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May 27

How Japan imagines China and sees itself (2005)

This is a brief view of Sino-Japan relation from a Japan's expert. My personal common will be coming up at the end of the articule later.

 

Sino-Japanese diplomatic relations are at their worst since the 1970s. The cabinet that Prime Minister Junichiro Koizumi assembled this past November confirms the continued rise of foreign policy hawks, boding iii for any swift improvement in Japan's relations with China. Yet, what evolves between Tokyo and Beijing will certainly affect the global balance of capitalism and geopolitics, of integration and conflict. "Japan alienates Asia," writes Hugo Restall, editor of the Far Eastern Economic Review. "Japan is isolated," echoes Christoph Bertram, former director of the German Institute for International and Security Affairs. Japan watchers increasingly blame the deterioration on Japan, describing its China policies as mindless and provocative, self-righteous and gratuitous.

Official pronouncements in Beijing strike the same chord. China Daily, the Communist Party newspaper, has remarked sharply about Japan's resurgent military expansionism and its lack of guilt about its militaristic past. Recent demonstrations on the streets of Beijing, Shanghai, and across China attest to the depth of Chinese anxiety--and these demonstrations are no longer officially orchestrated.

Even in the United States, Japan's "only friend," there is growing concern over Japan's estrangement from the rest of Northeast Asia. Washington, which has long extolled the U.S.-Japan alliance, is beginning to express annoyance. The United States is wary of an embattled and isolated Japan, a nationalist Japan gratuitously provoking China. And the world is wary of a clash of Japanese and Chinese nationalism. But in the country itself, there is scant awareness that Japan is perceived as being nationalistic, militaristic, hawkish, or provocative. Japanese officials are unable to satisfactorily respond to the many accusations. Seen from within, the new mood in Japan has its sources in nationalism and history, economic rise and relative decline, pride and recognition; it derives from two societies in the midst of remaking themselves, from the historical difficulty of forging a modus vivendi, and from a tangled web of forces.

Seeing Two Chinas

In Japan today, it is as if there are two Chinas. Economic relations are thriving. China has become Japan's major investment and largest trading partner, accounting for a fifth of total Japanese trade. China's remarkable economic growth is contributing significantly to the recovery of Japan's long-stagnant economy. There is widespread recognition that China's developing economy and Japan's more mature economy are complementary, even though diplomatic relations are cold. Separating economics and politics had been Japan's working rule with China during the Cold War, but it is a rule that is no longer tenable. However, Japan's foreign policy establishment seems to be in no hurry to arrive at a new strategy.

Behind Japan's hawkish attitude lies a concern that Asian affairs are now propelled by China. The rivalry is evident in the race to conclude free trade agreements with the Association of Southeast Asian Nations (ASEAN), in which there is not a whisper of Sino-Japanese consensus. Instead, there is a simmering competition between Japanese and Chinese pride. But then, capitalism works in such a way that two discriminatory sets of free trade agreements will tend to reinforce each other and bestow economic benefits not only on Southeast Asia but on Japan and China as well.

"China is a threat, because it is China." This seems to be the underlying assumption prevailing in Japan's national security circles. There is concern over the double-digit growth in Chinese military expenditure. Does China intend to seek parity with the United States? Japan lately has been redefining its security posture with a boldness not seen before. But then, amid signs that Japan is awakening to the Chinese threat, the Japanese government reduced its military expenditure for 2005, as part of a general fiscal reduction plan.

There is an almost schizophrenic mix of Japanese emotions at play. A Chinese purchase of a Russian submarine is a security threat, a defense official may declare. Yet, the next day the same official may dismiss the import of such a purchase, declaring that it is a Chinese-operated submarine after all and the Chinese navy manages to lose at least one submarine a year at sea. Anyone familiar with the history of modern Japan will readily recognize in such a remark the unstable mix of respect and condescension that is an enduring characteristic of how the Japanese have imagined China.

Japanese Nationalism Revived?                    

When anti-Japanese demonstrations broke out in major cities across China last May, the Japanese were not pleased. In a Jiji Press public opinion poll published last summer, over 40 percent responded that they did not like China, while less than 5 percent said they did. The number expressing dislike of China soared in reaction to the surge of anti-Japanese demonstrations. During the last 15 years, the previous time dislike of China spiked was in 1989, in reaction to the Tiananmen Square crackdown. While many pundits tend to focus on the negative surges, between 1990 and 2004 the proportion of Japanese who said they liked or disliked China was approximately equal, and the sum total of those who expressed any opinion about China hovered around 30 percent. In other words, a large majority of Japanese do not normally harbor any distinct feelings toward China. At the same time, China is the third favorite foreign destination for Japanese tourists after the United States and South Korea. When Chinese demonstrations subside, so very probably will Japanese dislike of China. There is no significant core of Japanese nationalism based on anti-Chinese sentiment.

Of course, the expression of Japanese nationalism is not simple. Attitudes among the young toward the Chinese demonstrations are telling. As with their parents, the young found the demonstrations distasteful. Yet most of the young, who are said to be increasingly nationalistic, had a difficult time recognizing the "Japan" toward which the Chinese expressed so much anger. The Japanese Empire and the Second World War are not only distant in their imagination, but most younger Japanese lack a sense of identification with a collective called Japan. "Are you glad to have been born Japanese?" people have been asked in opinion polls over the years. The response among the young has been overwhelmingly positive, but not for reasons normally associated with nationalism. The common response is because life here is better than elsewhere, at least for now.

The dominant Japanese political class today is unhappy with so amorphous a national identity. Its goal is to instill a rooted love of country in the citizenry. On this point, foreign criticism of a Japanese nationalist revival touches a nerve. The ruling Liberal Democratic Party is in the process of writing a new Japanese constitution, and there was talk of adopting a clause that would make patriotism a duty. But when the party disclosed its draft constitution last fall, the patriotism clause had been dropped. The party leaders astutely calculated that patriotism could not be sold to the public (constitutional revision requires a plebiscite). The proposal went against the grain of a people satisfied with the "postmodern bliss" of not having to think about such a duty between citizen and state. With only a tenth of the people polled agreeing that their government reflected popular will, patriotism was clearly going to be a hard sell. (In contrast, 40 percent of the Chinese respondents in an opinion poll felt that their government reflected popular will.)

The indifference among the Japanese to China is akin to the proportion of Japanese who say they have no strong feelings toward their emperor, "the symbol of the unity of the nation." (The imperial family attracts warmer public attention during the infrequent celebration of royal births and marriages.)

In Search of Normal Statehood

Japan is in the process of rethinking the threat of force as an instrument of policy for the first time since its defeat in the Second World War. The dominant voices in the foreign policy establishment feel that Japan has been crippled and needs to become "normal" again. Their normal state is, in essence, synonymous with having a legitimate military. At issue is the revision of the constitution imposed upon the Japanese by the U.S. occupation some 60 years ago, which declares that the Japanese people forever renounce the possession of military forces. Japan already has a sizeable Self-Defense Force, and the advocates of "normality" want to legally recognize its right to engage in collective security actions beyond Japanese territorial boundaries.

