Romanesque Sculpture in North Italy Some Lintels Introduction Until the 11 th century, sculptural decoration on churches consisted mainly of geometric patterns and forms of foliage. The sculpture of figures had been in decline across the Christian world from the end of the Western Roman Empire through until the Carolingian renaissance. This decline was also evident in the Eastern Empire where the iconoclastic movement had a significant impact. This situation was to change profoundly with the coronation of Charlemagne in 800 and the development of the monastic reforms engineered by Cluny. Although Charlemagne s Empire did not survive his death, his reign bequeathed a common culture and art to Western Europe. The monastic reforms led by Cluny had a more significant and enduring effect. The monastic discipline imposed by Cluny made monasteries increasingly dependent on the Mother house, creating a vast organisation that had a significant degree of unity that transcended the boundaries of states. This had a unifying influence on art, including sculpture. From the 9 th century pilgrimage became a well-developed custom. Cluny was to have a considerable influence on the pilgrimage movements that went to the Holy Land, Rome and Santiago de Compostela. The transmission of styles, motifs and techniques was a natural consequence of the pilgrimage movement. The political situation in North Italy towards the end of the 11 th century was diverse. Venice and its hinterland had long been part of the Byzantine Empire; it was around here that the Western and Byzantine styles came into contact. Pisa was a maritime power, with trade links to the far ends of the Mediterranean. The Papal States were in a chaotic state with contested elections and claims to the Holy See. The feuding was only brought to an end in the last quarter of the century as the general reform movement began to make headway under Pope Gregory VII. The lands of the Papal States and the allies of the Papacy faced those of the Holy Roman Empire on a line that roughly followed the line of the River Po. Thus Lombardy was largely beyond the direct influence of the Pope; its bishops looked North to the Emperor for support. The specifics of the conflict between Papacy and Empire and how it influenced the subsequent development of the church are examined in detail by Dorothy Glass (1). The varied political and economic conditions that pertained across the North of Italy led to a corresponding variety of sculpture. This article looks at one format for demonstrating sculpture - that of the load-bearing element found over doorways. These structural elements, lintels, frequently carried an ornamental or decorative feature; they are the subjects of this article. A list of those lintels that are described in the article is to be found at the Annex. There are few direct links between the various lintels being considered. The article will, therefore, look at them in a geographical sequence, beginning with those in Lombardy, in the North, and finishing with those in the North of Tuscany, to the South. Lombardy 1
Milan, Sant Ambrogio Any tour of North Italy must include Milan, the capital of Lombardy and principal city of the North. The first basilica of Sant Ambrogio was consecrated by Sant Ambrogio (St Ambrose) in 387 AD. It was rebuilt in the 11 th century. The West façade is within a large atrium. Along the base of the façade is a long narthex with three doors. The central door is below a blank tympanum. The tympanum is set below a decorated archivolt and above a decorated lintel. That lintel is set between capitals that have been carved with interlace, interlaced foliage and, on the outer capitals a pair of lambs with a cross. Sant Ambrogio, Milan Top of central door The archivolt over the tympanum is decorated with interlaced foliage carved to form discs into which the sculptor has inserted flowers, birds, more foliage and, at the right end, the torso of an angel. These motifs are probably modelled on those found on a fabric of Sassanid origin. The lintel is almost certainly the work of the same sculptor or workshop. But the content of the discs has greater symbolism. At the ends is a bull and a lion that face in towards the central disc that has a Pascal Lamb set against a blue painted background. The paint is from a recent restoration and it is unclear whether the colour was chosen on the basis of traces of 12 th century paint fragments that were found in the disc. Between the three discs a profusion of small birds and animals scamper through the vines. 2
