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Romanesque Sculpture in North Italy – Some Lintels Introduction Until the 11th century, sculptural decoration on churches consisted mainly of geometric patterns and forms of foliage. The sculpture of figures had been in decline across the Christian world from the end of the Western Roman Empire through until the Carolingian renaissance. This decline was also evident in the Eastern Empire where the iconoclastic movement had a significant impact. This situation was to change profoundly with the coronation of Charlemagne in 800 and the development of the monastic reforms engineered by Cluny. Although Charlemagne’s Empire did not survive his death, his reign bequeathed a common culture and art to Western Europe. The monastic reforms led by Cluny had a more significant and enduring effect. The monastic discipline imposed by Cluny made monasteries increasingly dependent on the ‘Mother’ house, creating a vast organisation that had a significant degree of unity that transcended the boundaries of political states. This had a unifying influence on art, including sculpture. From the 9th century pilgrimage became a well-developed custom. Cluny was to have a considerable influence on the pilgrimage movements that went to the Holy Land, Rome and Santiago de Compostela. The transmission of styles, motifs and techniques was a natural consequence of the pilgrimage movement. The political situation in North Italy towards the end of the 11th century was diverse. Venice and its hinterland had long been part of the Byzantine Empire; it was around here that the Western and Byzantine styles came into contact. Pisa was a maritime power, with trade links to the far ends of the Mediterranean. The Papal States were in a chaotic state with contested elections and claims to the Holy See. The feuding was only brought to an end in the last quarter of the century as the general reform movement began to make headway under Pope Gregory VII. The lands of the Papal States and the allies of the Papacy faced those of the Holy Roman Empire on a line that roughly followed the line of the River Po. Thus Lombardy was largely beyond the direct influence of the Pope; its bishops looked North to the Emperor for support. The specifics of the conflict between Papacy and Empire and how it influenced the subsequent development of the church are examined in detail by Dorothy Glass (1). The varied political and economic conditions that pertained across the North of Italy led to a corresponding variety of sculpture. This article looks at one format for demonstrating sculpture - that of the load-bearing element found over doorways. These structural elements, lintels, frequently carried an ornamental or decorative feature; they are the subjects of this article. A list of those lintels that are described in the article is to be found at the Annex. There are few direct links between the various lintels being considered. The article will, therefore, look at them in a geographical sequence, beginning with those in Lombardy, in the North, and finishing with those in the North of Tuscany, to the South. Lombardy

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Milan, Sant’Ambrogio Any tour of North Italy must include Milan, the capital of Lombardy and principal city of the North. The first basilica of Sant’Ambrogio was consecrated by Sant’Ambrogio (St Ambrose) in 387 AD. It was rebuilt in the 11th century. The West façade is within a large atrium. Along the base of the façade is a long narthex with three doors. The central door is below a blank tympanum. The tympanum is set below a decorated archivolt and above a decorated lintel. That lintel is set between capitals that have been carved with interlace, interlaced foliage and, on the outer capitals a pair of lambs with a cross.

Sant’Ambrogio, Milan – Top of central door The archivolt over the tympanum is decorated with interlaced foliage carved to form discs into which the sculptor has inserted flowers, birds, more foliage and, at the right end, the torso of an angel. These motifs are probably modelled on those found on a fabric of Sassanid origin. The lintel is almost certainly the work of the same sculptor or workshop. But the content of the discs has greater symbolism. At the ends is a bull and a lion that face in towards the central disc that has a Pascal Lamb set against a blue painted background. The paint is from a recent restoration and it is unclear whether the colour was chosen on the basis of traces of 12th century paint fragments that were found in the disc. Between the three discs a profusion of small birds and animals scamper through the vines.

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Sant’Ambrogio, Milan – Central door; detail of the lintel The decoration of the two doors to the right and left of the central door is very unlike that of the central door. Both have a blank tympanum below an undecorated archivolt. Below the tympanum is a white marble lintel that is sculptured. Both are the work of the same workshop and are unrelated in style and concept to that on the central door.

