DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.67683#0305
ROMANESQUE PERIOD 105
shape, and color — rock crystal, sapphire, and others. The
broad outer border is made up of alternating plaques of jewel-set
gold, and enamel containing conventionalized designs in opaque
white on a luminous blue ground, thus harmonizing with the
narrow inner enamel border. The jewels — crystal, sapphire,
emerald, turquoise, and others — mostly uncut and of varying
size and shape, are set in conventionalized designs of raised gold
and filigree work, with pearls and tiny rubies. The shimmering
gold with its raised decoration, enhanced by the massing of
color, the luminous blue of the enamel, all the deeper because of
the opaque pearly white and the rich color of the other stones,
produces a piece of rich decoration.
Another book cover, that of the Psalter of Melisenda (Pl. 79 b)
is made chiefly of ivory. It is decorated with a design made up of
six interlaced circles surrounded by a border, and set with tur-
quoise and rubies so that the effect is one of great richness. The
circles contain scenes from the life of David; the intervening
spaces are filled with contesting figures which represent the Vices
and Virtues; and the border is composed of vine scrolls issuing
from vases, interspersed with dolphins, birds, and interlacings,
arranged with a great deal of variety in details which contributes
vitality to the design. For example, notice how the interlacings
are not placed in the same relative position on the two long sides,
but are varied on the right so as to accommodate the clasps;
and while there is a foliate motif in each corner, there is consid-
erable difference in details. The little figures both in the circles
and in the intermediate spaces are depicted with dramatic power,
quite characteristic of this age of the Crusades. Life is creeping
into the stiff conventions of the Byzantine carvers, just as we
have seen it infusing the work of the stone carvers and the minia-
turists.
SUMMARY
In every aspect of the Romanesque period, we have observed
vigor and versatility. Out of the chaos that marked the early
part of the period, order was emerging, largely through the
steadying hand of the monastery. The barbarians, Christianized,
were going to school to the old traditions of the Mediterranean
civilization, but were transforming them with the fresh vitality
of the North. As Ralph Adams Cram says, “The awe of the dark
forests and fierce seas was still on them, and strange apocryphal
beasts, fantastic herbage, impossible flowers, all knotted and
convoluted in runic designs, became the substance of their deco-
shape, and color — rock crystal, sapphire, and others. The
broad outer border is made up of alternating plaques of jewel-set
gold, and enamel containing conventionalized designs in opaque
white on a luminous blue ground, thus harmonizing with the
narrow inner enamel border. The jewels — crystal, sapphire,
emerald, turquoise, and others — mostly uncut and of varying
size and shape, are set in conventionalized designs of raised gold
and filigree work, with pearls and tiny rubies. The shimmering
gold with its raised decoration, enhanced by the massing of
color, the luminous blue of the enamel, all the deeper because of
the opaque pearly white and the rich color of the other stones,
produces a piece of rich decoration.
Another book cover, that of the Psalter of Melisenda (Pl. 79 b)
is made chiefly of ivory. It is decorated with a design made up of
six interlaced circles surrounded by a border, and set with tur-
quoise and rubies so that the effect is one of great richness. The
circles contain scenes from the life of David; the intervening
spaces are filled with contesting figures which represent the Vices
and Virtues; and the border is composed of vine scrolls issuing
from vases, interspersed with dolphins, birds, and interlacings,
arranged with a great deal of variety in details which contributes
vitality to the design. For example, notice how the interlacings
are not placed in the same relative position on the two long sides,
but are varied on the right so as to accommodate the clasps;
and while there is a foliate motif in each corner, there is consid-
erable difference in details. The little figures both in the circles
and in the intermediate spaces are depicted with dramatic power,
quite characteristic of this age of the Crusades. Life is creeping
into the stiff conventions of the Byzantine carvers, just as we
have seen it infusing the work of the stone carvers and the minia-
turists.
SUMMARY
In every aspect of the Romanesque period, we have observed
vigor and versatility. Out of the chaos that marked the early
part of the period, order was emerging, largely through the
steadying hand of the monastery. The barbarians, Christianized,
were going to school to the old traditions of the Mediterranean
civilization, but were transforming them with the fresh vitality
of the North. As Ralph Adams Cram says, “The awe of the dark
forests and fierce seas was still on them, and strange apocryphal
beasts, fantastic herbage, impossible flowers, all knotted and
convoluted in runic designs, became the substance of their deco-