File:Byzantine and Romanesque architecture (1913) (14802245523).jpg

Identifier: byzantineromanes02jackuoft (find matches)
Title: Byzantine and Romanesque architecture
Year: 1913 (1910s)
Authors: Jackson, Thomas Graham, Sir, 1835-1924
Subjects: Architecture, Byzantine Architecture, Romanesque
Publisher: Cambridge, University Press
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN

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in thatperspective manner which occurs also at S. Gilles, andin many ancient mosaic pavements. In the ornamental sculpture at Vezelay and Avallonwe seem to see the early Burgundian school in threesuccessive stages. In the nave at Vezelay the capitalsabound in grotesques and figure stories, many of themof religious significance, but some of the type on which CH. xxii) FRANCE—BURGUNDY 107 S. Bernard pours his sarcasm. In the narthex, the Bur-foHaged capital begins to take the place of these storied capitalscompositions, though some of them occur too. But inthe Chapter House at V^zelay and at Avallon the purerCorinthian type prevails, so that one wonders whetherS. Bernards diatribes had their effect. It is interestingto see how, while in so short a period as that covered bythese buildings the Burgundian carvers made a greatadvance in technique, they clung with determination tothe model supplied by classic art, so that their later workis often nearer to Roman example than their earlier.
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The Cistercian abbey church of Pontigny about Abbey of10 miles from Auxerre contrasts strongly with the splen-dour of the Cluniac buildings. It was built in the latterpart of the 12th century with a severity of design thatwould have satisfied S. Bernard himself. The onlytower is a piquant little turret and spire on one side ofthe fa9ade which is treated with much simplicity ; andthe great doorway leading to the nave has a plain crossin the tympanum instead of the sculptures of Vezelay, orMoissac. Some of the capitals in the nave are little cathedral io8 FRANCE—BURGUNDY (ch. xxii Pontigny more than geometrical blocks, as abstract as the Moslemcapitals in the forecourts of mosques at Constantinople(Fig. 95). But with all its severity the church is beautiful.Let S. Bernard do his best with his spiritual fork, theartistic Burgundian nature nevertheless usque recurrit.It shows itself in the delicate proportions, in the chastevirginal restraint of the general effect, in the few con-cessio

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