Tal. 37-The large numberof twelfth-century tympana decorated with aches in the area lose to the Pyrenees nus be linked tothe long life in thes sme regions ofthe thems ofthe Maie- ‘as Doms. More than 200 criss have ben Histed in the D3 partoments of Haute Pyrénces, Pyrcnées-Alaniques, Haute- Garonne and Gers. Cf, age “Inventaire des chrismes da département da Gers. Bulletin del Sc archegqu du Gers (1916), 38-76:"Chrismes et monogrammesanciens da Chest LIANE VERGNOLLE I should like to begin by making some generalizations. ‘The success of the Maiestas Domini in portal sculpture needs to be related to the more general success of the theme in the eleventh and ewelfth centuries, in the monumental as well as in the precious arts. But the tween 1130-1140 must also be viewed in the contes of the spectacular new popularity of the tympanum _ as a genre in and of itself. [eis also worth emphasiz: ing that, not surprisingly, the Maiestas Domini was seen ‘most often in regions where the sculpted tympanum made frequent appearances. Of course, claim such as this must be nuanced; nevertheless the scarcity of the ‘Maiestas Domini in Italy.* the Empire, and England is as worthy of note as is their abundance in the Pyren- nees and northern Spain.” Within France itself, Bur sgundy, and the Parisian basin (in the largest sense of _ the term) have & remarkably large number. The reason for this diffusion undoubtedly must be thanks to ¢wo long regional lineage, and the R. Portal a Char ial that had great suecess—albeit brief—in the “Tle-de-France and surrounding regions. By the twelfth century, the Maiestas Domini already had a long and rich history. Following the 1938 pub- lication by Frederick van der Meer," studies of the origins and early development of the theme from the dans le Gers bid. (1939), pp. 82-87: P. Mesplé, "Les chrismes| du département du Gers:Observations sue Evolution ete grou pement des chrismes au nord eta sud des Pyrénées” Mémoire ela Soci arcolgique du Mid de la Ponce (2970), 71~$ aso R. Favreau, B. Mora and J. Michaud, Corpus des inscriptions dea France méitvle Vel. 10, Chrsmes du Sud-Oues (Pats, 1983). For the Spanish side of the Pyrenees, sce L. Torres Balbis, "La ‘scultura rominica aragones y el crismén de los tmpanos de Ins iglesias de Ia regidn pirenaica” Archivo espaol de Arce y Ar {qwitecur (1926),287~291; A Sené, “Quelques remargues sur les ‘tympans i chrisme en Aragon et en Navate,”in Mélanges Rent Crozet (Poitiers, 1966), 1: 365~381;"Les tympans i chrisme des Pyrénées: remarques et suggestions pour tne earte,"in Actes dx 96 Conpris National des Sots Savants, Tewlowe, 1971 (Pari, 1976),11:33-49:D.Ocda Alonso, “El sello de Dios sobre I igle- ssa: timpanos con Crismén en Navarea y Aragon El impano romance. Indgenes, estructura y audionas, ed, R.Sancher Amei- jeiras and J-Luis Senra Gabriel y Galin (Santiago de Compor- {ela, 2003), 75-102. 38.F van der Meer, Maiztay Domini (asin note 3). Soe also See increase in the number of Maiestas Domini portals be=_ Cg ‘MATESTAS DOMINI’ PORTALS OF THE TWELFTH CENTURY 189 Late Antique period to the Hligh Middle Ages were the Romanesque period, despite its occasional appear: ‘numerous. cite only two particularly important stud- ance on the facade in the Early Christian period, * The. ies here:the 1960 book of Christa thm,2¥ and the more transfer of the theme to the church portal had a special recent work of Anne-Orange Poilpré.