The Cluny Capital of the Three-Headed Bird
Carol Stamatis Pendergast
A lost capital from Cluny, documented in a sketch by F. van Riesamburgh 1814, depicts half-naked warrior with shield, helmet and hair skirt. The confronts three-headed bird to defend cringing human victim. belongs series of Burgundian sculptures the same theme, most which also include siren. Several aspects iconography pose methodological interpretive problems. figures appear be paired haphazardly; transformed, sometimes radically; one or more may omitted. On this basis, scholars dismiss imagery as either confused only meaningful general way, focus on But persistent juxtaposition protagonists portal sanctuary settings suggests they operated unit. Based St. Jerome's Vulgate text Isaiah 13:21-22, Physiologus pairs siren onocentaur, half-man half-goat. armed figure our conforms part type. Exegesis both creatures identifies them carnality hypocrisy. However, evil attributes onocentaur coexist here those indicating his role hero who wars against monstrous fowl. familiar device battle adds complementary motif. Although no exact parallel for is known me, heroes battling dragon-like fiends proliferate Romanesque art. partial nudity, shield warrior, presence victim raise possibility that reference Ulysses defending men Scylla was intended. This multi-cephalous monster held connotations Lust. It suggested group exhibit an overlay pictorial exegetical themes voice warning lust flesh false doctrines, topical concerns Burgundy.
Gesta