While formal constitutional revision will take some years, Prime Minister Koizumi has, de facto, altered the constitution in critical ways. After September 11, 2001, he dispatched naval vessels to the Indian Ocean in support of the American-led operation against Afghanistan; he later dispatched ground forces to Iraq. This was the first time since 1945 that the Japanese military had ventured abroad as a Japanese force (Japan has been providing United Nations peacekeepers since the mid-1990s). Given the constitutional restriction, Koizumi claimed that the ships were there to refuel allied warships and the troops were deployed on a humanitarian and reconstruction mission, not to engage in battle. About the same time, Koizumi entered into another collective security agreement with the United States to develop jointly a missile defense system--the potential threats being North Korean and Chinese missiles. In February 2005, Japan made it explicit for the first time that Taiwan was a common strategic interest of the U.S.-Japan alliance, encouraging "the peaceful resolution of issues concerning the Taiwan Strait through dialogue." This seemingly benign statement reversed the previous policy of not officially mentioning Taiwan as falling within the terms of the U.S.-Japan alliance. To be sure, this can be presented as a prudent and non-threatening security policy, which the "normal state" advocates indeed do.

The Chinese response to the enhanced U.S.-Japan alliance has been mixed. China was silent about Japan's Afghanistan and Iraq operations, but hypersensitive to the mention of Taiwan, which was seen as an affront to Chinese sovereignty. The enhancement of the U.S.-Japan alliance runs contrary to an understanding with Washington and Tokyo at the time of the 1972 Sino-Japanese rapprochement--that the United States would gain a forward military base while keeping a lid on Japanese military expansionism. China now sounds alarms about Japanese nationalism being again on the rise.

There is a certain overlap between "normal state" advocacy and hawkish nationalism. Those Japanese who had hoped to instill patriotism as a constitutional duty of citizenship are in the former category--a country that is able to go to war needs citizens willing to die for their country. Hawkish nationalism goes much further, carrying with it emotional baggage and disjointed claims: the annexation of Korea in 1910 was a legitimate agreement between willing parties and was recognized by international law; there was no massacre in Nanjing by the Japanese army; Japan fought the Great East Asian War to liberate Asia from Western imperialism; the Tokyo war crimes tribunal was victor's justice, therefore illegitimate; youthful decadence today is a result of the warped educational system imposed upon Japan by the American army of occupation, and so on. Of course, not all "normal state" advocates are hawkish nationalists, but it is hard to differentiate clearly between them. And their strident voices make hawkish nationalists seem more numerous than is actually the case. Still, it is clear that the pursuit of normal statehood has provided the impetus for hawkish nationalism.

The Bush administration weighed in by seeking to turn Japan into "Asia's Britain." Over the last five years, Washington got what it sought. But the enhanced alliance has contributed to Japan's estranged position in Northeast Asia; the Japanese search for normal statehood could not have proceeded without American encouragement. But Japan, unlike Britain, does not face a friendly continent. Furthermore, America's Japan handlers had wishfully chosen to ignore the nationalist baggage that comes with "normal state" advocacy. The United States is the only country possessing leverage over both Japan and China, and Washington has arguably squandered its advantage.

While Japan lives comfortably with the American pursuit of supremacy, it is unwilling to countenance any similar quest by China. There is a newfound diplomatic boldness on the part of the Chinese leadership, reflecting the euphoria of unimagined economic achievement. The more China asserts its claims, the more Japan will be driven toward the United States as a foil. Japan's problematic relation with China is rooted in its historical inability to regard China or other Asian nations as equals.

A Crisis of Governance

Behind Japanese suspicion of China there lies a society unsure of itself. The long economic slide that began in 1991 not only stunted growth but also resulted in a deflationary plunge, and deflation exacts a tremendous psychological toll. Today's youths constitute the first generation of postwar Japanese bereft of the sense that tomorrow will be a better day. Deflation warps normal reflexes. The zero-interest economy has lasted so long that young money managers need to be reminded that there is a cost to money. Japanese social critics uniformly note a tendency to youthful self-absorption; they see a generation isolated and disengaged from society.

The bureaucratic, political, economic machine that delivered post-1945 prosperity and created "Japan Inc." has become dysfunctional and is in need of major overhaul. The young cannot be blamed for their self-absorption when society seems to offer little in return. The older generations do not have this luxury. The 30 percent jump in the suicide rate among middle-aged men attests to the sense of betrayal in a society that used to promise security through a system of lifetime employment.

Across generations, and markedly among the young, the "law-abiding and authority-respecting" Japanese are now refusing to make the compulsory national social security payment. Excluding corporate and public sector employees, for whom deductions are automatic, just over half of those eligible pay into social security. More than 11 million people do not, and the payment rate has steadily declined by 20 percent in the past decade. These figures do not include the estimated 600,000 who refuse even to register with the system. Waste and incompetence, verging on the criminal, pervade the government's management of social security and other public funds. And the failing economy has helped expose the depth of this irresponsibility. People are fed up, and showing their anger.

It was in 2001 that the concern with the Chinese economic threat first showed itself in the Japanese media and among the political class. This occurred amid the rise of middle-age suicide and as the Japanese began speaking of the "lost decade" of the 1990s. For most of that decade, Japanese authorities had laid low, waiting for a cyclical upturn, hoping to return to business as usual. It was only around 1997-98, when major bank and corporate failures could no longer be avoided, as public and corporate debt piled higher, that those in power faced up to the economic structural problem: collusive business behavior, abetted by an overregulated and thus protected economy, persisted in a world of accelerated global capitalism.

The "lost decade" came to be seen for what it was: paralysis of leadership. Government grudgingly began to deregulate, and corporations stripped of regulatory protection began to restructure. For workers, job security waned. Japan embarked on a painful transformation, from regulation to competition, affecting myriad aspects of everyday life. Economic growth based on consensus became a thing of the past. The rising talk about China's economic threat, thus, was as much about a Japan finally, albeit timidly, admitting to its relative decline.

It was also in 2001, amid continuing political muddling, that Koizumi rose to power. By the traditional rules of party politics, Koizumi could not have become prime minister. He was propelled by popular eagerness for clear and bold direction, and widespread disgust with political floundering. Koizumi promised to remake Japan. He declared that if his own long-ruling Liberal Democratic Party got in his way, he would destroy it.

Last year, Koizumi dissolved parliament, calling a snap general election in September. His party won by an unprecedented margin. Koizumi's single-issue stance won cheers for its simplicity: he promised to privatize the postal system. At issue was its savings and insurance arm, which makes the Japanese post office the world's largest financial institution. And the money thus gathered indirectly finds its way into the government's special budget, its use rarely scrutinized by parliament. The special budget is six times the general budget, and it provides the meat for pork barrel politics. In this campaign, Koizumi's fight was with those in his party who stood against reform, who had long dominated Japanese politics. He essentially routed them. He deposed the old guard, coincidentally including most of the party's doves on China.

Recapturing History

It is under Koizumi's leadership that Japan's diplomatic relations with China have noticeably deteriorated. The most provocative issue has been the prime minister's insistence on making an annual visit to Yasukuni, a Shinto shrine in central Tokyo at which the spirits of Japan's 2.5 million war dead are enshrined (including 14 convicted as class-A war criminals by the Allied powers). In response, Beijing has canceled summit visits between China and Japan.

There were a few earlier nationalistic prime ministers who also tried to revive the cult of Yasukuni, but they quickly backed down following strong protests from China and South Korea. Last spring, so badly had Sino-Japanese relations soured, even Yasuhiro Nakasone, the self-proclaimed nationalist who as prime minister in the 1980s first made the Yasukuni visit into a political sensation, publicly cautioned Koizumi to temper his gesture.

In Beijing's eyes, Japan had reneged on a deal with the Koizumi visits. As part of the 1972 Sino-Japanese rapprochement, Chairman Mao Zedung offered Japan a way out of historical guilt. He declared that the Chinese and Japanese peoples had equally been victims of a handful of Japanese militarist leaders. And he renounced all Chinese claims to war reparations. Taking the cue, Prime Minister Kakuei Tanaka offered a generous package of development assistance. China today is not officially concerned about Japanese leaders paying their respects to the country's war dead, even at Yasukuni. At issue is the enshrinement of the 14 militarist leaders, the class-A war criminals. Koizumi insists that he is not visiting Yasukuni to pay respect to them, but adds that how a country honors its war dead is an internal matter.