#® ‘resonance, The doorway, the entr During the twelfth century the image of the Maies- the passage between the secular world and the sacred oman the dominant theme in the “space was Siler wieh meaning drawn from biblical I periods, in: ner af the coun scpions have underined the 3s the “house” ne frag- of God, “the doorway to heaven” (John 10:0). The. Domini featured door also played an essential role—both practical and. _ position, framed by the Apostl ments also sugges Frequently on choir screens, even though it is hard to__metaphorical—in church dedications, In addition, the be certain of the exact arrangement of the imagery, processional station before the door and the passage asa result of the almost wholesale destruction of this through the door marked an important moment in Domini also, type of church furniture. The Mai decorated the covers of liturgical bo« ‘ens, and large reliquary shrines. ‘All these images have a direct rel: the liturgy on Ash Wednesday and, above all, during ‘of the processions of Palm Sunday and Easter.!5 Thus, the symbolic richness and associations of the church portal made it a propitious location for the Maiestas ‘urgy. Scriptural sources plainly state thatit was to the Domini. Divine Majesty, enthroned in glory, that the Church Nor was it always the west portal that was selected, presented the Eucharistic sacrifice. Many twelfth- At Til-Chatel, the Maiestss Domini was represented century authors connect the altar itself with the twice, once on the small south door, about 1160, and throne of divine majesty: According to the Roman again on the larger portal of the west fagade, which ‘anion, “the bread and wine which commemorate the was carved at the end of the twelfth century.® The Passion, the Resurrection and the glorious Ascension question of the function of these doors deserves ex- of the Son” were presented to the Majesty of God. amination on a case-by-case basis. Here again I shall In another passage the celebrant implores the Divine make but a few remarks. It is obvious that the use of Majesty to accept, through intermediary angels, the the portal varied according to its position, be it in the offerings of the Mass placed on the celestial altar.#* center of the west fagade, in a side aisle of the church, ‘Thus, this link with the Eucharistic liturgy is so close_or in the cloister. In che great abbeys, certain portals that most of the Romanesque wall paintings showing occupied sites that were rarely seen by the lity or that 4 Maiestas Domini that have survived are located in the were exclusively for the monks. On the other hand, apse, mainly on the vault above the altar. “those of cathedral facades and parish churches we ‘The migration of the Maiestas Domini theme out of intended to be seen by all, It was doubtless the same the sanctuary is one of the most remarkable Features of "in most collegiate churches and in the chapels of such the article by the same author," Mess Domini,"in Lexikon der_Domit is found on the wooden doors, and the Tetramorph, ia lristichenThonographie ar, (Rome, Freiburg-im-Brisgau, Bacl, and Vienna, 1971, new edition 1990), col. 136-182. 39.C-thm, Die Programme der crstlichen Apsismalete vom vie en Jaanderts bis zur Mie der acter Johuhunderts (Wiesbaden, 1960) 40.4.-O. Poilpré, Maiestas Domini (as in note 5). 4¢-P Skubiszewski, "Maiestas Domini et liturgie” (as in note sheass-372 (2: Ibid, 355-360. 4 Particularly in Santa Sabina in Rome, whete the Mais ihe mossics on the reverse ofthe fagade. CE.A.-O. Pop’, Ma- esas Domini (asin note $), 87-94 44.R. Favreau, "Le chime épigraphique de la posty"in La fic sade romane (sin note 15), 267-279. 45.C-Roux, "Entre scréet profane: Esai surla symbolique et les fonctions du portal dle en France entre lex" ete x1n* tcl" Reme bilge de Phage et d'Histoire / Belgich Tydichit wor Filologie en Geschiedenis (2004),839-854, 146. N Stratford," lise Saint-Florentde'? archéolgique de France, C8éd'Or (1994), 463-170, tel "Conerée 190 ELIANE v ‘Orders as the Hospitallers. The inscription of the tym panum at Luz-Saint-Sauveur, built by the Hospitallers, of St.John of Jerusalem on a steep site in the Pyren- nes, is addressed to a lay audience:"The serpent who sheds its skin each year is very humble. Neglect the cult of impurity, if you desire to enter (this place) which is already open. Seek it for yourself. The celes- tial court opens before the just who leave the earth, to whom Christ... (was born of the) Virgin”... A similar message of salvation is proclaimed by the in- scription on the bottom of the tympanum of Déols, in the Berry, now in the museum of Chateauroux “You, that a miserable captivity keeps in this miserable carthly state, itis through me that you can flee Babylon and return to your home land.”