Emmanuel Garland, Docteur en Histoire de l’Art As a “reflection of a society (…), a means of expression of a culture and, at the same time, of a latent and a collective unconscious” (Michel Meslin), the marvelous, omnipresent in the decoration of the Romanesque churches of the Pyrenean area, is a powerful revelator which highlights…
Laura Bartolomé Roviras, Docteure en Histoire de l’Art With the aid of the reproductions of the Centre de Sculpture Romane “Maître de Cabestany”, the scope of this intervention is to unveil the expressions of the marvelous in the sculptures created by the so-called Cabestany Master. By all means, the excellence and the rare talent of…
Florian Meunier, Musée du Louvre (Paris) Starting at the end of the Xth century and in the XIth century with the testimony of Bernard d’Angers about the miracles of Saint Foy de Conques and the interpretation of the Bayeux embroidery, it seems interesting to look at the relationship between reliquaries and miracles, which raise the…
Philippe Cordez, Centre allemand d’Histoire de l’Art (Paris) Hildegard of Bingen’s crown is a recent discovery. Since the early Middle Ages, nuns were given a crown as part of the blessing ritual that marked their status as virgins. Around 1150, the Rhineland nun Hildegard of Bingen (1098-1179), a theoretician and important player in the ecclesiastical…
Francisco de Asís García García, Universidad Autónoma de Madrid (Espagne) As it was common with many sanctuaries located between the mountains, tradition places the origins of the Aragonese monastery of San Juan de la Peña in a miraculous event: a knight was saved from rushing into the void and built a monastery where an eremite…
Carlo Tosco, Politecnico, Turin (Italie) San Michele della Chiusa was founded in the Susa Valley, the main link between Italy and France, at the end of the 10th century. The monastery was born, according to tradition, for a miraculous event: the apparition of the archangel Michael on the top of the mountain. In the monastic…
Térence Le Deschault de Monredon, docteur en Histoire de l’Art The figure of the knight holds a distinguished place in various manifestations of the Romanesque art. He is shown on all types of media and in various kinds of works. This proliferation of the figure of the noble warrior causes interpretation problems, because it refers…
Mathieu Beaud, Institut national d’Histoire de l’Art, Paris. This paper aims to consider in the XIIth century the conception of a past where legends, biblical story and history merge to compose a civic memory. The legend of Theodoric’s hunt, placed at the entrance of the portal of the Basilica of San Zeno in Verona, highlights…
Laurence Terrier, Université de Neuchâtel (Suisse) Themes issued from Greco-Roman mythology were transmitted during the Middle Ages through Roman vestiges and several literary traditions. While numerous studies, as early as the 1930s, have noticed mythological subjects within churches, it is the identification of the represented episode that have retained researchers’ attention. We will try to…
Nicolas Faucherre, Heike Hansen, Andréas Hartmann-Virnich, Aix-Marseille Université The church of Abu Gosh, near Jerusalem, built around 1160 by the Hospitallers on a site identified by a tradition of uncertain origins with the Emmaus of the Gospel, is most famous for its magnificent Byzantine mural paintings, executed shortly before the conquest of Jerusalem by Saladin…
