St-Pierre (Chauvigny)
The former collegiate church of Saint-Pierre is located in the upper town of Chauvigny , a French commune in the department of Vienne in the region Nouvelle-Aquitaine . "Saint-Pierre" is a jewel of the Poitevine Romanesque and owes this assessment in particular to the masterful sculpture of its capitals and their colored setting, based on the Romanesque style, as well as the painting of the entire interior.
location
See map of Chauvigny (town and castle hill)
Approximately in the middle of the longitudinal extension of the upper town of Chauvigny, the "Cité médieval", the bell tower of Saint-Pierre towers over the highest donjons (residential towers) of the five surrounding castle fortresses.
history
The history of Saint-Pierre is inextricably linked with that of the fortified upper town of Chauvignys and its castles and their inhabitants (see article Chauvigny ). The former collegiate church was founded by the Lords of Chauvigny. Construction of the church began at the end of the 11th century with the apse and was completed in the 12th century with the nave . The interior was restored in the 19th century and painted in Romanesque style.
Outer shape
Dimensions approx (each without wall pillars):
- Total length (facade to central chapel) 48.00 m
- Length of nave (facade to transept arms) 26.60 m
- Length of transept 20.60 m
- Width of the nave 13.60 m
- Width transept 8.00 m
Longhouse
The five-bay nave is covered by a shared gable roof with a roof pitch of about 30 degrees without any height offset. The height of the eaves and ridges remain well below that of the transept .
The eaves are marked by strong sculpted Krag cornice that of corbels supported that are artistically elaborate sculptures. The spaces between the corbels are also decorated with reliefs . This cantilevered cornice on corbels can be found on all sides of the church, predominantly at the height of the eaves and also continues over the gable fields , with the exception of the northern arm of the transept. Above the eaves are still on the Kraggesimsen attics bricked up vertically about one meter high. The rainwater flowing off the roof surfaces is collected in rain gutters behind the parapets and directed to the outside via stone gargoyles directly above the eaves.
The outer walls of the aisles are divided into yokes of equal width by five strong wall pillars , which support the inner belt arches . They reach under the eaves and are steeply sloping at the top. A round arched window is cut out in the center of the yoke and in the upper wall area, the reveal and arched edges of which are designed with simple setbacks. The wedge stones of the outer arches are covered by slightly projecting profiles, the lower ends of which bend horizontally until they hit wall pillars.
The facade is hardly more luxurious than the lengthways walls. It is made vertical by four strong wall pillars, in extension of the inner partitions and the outer walls. The two outer pillars are slightly indented opposite the wall corner and reach under the eaves ledge around the corner. Its upper end is stepped back down to the depth of the overhang of this cornice and is steeply sloping. The two inner wall pillars reach a good bit higher, up to the gable field. The horizontal subdivision of the facade into two storeys and a gable field is carried out by cantilever cornices on corbels, like the eaves. The upper cornice is only available in the two outer fields and is approximately at the level of the upper edge of the parapet of the longitudinal walls, from which the cover plates of the gable walkways rise diagonally. They meet on the gable ridge, which bears a stone cross in the style of the paw cross , in the lower town there is a Templar house (Maison des Templiers).
Openings are only left out in the middle fields, the main portal on the ground floor and a large arched window on the upper floor, which ensures that the church interior is flooded with the warm light of the setting sun.
On the ground floor, a three-tier archivolt portal takes up the entire width of the field, while the apex of the outer arch hardly leaves two layers of wall space up to the corbels of the cornice dividing the floors. The three sharpened archivolt arches are made of smooth wedge stones, the outer one is covered by a sculpted, slightly protruding profile. The outer pillars stand in pairs with profiled bases and high, smooth plinths , each on a pedestal a good meter high , a widening of the pillars. The inner arch rests on right-angled wall ends, the vertical edges of which are rounded above the third wall layer. The pillars and wall ends mostly bear heavily weathered, figuratively sculpted capitals and very tall warriors with vegetable sculpture .
In the middle field of the upper floor there is a two-tier arched window directly on the cantilevered cornice above the ground floor. The apex of the outer arch extends slightly above the height of the upper cornice and is covered by a slightly cantilevered profile, which bends horizontally at the ends of the arch and hits the wall pillars. The inner arch is slightly narrower. Both arches merge seamlessly (without transom) into the side window reveals and their recesses.