The 14 were quietly enshrined in 1978, the same year the Sino-Japanese peace treaty was formally concluded. That they were enshrined became public knowledge only a few years later, as exposed by an opposition newspaper. Shinto is no longer the state religion, and by virtue of the constitutional separation of state and religion, the Yasukuni priests are ostensibly free to do what they wish--though some plausibly suspect political machination.

Critics see in Koizumi's stance on Yasukuni a lack of repentance for past imperial aggression in Asia, about which Japan has long been silent. The Japanese memory of the Second World War selectively focuses on the war's last year and a half, dominated by macabre images of indiscriminate American incendiary bombings of most Japanese cities, of burning bodies, charred flatlands, and hunger--on one night in Tokyo, nearly 120,000 people perished. Forgotten is what the Japanese military had done in China, and that it was the 1937 Japanese invasion of China that led to the Japanese attack on Pearl Harbor in 1941.

After Japan's defeat, a dominant national narrative describing the Japanese as victims emerged, and stuck. This narrative of victimhood--of Hiroshima and Nagasaki, of popular fear and hatred of war--was the key to forging a pacific consensus, which tended to denounce all war. But judging all wars as bad, and absolutely so, ignores history and its causation. In the Japanese imagination, thus, people were victims of war abstractly conceived, rather than American bombs. This ahistorical imagination, coupled with the narrative of victimhood left little room for recalling Japan's aggression. This also helps explain why there is so little anti-Americanism in Japan. Critics from abroad have found the mixture of Japanese amnesia and pacifism enigmatic. But now the Koizumi visits to Yasukuni strike many as willfully malicious and blameworthy.

The "normal state" advocates and hawkish nationalists are, in effect, seeking to rid Japan of this ahistorical imagination, for they wish to revive the connection between sovereign statehood and the right to belligerency and thus to "reactivate" history. The post-1945 ahistorical imagination is marked by a certain discontinuity between the prewar and postwar Japanese state; amnesia has not been selectively about a moment of aggression in Asia but about the pre-1945 state in toto. The revival of the cult of Yasukuni serves as a mechanism to make history continuous, to make historical time flow again. The "normal state" advocates and hawkish nationalists do not quite explain their position this way. They talk instead about the need to revive tradition and instill in the people a sense of reverence for those who gave their lives for their country.

Opinion polls show the public equally split for and against Koizumi's Yasukuni visits. Those in favor say that China should not dictate what Koizumi should do. Those against say that Koizumi should not upset China. Apart from registering reactions to the Chinese protests, what is curiously missing in the popular discussion is the significance of Yasukuni itself. The great majority of Japanese today have no personal memories of a Japan that could and did go to war and in which Yasukuni was a central symbol of nationalism. Many simply do not know the significance of the shrine. Bookstores are now lined with titles on Yasukuni, and a few of them are best-sellers, because their readers want to know what all the fuss is about.

The shrine was originally built to honor the dead in the civil war that brought about the Meiji Restoration of 1868, which set Japan on the path of modernity, and only the dead of the victorious army were enshrined. The Meiji state was almost continually embroiled in war, and until 1945 it was always victorious. The Imperial Army and Navy administered Yasukuni, and there enshrined the spirits of the successive wars. Of the 2.5 million spirits enshrined, 2.2 million are from the 1941-45 war that began at Pearl Harbor. After 1945, the shrine to honor the dead of the victorious could not finally remain what it was meant to be. And, when in 1945 the Meiji state transformed into a state that renounced war, the significance of Yasukuni began to dissipate in the Japanese consciousness.

While hawkish nationalists like to speak of reviving history, tradition, and culture, the Yasukuni shrine is a distinctly modern construct, with a brief cultural life. Before the onslaught of modernity, it was common practice in Shinto religious tradition to honor the dead of both victor and vanquished. Arguably, Yasukuni is thus a novel tradition.

"Normal state" advocates and hawkish nationalists are seeking to revive the cult of Yasukuni and, by so doing, recapture history. To China, this seems a lack of guilt and repentance for the past war. Yet, for the Japanese to cure their amnesia, to grasp why Asia is so suspicious of them, it is also necessary for them to recapture their history, to connect the present with the past. Paradoxically, the Yasukuni controversy, if not the shrine itself, may serve as a catalyst for Japan to identify with its own past.

Pride and Recognition

Japan enjoyed enviable momentum during the 1980s. Its economy was thriving, and a cottage industry sprang up around the world to decipher the secrets of the Japanese miracle. This was the moment when Japan looked to the outside world for recognition of its achievements, for affirmation of its status as a first-class country. Japan was a country that wanted to be liked, but much of the world began to imagine a "Japanese threat," and in the United States, whose recognition Japan coveted the most, there rose a tide of Japan-bashing. The secret of the Japanese miracle turned out to be an excessively loose monetary policy, and the economic bubble burst in 1991. (In a way, China today is also looking for recognition of its achievements, a desire the Japanese should be the first to understand.)

Japan's economic decline led America to turn its attention elsewhere; China, not Japan, now seemed to be the future. Japan of the "lost decade" also lost coherence and direction. The Japanese themselves could no longer recognize their country. This was the emergent moment of hawkish nationalists. Unlike recognition, which needs acknowledgment by another, pride is inward-looking and isolated: Japan became a country that wanted to feel better. The tendency toward self-absorption among the young and the hawkish nationalism of the "lost decade" had in common an inability to deal with others.

The nationalists were not seeking to pick a fight with China. Their fight was with the post-1945 Japanese order--decadent and corrupt, spiritless and materialistic, corseted by a constitution written by a foreign conqueror, reduced to an existence of crippled sovereignty, and living a life of self-deprecation (and not even knowing it). If their lament upset China, that could not be helped, for the nationalists were addressing their enfeebled countrymen and no one else. They spoke of reviving respect for culture, history, and tradition. And, because their fight was against the post-1945 order, their thoughts returned to the distinctly modern, pre-1943 world of statehood defined in terms of sovereignty and the right of belligerency.

Yet the post-1945 Japanese state had become in many ways postmodern: sovereignty was divisible and ought to be shared; raison d'etat no longer had to do with the right of belligerency. This Japan would fit nicely in Europe, but interstate relations in Asia remain distinctly modern. Rather than making a concerted effort to move Asia toward postmodernity, the "normal state" advocates are tending to turn Japan back toward the modern, to adjust Japan to the ways of Asia, and this, ironically, is the cause for friction with China.

The Japanese people want normalcy, but not necessarily in the way "normal state" advocates imagine. They want to know what the state is going to look like internally. They accept that the protective practice of lifetime employment and equality of result has become too costly. Though life will become more competitive and harsher, a new consensus is emerging. While the Japanese can no longer wish for the security and comforts that "Japan Inc." provided, they want to know what the new rules are. They want predictability. Under Prime Minister Koizumi, corporate profits are finally up, employment has begun to improve, and the central bank is seeking to end its zero-interest policy. The rules are becoming clearer.

As for normal statehood, the public will likely go along with a constitutional revision recognizing the military, but exercising the right of belligerency is another matter. Among the general public, flag-waving is limited to the realm of international sporting events and is likely to remain there. A significant proportion of the political class also remains skeptical of wading into such murky waters. Even the "normal state" advocates are unsure about what a Japan repossessing the right of belligerency will actually do. For now, they are concerned with reforming the legal definition of Japan.

