By Janet Byrne
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This publication explores the connection among faith and the visible arts--and vice versa--within Christianity and different significant non secular traditions. It identifies and describes the most ancient, theological, sociological and aesthetic dimensions of "religious" artwork, with specific realization to "popular" in addition to "high" tradition, and inside of societies of the constructing global.
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22 No further step was possible in the same direction. Yet in Late Romanesque art some tendencies indicating new directions came to the fore. When Master Gilabertus carved his Apostles for the Chapter House of Saint-Etienne in Toulouse he broke away from the dramatically charged and restless style of Souillac, Moissac, and his own workshop. In Lombardy Master Niccolo allowed his figures to project more and more from the jambs (fig. 7). It was left to the Saint-Denis masters to free jamb statues from their direct contact with the plane of the wall, and to the Head Master of Chartres to lend them inner animation.
Ry)inoie attel1tively, there is no virtue, no beauty, no candor and glory which does not shine forth from her," says Pseudo-Jerome. " IV THE planners of Chartres worked out a highly original kind of program for the right portal. Not only were most of the figures and figure scenes new on a church fac;ade, but the ideological system achieved by their combination was equally bold in concept (fig. 57). 68 Part Two: THE SCULPTURES OF THE TRANSEPT WINGS The tympanum shows the suffering Job on the dung heap, tortured by the D~~;while his wife and his three friends argue with'him (figs.
Moses, Samuel, and' John the Baptist. ;feremiah, and Simeon holding the chil