Sant Ambrogio, Milan Central door; detail of the lintel The decoration of the two doors to the right and left of the central door is very unlike that of the central door. Both have a blank tympanum below an undecorated archivolt. Below the tympanum is a white marble lintel that is sculptured. Both are the work of the same workshop and are unrelated in style and concept to that on the central door. Sant Ambrogio, Milan, North door, lintel Sant Ambrogio, Milan, South door, lintel That over the North door has two crouched lions separated by a small figure with outstretched arms. The lions appear to be snarling menacingly at each other, whilst the figure in the centre keeps the peace. This scene surely represents The Master of the Beasts. (2) The other lintel shows a senmurv, a Sassanid monster, confronting a lion. The sculptures are in a bas-relief form, sharing none of the characteristics seen on the lintel of the central door; however, they bear a marked similarity to two plaques that have been placed on the exterior of the narthex on either side of an arch leading to the central door. 3
Sant Ambrogio, Milan Two plaques from the central arch into the narthex Pavia, San Michele Maggiore The basilica of San Michele is a striking example of Lombard-Romanesque architecture. It was also a church of political importance, being the place for the coronations of the Holy Roman Emperors, Louis III in 900, Henry II in 1004 and Frederik I, known as Barbarossa, in 1155. Whilst the crypt, apse and transepts date from the 11 th century, the remainder of the church was rebuilt following an earthquake and fire in 1117. The huge West façade has three doors, all decorated with a small figure set in a tympanum. But none have a lintel. However, the North transept has a decorated door that, like those on the West façade has a tympanum with a small figure. In addition it has a sculptured lintel. 4
Pavia, San Michele North transept & North transept doorway The lintel is set below a thin frieze that marks the base of the tympanum; it is inhabited by small animals and birds. The lintel has three discs; the central disc is supported by an angel on each side and it contains a representation of Christ with his hand held up in the act of blessing. To the sides are two other figures; that on the right is a bishop holding in his right hand his crosier. It is unclear who is represented in the left hand figure; he seems to be holding a staff, so it may be a local dignitary. Pavia, San Michele Lintel over the North door On the South side of the church there is a door that is more elaborately decorated than those on the West of North; it is, however, no longer used and is now blocked. It, too, has a tympanum with a small figure on it. This door is more elaborately carved than any of the other doors to the church. The door is between carved columns that are topped by capitals. Above the tympanum are seven archivolts carved with intricate foliage patterns and small animals. Below the tympanum is a thin frieze not unlike the one seen on the North door. It has small animals that appear to be running towards the centre. 5
Pavia, San Michele South door The lintel itself shows, in the centre, Christ. To his right is St Peter, who is receiving the keys of Heaven, whilst to the left Christ is passing the Book of the Law to St Paul. This is a scene that is widely known as Traditio legis, with Christ as the law-giver and teacher. Pavia, San Michele Lintel over South door 6
Bergamo, Santa Maria Maggiore Bergamo, a city to the East of Milan, is a city in two parts, with the medieval part on a rocky outcrop that looks down on the second and larger town below. One of the finest buildings of the old town is the basilica of San Michele Maggiore. It is of a later date than those we have looked at so far. Its construction began in 1137 and completion was not until several centuries later. Only the apse, cupola and part of the transept were completed by the end of the 12 th century. The North door was probably completed in the early 14 th century. The West faced is obscured by the Curia and the South-west door, which looks out onto the chapel of Santa Croce, was only completed in 1521. Bergamo, Santa Maria Maggiore Top of North door The North door is below a porch and it has an empty tympanum that has archivolts that are decorated in a mixture of transitional and Gothic styles. The lintel has images of Christ with the Twelve Apostles. He is shown blessing the viewer, whilst each of the twelve displays an open scroll. The underside is decorated with vegetal motifs modelled on those of Antiquity. Bergamo, Santa Maria Maggiore Lintel over North door 7