If how the normalizers want to see themselves creates friction with neighboring countries, if what they say for domestic consumption is understood very differently abroad, they seem not to care. We may soon be hearing talk of Japan's diplomatic lost decade. However, as Japan becomes more isolated and alienated from the rest of Northeast Asia, and as the cost of this isolation to the national interest becomes evident, calmer political forces should come to the fore.

With the rise of an economically streamlined and politically reformed Japan, the Japanese should begin to see that they have much to offer the world in terms of "soft power"--beyond manufactures and organizational technique. But so long as Yasukuni remains a diplomatic sore spot, so long as Japan is trapped in the confusion of the meaning of 1945, the acceptance of any Japanese political ideas abroad is unlikely.

April 27

Byzantine (in NMoMA)

This section contains four rare and precious liturgical objects: an altarfront, a gospel book and its goldsmithed binding, an altarpiece, and a large cross. The latter is Byzantine, while the first three works, despite differences in terms of date and materials, share iconographic, technical and stylistic characteristics showing the artistic links between the different geographic areas of the German Empire.
 
A Byzintine votive cross for Marian services (A)
This large processional cross, gilded silver on an iron core, was made in the Byzintine empire. On one side it is decorated with reponsel' and gilded medallions and foliage, and on the other with gilded and meised nielloed' figure. This type of cross appears to have been common in the Christian East, but very few examples remain today.
On the embossed' side, the central medallion contains a bust of the Virgin in prayers; the medallion at the top depicts Christ and the one at the base Saint John the Baptist. Those on either side depict Archangels Michael and Gabrid. The inconography of this side of the cross is a variation on the Deisis, or supplication of Christ by two favoured intercessors, the Virgin and Saint John. On the nielloed' side, based on the Byzantine theme of the Virgin bodiginia ("she who shows the way", standing holding the Infant), placed on the centre of the cross, there is a succession of scenes from the Virgin's story, to be read in a clockwise direction, starting on the right: the Presentation in the Temple and the Virgin fed by an angel on the steps of the altar, two moments from the same episode related in the Gospel of James (apocryphal text dating from the 2nd century), then the Annunciation and the Crucifixion.
The Marial inconography of this cross, developed on both sides, suggests that it was intended for a church or chapel dedicated to the Virgin. The depiction of the donor, a monk named Kosmas, at the foot of the nieloed side, accompanied by a dedicatory inscription, reveals that this was a votive cross. The anomalies in the Greek inscriptions suggest that it was not made in Constantinople, the capital, but in a province of the Byzantine Empire, perhaps in Anatolia. By comparing it with painted works from the Byzantine Empire, this cross can be dated as belonging to the late 11th or early 12th century.
 
The Basel Altarfrount, an imperial commission
Born in 962, the Ottoman Empire (founded by Osman I), the future Holy Roman Empire, had close links with Byzantium: commercial, diplomatic and matrimonial ones (as attested by the ivory plaque with Osman II and Princess Theophano), but also artistic ones. Works from Byzantium and Greek artists circulated in the West: a Byzantine master may have helped to make this altarfrount. Altarfronts, designed to decorate the frount face of an altar table, were common in the High Middle Ages. A monumental work in gold and precious stones on oakwood, this altarfront consists of five arcades, set in a frame of foliage filled with birds and quadripeds, topped by medallions depicting the four cardinal virtues: Prudence, Justice, Temperance, Courage. These arcades each house a standing figure, worked in repoussé. In the centre, Christ with his hand raised in blessing, is holding a globe with a chrism (Christ's monogram), alpha and omega. Four fitures are turned towards him: on the left, Saint Benedict, the founder of the Benedictine order, with a book and a crozier, an abbey symbol; then the Archangels Michael, Gabriel and Raphael. At Christ's feet, two minuscule lie prostrate in a sign of humility: these are the donors and commissioners of the work: Emperor Henry II and his wife, Empress Cunegonde.
This altarfrount, made between 1015 and 1022, perhaps in Reichenau, Ratisbonne or Bamberg, but more probably in Fulda, was offered by the Emperor to Basle Cathedral. But its initial destination was almost certainly a Benedictine monastery, as suggested by the complex inscription glorifying Saint Benedict-: perhaps the Abbey of Montecassino, near Rome, or the Abbey of Michelsberg, in Bamberg, founded by Henry II. Whilst it glorifies Christ and Saint Benedict, this work also celebrates the emperor who, despite his position of humility, is nonetheless associated with Christ and exalted as his representative on Earth. The work is therefore the result of commissioned art, serving a policy founded on the alliance between imperial power and the Church.
 
The Pentecostal altarpiece, a masterpiece of Meuse region art
In the 11th-12th centuries, although altarfronts did not disappear completely, altarpieces began to develop, designed to be placed on the altar table, at the back of the altar (retro tabula). The example acquired by the museum in 1895 is made of repoussé, embossed, gilded copper on wood, adorned with enamels. It depicts the descent of the Holy Spirit on the Day of Pentecost. Grouped in pairs in a space divided up by columns, the apostles occupy the earthly register while Christ rises in the tympanum, his hand raised in blessing, holding a book open at the inscription PAX VOBIS ("Peace be with you"). The rays of the Spirit reach down to the apostles, who express various emotions: surprise, meditation, submission...
The production of this altarpiece circa 1160-1170, is very probably linked to the prestigious Benedictine Abbey of Stavelot, a major artistic centre in the Meuse valley: it was probably made in and for this abbey. It is characteristic of the art of the Meuse region at its height, through its style impregnated with classical influences, through its technique - a cool palette of enamels on Champlevé copper and the use of brown varnish - and through tis iconography. The inconography is representative of the complex programmes elaborated by monks and theologists in the Liège region, such as Rupert of Deutz, based on strict correspondences between the Old and New Testaments. The seven columns allude both to the seven gifts from the Holy Spirit (wisdom, understanding, counsel, fortitude, knowledge, piety and fear of the Lord), and the seven pillars in the house of Wisdom described in the Book of Proverbs. The altarpiece is not simply a narration of the story of Pentecost, but also a symbolic depiction of the Church, the New Temple of Wisdom, of which the apostles, brought together by the descent of the Holy Spirit, are the pillars.
 
The Novara Gospel Book binding
The partially gilded silver binding plate, which dates from the first quarter of the 12th century, still decorates the manuscript, a gospel book, for which it was designed. Its damaged condition reveals the padding under certain repoussé figures designed to support them, a mixture of wax and stacked tile, exactly matching the recipe given by the Monk Theophilus, author of an Essay on various arts, the only practical account of this period that still remains today. The upper panel of the binding depicts the Traditio legis et clavium: Christ giving the keys to Peter and the Law to Paul; the lower panel is adorned with a badly damaged Crucifixion. These main scenes are framed by niches containing full-length or bust figurtes, angels and archangels, apostles and five bishops: Saint Ambrose of Milan, Saint Eusebius of Vercelli, Saint Syrus of Pavia, and Saints Gaudentius and Agabius, the first two bishops of Novara. Their presence suggests that the geographic origin of the work may be Northern Italy and, more specifically, the province of Novara: the work was almost certainly destined for Novara Cathedral. The central position of Saint Syrus, the first bishop of Pavia, alludes to the important role played by this city in the affairs of Novara.
 