Sant’Ambrogio, Milan, North door, lintel

Sant’Ambrogio, Milan, South door, lintel That over the North door has two crouched lions separated by a small figure with outstretched arms. The lions appear to be snarling menacingly at each other, whilst the figure in the centre keeps the peace. This scene surely represents ‘The Master of the Beasts’. (2) The other lintel shows a senmurv, a Sassanid monster, confronting a lion. The sculptures are in a bas-relief form, sharing none of the characteristics seen on the lintel of the central door; however, they bear a marked similarity to two plaques that have been placed on the exterior of the narthex on either side of an arch leading to the central door.

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Sant’Ambrogio, Milan – Two plaques from the central arch into the narthex Pavia, San Michele Maggiore The basilica of San Michele is a striking example of Lombard-Romanesque architecture. It was also a church of political importance, being the place for the coronations of the Holy Roman Emperors, Louis III in 900, Henry II in 1004 and Frederik I, known as ‘Barbarossa’, in 1155. Whilst the crypt, apse and transepts date from the 11th century, the remainder of the church was rebuilt following an earthquake and fire in 1117. The huge West façade has three doors, all decorated with a small figure set in a tympanum. But none have a lintel. However, the North transept has a decorated door that, like those on the West façade has a tympanum with a small figure. In addition it has a sculptured lintel.

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Pavia, San Michele – North transept & North transept doorway The lintel is set below a thin frieze that marks the base of the tympanum; it is inhabited by small animals and birds. The lintel has three discs; the central disc is supported by an angel on each side and it contains a representation of Christ with his hand held up in the act of blessing. To the sides are two other figures; that on the right is a bishop holding in his right hand his crosier. It is unclear who is represented in the left hand figure; he seems to be holding a staff, so it may be a local dignitary.

Pavia, San Michele –Lintel over the North door On the South side of the church there is a door that is more elaborately decorated than those on the West of North; it is, however, no longer used and is now blocked. It, too, has a tympanum with a small figure on it. This door is more elaborately carved than any of the other doors to the church. The door is between carved columns that are topped by capitals. Above the tympanum are seven archivolts carved with intricate foliage patterns and small animals. Below the tympanum is a thin frieze not unlike the one seen on the North door. It has small animals that appear to be running towards the centre.

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Pavia, San Michele – South door The lintel itself shows, in the centre, Christ. To his right is St Peter, who is receiving the keys of Heaven, whilst to the left Christ is passing the Book of the Law to St Paul. This is a scene that is widely known as ‘Traditio legis’, with Christ as the law-giver and teacher.

Pavia, San Michele – Lintel over South door

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Bergamo, Santa Maria Maggiore Bergamo, a city to the East of Milan, is a city in two parts, with the medieval part on a rocky outcrop that looks down on the second and larger town below. One of the finest buildings of the old town is the basilica of San Michele Maggiore. It is of a later date than those we have looked at so far. Its construction began in 1137 and completion was not until several centuries later. Only the apse, cupola and part of the transept were completed by the end of the 12th century. The North door was probably completed in the early 14th century. The West faced is obscured by the Curia and the South-west door, which looks out onto the chapel of Santa Croce, was only completed in 1521.

Bergamo, Santa Maria Maggiore – Top of North door The North door is below a porch and it has an empty tympanum that has archivolts that are decorated in a mixture of ‘transitional’ and Gothic styles. The lintel has images of Christ with the Twelve Apostles. He is shown blessing the viewer, whilst each of the twelve displays an open scroll, probably representing the Word of God that they were to preach to the far corners of the world. The subject may be summarised as ‘The Mission of the Apostles’. The underside is decorated with vegetal motifs modelled on those of Antiquity.

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Bergamo, Santa Maria Maggiore – Lintel over North door

Bergamo, Santa Maria Maggiore – Lintel, detail Cremona, Santa Maria Assunta Cremona Cathedral was built from the late 11th century with the West façade, particularly the three doorways, being early 12th century. The church underwent later alteration, particularly in the 13th century. The central door is decorated with three large statues on each door jamb. However, none of these doors has a lintel. The door to the South transept is 14th century and it is not decorated. The door to the North transept is below a 13th century porch but the lintel is older, dating from the 12th century.

Cremona, Santa Maria Assunta – North door The lintel over the door shows Christ seated within a mandorla; he is blessing the viewer. Each side of him are six apostles; the outer two are partially obscured by the

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capital in the corner. This mis-fitting suggests that the lintel was not originally intended to be in its present position, but that it has been re-employed from the earlier building.

