This appears as a stone wall consisting of rounded arches. Directly behind Christ, within the mandorla, there seems to be an architectural element possibly representing the kingdom of Heaven. The fabric sways and curls, giving a sense of movement that echoes the foliage embellishing the tympanum. The fabric begins to flow loosely at the bottom above his bare feet. The fabric is pressed tightly against the slender body of Christ, revealing boney twig-like legs bent at the knee. There is little detail in the robe worn by Christ, a repetition of delicate lines indicate folds in the fabric. It is completely evident that the Autun Cathedral is an example of Romanesque art and it substantial to its importance in furthering a study of the ancient past. Scholars now see this romanesque style as a step forward and no longer a digression. Romanesque art and architecture has been studied as being a direct reference to that of the ancient past. No longer seen as the product of a process of decline, contemporary scholars instead understand the Roman resemblances in Romanesque art to be deliberate references to the past, which were used to make meaningful statements in the medieval present” (Bleeke, 260). As stated by art historian Marian Bleeke, “An important thread in recent modern scholarship on Romanesque architecture and sculpture has taken the Roman reference in the term seriously and focused on investigating this material’s relationship to the ancient past. Architectural elements such as fluted pilasters, foliate capitals, friezes and rounded arches show the influence of the ancient past. 31.The Autun Cathedral has certain aspects of design and architecture that were inspired by that of the Classical Romans. New York and New Haven: The Metropolitan Museum of Art, 2012. The Cloisters: Medieval Art and Architecture. New York and New Haven: The Metropolitan Museum of Art, 2005. "From Cluny to Moutiers-Saint-Jean: The Origin of a Limestone Fragment of an Angel at The Cloisters." Gesta 27, nos. Sculptors of the West Portals of Chartres Cathedral: Their Origins in Romanesque and their Role in Chartrain Sculpture Including the West Portals of Saint-Denis and Chartres, Harvard, 1952. New York: The Metropolitan Museum of Art, 1987. Europe in the Middle Ages, edited by Charles T. Part VI: Auvergne, Burgundy, Central France, Meuse Valley, Germany." Gesta 26, no. "Romanesque Sculpture in North American Collections. "A Romanesque Corpus." The Bulletin of the Cleveland Museum of Art 68, no. New York: The Metropolitan Museum of Art, 1979. New York: The Metropolitan Museum of Art, 1974. "Acquisitions from the Brummer Gallery." In The Grand Gallery at the Metropolitan Museum of Art: Sixth International Exhibition presented by C.I.N.O.A. Forsyth, William Holmes, and The International Confederation of Dealers in Works of Art. "The Lintel Fragment Representing Eve from Saint-Lazare, Autun." Journal of the Warburg and Courtauld Institutes 35 (1972). "The Cloisters: Ein Museum für mittelalterliche Kunst in New York." Du 32, no. Los Angeles: Los Angeles County Museum of Art, 1969. The Middle Ages: Treasures from the Cloisters and the Metropolitan Museum of Art. Cleveland: Cleveland Museum of Art, 1967. New York: The Metropolitan Museum of Art, 1963. The Cloisters: The Building and the Collection of Medieval Art in Fort Tryon Park. "L’Eve de la Cathedrale d’Autun, sa place dans l'histoire de la sculpture romane." Gazette des Beaux-Arts 35 (1949). Arts of the Middle Ages: A Loan Exhibition. La sculpture bourguignonne aux XIIe et XIIIe siècles, ses origines et ses sources d'inspiration: Autun.
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