Common patterns
The Novara gospel book binding, chronologically situated between the Basle golden altarfrount and the Stavelot altarpiece, has a few marked convergences with these works. In addition to their perfect execution, their overall balance and their remarkable use of repoussé, and despite the diversity of their materials (gold, silver, copper), all three works present stylistic and inconographic similarities. The figures of Christ, are, for instance, very alike: stylised drapery, clever modelling, a head in marked relief, hair separated at the front and drawn back behind the nape of the neck, crucifixion crown, studded with pearls and gemstones (reproduced in repoussé or in enamel). The drapes and faces of the characters are clearly suggestive of the Germanic area. The region was favourable to the development of goldsmithing: the highly productive period enjoyed by Fulda abbey and teh commissions of Henry II in the first half of the 11th century were further supported by the blossoming of the Rhine and Meuse regions in the 12th century, and extended to Northern Italy, as demonstrated by the Novara book binding.
April 26

Saint Stephen's Tapestry (in NMoMA)

There are two prestigious sets of work, evoking the décor and furnishings of the choir of major ecclesiastical buildings at the end of the Middle Ages: Saint Stephen's Tapestry, which comes from Auxerre Cathedral, and the stalls of the Abbey of Saint-Lucien in Beauvais.
 
Located at the end of the nave and leading to the altar, the choir is reserved for priests in charge, monks or cloistered nuns in monasteries, brothers or sisters in convents, canons in cathedrals and collegiate churches, and bonds specific pieces of furniture destined for clerics: stalls. During the Gothic period, it gradually became the custom to enclose the choir. The section separating the nave from the choir, named the roodscreen or jube (from the first word of the Jube Domine benedicere prayer..., "Lord, grant me your blessing"), was placed against the arches, and allowed worshippers to see the celebrant. The surround could hold either a fixed or moveable décor inside it. In the 15th century, the expansion of art to tapestry thus led to the commissioning of epic series of tapestries relating episodes from the story of the building's patron saint, placed above the stalls during festivals or important ceremonies.
 
Saint Stephen's tapestry
From the cathedral to the museum
Auxerre Cathedral, under the invocation of Saint Stephen, housed a wall-hanging dedicated to this saint first mentioned in an inventory drawn up in 1569. In 1726, it was specified that these tapestries were displayed "during major festivals". Sold the the city's Hôtel-Dieu (hospital) in 1777, it was given up by the hospital in the 19th century. In 1880, the Cluny museum acquired 10 pieces of this wall-hanging, which were subsequently joined, in 1897, by two further pieces which had been purchased by the Louvre museum in 1838.
 
The coats of arms
There are two type of heraldry shields on the tapestry. The first, simple ones bear "azure with a band of gules accompanied by two golden amphisteres (type of dragon)", the arms of the Baillet family, well-known Parisian financiers then parliamentarians from the 14th to 16th centuries. The others, party (divided) or quartered, combine with these arms those "in sable (black) with a silver cross, cantoned with sixteen golden fleur de lys", belonging to the Fresnes family. All are surmounted by a crosier scroll, an Episcopal insignia. This heraldic motif indicates the tapestry's commissioner, since they are the coats of arms of the father and mother of John III Baillet, Bishop of Auxerre from 1477 to 1513.
 
Stephen, the life and legend of the Saint
Stephen holds a very specific position amongst the Saints venerated in the Middle Ages. Mentioned in the Arts of the Apostles (book 5 of the New Testament), he was one of the first seven deacons and the first martyr, which explains the exceptional number of churches, especially cathedrals, dedicated to him, along with the early emergence and development of his worship. The Auxerre tapestry is one of the most spectacular examples of this. The twenty-three episodes of the life and legend of the Saint form a very complete cycle, now divided into 12 pieces, 45 metres long, placed on the walls of three consecutive rooms. The Story, Inspired mainly by the Golden Legend written by Jacques de Voragine, starts in the chapel. Using a narrative method common in the Middle Ages and not dissimilar in design to today's cartoon strips, each scene has a short text in French at the bottom, describing the episode depicted, and often has one or more inscriptions in Latin naming the characters or transcribing a quote attributed to one of them. To make it easier to follow the story, a number has been placed under each of the episodes.
 
The style and ornament
The style, ornament and costumes are characteristic of art circa 1500. Numberous formal or decorative elements still hark back to Gothic art, along with, for example, the sections of the coats, broken up with folds with interlocked ends, the trilobe openings or the towers and crenellated walls. The laymen's clothying, for example the garments of the male characters, with their tight-fitting hoods or their slashed over-trousers, their hairstyles, their short caps with raised edges, or their hats put on the slant, are typical of the very end of the 15th and of the early 16th centuries.
 
The creative stages
Art historians are in agreement that the "small patterns" or "small-scale models" for the tapestry were probably the work of an artist trained in Northern Europe, probably Brussels, close to the painter Colyn de Coter. More recently, specific comparisons have been made with a group of choir tapestries, such as that of the Life of Saint Remy in Reims, and stained glass windows, particularly one at the Church of Saint Martin in Montmorency, the life-size models or "cartoons" of which are believed to have been the work of the same artist working in the Île-de-France region around 1500-1530. The latter is believed to be identifiable with Gautier de Campes, known primarily to have supplied the cartoons of two tapestries deicated to the history of Saint Stephen: the oldest of these -used as a model for the second one, destined for Sens Cathedral and for which two pieces had already been woven in 1503 -may be the one commissioned by Jean Baillet for this cathedral in Auxerre.
As with the majority of tapestries from this period, the eaving location is not accurately known. everal suggestions have been made, with no definitive argument. What is certain, however, is that the main weaving centres of the time were located in the Southern Lowlands, in particular Brussels.
 
 
 
Elisabeth Taburet-Delahaye,  NMoMA museum director
April 17

The Middle Ages (NMMA series)

In the Middle Ages, enamelling was one of the main techniques used to decorate gold and silver work. Enamel consist of powerdered glass, coloured using metal oxides (cobalt, copper, iron, etc.) and usually rendered opaque. Applied on top of metal (gold, silver or copper), it becomes liquid when fired and solidifies onto the metal when it cools down. Either opaque or translucent, enamels, which were an ideal tool for decoration or narration, were extraordinarily popular in the Middle Ages, due to their brilliance and colours. Almost all enamelling techniques were invented or developed in medieval times.

 

The rise of Champlevé enamels in the Romanesque era

The oldest technique, pre-dating the Middle Ages, is cloisonné enamelling, used in the Byzantine empire and in the West during the early Middle Ages. The enamel is applied in troughs delineated by thin strips of gold soldered to a thin metal plate, often made of gold.

At the start of the 12th century, a less expensive technique developed in the West: champlevé enamelling, already known since antiquity. It consists in placing enamel in thoughs (or "champs") carved into a relatively thick metal plate, generally copper; the parts left over (non-enamelled) are gilded with mercury. This technique enjoyed great success, leading to the blossoming of Romanesque enamelling, which had two main centres.

 

The Southern centre

People began to experiment with champlevé enamels at the start of the 12th century in Conques, at the time of the abbotship of Boniface. The technique then spread throughout Northern Spain and South-Western France. With Silos and Limoges becoming major centres. Produced in either a Spanish or Limousin workshop, the Christ in Majesty binding plate (A.Cl.13070), the counterpart of which The Crucifixion, is in Madrid, is a rare southern example of the combination of champlevé and cloisonné enamelling, Romanesque through the front-on position of Christ with stylised drapery filling the mandorla (almond-shape), which symbolizes the universe, but also through the vividness of the symbols of the evangelists, confined to the quoins (corners) by virtue of the "loi du cadre" (dictating that forms must fit the frame), the format of this work is reminiscent of certain Romanesque sculpted bas-reliefs.