Cremona, Santa Maria Assunta – Lintel over North door Nearest Christ on his right is St Peter with the keys of Heaven. The remainder are walking towards Christ carrying a book, probably intended to be the Bible or the Word of God. Thus, this is another representation of ‘The Mission to the Apostles’. The underside of the lintel is decorated with floral discs. This lintel, along with the statues to the sides of the West door, is attributed to a sculptural movement that was begun by Wiligelmus, a Lombard craftsman who worked at Modena in the first decades of the 12th century; this lintel is thought to have been completed around 1140. (3).

Cremona, Santa Maria Assunta – Lintel over North door, Christ

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Cremona, Baptistery Building of the Baptistery, adjacent to the Duomo, began in 1167. It was originally built of brick but part of the exterior on the North and North-west sides was altered and faced with marble from 1553. In 1588 a vaulted porch that had supporting columns resting on lions was added to the North door.

Cremona, Baptistery – Top of the door The door has an empty tympanum below alternating archivolts of pink and white marble. Those of white marble are sculpted with intricate floral of interlaced patterns. A lintel in pink marble is set below a narrow frieze of hunters and mythical animals in vine tendrils. The lintel has a long inscription.

Cremona, Baptistery – Lintel over the door Emilia Romagna Piacenza Duomo The Cathedral was built from 1122. The West façade has three doorways, of which the central one is the wider and higher. All three have a small porch supported by

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columns on telamons. Each door has a tympanum within a sculptured archivolt and, below the tympanum, a sculptured lintel.

Piacenza, Duomo – West façade and top of central door The lintel is a 19th century reconstitution and is of no interest in the context of Romanesque sculpture.

Piacenza, Duomo – Lintel over the centre door The lintel over the left door contains scenes from the early life of Christ. It is believed that the lintel was carved by Wiligelmus or a member of his school or workshop.

Piacenza, Duomo – Lintel over the left door On the extreme left of the lintel is a small figure; there is a similar small figure at the right hand extremity of the lintel. It would appear, judging by the breaks in the stone on the inner sides of the figures, that these have been inserted on the ends and were originally intended for another position on the Duomo. They are not then part of the intended narrative.

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Each scene is contained in an archivolt that is supported by columns with capitals. In the corners above the archivolt is a small tower, perhaps to represent the town of Bethlehem. This motif was to be repeated on the other lintel that is described below.

Piacenza, Duomo – Lintel over the left door, the left & right extremities The first full scenes on the left are ‘The Annunciation’ and ‘The Visitation’. In the centre in two scenes is the ‘Birth of Christ’. The faces and figures of all the people have a fleshy ‘well fed’ look about them. Their robes and the bed cover have flowing and generous folds. Over the couch that Mary is lying on is a large censer, whilst over her new-born baby a large star shines.

Piacenza, Duomo – Lintel over the left door, left part The narrative continues with ‘The Shepherds in the Fields’; unusually, instead of the body of a winged angel announcing the news there is a large hand being extended from a turreted building. On the right over two bays are the scenes of the ‘Adoration by the Magi’. Mary is now wearing a crown; the Magi seem to be wearing Phrygian caps, confirming that they were ‘from the East’.

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Piacenza, Duomo – Lintel over the left door, right part There are some similar characteristics in similar scenes around the West door of Nonantola abbey. These sculptures on this doorway are also attributed to Wiligelmus.

Nonantola Abbey – Two details from the doorway The lintel above the right door of the façade is attributed to Nicholaus (Niccolò), a pupil of Wiligelmus and who was active in Emilia Romagna between 1120 and 1145. It has three more scenes from the early life of Christ and, on the right end, scenes from ‘The Three Temptations of Christ’. Unlike the lintel over the left door, above each scene on the lintel over the right door is a small inscription of the scene, whilst along the bottom of the lintel there is a further exhortation that translates as: ‘May any good person who exits and enters look upon this work’. Between each bay containing a scene is a small tower that perhaps represents Jerusalem or Bethlehem, except in the central one where there is a dove. The dove’s head and crown pierce the archivolt over the scene of Christ’s baptism by St John the Baptist. It represents the Holy Spirit descending on Christ. Dorothy Glass proposed that the three scenes of the

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‘Temptations’ were significant in the context of the reform of the church. She knew of no other earlier Romanesque sculpture of the three scenes, but they were contained in the contemporaneous manuscript of ‘The Gospels of Countess Matilda’ that had been produced at the nearby abbey of San Benedetto Po. Dorothy Glass goes on to propose that the inclusion of the three temptations scenes on the lintel should be seen in the much wider context of the reform movement that was taking place North Italy and the attempts by the Papacy to assert full control over the investiture of bishops, attempts that were robustly challenged by the Empire, to the North.

