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2010-08-12 Anzy-le-Duc, église Notre-Dame-de-l'Assomption, Saône-et-Loire, Bourgogne w 54
Lombard style bell tower illuminated.
The church of Our Lady of the Assumption is one of the most beautiful Romanesque churches Brionnais and one of the most interesting of Romanesque Burgundy by the quality of its carved decoration and its harmonious proportions.
The building, with its height two-story relates to the ancient architectural tradition of Burgundy. It is the antithesis of architectural principles illustrated in Cluny III.
The church plan
The church of Our Lady of the Assumption is, classically, facing east, toward Jerusalem.
Its floor plan replicates that of the church of Charlieu and recalled the ties between the two monasteries founded in the Carolingian period. The main vessel is a three-nave of five bays under edges. The transept, salient, is to arm with oriented apses. The whole forms a Latin cross. The choir and transepts are crowned by a series of five apses behind. This plan offers a picture perfect in its simplicity and in the rightness of its proportions.
Construction is medium blond limestone unit, uneven and grouted. Unlike the masonry of the apse and transept, compared to that of the nave, recalls that the church of Anzy-le-Duc was conducted in two campaigns, from the mid / late eleventh and early twelfth.
Outdoor Architecture
South side of the church, the corbels that support the entablature cornices are almost carved.
The transept and the main facade is highlighted by their stilted gables.
The bell tower
The church of Our Lady of the Assumption has a remarkable octagonal tower novel.
The elegance of this tower makes it one of the most beautiful Romanesque bell towers of Brionnais. Its high silhouette give slenderness to the entire building. Its octagonal building decorated with three floors of Lombard arches recalls the Romanesque bell towers of northern Italy.
It is decorated with the three upper floors of twin arched windows separated by pillars and topped with Lombard bands.
The western façade has a remarkable portal whose lintel, the eardrum and the archivolt double arch have a very rich sculptural decoration.
The eardrum dated twelfth. The church of Our Lady of the Assumption in three had originally. Today, one of them is located in Hiero Museum Paray-le-Monial. The eardrum visible on the building face Christ in glory in a mandorla. He sits on his throne. The mandorla is a symbol of rebirth, is supported by two angels with wings and whose feet are anchored to the ground. This iconography symbolizes the return of Christ on earth, to the end of time to judge the living and the dead.
The lintel is the scene of the Ascension.
The badly damaged lower arch as well as the four capitals, the 24 elders of the Apocalypse, crowned head, holding in his hand a cup and harp, celebrating the glory of the risen Christ. The 24 elders represent the 12 prophets and patriarchs and the 12 Apostles. They symbolize the meeting of the Old and New Testaments. This image is from a vision of St. John described in the Apocalypse.
The moldings were restored.
The sculptures were hammered during the period of the French Revolution.
The south facade
The south portal of the priory tells the story of the salvation of mankind. Tympanum represents the Adoration of the Magi and the Original Sin. The architrave shows the punishments imposed on the damned in hell, and its left end, a brief allusion to the heavenly Jerusalem. Figures could include the influence of the workshop Gislebertus Autun, although their flexibility departs somewhat from the impetuosity which characterizes the sculptures of the Saint-Lazare Cathedral of Autun. The style is much cruder. Perhaps we there see the hand of an artist who spoke at the Church of Neuilly-en-Donjon, located on the other side of the Loire.
The bedside
Like the second abbey of Cluny, the church of Anzy-le-Duc has a bedside level with five apsidal chapels.
interior architecture
The nave [change | modify the code]
The church of Anzy-le-Duc is regularly oriented.
The architecture of the nave is two stories with large arcades surmounted by tall windows.
The bays of the nave bear groin vaults separated by arches that give rise to simple architectural lines and great harmony. The quality of vaulting demonstrates the skills mastered craftsmen and architects. This bias construction is found in other Romanesque churches of Burgundy, including Vezelay. However, there is not here this momentum verticality that will characterize the buildings have adopted the principles of Cluny III. The vertical and horizontal lines are balanced to generate a feeling of peaceful serenity.
The capitals of the nave date from the eleventh. They are among the earliest examples of this form of typically Romanesque art.