Bergamo, Santa Maria Maggiore Lintel, detail Cremona, Santa Maria Assunta Cremona Cathedral was built from the late 11 th century with the West façade, particularly the three doorways, being early 12 th century. The church underwent later alteration, particularly in the 13 th century. The central door is decorated with three large statues on each door jamb. However, none of these doors has a lintel. The door to the South transept is 14 th century and it is not decorated. The door to the North transept is below a 13 th century porch but the lintel is older, dating from the 12 th century. Cremona, Santa Maria Assunta North door The lintel over the door shows Christ seated within a mandorla; he is blessing the viewer. Each side of him are six apostles; the outer two are partially obscured by the capital in the corner. This mis-fitting suggests that the lintel was not originally intended to be in its present position, but that it has been re-employed. 8
Cremona, Santa Maria Assunta Lintel over North door Nearest Christ on his right is St Peter with the keys of Heaven. The remainder are walking towards Christ carrying a book, probably intended to be the bible. The underside of the lintel is decorated with floral discs. This lintel, along with the statues to the sides of the West door, is attributed to a sculptural movement that was begun by Wiligelmus, a Lombard craftsman who worked at Modena in the first decades of the 12 th century; this lintel is thought to have been completed around 1140. (3). Cremona, Santa Maria Assunta Lintel over North door, Christ Cremona, Baptistery Building of the Baptistery, adjacent to the Duomo, began in 1167. It was originally built of brick but part of the exterior on the North and North-west sides was altered 9
and faced with marble from 1553. In 1588 a vaulted porch that had supporting columns resting on lions was added to the North door. Cremona, Baptistery Top of the door The door has an empty tympanum below alternating archivolts of pink and white marble. Those of white marble are sculpted with intricate floral of interlaced patterns. A lintel in pink marble is set below a narrow frieze of hunters and mythical animals in vine tendrils. The lintel has a long inscription. Cremona, Baptistery Lintel over the door Emilia Romagna Piacenza Duomo The Cathedral was built from 1122. The West façade has three doorways, of which the central one is the wider and higher. All three have a small porch supported by columns on telamons. Each door has a tympanum within a sculptured archivolt and, below the tympanum, a sculptured lintel. 10
Piacenza, Duomo West façade and top of central door The lintel is a 19 th century reconstitution and is of no interest in the context of Romanesque sculpture. Piacenza, Duomo Lintel over the centre door The lintel over the left door contains scenes from the early life of Christ. On the left is the Annunciation, in the centre, Christ in the manger and, on the right, the Adoration by the Magi. It is believed that the lintel was carved by Wiligelmus or a member of his school or workshop. There are some similar characteristics in similar scenes also attributed to Wiligelmus at Nonantola abbey. 11
Piacenza, Duomo Lintel over the left door (top), with detail of the left (centre) & right (lower) scenes Nonantola Abbey Two details from the doorway The lintel above the right door of the façade is attributed to Nicholaus (Niccolò), a pupil of Wiligelmus and who was active in Emilia Romagna between 1120 and 1145. 12
It has three more scenes from the early life of Christ and, on the right end, scenes from three temptations of Christ. Above each scene is a small inscription of the scene, whilst below is a further exhortation that translates as: May any good person who exits and enters look upon this work. Dorothy Glass proposed that these three were significant in the context of the reform of the church. She knew of no other earlier Romanesque sculpture of the three scenes but they were contained in the contemporaneous manuscript of The Gospels of Countess Matilda that had been produced at the nearby abbey of San Benedetto Po. Piacenza, Duomo Lintel over the right door Piacenza, Duomo Lintel over the right door, the Temptations of Christ Fidenza Duomo Fidenza during the 12 th century was a key prize in the century long struggle between Piacenza, to the North, and Parma, to the South. The struggle ended in 1199 with Parma being recognised as having sovereignty over Borgo San Donnino, as Fidenza was then called. The new century ushered in a period of stability that allowed the rebuilding of the Duomo that was dedicated to San Donnino. San Donnino was a notable who served at the court of the Emperor Maximian Herculius (c250-310) and was guardian of the crown. He became a Christian. During a military campaign in Germany he deserted and fled South; he was held up by the raging torrent of Stirone at the village of Fidenza. There on 9 October 291, on the orders of the Emperor, he was beheaded. The façade of this church is of considerable interest. There are three doors, of which the central one is much larger and more finely decorated. 13