Piacenza, Duomo – Lintel over the right door

Piacenza, Duomo – Lintel over the right door, the Temptations of Christ Piacenza, Sant’Ilaria This 12th century church is now the town museum. The façade of the church has three bays with a single central door. The doorway is below a deeply recessed bay that forms a porch. Within that bay the doorway is stepped and is between five columns with simple foliage capitals. Above the door is a tympanum which is frescoed. Below that tympanum is a lintel.

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Piacenza, Sant’Ilaria – Top of the West door The lintel is thought to have been carved by a pupil of Nicholaus (Niccolò). The subjects of the lintel are the ‘Incredulity of St Thomas’ and ‘The Mission of the Apostles’. The lintel shows the now eleven apostles, with the risen Christ at the centre. Mathias, the replacement for Judas is not present.

Piacenza, Sant’Ilaria – Lintel over West door Christ, who alone has a halo, is holding a book in his left hand whilst he appears to be appealing to the viewers of the lintel, using his right hand to give emphasis. The book has a short inscription calling on the viewer to see and believe. To Christ’s right is St Thomas, who is kneeling and putting his finger to the wound in Christ’s side. On the book that Christ holds up is an inscription that reads: ‘Because I am myself, touch and see’. On the bottom lip of the lintel another inscription (badly worn) reads ‘Do not fear but see the wound on my side’. The inscriptions here are related to inscriptions to be seen on a lintel at San Bartolomeo in Panto at Lucca.

Piacenza, Sant’Ilaria – Lintel over West door, detail

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Fidenza Duomo Fidenza during the 12th century was a key prize in the century long struggle between Piacenza, to the North, and Parma, to the South. The struggle ended in 1199 with Parma being recognised as having sovereignty over Borgo San Donnino, as Fidenza was then called. The new century ushered in a period of stability that allowed the rebuilding of the Duomo that was dedicated to San Donnino. San Donnino was a notable who served at the court of the Emperor Maximian Herculius (c250-310) and was ‘guardian of the crown’. He became a Christian. During a military campaign in Germany he deserted and fled South; he was held up by the raging torrent of Stirone, at the village of Fidenza. There on 9 October 291, on the orders of the Emperor, he was beheaded. The façade of this church is of considerable interest. There are three doors, of which the central one is much larger and more finely decorated.

Fidenza Duomo – Part of the West façade The central door is below a porch that is supported by columns resting on crouched lions. To the sides of the door are columns, topped by capitals. Above the door is a blank tympanum that rests on a sculptured lintel. Unusually the sculptures on the lintel are part of a narrative that begins with a plaque on the façade to the left of the porch, that continues along a frieze to the left of the door and then goes beyond the lintel to a second frieze that is right of the door and it ends with a final plaque on the façade to the right of the porch. These plaques illustrate the martyrdom of San Donnino. These are plaques that are full of lively interest; they are thought to be the work of a pupil of Antelami or even of Antelami himself. (4) Antelami was an Italian sculptor and architect who worked at Parma in the Duomo and on the decoration of the baptistery.

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Fidenza Duomo – Central door

Fidenza Duomo – Central door, lintel The first plaque, left of the porch, has two scenes. In one, Donnino is crowning Emperor Maximian. The second scene shows the same individuals at a later stage, with an inscription that tells us that Donnino has decided to devote himself to the service of God with the permission of the Emperor.

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Fidenza Duomo – San Donnino, left plaque Moving to the next plaque, which is to the left of the door, the scene begins with the Emperor showing signs of anger, pulling at his beard. Further along we see Donnino and other Christians taking flight and going behind a low hill.

