A Visual Pun at Vézelay: Gesture and Meaning on a Capital Representing the Fall of Man
Kirk Ambrose
In a description of trip through the Midi France in 1835, Prosper Merimée devotes lengthy paragraph to analysis Christ Vézelay's Pentecost tympanum (fig. 1). He marvels at carving figure's feet and “blessing” hands, as well placement thighs relation torso. Later his treatment abbey church its sculpture, author notes that figures on nave capitals convey “savage zeal” ( zèle farouche ) by means posture facial expressions. Gestures, widely construed, medieval sense word, clearly struck celebrated French salient feature sculpture. sympathized with Romantic visions Middle Ages period less tainted stifling effects civilization, perhaps fascination dramatic body movement carved throughout reflects belief these were unfettered artistic or social constraints early nineteenth century. Yet he never attempts explore meanings might have held for audience; their meaning is not considered be historical, but rather self-evident. The operative assumption gestures art are transparent anticipates much subsequent scholarship.
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