Fidenza Duomo Part of the West façade The central door is below a porch that is supported by columns resting on crouched lions. To the sides of the door are columns, topped by capitals. Above the door is a blank tympanum that rests on a sculptured lintel. Unusually the sculptures on the lintel are part of a narrative that begins with a plaque on the façade to the left of the porch, that continues along a frieze to the left of the door and then goes beyond the lintel to a second frieze that is right of the door and it ends with a final plaque on the façade to the right of the porch. These plaques illustrate the martyrdom of San Donnino. These are plaques that are full of lively interest; they are thought to be the work of a pupil of Antelami or even of Antelami himself. (4) Antelami was an Italian sculptor and architect who worked at Parma in the Duomo and on the decoration of the baptistery. 14
Fidenza Duomo Central door Fidenza Duomo Central door, lintel The first plaque, left of the porch, has two scenes. In one, Donnino is crowning Emperor Maximian. The second scene shows the same individuals at a later stage, with an inscription that tells us that Donnino has decided to devote himself to the service of God with the permission of the Emperor. Fidenza Duomo San Donnino, left plaque Moving to the next plaque, which is to the left of the door, the scene begins with the Emperor showing signs of anger, pulling at his beard. Further along we see Donnino and other Christians taking flight and going behind a low hill. 15
Fidenza Duomo San Donnino, plaque left of door We now come to the lintel over the door. A group of horsemen are galloping out of a town, swords at the ready, in pursuit of Donnino. Donnino is shown mounted and brandishing a cross. His head is surrounded by a nimbus. He is heading for the town of Piacenza as the inscription above tells us: civitas Placentia. 16
In the final scene on the lintel, the soldiers catch up with the fugitive and he is beheaded. His head is shown in a net carried by two angels; this part of the scene represents his soul being transported to Heaven. To the right we see Donnino carrying his head as he prepares to cross the Sisterionis (according to the legend). Fidenza Duomo Central door, lintel, details The plaque to the right of the door begins with the miracles attributed to the saint. 17
Fidenza Duomo San Donnino, plaque right of door The last plaque, to the right of the porch, shows another miracle attributed to the saint. A bridge collapses under the weight of the crowd; all the victims, including a pregnant woman, come out of the accident safely. This bridge was over the Stirone which flowed in front of the Duomo. The collapse of the bridge led to the discovery of the relics of the saint several centuries after his martyrdom. Fidenza Duomo San Domnin, right plaque This cycle of the life and death of San Donnino is of considerable ichnographic and historical interest. Modena Duomo The history of Modena Duomo is closely linked to the history of its patron, San Geminiano (312-397), a 4 th century bishop of Modena. On his death a church was built in his honour. The present duomo was founded in 1099 and completed in 1184. It has a wide façade with three doors, of which the central door, known as the papal door, is larger and has a porch. This is supported by two columns that rest on a pair of imposing lions. 18
Modena Duomo West façade Modena Duomo Central door on West façade The door is framed by finely sculptured bands of interlaced vines. These contain small figures, animals and birds. Above the door is a blank tympanum that is similarly framed. 19
Modena Duomo West door, lintel Modena Duomo West door, lintel, detail In the centre of the lintel, between two birds, is a large head from which pour the stems of the vines. This is a Green Man. (5) The underside of the lintel is decorated with rosettes, a motif copied from Antiquity. On the South wall of the nave is another decorated door. This is known as Porta dei Principi, also known as the door of the cowmen because, in the 16 th century, they sold their cheeses there. Originally, this door was further along the South wall of the nave at the location of the Porta Regia. 20
Modena Duomo South door to nave This door, below a porch, has a blank tympanum that is held within a frame that is decorated with interlaced vine tendrils that are inhabited by more small figures, animals and birds. The lintel, however, has a band of scenes that tell the life of San Geminiano. This lintel is thought to be the work of a member of Wiligelmus s workshop. Modena Duomo South door to nave, lintel The first two scenes show the Saint with an assistant leaving Modena at the request of Emperor Jovien at Constantinople, whose daughter was possessed by the Devil. The second shows the two sailing across the sea to Constantinople. An inscription above each scene provides a brief explanation. In the third scene we see Geminiano on the left taking hold of the Emperor s daughter from the Emperor, who is to the right. Behind the daughter we can see the head and two wings of the Devil, and behind Geminiano s left shoulder we can just see the head of his faithful assistant. Modena Duomo South door to nave, lintel, detail 21