** The inscription on the tympanum at Vandeins says more simply:"May the goodness of the Almighty grant the prayers of those who enter (here), may the angel of the Lord guard over those who leave (here).”” The theory that the Maiestas Domini imagery of carved eympana was cransfered from apse paintings has offen been advanced, Ie is undeniable that there are certain formal similarities in the way the architec cure frames the figures that might have encouraged the migration of the image. Although the semi-circular shape of the tympanum, like the semidome of the apse, ‘may have evoked the heavens, the comparison must be viewed in relative terms. Certain tympana were clearly inspired by church furniture rather than by apse paint- ~ ings. The tympanum at Carennac, with its College 47-(QEOTANNIS SPOLIATA S)ERPENS SE PELIE VETVSTA Est Hyautis / mvETvM LASCIYYM NECLIGE CVLTYM st CVPIS INTHANE QUOD IAM PATET HOC T(IBI) QVA(ERE) (micnanrt ivsto. cAsLEST)Is PANDIT(V)R AVIA CVE cuarstvs ... virgins onr(¥s)."These iaseriptions are com- plemented by others on the bases of the columns framing the poral. On the right hand side we read: systiNEO DIGWoS Q¥(ONIAM CONFYNDO) MALIGNOS and repulse the wicked”);and on the letside:#LECTI NON POS- suetain the worthy SYM SC RECTYS SICWT EGO SvM (°T cannot bow my head if T am righteous"). See R. Favreau, Michaud and B, Leplant, Cor pu des ineriptons dea France médivle asi note 16),92-93.See also Pyrénées romanes (8 in note 16), 98-98, Figs. 72-77 48.091 CAPTIVARIS MISER IN MISENAS REGIONES AD PATRIAM REDITYS PER ME PATET EX BABYLON, The frag- smcntary tympantm in the maseuin a¢ Chitesurousx comes fiom ERGNOLLE Figure 11,Carennac, Saint-Pierre, tympanum of the west porch. of the Apostles contained within compartments and clearly inspired by metalwork, obviously transposed an altar frontal (Fig. 11).° Nonetheless, the richest comparisons are with apse programs, despite the obvious irreducible material differences, Whereas mural paintings could be used. across large expanses of wall, sculptors had to con- “tent themselves with clearly defined, strictly delimited, framed spaces. The Maiestas Domini of the apse, which “quite naturally adopted the central programmatic space, could be extended, without obstacle, to adjoin- ing areas of the apse. The lower walls of the apse were often decorated by rows of standing Apostle wid male and feiale Saints: Perhaps this ipture when the lintel Be “Was transposed ta portal the north door of the abbey church of Déals. te was framed by voussoirs with the Liberal Arts and the Labors of the Month. Tebelongs tothe mid-ewelfthceacury. Cf]. Favigre, Bery roma {La ierre-qui-Viee, 1970), 200-203;P Duet, La sulptre mane de Dick Istoudn, 1987), 149-168. 49. OMNIPOTENS BONITAS EXAU(DIAT) INGREDIENTES ANGELUS BJUS DEL CUSTODIAT BGREDIENTES. Cf. R. Fa vreau and J. Michaud, Corpus des incriptions de lx France médié- vale, Vol 17, Ai, Ezive (cu View), Rb, Sonic, Haute-Sovie (Paris, 1994), 21-22, For the other inscriptions earved on the same tympanum, see info, notes $4 $7 50. The eympanum decorates the doorway of the west porch seldod eo the church in the second quarter ofthe twelfth century. See AM. Pécheur,*Le doyenné-prieuré de Carennac;” Congris ardioogique de Pance. Query (1989), 171-190, ep. 177-181 ‘MAIESTAS DOMINI’ PORTALS OF THE TWELFTH CENTURY tor rrGuae 12, Nantua, priory church of Saint-Pierre, tym- panum of the west door. came the venue for the representation of # ‘of Apostles (Figs. 2 and 17). Similarly itis +o find representations of the Last Supper on the li ‘el perhaps further evidence of the link Between the fh ‘Maiestas Domini and the celebration of the Ei asat Vizille * or Nantua (Fig. 12). the tympanum of Vandeins demonst ist, es this link. For 51. We do no know wht subset decorated the tympani of Ssnt-Genmin-dev Pr. For th intel with she Last