Transept and crossing tower
The transept arms protrude about the width of the side aisles over the nave. The eaves cornice on corbels runs significantly higher than the upper edge of the nave attic and continues only over the gable of the southern arm of the transept. Above the relatively short eaves, the approximately one meter high parapets are bricked up, which merge into the gable triangles on the corner. Attics and verges are carved with geometric ornaments. The two-tier building corners of the transept arms are equipped with wall pillars on each side. There is also a wall pillar exactly in the middle of the transept gable. On the western walls of the transept arms, and on the east wall of the northern transept arm, there is an arched window each with the same dimensions and height as those of the nave. The same windows open the transept gables twice.
The almost square crossing tower consists of four floors, two base floors and two upper floors above the roof areas of the adjoining components. The storeys are horizontally divided from one another by the well-known cantilever brackets on corbels. The two base storeys are divided vertically on all sides by three wall pillars into two closed fields. The outer pillars indent a little so that the component corners remain visible. On the southeast corner of the tower there is an ascending corridor which connects the stair tower with the bell chamber. The third floor is completely closed again. It shows four arched blind arcades on each side, which are carried by young services. They are limited to the corners of the tower and separated in the middle by wall pillars. Its double arches are covered by cantilevered profiles and separated from the services by carved capitals with soldiers. The next, slightly indented storey has four arcades, the two outer ones being blind and the inner ones open (sound hatches). There are only the outer but narrower wall pillars.
Above this, a protruding cornice on ornamented corbels completes the top floor. Above that, a pyramid roof inclined at around 40 degrees crowns the tower, covered with red shingles.
A spiral staircase with a circular staircase in the corner between the southern arm of the transept and the southern courtyard chapel is still part of the transept. It extends from the ground floor to over the eaves of the transept arms and has a large coupled twin window and individual windows next to it, all with carved arches, pillars and capitals. The spindle-shaped staircase is crowned by a pointed cone with "inverted scales" like a pine cone, see Abbaye aux Dames Saintes (abbey church) .
Choir head
The choir apse with a short piece of barrel vault has the same eaves, attic and ridge heights as the transept. The eaves merge into one another. The parapets have the same height, but the upper area is beveled inwards. The outline is divided with four semicircular pillars, into five unequal wall sections. Three large fields are divided into three arcades each, the outer one blind and the middle one equipped with a round arched window.
The arcade arches each stand on semicircular services, with the middle ones each supplemented with a bundle of three. The shape of the roof is made up of half a cone and a short piece of gable roof , with flat slopes.
The ambulatory with its three chapels is not yet a chapel wreath , as it was later developed in the Gothic era, but an early form of the radial chapels. This mighty choir area in Chauvigny was not created entirely by chance. The church is located on a sloping slope and had to be expanded particularly massively in the sloping choir area for reasons of stability. The arrangement of a walkway with three chapels made sense here.
The outer walls of the gallery follow the outline of the choir apse, but hardly reach below the windows of the choir apse. Here, too, the carved eaves cornice with its corbel supports and the walled up and inwardly curved parapet emerge. The walkway is covered by a flat-pitched monopitch roof around it. In its free wall sections between the three chapels, two arched windows, similar to those in the nave, are left open. Your wedge arches have geometric sculptures and look like they are folded in a row. Their overlapping, made of slightly cantilevered profiles, bend horizontally at the arch ends, and soon hit the three-quarter-round columns in the corners between the wall and the chapels, which should extend from the base of the choir head to the eaves. It is similar with the slightly overhanging window sill profile. On the plinth stands a short dwarf gallery made up of two slender arcades, the wedge-shaped arches of which extend to two layers of wall below the bypass window. The twin arcades are supported on the outside by square pillars with fighters, and on the inside by a round column with a carved capital, with fighters and base. The twin arcades are noticeably shifted to the side in relation to the central window above. On the southeastern part of the wall, one of the tall columns is also interrupted and shifted to the side. One of the tall columns is missing on the northeastern part. In both cases it can be seen that the construction concept of the choir head has changed above the dwarf galleries without correcting the previous design (see picture of the choir head).