The fourth scene shows Geminiano receiving gifts of thanks from the Emperor Jovien: a chalice and a gospel book or manuscript. Behind the Emperor stands his nodoubt grateful Empress. Modena Duomo South door to nave, lintel, detail In the next scene, Geminiano is shown on horseback arriving back at Modena and being greeted by his church. Geminiano s assistant is now carrying a crozier. Above the priest with the censer is a long building that represents the entrance to the town of Modena. The final scene of the series records the death of the Saint. He is swaddled in funerary bands; the tows folk gather at his feet while a priest holds a censer over the body and another leans over him. Modena Duomo South door to nave, lintel, detail The underside of the lintel is also carved. In the centre, two angels hold a mandorla, within which is the Lamb of God. To the sides are two Saints. 22
Modena Duomo South door to nave, lintel, underside Modena Duomo South door to nave, lintel, underside; St John the Baptist On the North side there is another decorated door known as the Porta della Pescheria, because it was outside this doorway that the fish market was held in medieval times. The doorway was made between 1110 and 1120. The archivolt has the unusual theme of King Arthur, who is shown mounted on horseback. The lintel below the blank tympanum is decorated with mythical animals and monsters. 23
Modena Duomo North door Ferrara Duomo The Duomo at Ferrara is largely a Gothic building, although construction began at the start of the 12 th century. Major work was to continue through the period of the Renaissance and the 18 th century. The interior was given a Baroque make over in the 19 th century. The central door on the west façade retains a 12 th century doorway. The original door with its sculptures was destroyed in 1718; the sculptures from the sides are now in the museum; these depict the labours of the months and they gave the name Door of the Months to the door. Over the door is a celebrated tympanum with the mounted figure of St George. This is the work of Nicolò; sculptures attributed to him are to be seen at Sacra di San Michele, near Susa and Verona. 24
Ferrara Duomo Top of West door. Below the tympanum is a fine lintel that is supported by two Atlantes. The lintel has illustrations of eight events from the birth and life of Christ, each framed by an arch supported by columns with capitals. Ferrara Duomo Lintel over West door The first three focus on Christ s birth, with the Visitation, the birth in a manger and the Announcement to the Shepherds. Restoration work carried out in the last decades of the 20 th century brought to light some of the original pigment that once enhanced these small images; a dark blue may be seen in several parts of the background. 25
Ferrara Duomo Lintel over West door, detail Two scenes are required for the Adoration by the Magi, followed by the Presentation of Christ at the Temple. Ferrara Duomo Lintel over West door, detail The last two scenes on the right of the lintel illustrate the Flight into Egypt and the Baptism of Christ in the Jordan 26
Ferrara Duomo Lintel over West door, detail Veneto Verona Duomo Building of Verona Duomo began in 1139. The cathedral retains its Romanesque form on the exterior. It has a broad West façade with a single door that is below a porch. Over the door is a tympanum with three scenes associated with the Nativity. Verona Duomo Top of the West door Below the tympanum is a lintel with three small rings, each containing a figure. These female figures wear a crown. Between the circles is a short inscription FIDES CA AS SPES. 27
Verona Duomo West door, lintel Northern Tuscany Lucca Duomo The Cathedral was reconstructed between 1060 and 1070 on the site of earlier churches. This is recorded on a plaque in the atrium. The façade and galleries were begun in 1204. There is a large porch supported at the front by sculptured pillars. Below the porch are three doorways with sculptured tympanums and lintels and sculptures to the sides. Lucca Duomo West façade, central doorway The tympanum over the central door is contained within a simple archivolt. The subject of the sculpture is Christ in Majesty. He is seated within a mandorla that is held by two angels. 28