Supp, sce Ph Plgnicus, "Le por du xt siecle de Snnt-Germain- des-Prés§ aris eat de fs question et noavelles recherches” Gora (980), 21-29; A, Eslande-Brandenboug, “Le poral de "ancennesbbatile de Suine-Germain-des-Pe, Pare Empla- cement, déplacement, datation,"in Pier, lai, couleur. Bul 4 Hise de Ant du Moyen Agen Uhonmeu Ane Pra oF Joubere and D Sandcon (Pais 1999) 1-65 52.V Laalle,"Le por du prsuté Notre-Dame de Viale? Conarsarilpone de Fane. Dauphin (1974), 286-2983 aso {6 Barro, Dauphin oman (La Pier qui-Vie 192) 53 The Meets Domi ofthe ympanum ofthe Cluniac pi ony church of Nana was efficed tthe Revolution but iis sb to make ot contours. The intl til hays nsrip= Hons NF Res vatas fisre set cH8TE« DAT SIONA Lapis - awtresTE + ("Los old age succeeds in condemning the pas to oblivion, this tone dipiys lest tov things ha hve come to pas”) See Faves at} Micha Corpus dinar del rae indie (in nove 49), 13-15. See alo R. Oth, Lyons Savoie roman (La Piere-qui-Vire, 1990) 341-343, With certain discrepancies in the transcription ofthe isripson. Although not diretly related tothe tympani, see alo Pere Quare article onthe iconography and nye ofthe capital ofthe dooce ‘way: Pierre Quire" A propo de deux chapieaux du mus at- “behind his on the lintel with the Last Supper, one reads: “when the sinner approaches the Lo anctar, Fragmentary tenets om ‘Clany show that the lintel of the great west entrance ‘was carved with an Ascension and the Three Maries at the Tomb.** The gabled lintel of the south doorway of Notre-Dame-du-Port at Clermont-Ferrand shows (left to right): The Adoration, the Presentation in the ‘Temple, and the Baptism of Christ (Fig. 9). The in- scriptions remove all ambiguity when it comes to the image of the Matestas Domini above. In the Adoration of the Three Kings, Christ is depicted as “King of the the College Heavens” while, in che baptism scene he is shown as ings n (Figs. 3 and 17), but they were more difficule to place tion. on within the frame of the tympanum—except in the case of very large portals. At Cluny, for example, the chéologique de Dijon: le diffiion du décor de Nantua; i Lowone tdes muses de France (1971), 1-32, SHAD MENSA DOMINT (PECCATOR QUANDO PROFIN~ QUAT EXPEDIT) UT FRAUDES / EX TOTO CORDE RELI ‘ayaT.Cf.R. Favreau and J. Michaud, Corpus des inscriptions de a France médiévale (sin note 49), 2122, Figs. 16-17. $$-K J.Conant, Cluny (asin note 21), 103. The fragments dis- covered in 1988 have refined details ofthe reconstruction: Clany IT (a in mote 21), 71-81. The lintel, according to Conant’ exti= imation, 767 meters long, was carved with ewenty-three Figures, about 99 em. high. The main protagonists (Christ and the Vir- in) seem to have been frontaly presented, whist the figures that flanked them (probably the Apostles) were seen in three-quarter profile either othe left or right, and gesturing towards them. S6.f ECCE MAGI NATO: DEPORTANT MUNERA REGI MBTHERO REGE TRES DANT TRA DONA sABE1 ("Behold the ‘Magi bring gifts to the new-born king. To the heavenly king the three of them present three gifts from Saba)-1N TESPLO DOM= INO PVER OFFERTUR MATER JHESVS BAPTIZATUR PROLEM owas: saprista JO(HANNES): jx88vs ("In the Temple, the child is presented to the Lond. The mother of Jesus John the ‘Baptist baptizes che Son of God Jesus). CF Robert Favreau and Jean Michaud, Corpus des insriptins dela France médiévale, Vo. 18, Aly, Cantal, Lore, Haute-Loive, Puy-de-Dime (Paris, 1995), 19%. See also supra, note 27 LIANE VERGNOLLE FIGURE 13. Chatlieu, Saint-Fortunat, tympanum of the north door, mandorla is held by ewo angels since cherubs are fly- ing on each side (Fig. 6). Angels also appear beside the Maiestas Domini in a number of Burgundian tympana (one can actually describe this as a regional peculiar- ity).