They are carved mostly from plant or animal motifs are of great aesthetic value. There are approximately forty of which a head of cattle, Daniel and the lions, an acrobat, an angel fighting a demon, Samson controlling a lion ...
Saint Michael fighting the devil. He guards the entrance of Paradise. In its shield, the monstrous devil planted his trident, the handle and the right arm holding the were broken (3rd pillar to the left, entering the nave).
This scene could be the man, attached to the right, however, must fight against physical forces or the forces of evil. Nu (nudity in Roman art can represent the innocence of origins), he clings with both hands in the ring that forms the basis of capital. The ring is a symbol of a branch of the tree of life in Genesis. Two monstrous snakes to interlaced rings are preparing to bite his torso and heel. (2nd pillar to the left, entering the nave)
This capital, located on the 5th pillar to the left, entering the nave could illustrate the theme of the quarrel. Two figures evil their tongues, classic iconography in Roman art of lying, slander or insults. The lie is generating conflicts and wars. In the left corner of the tent, two characters kiss: a reconciliation? a hypocritical gesture as might suggest the two heads like monkeys. The monkey wants to imitate the man as the devil tries to imitate God. The monkey is a symbol of heresy, paganism, of all that is false, anything that distracts man from his likeness to God.
Here, in contrast, the most recent works it is possible to see in Autun and Saulieu, the block formed by the marquee itself is not entirely hidden: include seem like stone applied on their support. Yet we already discern a principle of composition which will remain true Burgundian sculpture submitted to the architectural structure of the capital, the figures of angles resume the role of ancient scrolls. They announce the development of the Cluny sculpture twelfth.
The choir
The choir is composed of a span with aisles that end in the apses. It extends an axial central apse and chapels.
The choir, vaulted cul-de-four with frescoes, and the transepts are crowned by a series of five apses behind. The octagonal cupola on tubes.
Two capitals, almost symmetrical, represent two majestic eagles with outspread wings. They open your eyes wide and yet set the rising sun. At the top of the wings, is carved a swastika, ancient Hindu symbol of the sun spinning. The eagle symbolizes the soul that rises above the vicissitudes of earthly experience. That is the spiritual equivalent of the temporal power of the lion. The eagle is the opposite of the snake, chthonic animal. It symbolizes the soul that rises to the Light, to Knowledge as the eagle, king of birds can fly in / from the sun. It is the oldest capitals of the church (circa 1050).
The murals are of medieval origin but were heavily restored in 1850 by a painter of Drill, Jean-François Maurice. The vault in this cul-de-four Ascension. The risen Christ joined his Father in heaven. Standing, surrounded by an oval glory, he blessed the people of believers. Two angels are for 12 Apostles and three holy women remained low. They say, "Men of Galilee, why do you stand looking into heaven? This Jesus who comes to you be taken to heaven, will come in the same way that you saw up there. " Under this Ascension in four areas bounded by pilasters, are represented the symbols of the four evangelists: the angel, emblem of St Matthew, the bull for Luke, the lion of St. Mark and the eagle for John. These four figures were the haloed head and holding the holy book, ie the Bible. Under the angel symbolizing St Matthew Letbald is shown. It was the lord of Anzy-le-Duc, who, in 876, donated his land to the Benedictine monks of Autun. Opposite, under the eagle of St. John, was his wife slope, Altasie.
The crypt
Recent excavations have rediscovered the crypt, clearing a passage of stairs from the north transept. This crypt dated eleventh century served as a burial place to Hugues de Poitiers. It is one of the Christian shrines preserved among the oldest of all the brionnais country. MM. of Canat and Surigny, made the plan of the crypt and worked in the study of sculptures and murals, the date is not earlier than the twelfth century.
It communicated with the church by two staircases that had come together in a single release in front of the choir. The vault is supported by pillars, two gray breccia from the broken barrel of an ancient column, whose base was still visible.
In 1576, the tomb of Hugues de Poitiers is desecrated by Huguenots. The body is thrown into the fire and the ashes scattered to the winds.