Lucca Duomo West façade, central doorway, lintel The lintel of the central doorway to the Duomo shows thirteen standing figures; these represent Mary and the twelve apostles. On the lower edge of the lintel the name of each is inscribed. Each apostle has a halo and all carry a small scroll except St Peter, who carries the traditional keys. Unusually, St Peter, who is usually positioned next to Christ, is two places to the right from Mary. Above the line of figures but below the tympanum is a broad band of decoration that uses a curled leaf pattern. Lucca Duomo West façade, left doorway 29
The tympanum of the left doorway shows the descent of Christ from the Cross. It is a scene that is crowded with figures and full of pathos. The scene on the lintel is that of the start of the life of Christ the Nativity. Lucca Duomo West façade, left doorway, lintel Like the tympanum, the lintel is crowded with people and activity. It is obviously the work of the same workshop at that responsible for the tympanum. At the centre, Mary is lying on her couch with her son shown swaddled and lying in a small cradle above her. On the extreme left there is a figure of a man consoling another person whose head is hidden. To the right of that man is a female figure, possibly one of the two midwives who are recorded in the Gnostic Gospels, though not in the New Testament. To the right of Mary are the two kneeling Magi (without their heads) and their steeds. Below Mary s couch are sheep and, probably a shepherd, whilst at the back right, are two small heads that perhaps represent the local folk of Bethlehem. As with the lintel on the central doorway, this doorway has a broad band of similar decoration. Lucca Duomo West façade, right doorway 30
The third door on the West façade, the right hand one, also has both a tympanum and a lintel. The tympanum shows a very simple scene, that of a soldier beheading a bowed priest. This is the martyrdom of Saint Regulus. Saint Regulus was a bishop of possibly North African origin. He was imprisoned and beheaded by the Goths who accused him of aiding Byzantium, with whom the Goths were then at war. Lucca Duomo West façade, right doorway, lintel The lintel above the right door continues with an earlier episode in the life of Sant Regulus. On the right is a line of six soldiers, three with spears. One carries an open scroll. All are dressed in short skirts with a cloak thrown over them. These are Goths coming with orders to arrest Saint Regulus. On the left, Saint Regulus leads three acolytes or attendants, one with a bible. The saint has a halo and he also carries an open scroll. Above the lintel is the now familiar broad band of decoration. Lucca, San Michele in Foro This church was rebuilt in its present form from 1143, as is recorded on a pillar on the left of the choir. The West façade has three doorways of which the central one has a tympanum and lintel. Most unusually, the tympanum is filled by a rose or wagonwheel window that is within an archivolt of small acanthus leaves that terminates in a small lion s head on each side. 31
Lucca, San Michele in Foro West doorway The lintel is below a broad band of decoration. The lintel does not have any direct religious theme; instead it shows animals from mythology a centaur, a siren, dragons and lions. In the top centre of the lintel is a diminutive figure that is standing on a small dragon that it has impaled with a spear. This is St Michael, to whom the church is dedicated. Lucca, San Michele in Foro South door and lintel On the South wall is another door leading into the transept. This has a blank tympanum, below which there is a sculptured lintel. This lintel also has a broad band of decoration below which is a line of sculptured mythical animals linked by an undulating swag of foliage. The animals are contained below the loops of the swag, whilst in the lower bulges are three large flower heads, one in each loop or bulge. 32
Lucca, San Salvatore in Mustolio The present church dates from the late XI/early XIIcs. The main West door has a sculptured lintel with a blank tympanum enclosed by an arc of black and white stones. The lintel is one of two at San Salvadore in Mustolio that concern the life of St Nicholas. Lucca, San Salvatore in Mustolio West door This lintel illustrates The Son of Getron, a topical non-liturgical play pertaining to the life of St Nicholas. The two main scenes are at either end of the lintel. (6) Lucca, San Salvatore in Mustolio West door, lintel On the left King Marmorinus is sitting on a throne at the end of a table with his Queen at his side. St Nicholas is shown bringing a covered tureen to the table to serve the king and his court. 33