Fidenza Duomo – San Donnino, plaque left of door We now come to the lintel over the door. A group of horsemen are galloping out of a town that is possibly intended to be Piacenza, swords at the ready, in pursuit of Donnino.

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Donnino is shown mounted and brandishing a cross. His head is surrounded by a nimbus. He is heading for the town of Piacenza as the inscription above tells us: ‘civitas Placentia’.

In the final scene on the lintel, the soldiers catch up with the fugitive and he is beheaded. His head is shown in a net carried by two angels; this part of the scene represents his soul being transported to Heaven. To the right we see Donnino carrying his head as he prepares to cross the Sisterionis (according to the legend).

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Fidenza Duomo – Central door, lintel, details The plaque to the right of the door begins with the miracles attributed to the saint: healing a sick man and restoring a stolen horse to its owner.

Fidenza Duomo – San Donnino, plaque right of door The last plaque, to the right of the porch, shows another miracle attributed to the saint. A bridge collapses under the weight of the crowd; all the victims, including a pregnant woman, come out of the accident safely after the intervention of the saint. This bridge was over the Stirone which flowed in front of the Duomo. The collapse of the bridge led to the discovery of the relics of the saint several centuries after his martyrdom.

Fidenza Duomo – San Domnin, right plaque This cycle of the life and death of San Donnino is of considerable ichnographic and historical interest.

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Berceto Duomo The cathedral church of San Moderanno in Bercano is a pre-Romanesque foundation that is in a valley that runs through the Apennine mountains South-west of Parma . The church has been rebuilt subsequently. The sandstone façade has a single large door that is below a shallow porch. The doorway is stepped between five columns, two of which each side have a barley sugar twist. This porch is probably part of a 19th century restoration.

Berceto Duomo – West façade Above the door is a tympanum that depicts the Crucifixion. Below that tympanum is a lintel.

Berceto Duomo – Top of the West door The lintel is carved with animals, some of which are mythical, and small figures. Three of the figures are somewhat misshapen; the fourth is a knight on horseback who is charging a centaur-like animal. In the centre a donkey plays a harp. This motif is well-know in French Romanesque sculpture. A fine example is to be seen at St Pierre d’Aulnay on the North edge of the Saintonge. AK Porter identified this ass in this contex as being a symbol of the Trinity; his view is not generally accepted. For others it is a scene that illustrates ‘Discord’. (4)

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Berceto Duomo – Lintel Parma Baptistery The Baptistery at Parma was begun in 1196. There is an inscription to this effect on the North door. The style of the sculptures bears close affinity to the style of the ‘Deposition from the Cross’ by Antelami that is in the South transept of the Cathedral. The North porch is also known as the Portal of the Virgin. She has central place on the tympanum over the door. Joseph is seated to her left as the Magi, escorted by an angel arrive from the right. The archivolt around the tympanum has twelve wise men; these are the prophets of the Old Testament; each holds a disc with the upper body of a small figure each holding a book or scroll; these are the apostles.. Below the tympanum is a lintel.

Parma Baptistery – Top of the North door

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The lintel comprises two broad bands; one is of white marble and is sculptured with two scenes. The other in pink stone has the inscription: BIS BINIS DEMPTIS ANNIS DE MILLE DUCENTIS INCEPIT DICTIS OPUS HOC SCULPTOR BENEDICTUS. ‘Benedictus’ is Benedict Antelami.

Parma Baptistery – North door, lintel The scene to the left shows the baptism of Christ in the Jordan by John the Baptist. The event is witnessed by three angels each carrying a large robe.

Parma Baptistery – North door, lintel, detail The scene to the right illustrates the events around the death of John the Baptist. Herod is seated at table feasting with his queen by his side. From the side Salome is approaching, carrying a small flower. She is being gently pushed by a small devil who whispers in her ear. To the right we see John being beheaded by a soldier as he leans out of a tower, that perhaps represents the prison; an angel looks over the body and swings a censer.

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Parma Baptistery – North door, lintel, detail The West door, the Portal of the Last Judgment is decorated with a tympanum and reliefs of the Last Judgment. Christ is at the centre; on his left two angels support a large cross. On the other side are the instruments of the Passion and a small bearded figure holding a scroll. This is probably St John who is shown as the witness and the recorder. Around the archivolt are the twelve apostles and, at the apex, two angels who are blowing trumpets. Below the tympanum is a fine sculptured lintel. The lintel continues the theme of the last judgment.