The crypt was decorated with frescoes of which only a fragment.
wp
2010-08-12 Anzy-le-Duc, église Notre-Dame-de-l'Assomption, Saône-et-Loire, Bourgogne w 54
Lombard style bell tower illuminated.
The church of Our Lady of the Assumption is one of the most beautiful Romanesque churches Brionnais and one of the most interesting of Romanesque Burgundy by the quality of its carved decoration and its harmonious proportions.
The building, with its height two-story relates to the ancient architectural tradition of Burgundy. It is the antithesis of architectural principles illustrated in Cluny III.
The church plan
The church of Our Lady of the Assumption is, classically, facing east, toward Jerusalem.
Its floor plan replicates that of the church of Charlieu and recalled the ties between the two monasteries founded in the Carolingian period. The main vessel is a three-nave of five bays under edges. The transept, salient, is to arm with oriented apses. The whole forms a Latin cross. The choir and transepts are crowned by a series of five apses behind. This plan offers a picture perfect in its simplicity and in the rightness of its proportions.
Construction is medium blond limestone unit, uneven and grouted. Unlike the masonry of the apse and transept, compared to that of the nave, recalls that the church of Anzy-le-Duc was conducted in two campaigns, from the mid / late eleventh and early twelfth.
Outdoor Architecture
South side of the church, the corbels that support the entablature cornices are almost carved.
The transept and the main facade is highlighted by their stilted gables.
The bell tower
The church of Our Lady of the Assumption has a remarkable octagonal tower novel.
The elegance of this tower makes it one of the most beautiful Romanesque bell towers of Brionnais. Its high silhouette give slenderness to the entire building. Its octagonal building decorated with three floors of Lombard arches recalls the Romanesque bell towers of northern Italy.
It is decorated with the three upper floors of twin arched windows separated by pillars and topped with Lombard bands.
The western façade has a remarkable portal whose lintel, the eardrum and the archivolt double arch have a very rich sculptural decoration.
The eardrum dated twelfth. The church of Our Lady of the Assumption in three had originally. Today, one of them is located in Hiero Museum Paray-le-Monial. The eardrum visible on the building face Christ in glory in a mandorla. He sits on his throne. The mandorla is a symbol of rebirth, is supported by two angels with wings and whose feet are anchored to the ground. This iconography symbolizes the return of Christ on earth, to the end of time to judge the living and the dead.
The lintel is the scene of the Ascension.
The badly damaged lower arch as well as the four capitals, the 24 elders of the Apocalypse, crowned head, holding in his hand a cup and harp, celebrating the glory of the risen Christ. The 24 elders represent the 12 prophets and patriarchs and the 12 Apostles. They symbolize the meeting of the Old and New Testaments. This image is from a vision of St. John described in the Apocalypse.
The moldings were restored.
The sculptures were hammered during the period of the French Revolution.
The south facade
The south portal of the priory tells the story of the salvation of mankind. Tympanum represents the Adoration of the Magi and the Original Sin. The architrave shows the punishments imposed on the damned in hell, and its left end, a brief allusion to the heavenly Jerusalem. Figures could include the influence of the workshop Gislebertus Autun, although their flexibility departs somewhat from the impetuosity which characterizes the sculptures of the Saint-Lazare Cathedral of Autun. The style is much cruder. Perhaps we there see the hand of an artist who spoke at the Church of Neuilly-en-Donjon, located on the other side of the Loire.
The bedside
Like the second abbey of Cluny, the church of Anzy-le-Duc has a bedside level with five apsidal chapels.
interior architecture
The nave [change | modify the code]
The church of Anzy-le-Duc is regularly oriented.
The architecture of the nave is two stories with large arcades surmounted by tall windows.
The bays of the nave bear groin vaults separated by arches that give rise to simple architectural lines and great harmony. The quality of vaulting demonstrates the skills mastered craftsmen and architects. This bias construction is found in other Romanesque churches of Burgundy, including Vezelay. However, there is not here this momentum verticality that will characterize the buildings have adopted the principles of Cluny III. The vertical and horizontal lines are balanced to generate a feeling of peaceful serenity.
The capitals of the nave date from the eleventh. They are among the earliest examples of this form of typically Romanesque art.