 

The Northern centre

Champlevé enamels also developed from a centre concerntrated in the Meuse and Rhine regions and extending to Saxony, England and Champagne. Dated circa 1160-1170, the plaque depicting Elijah and the widow of Sarepta (B.Cl.23823), with the cool palette characteristic of northern enamels, probably belonged to one of these typological crosses from the Meuse region i.e. linking together episodes from the Old and New Testaments: the crossed ends of wood are here a prefiguration of Christ's cross. The set of enamelled plaque and nimbi, elements of large broken up shrines, demonstrates the combination of champlevé and cloisonné techniques typical of Rhine-Meuse enamels from 1180-1200. The reliquary plate of The Crucifixion, produced in Hildesheim, presents its separate figures (the Virgin, the Church, Christ, the Synagogue, the Disciple, the donor monk) on a midnight blue background constellated with gold dots, common in Lower Saxony enamels.

 

The work of Limoges

Known in texts as the "Work of Limoges" (Opus lemovicense) from 1169 onwards, the work produced by Limousin wokshops, the earliest accounts of which date back to the 2nd quarter of the 12th century, spread throughout Europe, promoted by the decision of the Fourth Council of the Lateran in 1215 to authorise the use of champlevé enamel for sacred vessels. The relatively modest price of the materials, the brilliance of the colours, the narrative verve and the abundance and diversity of the objects produced contributed to the success of Limousin enamels.

 

Abundant and diversified works

In addition to religious works - either modest or luxurious -including numerous reliquary-shrines (shrine of the Three Kings) and liturgical objects such as pyxes (boxes to contain the Eucharistic host), crosses, holy book bindings, Eucharistic doves, etc. a range of secular objects were also produced. The secular or courtly décor of certain items, candlesticks, gemellions (twin basins for washing the hands), does not exclude a liturgical use. Numerous non-enamelled gilded copper objects were also produced by Limousin workshops, such as the sconce groups which seems to be elements of The Flagellation and The Last Supper altarpieces.

In order to reduce production costs and satisfy a broad clientele, the Limousin workshops were capabl of mass production, as was the case for Saint homas Becket shrines, which are testimony to the rapid spread of worship of the Archbishop of Canterbury, assassinated in his cathedral in 1170 and canonised in 1173.

The Limoges workshops also created one-off objects for prestigious customer. The Adoration of the Magi and Saint Stephen of Muret and his disciple Hugo Lacerta plaques are the only remaining elements of the main altar at the priory church of the order of Grandmont, founded in 1077 by Stephen of Muret, a work probably produced just after the founder was canonised in 1189. The candlestick decorated with hunting and juggling scenes was probably produced in a milieu close to the Plantagenet court, another important customer of the Limousin workshops.

 

A technical and aesthetic evolution

The first works produced by the Limousin workshops depicted enamelled figures on a golden, smooth or vermiculated-decorated with thin foliage-background. Around 1180-1190, a rechnique that was easier to implement and therefore more suitable for mass production, was developed: on an enamelled background, the figures are kept separate, engraved and gilded and often have heads applied in relief. This new technique, employed for the baby Jesus on The Adoration of the Magi plaque, became widespreadduring the first part of the 13th century (Large Saint Faustus shrine, with the exception of an archaistic movement that continued to use the original technique: Reliquary of Saint Francis of Assisi (circa 1228-1230), Bonneval cross (circa 1225-1235).

The second half of the 13th century witnessed an increase in the production of stereotyped basic sconce figures ("Dool" shrine), and a deterioration in the quality of the work. At the start of the 14th century it became less prolific with a primarily local clientele.

Stylistically and aesthetically speaking, the "Work of Limoges" reflects the evolution from Romanesque art to Gothic art. THe magnificent Christ the King, crucified marks the meeting point of these two styles: it is still a Romanesque Christ, glorious and triumphant in death, but with the knees bent, the head tilted and the modelling of the torso indicating a more naturalist style and the emergence of the Gothic image of the suffering Christ.

 

The transition between the 13th and 14th centuries and the emergence of sophisticated techniques

In the 13th-14th centuries, at a time when gothic goldsmithing work was blossoming, Paris asserted itself as the European capital of the Precious arts, alongside other centres such as Florence, Sienna, Avignon or Prague.

 

Plique enamels

Around 1300, Parisian goldsmiths revived the taste for cloisonné enamel on gold, with the invention of "plique enamels" (a term that many mean "appliqué" or "complicated"). The museum's six bezels, which were probably sewn onto clothing, set a great example to this technique. Very sophisticated, these involved a whole ornamental repertory of trefoils, hearts and circles, separated by find gold divisions and filled with blue, red and white opaque enamels, or transparent enamel allowing the underlying gold to shine through. These enamelled plates may be the work of the most celebrated Parisian designer of plique enamels, Guillaume Julien, goldsmith to King Philip the Fair.

 

Translucent enamels on basse-taille

The technique of translucent enamels on basse-taille, invented by the goldsmiths of Sienna at the end of the 13th century, was adopted in Paris from the start of the 14th century, It consists of applying translucent enamels to a silver plate (sometimes gold), engraved and chased in bas-relief (a "basse-taille"). Difficult to apply (since the enamels are not clearly separated by divisions), this delicate technique leads to superb transparency and light effects. Intended, like theprevious type, for wealthy customers, kings, aristocrats and rich churches, it led to the production of ouxurious objects, such as the Hunging reliquary of saint Geneviève, made in Paris around 1380. In the 14th and 15th centuries, chalices, reliquaries and crosses, especially in Italy and Catalonia, were decorated with plaques of translucent enamel: Reliquary-monstrance from Sienna dating from 1331, Barcelona cross.

At the end of the 15th century in Limoges, there was a re-emergence of products combining copper and enamel, but in a new form: painted enamels (often in the form of pictures). These gave the Limousin workshops renewed prosperity in the 16th century. In addition to the few early examples, including The Crucifixion produced by Nardon Pénicaud, a rich collection of painted enamels can also be seen at the National Renaissance museum in Ecouen

 

 

 

Christine  Descatoire, Curator

April 02

Île-de-France and Lorraine

While the 13th century followed on naturally from the previous century in terms of the prime importance granted to monumental sculpture, the last two centuries of the Middle Ages marked a change, with the development of private worship on one hand and the interest for narrative works on the other hand. The domination of the cold scholastic theology – the most important representative of which was Thomas Aquinas in the 13th century – was called into question by the propagation of a more mystical piety, emphasizing the direct link between believers and the divine world.

 

Île-de-France

The cult of the Virgin spread throughout the 13th century and the representation of the Madonna holding her Child became a favoured subject of those commissioning works at the end of the century. Some regions are particularly good illustrations of the quality of sculptures, starting with the Île-de-France and Lorraine. One such work housed by the museum is this small piece, the precious appearance of which is accentuated by the partial survival of its poly-chromy: badly mutilated, with both the Virgin and Child having lost their heads, this small seated sculpture (A.Cl.18768) demonstrates a strong sense of spatiality and, above all, a remarkable focus on the ornament, both in terms of the attention paid to the Madonna’s garments and the throne upon which she is seated.

 

Works from the Abbey of Longchamp (Île-de-France)

Produced almost half a century later, the Virgin (B.Cl.19254) probably in the Abey of Longchamp originally is just as fine although less exuberant. Adopting a well known iconography, the Child is playing with a bird, probably a goldfinch, mediaeval tradition dictating that this bird received the red mark on its head when it passed under the Cross, making it an image of the Passion.