Parma Baptistery – Top of the West door, tympanum and lintel At the left a line of small, naked figures are rising up out of a sarcophagus answering the call for the final judgment. Some of the figures are aware of their nakedness and try to be a little modest. Crichton pointed out that they ‘are all of the same age in accordance with the theory of medieval theologians that the Dead would arise at the age of Christ when he died, thirty years’. (3)

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Parma Baptistery – West door, lintel, detail In the centre of the lintel two winged angels blow long trumpets to summon the dead.

Parma Baptistery – West door, lintel, detail The scene at the right end of the lintel is a rough mirror image of that at the left end; figures are leaving a sarcophagus and walk towards the sound of the trumpets. One, seated on the sarcophagus, seems to be rather apprehensive about what might be in store for him.

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Parma Baptistery – West door, lintel, detail The South door, also known as the Portal of the Legend of Barlaam, has a theme that has no biblical resonances. It takes as its theme an allegory of life, acquired from an Indian Buddhist legend. It is not certain what the source was that the sculptor used for his interpretation of the legend. This subject of this legend is illustrated in the centre of the tympanum. The archivolt around the tympanum has fine scroll-work of foliage and vines. The lintel below the tympanum has three circular discs, each containing a small head. In the centre is Christ; he holds a book in his left hand whilst the other is raised in blessing. On Christ’s right is the Lamb of God and on his left is St John the Baptist.

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Modena Duomo The history of Modena Duomo is closely linked to the history of its patron, San Geminiano (312-397), a 4th century bishop of Modena. On his death a church was built in his honour. The present Duomo was founded in 1099 and completed in 1184. It has a wide façade with three doors, of which the central door, known as ‘the papal door’, is larger and has a porch. This is supported by two columns that rest on a pair of imposing lions.

Modena Duomo – West façade

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Modena Duomo – Central door on West façade The door is framed by finely sculptured bands of interlaced vines. These contain small figures, animals and birds. Above the door is a blank tympanum that is similarly framed.

Modena Duomo – West door, lintel

Modena Duomo – West door, lintel, detail In the centre of the lintel, between two birds, is a large head from which pour the stems of the vines. This is a ‘Green Man’. (5) The underside of the lintel is decorated with rosettes, a motif copied from Antiquity.

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On the South wall of the nave is another decorated door. This is known as ‘Porta dei Principi’, also known as ‘the door of the cowmen’ because, in the 16th century, they sold their cheeses there. Originally, this door was further along the South wall of the nave at the location of the ‘Porta Regia’.

Modena Duomo – South door to nave This door, below a porch, has a blank tympanum that is held within a frame that is decorated with interlaced vine tendrils that are inhabited by more small figures, animals and birds. The lintel, however, has a band of scenes that tell the life of San Geminiano. This lintel is thought to be the work of a member of Wiligelmus’s workshop.

Modena Duomo – South door to nave, lintel The first two scenes show the Saint with an assistant leaving Modena at the request of Emperor Jovien at Constantinople, whose daughter was possessed by the Devil. The second shows the two sailing across the sea to Constantinople. An inscription above each scene provides a brief explanation. In the third scene we see Geminiano on the left taking hold of the Emperor’s daughter from the Emperor, who is to the right. Behind the daughter we can see the head and two wings of the Devil, and behind Geminiano’s left shoulder we can just see the head of his faithful assistant.

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Modena Duomo – South door to nave, lintel, detail The fourth scene shows Geminiano receiving gifts of thanks from the Emperor Jovien: a chalice and a gospel book or manuscript. Behind the Emperor stands his no-doubt grateful Empress.

Modena Duomo – South door to nave, lintel, detail In the next scene, Geminiano is shown on horseback arriving back at Modena and being greeted by his church. Geminiano’s assistant is now carrying a crozier. Above the priest with the censer is a long building that represents the entrance to the town of Modena. The final scene of the series records the death of the Saint. He is swaddled in funerary bands; the tows folk gather at his feet while a priest holds a censer over the body and another leans over him.