The two mirror-like ambulatory chapels on the side, with their higher attics, remain just below the eaves cornices of the passage, and in the case of the central chapel clearly below. The eaves cornice again corresponds to that of the other structural members of the choir head. On the attic of the southern chapel, a stone is provided with a relief depicting a horse galloping with a bow ready to fire at the front. A centaur could also be represented (?). The side chapels stand on the semicircular floor plan of their apses. Its curved outer walls are divided into two smaller and one larger field in the middle with three-quarter round pairs of columns, from the base to the eaves. The columns are completed by plant-based, partly figuratively carved capitals and profiled bases. The unevenly wide fields are divided horizontally into two almost equally high "floors" by the projecting window sill profile. On the bench profile there is a round-arched slim window in the middle field and a blind arcade in the side fields. The window is surrounded by a smooth soffit recess, the arch of which is covered by a further, but ornamentally sculpted wedge arch, which rests on simple transom plates and is accompanied by a slightly protruding serrated band on the outside, which hits the pairs of columns horizontally on both sides at transom height. The blind arcades completely fill the width of the side fields. Their carved arches stand on slender round columns with carved capitals, fighters and profiled bases. Here, a smooth, right-angled base is inserted above the window sill profile. Under the surrounding window sill, there are the same dwarf galleries as with the walls, in the middle with four and in the side fields with two arched niches. Their arches are at the same level, but their bases are on pedestals two levels higher. The roof forms of the side chapels are half cones with a flat slope.
The central ambulatory chapel has an apse that is almost identical to that of the others. The only difference is the narrow, non-curved wall pieces inserted on both sides between the apse and the gallery. This building element is considerably wider than the width of the chapel apse, and there are clear recesses of the wall at the transition from the base to the upper edge of the attic. The window sill profile around the chapel is slightly lower than in the handling. The window of the insert element is similar to that of the side chapels, but is slightly smaller. With its overlapping arch, it fills the entire width of the component. There is only smooth, undesigned masonry surface under the windowsill.
The southern attic of the chapel apse has a slightly larger rectangular, four-layer high relief sculpture . In a narrow frame, somewhat indented, stands an arcade made of an ornamented arch on round pillars with capitals and laterally extended fighter plates. In the middle of the arcade stands a male figure in a foot-length garment, behind his badly weathered head a nimbus disc. The right hand raised in blessing, the left holding a huge key, leaning over his shoulder. That can only be the patron saint of the church, St. Peter.
Unusual eaves and parapets
From the Romanesque period, such walling up of attics on eaves cornices with corbel supports are not known. The towered parapets, sloping inward in the upper area, behind which the red tile roofs disappear completely, do not look Romanesque at all (anymore). In the sources on the collegiate church of Saint-Pierre Chauvigny there are no statements about these attics. However, it is very likely that when the church was built, the rafters of the associated structural members were placed on the classic Romanesque eaves cornices on hundreds of carved cantilever consoles, and that the rainwater was able to drain off the even wider eaves tiles. (see graphic: reconstruction of the choir chapel by Viollet le Duc) Only in later "restless" times, possibly in the 15th / 16th centuries. Century, the eaves have been relocated behind the outer walls, and the fortifications, some of which are more than a meter high, were subsequently bricked up on the wall crowns, vertically in the nave and transept, and beveled in the upper area of the choir head. The gargoyles resting on the eaves, which divert the rainwater from the inner accessible gutters to the outside, testify to this action.
The conical helmet of the stair tower with upward-pointing scales is probably from the 19th century. The interior painting also testifies to the restoration work of that time, which, if not historically true, gives a feeling for the colors of medieval church interiors.
St-Pierre Chauvigny, relief in the attic of the central chapel
St. Pierre, cantilevered choir chapel
St. Pierre, cantilevered central chapel
inner space
The interior of St-Pierre is initially noticeable for its light, simple colors in the tones of red and white, in which the capitals are also set (painted). The construction of this church is a stepped three-aisled hall , the aisles of which are almost as high as the central nave , and accordingly has no upper aisles . This shape is typical of the county of Poitou and belongs to the Poitevini school of construction.
Longhouse
The nave is five equally wide bays, the width of the central nave is slightly less than twice the width of the side aisles. Their heights are only slightly lower than those of the central nave. The barrel vault of the central nave is slightly pointed. The belt arches supporting it sometimes have other arch shapes, for example round ones, and do not always run parallel to the curvatures of the arches, which differ in several ways. The vault approaches are marked with slightly protruding profiles. The belt arches stand on "old" semicircular services with capitals of vegetable sculpture. The apex of the round dividing arches between the naves almost touch the vaulting, so that only small gussets remain of the dividing walls. The dividing arches stand on "old" semicircular services, the plant-based carved capitals of which are arranged much lower than the services in the central nave. The side aisles are covered by groin vaults , the girdle arches of which are round but also pointed. These stand together with the vaults on "old" semicircular services, also on the walls, with capitals of vegetable sculpture, at the level of the arched capitals. This means that the pillar cores are covered on all sides by services. In the middle of each yoke in the upper half of the outer walls there is an arched window with stepped corners . The large arched window in the center above the portal provides generous light for the entire nave, especially in the evening sun.