Originating in the same abbey but sculpted almost a quarter of a century later, the sculpture of Saint John (C.Cl.19255) has often been attributed to one of the great sculptors of the end of the 14th century, Jean de Liège. While the serious, even stern, character of the face goes against this attribution, it is nonetheless obvious that this is a work of very high quality, but one which differs from the rest of the sculpture of the time. Rather than the smooth, fluid, ddraping style that the majority of contemporary sculptors liked to use, here the artist preferred to adopt a jerky, sharp treatment, helping to give his ork an exceptional physical presence.

 

Madonna and Child sculptures of Lorraine

Their squat, almost thick silhouette, with a crowned head bearing a short veil, as can be seen at the cathedral and museum of Saint-Dié-des-Vosges, for example, make the Madonna and Child sculptures of Lorraine easily recognizable. One of the best works from this region (D.Cl.18944) is on display in the museum. The slightly oval head resting on a broad, thick neck, the obviously protruding hip despite the thickness of the body, the finesse of the hands, the suppleness of the long coat, the concentration of the Child, intently studying  his breviary, the attention to detail -especially the belt, the end of which goes back under the coat before slipping into a fold above the right knee-: all combine to give this sculpture a subtle elegance. Like other similarMadonnas- the ones from Saint-Dié, and also the one from Maxéville (close to Nancy), -this one, by marrying the refinement of the Parisian sculpture of the first decades of the 14th century and a steadier, if not static, tradition, paves the way for the studied elegance of sculpture in the Western part of the Empire iin the 1350s.

 

Altarpieces from the Southern Netherlands

In the Southern Netherlands (region corresponding approximately to today's Belgium), the 15th century saw the development of a particularly organised system for the production of sculpture, specialising in altarpieces made of wood highlighted in polychormy (an altarpiece is an element that is sculpted, painted or worked in gold or silver, designed to be placed behind the altar (in Latin: retro tabula).

 

Corporations

These groups played a central role in this system. They carefully organised creative production, stipulating all the technical components in detail, from the choice of wood to the choice of pigments, also determining who was respoinsible for a particular task. Each city affixed a certification mark on the works produced under its authority, according to the rules that it had set, the most famous of these marks probably being the Antwerp hand, which first appeared around 1470 and which can be found both on sculpted elements and on the altarpiece casing itself.

 

Flemish and Brabant altarpieces

In addition to numerous fragments, two large complete altarpieces housed in the museum are testimony to the significance of this work in Brabant. This one from the Premonstratensian abbey of Averbode, in Brabant, and the work of Jan de Molder's Antwerp workshop (E.Cl.240), was installed on the altar of the Holy Sacrament at Easter in 1514. Its iconography is relatively original since it is not dedicated to childhood scenes or the Passion of Christ but to a burning aspect of theology throughout the Middle Ages and which was then once more a prominent focus of debate: transubstantiation (the transformation of bread into Christ's flesh and wine into his blood). Thus, in the centre, just above the lower altar, was the host, presented in a monstrance, lifted by two angels, each wearing a dalmatic (a long, wide-sleeved tunic worn mainly by deacons)-,. Above, Christ rises from the main altar at the very moment that Pope Gregory I consecrates the Eucharist, one of the miracles traditionally cited to prove the reality of transubstantiation. In the left compartment, Melchisedech, the King and High Priest of Salem, blessed Abraham, an Old Testament scene widely interpreted by mediaeval theologists as proclaiming the miracle of the Eucharist, while the Last Supper is depicted on the right.

 

Small altarpieces

The development of private worship from 1300 onward led to the appearance alongside the large sculpted or painted altarpieces of other smaller ones, sometimes in precious materials or sometimes in painted and gilded wood, destined for private chapels. Two examples of these are seen here.

 

In Burgundy

The first (F.Cl.23311), which has lost its side sections, is dedicated to a classic scene of private worship, Lamentation over the dead Christ, that of the seven sorrows of the Virgin, best lending itself to a simultaneously intimist and morbid interpretation, in line with the piety of the end of the Middle Ages. The taste for heavy materials with very marked hollowed out folds and for graphic movements is characteristic of the art in the Duchy of Burgundy, and in particular that of the son-in-law and successor of Claus Sulter, Claus de Werve, whose workshop sculpted this altarpiece. It is perceptible here, both in the gestures of Saint John and Mary Magdalene and in the contrast between their positions: the verticality of the Virgin's body and the oblique of Christ's.

 

In the Lower Rhine

The second altarpiece belongs to a completely different world (G.Cl.3269), although the subject is roughly the same. Instead of a focused depiction of the four main characters, monumental in nature despite the small size of the Burgundy altarpiece, Arndt de Kalkar (a town in the Lower Rhine) chose to place the scene within a structured landscape, Glogotha (or Calvary), outlined by a series of planes with marked angles, one of the characteristic elements of this artist's style. There are numerous characters and, in the foreground, in the bottom right-hand corner, shoudl be noted the presence of a donor, a Carthusian monk presented by Saint Andrew. Whilst the folds are fluid, the postures, in contrast, are tortuous, accentuating the expressions of pain. Following the conventional reading order of the time (from top to bottom for the left-hand section then from bottom to top for the right-hand section), the inner face of the painted side sections trace episodes of the Passion: the night on the Mount of Olives, judas' kiss, the Flagellation, the Crowning with thorns, the Carrying of the Cross and the Crucifixion.

 

 

 

 

to be continued...............

March 25

Romanesque sculpture (in NMoMA)

The "high Middle Ages" period did not totally disregard stoneworks; indeed, it was used for decorative liturgical objects, predominantly with an interlace motif. Figurative sculpture was mostly produced in stucco, bronze or ivory. Between around the year 1000 and the middle of the 12th century, monumental sculpture became more popular again, first being placed on capitals vefore moving on to grand portals -sculpture that was, in the Middle Ages, always polychrome.
 
Paris
One of the major features of the National Museum of the Middle Ages is the wealth of tis collection of Parisian Romanesque sculpture. Although it is generally considered that sculpture only flourished in Paris from around 1140 onwards, with the facade of the abbey-church of Saint-Denis, the varity and diversity of Parisian sculpture from the 11th century to the start of the following century is demonstrated by the museum collection.
 
The abbey-church of Saint-Germain-des-Près
The oldest xample of this revival in Romanesque sculpture in the Île-de-France region is Saint-Germain-Des-Près. A royal foundation originally dedicated to Sint-Vincent-Sainte-Croix, this abbey played an essential, though intermittent role as a royal necropolis under the Merovingain kings. Although its overall lay-out has been preserved throught in successive enlargements. the basilica building of the 6th century disappeared completely between the 11th and the 12th centuries.Two construction programmes radically changed the appearance of the building. The first was launched by Abbot orard (990-1014), who had the bell tower rebuilt. Barely more than a decade afterh the death of Morard, in 1025.
 
William of Volpiano was appointed Abbot of Saint-Germain-des-Prés and charged with reforming the Abbey; he did not stand down from the post until he had appointed one of his close relations as his successor, Adraud (Abbot from 1030 to 1060), under whose abbotship the abbey's scriptorium really rose to prominence. It is obviously tempting to attribute a large share of the modelling and physiognomy of the church and the construction of the nave to the great reformer and builder, William of Volpiano. During the construction of the nave, the sculpture work was ahred by three different workshops.
The first of these workshops really stands out: it produced the foliate capital (A to E) and was the forerunner for a number of slightly later Parisian workshops, in particular the Saint-Martin-des-Champs' one. The other two workshops were responsible fot the figure capitals: one is characterised by the squat proportions of tis figures (F and K), Protruding at the base of the basket, but much narrower at the edge of the plane.
The other workshop (G to J) gives its figures a very elongated style, the carving is strong and the forms are soft; the iconography of the Eucharist is particularly prominent in these capitals.
On one capital (L), the two workshops of figured capitals collaborated with each other, one with squat figures on the narrow sides and the other with elongated figures carved on the principal face, artistically applied in the figure of Christ. Close examination of this capital, on which the transition between the work of two sculptors is awkward, reveals that they worked at the same time. It would therefore seem that the two workshops cohabited with one another, at least for a time, and shared the creation of this capital, which occupied the central position in the series. On it, Christ is holding the host, which was a way for the commissioners of the work to reaffirm the principle of transubstantiation (the transformation of bread into Christ's flesh and wine into his blood), in response to attack from certain heterodox clerics (deviating form the true doctrine).
 