Lucca, San Salvatore in Mustolio West door, lintel, detail Lucca, San Salvatore in Mustolio West door, lintel, detail On the left side the sculptor has created a rough mirror of the scene on the left of the lintel: It is a feast in the house of the parents of Adeodatus. Adeodatus was the son (the God given son ) of Getron, who had been childless until the intervention of St Nicholas. Although the subject matter on this lintel and the next lintel to be discussed both relate to the miracles of St Nicholas and there are some shared characteristics in the execution of the two sculptures, it is not certain that they are by the same hand. It has been attributed to the circle or workshops of Biduinus. 34
Lucca, San Salvatore in Mustolio West door, lintel, detail The lintel over the South door is illustrating the miracles of St Nicholas. The story of St Nicholas begins in Lycia, in Asia Minor. An elderly childless couple had a son called Nicholas. It was said that this child stood up in the basin or bowl when he was given his first bath and he raised his hands as if in prayer. It was also said that he refused his Mother s milk on Wednesday and Friday evenings (which were times of fasting for early Christians). Lucca, San Salvatore in Mustolio - South door, lintel The bath scene forms the central part of the lintel. The basin is inscribed with the signature of Biduinus, a Lombard sculptor. Further inscriptions identify the figure in the bath as being that of St Nicholas presbyter. Each side of the basin are servants. To the sides are domed buildings. A figure on the left holds a cross; below, under the dome, is a tonsured figure with a book. On the right, the dome is occupied by a bear 35
and a lion. Dorothy Glass notes that the inhabited towers on this lintel are linked to the tower on the lintel of the central door at San Cassiano a Settimo, a lintel illustrating the Raising of Lazarus. Lucca, San Salvatore in Mustolio - South door, lintel, detail Lucca, San Frediano The present basilica was built in the early XIIc and consecrated in 1147. The simple façade has three doorways. The central one, the largest, has a lintel and a blank tympanum. The two smaller doors have only a blank tympanum. 36
Lucca. San Frediano Central doorway The lintel is sculptured with six foliage motifs with a clover-like pattern. This sculpture would seem to be entirely decorative and without symbolism The motif is loosely modelled on motifs from antiquity that were probably still to be seen in quantity at that time. Lucca. San Frediano Central doorway Lucca, SS Giovanni e Reparta The church we see and which dates from the late 11th century was built on the site of a much earlier church. The single door on the West façade has a tympanum that houses a small rose window within archivolts of black and white stone. Below the tympanum is a lintel. 37
Lucca, SS Giovanni e Reparta West façade and top of West door The upper part of the lintel comprises a band with eight circular leaf patterns. Below this, a line of figures stretches across the lintel. There are the apostles with Mary and two angels at the centre. Lucca, SS Giovanni e Reparta Lintel Mary wears a cloak and hood. The cloak is open at the front and she has her hands raised in the position that indicates that she was listening listening to the winged angels each side of her; they seem to be greeting her. The figure to the right of this trio is St Peter who is holding the symbolic keys. This lintel bears considerable resemblance to the lintel over the central door on the nearby Duomo façade. It is attributed to the circle of the Guidetto from Como, the master of Comancino, who worked in the late 12 th century. 38
Lucca, SS Giovanni e Reparta Lintel, detail Pistoia, San Andria In the second half of the 12 th century the 8 th century church of Sant Andrea was restored and enlarged. Very unusually, the apse is at the West end and the entrances to the nave are at the east end. There are three doors, all with blank tympanums. Only the central doorway has a sculptured lintel below the tympanum. Pistoia, Sant Andrea East façade & top of central door The sculptures on the lintel give the appearance of illustrating one continuous scene; in fact there are three scenes. On the extreme left the three Magi, all wearing a crown and with their cloaks billowing behind them, are shown riding towards Bethlehem on horses. In a small central scene one of the Magi or a messenger is seen kneeling before the crowned figure of King Herod. He is no doubt telling him of the star and their journey to see the child who is to be King of the Jews. In the last scene, on the right, the Magi are presenting their gifts to Christ who is seated on his mother s knee. Behind her stands Joseph. All three scenes are enclosed at the top of the lintel and to the sides by a fine lozenge pattern. On the lower edge of the lintel is a long inscription. 39