*7 Butif the introduction of these supplementary figures providesa kind of equilibrium to the composi- tion of large tympana, like that of the Charliew north portal (Fig. 13), they become problematic in tympana of reduced dimensions,as with the south portal of Til- 57-A parallel wend worthy of noce is represented by a group of Burgundian eympana without the Tetramorph, where the image of the Lord blessing is supported by winged angel, as in the easier Burgundian tympanum at Charlew (west por- tal), probably carved as early a cca 1100, See this iconogra~ phy at Anty-le-Due, Saint Julien-de-Jonzy, Perrecy-les-Forges, Semus-en-Brionnais, and Saint-Pabl-de-Varsx (Ain). The in scription around the mandozla of the Lord, on the Vandeins (Ain) eympsnam, shows that, even without the Tetramorph, the image was thought of 48a Maiestas Domini: Mat8STAS BOMINE ENEDICAT ET EDEM ("May the Majesty of the Lord ako blest Chitel or with the example from Chassenard, which was discovered some years ago in the Départment of the Allier (Fig. 14). The Maiestas Domini did not require additional _ themes, It was suficient in and of itself as a dogmatic, image. Indeed, perhaps it was the very autonomy and simplicity of the image that accounted forts far reach- ing diffusion: Atanyrate,itbenefied enormously ros “the popularization of monumental sculpture which, this church"), See R.Faveeau and J. Michaud, Corpus des insrip- tions dla France médivale, (asin note 4g),2t~23. At Anzy-le-Due the image ells ¢o mind both the Ascension, with the Apostles and che Virgin on the lintel, and the Book of Revelation, with the Elders of the Apocalypse carved on the vousoitsas at Can ‘This example sfices to shows how complex are the connections and the transmissions of model 58.TThis tympanum was carved by a sculptor who was active inthe region of Le Doajon and the Brionnais inthe 11208. CE, IN Stratford, "Le portal de Neuilly-en-Donjon,” Comps acéo- Iegique de France, Bourbonnsis (1988), 311-338. ' | | ‘MATESTAS DOMINI’ PORTALS OF THE TWELFTH CENTURY 193 FIGURE 14. Chassenard, tympanm (recently uncovered), around 1135-11 40,became accessible to modest estab— lishments and even to village commun Ic is only on rare occasions that the image of the -Maiestas Domini is shown on its own in large portal This, for example, is the case of the Porte du Lion at F the cathedral of Verdun, which was, certainly, carved in the 1140s (Fig. 15).°° The Maiestas Domini on this tympanum is presented in the midst of a sumptuous rinceau enlivened by fruits and flowers in the voussoirs above. One could almost believe that these images of Paradise are Late Antique, reinterpreted as they are in a new formal language and adapted to a new architec tural frame, he rinceau, which took on thesymbolism. of eternal life,is associated with the Maiestas Domini in 50.8. Vergnolle, Lat roman en France (Pati, 1994), 242-274 Go. The Porte du Lion is set in the west wall of the north ‘xamsept atm, next to the eatern choie bull from 1132 onwards by the architect Garinus and consecrated in 1147 by Pope Eu {genius Il The doorway, condemned in the eighteenth century, ercune 15. Verdun, cathedral, tympanum of the Porte du Lion swat rediscovered following the bombardments of World War I Te was uncovered and restored in 1920. CEH. Collin, Les églies romanes de Lorine Vol.1¥ (Nancy, 1986), 110-133, esp. 124-1255 “Lacathédrale Notre-Dame de Verdun,” Congrsarcflogigue de France. Les tos Ede ef Fancien duché de Bar (1991), 403-429. 194 LIANE VERGNOLLE FIGURE 16, Maguelonne, former cathedral, west door. the former cathedral of Maguelonne (Fig. 16)" _In most of the big tympana, the Maiestas Di 61. The lintel, dated by insription to 1178, is piece of | Roman marble cat to match the dimensions of the door way. Ie was carved in the Romanesque period with » long and splendid foliage scroll AD PORT (st) VIE: StTuENTES ‘Qu1sQ(VE) VENITE: HAS INTRANDO FORES: VESTROS COM- PONITE MORES: 1HNC INTRANS OBA: TVA $8(34)PER CRIM= INA PLORA: QVIQ(V1)D PECCATUR: LACRIMAR(¥M) PONTE LaVArVa: + BERNARDYS)- D-IL vis FECTT HOE + AN(N)O INC(ARNATIONIS) - D(OMINt) - M-e-txx-vu4rf ("To this doorway of life, come all ye who thirst. As you pass rough these

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