The abbey-church of Sainte-Geneviève
Comparison with the capitals of the Sainte-Geneviève nave (M to P), produced more than half a century later at the start of the 12th century, shows how the Saint-germain-des-Prés capitals illustrate a specific moment in the history of Parisian sculpture. Like the Saint-Germain-des-Près abbey, the church of the monks of Saint Geneviève lay at the heart of one of the capital's main monastic communities.
in the nave, which is relatively dark since it is adjoined on one side by the cloister (the current Lycée henri IV high school), and on the other by the parish church (Saint-Etienne-du-Mont), four very thick columns were topped by powerful capitals over a metre wide. one (M) depicts foliage only, two of them (N et O) show the signs of the zodiac and the last one (P) scenes from Genesis.
Here the figures are squat and may sometimes appear slightly crude, but the very high position of these capitals needs to be borne in mind here. Their primary function was architectural and the motifs were probably not very legible. All the capitals appear to be an ode to the Creation, both through its story―Genesis―and its consequences―nature and the passage of time symbolised by the zodiac.
 
the priory of Saint-Martin-des-champs
From the Parisian priory of Saint-martin-des-Champs, probably the bloister, the torso of a prophet (Q) serves to remind us that, although few examples remain, Parisian sculpture prior to construction of the Saint-Denis facade and column statues, was not restricted to capitals alone but could also take more monumental forms.
 
Wooden Sculpture
Alongside sculpture using monumental stone, designed to be incorporated in architecture, the men of the 11th and 12th centuries also used wooden sculpture, particularly for works intended to be placed inside churches. Much more fragile due to the putrescibility of their material, it is rarer for examples of these to be preserved today.
 
Madonna and Child sculptures of the Auvergne
The number of works preserved from the Auvergne region is testimoney to the wealth of wooden sculpture abounding there in the 12th century. At the time, this was a very prosperous region. Pope Urban II launched his cursade from Clermont. What's more, Clermont cathedral housed a golden Virgin, made in the 10th century, with a miraculous reputation drawing crowds of pilgrims.
In the 12th century, it was copied in many of the region's buildings, giving rise to a particularly rich set of sculptures of the madonna in majesty, in a frontal pose, the Child seated on her lap, an example of which is housed by the museum (R). here sculpted as neither an infant nor a yound adult, jesus is depicted as a child, already imbued with his mission and raising his right hand in blessing. Sometimes incorrectly called sedes sapientie (or "thrones of wisdom"), these sculptures are one of many signs of the development of the Cult of the Virgin Mary in the 12th century, in which Saint Bernard played a key role.
 
Christ on the Cross sculptures from the Auvergne
The Auvergne region also produced large sculptures of Christ on the Cross, designed to be placed behind the altar. The museum houses two examples of such works.
The first (S), sculpted at the very end of the 12th century, belongs to a group from the south of the Auvergne. With the head resting on the right shoulder and the eyes closed, it clearly emphasises the mortal nature of Christ, at a time when certain heterodox or even frankly heretic (against the doctrine) currents were calling into question his dual, simultaneously human and divine nature.
The second (T), which, in contrast, comes from the north of the region, is older and also more original. Triumphant, with both yes open, it belongs to the traditional iconography of Christ as it had developed since the Paleochristian era. However, his fine face, with the hair rounded at the top and, above all, the extraordinary perizonium (or "loin-cloth") with its sharp folds reminiscent of metalwork, and ample, intricately carved knot, are testimony to the artist's openness to the creative styles of regions other than the Auvergne: neighbouring burgundy, but also Île-de-France where the first gothic sculpture was beginning to emerge at the time.
 
Catalonia
Wooden sculpture also developed outside the kingdom of France, especially in Catalonia, where, in the second quarter of the 12th century, one workshop produced several groups of monumental works depicting the Descent from the Cross for the churches of the Boí Valley and its near neighbour, the Aran Valley. One of these groups stood out from the others owing to its slightly different iconography: that of the visit of the holy women to Christ's tomb, which they found empty, the only mention of the Resurrection in the Gospels. Two of the sculptuers from this group have been preserved, one of which is housed in the museum (U) and the other in the Fogg Art Museum of Cambridge (United States). With her hands raised together in front of her body, in a sign of prayer, she is learning forward slightly to look at the empty tomb. With its symmetrical work and hieratic finesse, it has a fascinating appearance, further accentuated by the loss of the colours, which, as with all mediaeval sculptures made of wood or limestone, would once have covered it.
 
Xavier Dectot, curator
March 18

Galleria Borghese (la culleziune Borghese)

Simone Felice's plan (1650) illustrates the park following the first phase of works in the garden by Scipione which extended beyond his death (c.1620), documented also by the description of the "guardaroba" (or palace attendant) J. Manilli (1650), followed later by that of D. Montelatici (1700). The garden design was trusted to Domenico Savini da Montepulciano who joined G. Vasanzio and, after 1621, G. Rainaldi, and demonstrates a typology of classical origin, with its pars urbana (space ordered according to a geometric scheme) against that of pars rustica (the wild areas of the gardens, destined for agricultural production with vines, stalls, an ice reserve, and a reserve for animal hunting). Adjacent to the noble palace and surrounded by walls as well as citrus and box trees (today substituted by laurel hedgerows) were two of three secret gardens that extended the spatiality of the interior to the outdoors. Arranged as wings, the overall plan of the gardens was to be interpreted with reference to the Borghese emblem of the eagle. The southern garden was decorated by a grove of 144 melangeli, sour oranges; that to the north, by one of the rare flowers imported from Holland and the New Indies, such as tuilips, jonguils, anemours, and byaciana and planted in squares. The third garden, placed between the Birdhouse (1617-19) and the sundial, was realized later, in 1688.
The park was articulated by three enclosures, marked by walls which were later destroyed. The first, the "sylvan garden," of a square form, extended before the large piazza of the palace with the principal entrance on the via Pinciana which still exists today, where the arch with the placard "VILLA BVRGHESIA" stands, Several avenues depart from the tree-lined exedra, the principal of which called "Avenue of the Elms" arrives at the fountain of the veil (today substituted by the fountain of marine horses). The others marked the green areas which together formed an "arboretum of more than a thousand firs" close to the palace, and a "pine grove" of more than four-hundred pines further from it. The decor was rich in scenographic and perspectival function constituted by antique sculpture that animated this "theatre of the universe", such as the Dacian Prisoner (today in the Park of the Deer), together with numerous rustic fountains and unique works of architecture, such as the wine grotto in blocks of tufa used for Scipione's banquets and decorated in the vault by a Council of the Gods by Archita Ricci. The path from the natural to the constructed was marked by "ragnaie", regular rows of trees with braided branches, housing numerous birds which, attracted there by the pleasant freshness of a man-made creek beneath them formed of peperino (another kind of tufa), were captured during hunts of the cardinal's court. The second enclosure in the rear, with the original fountain of Narcissus (later substituted by one of Venus), was characterized by the large, scenographic plazza and by the rear (now the Park of the Deer). The piazza was bordered in