Transept and crossing
The four bundles of crossing piers are much stronger than those of the nave. Their nuclei are cross-shaped and partially still visible. The services pointing to the ship do not reach the ground, but stand at a height of around 2.5 meters on semicircular carved consoles that taper towards the bottom and end there on a small bearded head portrait. On one side you can see a siren killing two swans; on the other, two four-legged friends (horses?) with long necks and lion heads choke out large leaf tendrils. The services of the pillar bundles are crowned by capitals with vegetable and figurative sculptures. Semicircular crossing arches with simply stepped right-angled edges stand on their spars. The slightly rectangular crossing is vaulted by an octagonal trumpet dome , the lower edge of which, an unequal octagon, rests on smaller trumpets in the crossing corners and the crossing arches . In the middle there is a circular hole for vertical transport of the bells.
The transept arms are vaulted over a barrel and are each divided almost in half by a flying buttress. The arched passages from the side aisles into the transept are significantly narrower and about 2/3 as high as the ships. Above that there is a much smaller round arch opening. The passages from the transept to the ambulatory are a little smaller than the previous ones. This also applies to the opening above. The northern arm of the transept is illuminated by six windows, the same type, size and height as the nave windows, one each in the west and east wall and two in the north wall. The same applies to the windows of the southern arm of the transept, only it is called the south wall instead of the north wall, and there is no window in the east wall because of the stair tower there. In the east wall of the north arm of the transept there is a side entrance to the church, with an upstream lock.
Choir, ambulatory and chapels
The choir floor plan is a semicircular apse with a short yoke the width of the first arcade. It extends over two arcade floors and is vaulted by a dome (above the apse) and a short piece of barrel. The seven arcades are supported by six strong columns and two "old" services on the crossing pillars, which stand with their profiled bases on a base strip that marks the floor plan. Semi-circular smooth-walled right-angled arches transfer the loads of the somewhat thicker walls to the pillars and services. The masterful sculptures of the capitals (six whole and two half) and their fighters are dealt with in the later section. A little bit above the apex of the arched wedge stones, the ground floor ends with a strong setback of the wall.
The upper floor is characterized by a dwarf gallery whose ten slender round supports with their bases and plinths stand on the aforementioned setback. The crowning capitals and fighters are smaller but hardly less masterfully designed than their "colleagues" below. They are probably and unfortunately hardly noticed due to the special importance and fame of the large arcade capitals. The completely closed arcade niches consist of smooth masonry surface. Over the slightly stilted round blind arcade arches with simply stepped edges, equally smooth masonry goes up to the narrow cantilever profile that marks the beginning of the arches.
In the dome of the choir apse, three small arched windows are housed, which are covered by hardly larger stitch caps .
The ambulatory is only slightly higher than the apex of the gallery arches. The passages to the three courtyard chapels are just as high as the aforementioned arches. The gallery windows with profiled walls are covered by angular arches that stand on semicircular "younger" services with capitals, fighters and bases. The two lateral chapel apses are vaulted with domes and equipped with a small central arched window. In the central chapel, the apse's dome is extended by a short barrel, and it has two additional windows on the sides. The chapel windows are covered by smooth-edged arches that stand on small columns with capitals, fighters and bases. The wall surfaces between or next to the windows are decorated with corresponding blind arcades.
Capitals
For the location of the numbered capitals, see the floor plan.
Chauvigny is famous in the history of art for the capitals in the choir of its Romanesque church St-Pierre, which was started at the end of the 11th century and completed in the first quarter of the 12th century. The large areas of red and white painted capitals date from around 1100. The entire interior was repainted in 1856, including the capitals, which were supposedly gray, white and black previously (Minne-Sève, p. 64).
The pillars of the ambulatory have relatively low capitals. They all have a very catchy, sometimes simple narrative style. Their iconography is not strictly uniform, although most of the depictions show scenes from the life of Jesus. More typical is the spread of scenes from various contexts, in which the general juxtaposition of good and bad is in the foreground. Several capitals have inscriptions that provide information about the content of the picture.