They are carved mostly from plant or animal motifs are of great aesthetic value. There are approximately forty of which a head of cattle, Daniel and the lions, an acrobat, an angel fighting a demon, Samson controlling a lion ...
Saint Michael fighting the devil. He guards the entrance of Paradise. In its shield, the monstrous devil planted his trident, the handle and the right arm holding the were broken (3rd pillar to the left, entering the nave).
This scene could be the man, attached to the right, however, must fight against physical forces or the forces of evil. Nu (nudity in Roman art can represent the innocence of origins), he clings with both hands in the ring that forms the basis of capital. The ring is a symbol of a branch of the tree of life in Genesis. Two monstrous snakes to interlaced rings are preparing to bite his torso and heel. (2nd pillar to the left, entering the nave)
This capital, located on the 5th pillar to the left, entering the nave could illustrate the theme of the quarrel. Two figures evil their tongues, classic iconography in Roman art of lying, slander or insults. The lie is generating conflicts and wars. In the left corner of the tent, two characters kiss: a reconciliation? a hypocritical gesture as might suggest the two heads like monkeys. The monkey wants to imitate the man as the devil tries to imitate God. The monkey is a symbol of heresy, paganism, of all that is false, anything that distracts man from his likeness to God.
Here, in contrast, the most recent works it is possible to see in Autun and Saulieu, the block formed by the marquee itself is not entirely hidden: include seem like stone applied on their support. Yet we already discern a principle of composition which will remain true Burgundian sculpture submitted to the architectural structure of the capital, the figures of angles resume the role of ancient scrolls. They announce the development of the Cluny sculpture twelfth.
The choir
The choir is composed of a span with aisles that end in the apses. It extends an axial central apse and chapels.
The choir, vaulted cul-de-four with frescoes, and the transepts are crowned by a series of five apses behind. The octagonal cupola on tubes.
Two capitals, almost symmetrical, represent two majestic eagles with outspread wings. They open your eyes wide and yet set the rising sun. At the top of the wings, is carved a swastika, ancient Hindu symbol of the sun spinning. The eagle symbolizes the soul that rises above the vicissitudes of earthly experience. That is the spiritual equivalent of the temporal power of the lion. The eagle is the opposite of the snake, chthonic animal. It symbolizes the soul that rises to the Light, to Knowledge as the eagle, king of birds can fly in / from the sun. It is the oldest capitals of the church (circa 1050).
The murals are of medieval origin but were heavily restored in 1850 by a painter of Drill, Jean-François Maurice. The vault in this cul-de-four Ascension. The risen Christ joined his Father in heaven. Standing, surrounded by an oval glory, he blessed the people of believers. Two angels are for 12 Apostles and three holy women remained low. They say, "Men of Galilee, why do you stand looking into heaven? This Jesus who comes to you be taken to heaven, will come in the same way that you saw up there. " Under this Ascension in four areas bounded by pilasters, are represented the symbols of the four evangelists: the angel, emblem of St Matthew, the bull for Luke, the lion of St. Mark and the eagle for John. These four figures were the haloed head and holding the holy book, ie the Bible. Under the angel symbolizing St Matthew Letbald is shown. It was the lord of Anzy-le-Duc, who, in 876, donated his land to the Benedictine monks of Autun. Opposite, under the eagle of St. John, was his wife slope, Altasie.
The crypt
Recent excavations have rediscovered the crypt, clearing a passage of stairs from the north transept. This crypt dated eleventh century served as a burial place to Hugues de Poitiers. It is one of the Christian shrines preserved among the oldest of all the brionnais country. MM. of Canat and Surigny, made the plan of the crypt and worked in the study of sculptures and murals, the date is not earlier than the twelfth century.
It communicated with the church by two staircases that had come together in a single release in front of the choir. The vault is supported by pillars, two gray breccia from the broken barrel of an ancient column, whose base was still visible.
In 1576, the tomb of Hugues de Poitiers is desecrated by Huguenots. The body is thrown into the fire and the ashes scattered to the winds.
The crypt was decorated with frescoes of which only a fragment.
wp