Pistoia, Sant Andrea East door, lintel Pistoia, Sant Andrea East door, lintel, detail The throne of Herod contains one very interesting detail: at the rear of the side the viewer sees there is a small dragon that is holding a small child. Doubtless this is intended to allude to the impending massacre of the children on Herod s orders. 40
Pistoia, Sant Andrea East door, lintel, detail Mary is also seated on a throne as she receives the Magi. At the base of this is an angel who is flying and who is in the acting of blessing those in front of her. The lintel rests on two capitals. The one on the right, which depicts the Annunciation, has an inscription which gives both the subject of the capital and the name of the sculptor: Master Henricus. However, we cannot assume that he carved the lintel also. Pistoia, San Giovanni Fuorcivitas This is a large church that has gone through many changes. Only the North wall is Romanesque. It is built from narrow bands of alternating white and black stone. There is a small door in the North wall with a sculptured lintel, and a blank tympanum with a XVc statue of St John the Baptist set between two small lions. The tympanum has an inscription around the top edge on the white stones: GRUAMONS MAGISTER BONUS FECIT. This probably indicates that Gruamons was responsible for the building as a whole, as well as for the sculptured lintel below the tympanum. 41
Pistoia, San Giovanni Fuorcivitas North door Below a broad band of decorative foliage and flowers there is a long table with twelve figures, one of whom seems to be asleep. This is the scene of the last supper. Christ is at the centre, with John on his right and ten other apostles arranged along side them, all looking very stiff and solemn. The lintel has an inscription below the decoration. Pistoia, San Giovanni Fuorcivitas North door, lintel Across the table, in the centre, is a kneeling figure, that of Judas Iscariot. Christ is apparently passing him some thing to eat and is identifying him as the apostle who will betray him. 42
Pistoia, San Giovanni Fuorcivitas North door, lintel, detail Pistoia, San Bartolomeo in Pantano This church was part of a Benedictine abbey founded in the 8 th century. The church was rebuilt from 1159. The West façade has five bays with three doorways. All three have a blank tympanum. The central door is larger and has, below the tympanum, a lintel. Pistoia, San Bartolomeo in Pantano West façade and Top of central door The format of the lintel is very similar to that at San Giovanni Fuorcivitas: there is a broad band of foliage decoration, below which is a lintel with a sculptured scene. The lintel shows the apostles standing between two angles. Each of the apostles has a halo around the head and, apart from St Peter who carries the keys, each carries a book or a scroll. 43
Pistoia, San Bartolomeo in Pantano Top of door, lintel At the centre is Christ, who is giving to each apostle his command to preach and to spread the Word of God. Along the upper edge of the lintel is a long inscription: PAX EGO SVM VOBIS QVO SIT FIRMISSIMA DO BIS CECERNITE DISCRETE QVIA SUM DEVS ECCE VIDETE AMATE EXPVLSIS MORBIS PER CLIMATA QVATVOR ORBIS FONTE SACRO LOTVM MVNDVM CONVERTITE TOTVM. This inscription has been interpreted as referring to the whole building. Below each apostle on the edge of the lintel his name has been inscribed. This lintel is unsigned and, though some consider it to be the work of Biduino, it is more generally thought to be another work of Graumons on the grounds that the sculpting of the figures and, particularly, their cloting are in keeping with his style. The date of 1167 has been assigned to this lintel. Pistoia, San Bartolomeo in Pantano Top of door, lintel, detail To be continued References: 44
1. The Sculpture of Reform in North Italy ca1095-1130, Dorothy F. Glass. Ashgate 2010. 2. http://www.green-man-of-cercles.org/articles/alexander.pdf 3. Romanesque Sculpture in Italy, GH Crichton. Routledge & Kegan Paul 1954. 4. Emilie Romane; Plaine du Po, Sergio Stocchi. Zodiaque la nuit des temps 1984. 5. http://green-man-of-cercles.org 6. Portals, Pilgrimage and Crusade in Western Tuscany, Dorothy F Glass. Princeton University Press 1997. Annex List of the churches with lintels that are described in the article. Lombardy Milan, Sant Ambrogio Pavia, San Michele Maggiore Bergamo, Santa Maria Maggiore Cremona, Santa Maria Assunta Cremona, Baptistery Emilia Romagna Piacenza, Duomo Fidenza, Duomo Modena, Duomo Ferrara, Duomo Veneto Verona, Duomo North Tuscany Lucca, Duomo Lucca, San Michele in Foro Lucca, San Salvador in Mustolio Lucca, San Frediano Lucca, SS Giovanni e Reparta Pistoia, San Andria Pistoia, San Bartolomeo Pistoia, San Giovanni Fuorcivitas 45
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