The subjects on these capitals are one of the most interesting and complex elements of medieval art. Raymond Oursel writes: “ This world of animal monsters, in whose contemplation the Romance soul indulged, was for its part far more than a reservoir of forms and decorative themes: it was the codification of a terrible, haunted world and its demonic origins. All conceivable monsters are to be found in an infernal dance - monsters that have risen from nightmares, griffins, mythical creatures sprung from Eastern fantasy, baboons, big-eared dwarfs: a strange world of horror and unbridled fantasy. Man faced fearfully these unleashed forces that surrounded and terrified him; in the house of God echoed the noise of the uncanny battle between the powers of light and the powers of darkness [...] "
“ Man appears on these sculptures [...] with a weapon in hand, facing an opponent in a relentless fight man against man. Because the memory of the barbarian invasions is still very much alive; the borders of the Christian West are always threatened, and packs of wolves and other predators roam Europe, which is plagued by famine and epidemics [...] Lucifer as the highest evil was only seldom portrayed as a result of the panic, but all the more numerous are the images of his damn children. "
And one of these damned children can be seen on a capital in the vestibule area with a graceful mermaid and two swans: The mermaid in this provocative nudity for the time is likely to be a symbol of sin. The swans, whose necks she tries to close, are considered to be signs of patience or Christian renunciation, i.e. the positive opposite of mermaid sensuality. The swan is also considered a symbol of purity (see Richard Wagner's "Lohengrin") and in this respect was also the emblem of a French queen. (LCI IV, p. 134) Hence, a fairly clear theme can be ascribed to this scene.
Chapter I.
When it comes to capital I of the famous eight choir capitals, researchers do not agree on what is meant here: either eagles, which lift souls up to the sky, i.e. a positive symbol, or eagles, which devour people as a punishment for a sinful life - i.e. a negative one Symbol.
Chapter II
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The chapter II shows on one side the Annunciation to the Shepherds. The text above this scene reads on the nimbus, the halo of the central figure: GABRIEL ANGELUS - that is, the angel Gabriel; then over the wings: DIXIT GLORIA IN EXCELSIS DEO, in other words: he proclaims the glory of the Lord. Above the side figures there is only the simple designation PASTORES, i.e. shepherds, or PASTOR BONUS, the good shepherd.
But on the right-hand side of the capital, a completely different topic is already indicated. This is the Babylonian whore from the apocalypse, the BABILONIA MAGNA MERETRIX, as it is called in the text above her, whose long hair suggests the vice of unbridled sensuality, which is generally portrayed as female - as with the mermaid. In her hands she holds small vessels with elixirs to increase lust, love potions like those used in almost all times of human culture.
The scene further to the right is the weighing of the soul of the Archangel Michael, as it is called on the halo again ("MICHAEL ARCANGELO"), who has raised his right hand to take an oath and holds the scales with the left. A little devil, who is desperately trying to pull the weight of the soul of the innocent, praying child on the left side of the angel, pulls on this balance of the Last Judgment - the motive comes from the Egyptian culture - unsuccessfully of course. On the far right and returning to the start page is depicted the damned Babylon, BABILONIA DESERTA, as it is written on the upper panel.
Chapter III
The 3rd capital shows one of the typical medieval depictions of demonies, as they occur mainly in connection with the theme of the Last Judgment. A dragon whose two bodies are united in a human head is a symbol of death in medieval mythology. Here he devours a believing Christian who is devoted to his fate - in other words: contrary to this gloomy representation, the person concerned has no cause for concern. The other sides of the same capital show similar scenes. Here the doomed seems to care not much about his fate, he sticks out his tongue, so to speak. This tongue motif also appears on the scene at the corner of the capital.
Chapter IV
This capital shows the adoration of the kings on one side (see picture above on the right). This scene is famous in art history because the inscription above Mary reads: GOFRIDUS ME FECIT, d. H. Gofried made me as if the capital itself was speaking. The sculptor here has immortalized his name - or that of the client (Toman, p. 257) - an unusual process for the time around 1100. In the Middle Ages it was not common for artists to somehow sign their works, especially not in the choir of a church. (see discussion page)
This was also due to the fact that art was much less important then than it is today. So here we have an amazing mark of a burgeoning self-esteem at a time when the sculptor was nothing more than a craftsman. This master Gofridus obviously saw it differently and set an early memorial to himself and his guild in this sacred place.
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The other three pages of Chapter IV are themed: The Annunciation, One of the Three Temptations of Christ, and The Presentation of Christ in the Temple.
Chapter V
Lions with human hands growing from the ends of their tails; two masks.
Chapter VI
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The best-known capital of Chauvigny is the sixth, and its interpretation is particularly complicated. The following interpretation comes from Ingeborg Tetzlaff's book 'Romanesque Capitals in France' from 1979. The history of research on this topic has recently been in motion and it cannot be ruled out that another interpretation is now available for this capital.
The capital shows a fantastic human figure with two bodies growing together in a common head, next to various monsters. What is meant - allegedly - here the topic: the conflict in the human soul. One still says today when there are intense, contradicting feelings: one could "tear oneself apart".
The axis on which the two halves of the body grow together has - seen in itself - the abstract shape of a tree if you look closely. This is the tree of life, the branches of which are ribbed on both sides of the chest.
The astonishing thing is how this dancing, moving double man is surrounded by monsters, how he almost playfully holds the hind legs of one of them in each hand, which in turn tries to bite him in his arms. So he rules it by holding it tight.
In addition, he apparently gives a defensive kick - seen from the front - with the leftmost of his four feet of a huge bearded harpy. In Greek mythology, a harpy is a storm demon in the form of a girl with bird wings, or a virgin eagle, a heraldic animal that has the upper body of a woman. Meanwhile, the left foot of the double figure has already escaped the other lion-like monster on the right.
What is this about - according to Tetzlaff? This person is the one who overcomes his ambivalence: He rules it, although he is still aware of it. How does one come to this interpretation, which at first seems strange?
The left half of the body, from the front right, is the “spiritual part” of this being; this is indicated by the three accentuated folds of the garment that indicate the trinity. With the five folds of the garment next to it, he points to “the perfect number of the microcosm of man” and thus to Christ himself, because five is the number of the senses (eye, nose, mouth, ear, sense of touch) and also of Christ's wounds. And with the vertical folds to the right and left of these two groups, it points upwards. For our reception today, such number symbolisms often seem very artificial and implausible, but at that time such means were actually used. Otherwise it would not have been necessary to place two very different fold shapes next to each other in this central area of the skirt. In the Gothic, which does not work with such numerical symbols in clothing, this area would have been designed uniformly in a consistent style. The simple folds of the garment therefore have a strong symbolic reference - each group for itself - in terms of their shape and their respective number.
But also the right half, from us on the left, his “earthly part”, strives towards the tree of life in the middle of the body. He overcomes the animal (it is no coincidence that she is also dressed), as the sweeping upward movement of the folds of the skirt shows, as does the foot that pushes the monster back. In this chapter, the whole ambiguity of human existence has been brought into artistic form in a limited space with means that are difficult to understand for us today - and also the victory over them (Tetzlaff, p. 94). You have to get involved in such detoured symbolic interpretations if you want to understand these medieval scenes. However, one must not forget that in the 12th century such interpretations were also not a matter of course, but were also conveyed, for example by a clergyman in a sermon. Lately, however, this mysticism of numbers has become popular again in a certain way through the crime novels by Dan Brown.
Chapter VII
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Chapter VII shows pairs of dragons with human heads, the rear parts of which collide at the corners and are additionally connected to one another by what one could call a forked tongue that comes out of the mouth of a demon's head. Another interpretation of the animal beings is that they could be sphinxes with women's heads or bird sirens, i.e. beings that seduce into sin, like the mermaid at the beginning.
Chapter VIII
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The last capital shows the devil holding his altar with the symbol of death in front of him, an inclined cross with dots in the triangular areas. He is flanked by two demons. So here the ruler of evil is represented personally and bodily.
literature
in alphabetical order by authors / editors
- Jean-Luc Daval (Ed.): Sculpture. From antiquity to the Middle Ages. 8th century BC BC to 15th century [1991] . Cologne 1999, p. 325
- LCI: Lexicon of Christian Iconography . Freiburg im Breisgau 1968 (1994)
- Viviane Minne-Sève: Romanesque cathedrals and art treasures in France . Eltville 1991
- Raymond Oursel, Henri Stierlin (ed.): Romanik (= Architektur der Welt, Vol. 15) , Friborg, Munich 1964.
- Ingeborg Tetzlaff : Romanesque capitals in France . Cologne 1976. 3rd edition 1979.
- Rolf Toman (ed.): The art of the Romanesque. Architecture - sculpture - painting . Cologne 1996
Web links
Individual evidence
- ↑ Oursel, p. 181 f.
Coordinates: 46 ° 34 ′ 13.6 " N , 0 ° 38 ′ 54.7" E