Modena Duomo – South door to nave, lintel, detail

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The underside of the lintel is also carved. In the centre, two angels hold a mandorla, within which is the Lamb of God. To the sides are two Saints. On the left is St John the Baptist; he is holding a scroll with an inscription in his left hand whilst the other hand is raised in blessing. The other saint is St Paul, who holds a plaque

Modena Duomo – South door to nave, lintel, underside

Modena Duomo – South door to nave, lintel, underside; St John the Baptist

Modena Duomo – South door to nave, lintel, underside; St Paul On the North side there is another decorated door known as the ‘Porta della Pescheria’, because it was outside this doorway that the fish market was held in medieval times. The doorway was made between 1110 and 1120. The archivolt has the unusual theme of King Arthur, who is shown mounted on horseback. The lintel

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below the blank tympanum is decorated with mythical animals and monsters. On the left a cupid is riding on a hippocamp. It is followed by two proud cockerels that are carrying the body of an animal. In the centre is a block of interlace decoration; this may not have originally been part of the lintel, but may have been inserted at a later date. To the right, two large birds are eating a snake; and at the right end of the lintel the scene shows a fox biting the head of a bird, perhaps a cockerel, whilst another small bird crouches below the body of the fox.

Modena Duomo – North door Ferrara Duomo The Duomo at Ferrara is largely a Gothic building, although construction began at the start of the 12th century. Major work was to continue through the period of the Renaissance and the 18th century. The interior was given a Baroque make over in the 19th century. The central door on the West façade retains a 12th century doorway. The original door with its sculptures was destroyed in 1718; the sculptures from the sides are now in the museum; these depict the labours of the months and they gave the name ‘Door of the Months’ to the door. Over the door is a celebrated tympanum with the mounted figure of St George. This is the work of Niccolò; sculptures attributed to him are to be seen at Sacra di San Michele, near Susa and at Verona.

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Ferrara Duomo – Top of West door. Below the tympanum is a fine lintel that is supported by two Atlantes. The lintel has illustrations of eight events from the birth and life of Christ, each framed by an arch supported by columns with capitals.

Ferrara Duomo – Lintel over West door The first three focus on Christ’s birth, with ‘The Visitation’, ‘The Nativity in a manger’ and the ‘Announcement to the Shepherds’. Restoration work carried out in the last decades of the 20th century brought to light some of the original pigment that once enhanced these small images; a dark blue may be seen in several parts of the background.

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Ferrara Duomo – Lintel over West door, detail Two scenes are required for the ‘Adoration by the Magi’, followed by the ‘Presentation of Christ at the Temple’.

Ferrara Duomo – Lintel over West door, detail The last two scenes on the right of the lintel illustrate the ‘Flight into Egypt’ and the ‘Baptism of Christ in the Jordan’. The lintel is dated to 1135.

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Ferrara Duomo – Lintel over West door, detail Veneto Verona Duomo Building of Verona Duomo began in 1139. The cathedral retains its Romanesque form on the exterior. It has a broad West façade with a single door that is below a porch. There is an inscription that identifies ‘Nicholaum’ (Niccoló) as the artist. Over the door is a tympanum with three scenes associated with the Nativity.

Verona Duomo – Top of the West door Below the tympanum is a lintel with three small rings, each of which contains a figure. These female figures wear a crown. They were once thought to be Carolingian

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queens but are now identified as the three virtues of Faith, Hope and Charity. Between the circles is a short inscription ‘FIDES CA AS SPES’.

Verona Duomo – West door, lintel Northern Tuscany Lucca Duomo The Cathedral was reconstructed between 1060 and 1070 on the site of earlier churches. This is recorded on a plaque in the atrium. The façade and galleries were begun in 1204. There is a large porch supported at the front by sculptured pillars. Below the porch are three doorways with sculptured tympanums and lintels and sculptures to the sides.

Lucca Duomo – West façade, central doorway The tympanum over the central door is contained within a simple archivolt. The subject of the sculpture is Christ in Majesty. He is seated within a mandorla that is held by two angels.

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Lucca Duomo – West façade, central doorway, lintel The lintel of the central doorway to the Duomo shows thirteen standing figures; these represent Mary and the twelve apostles. On the lower edge of the lintel the name of each is inscribed. Each apostle has a halo and all carry a small scroll except St Peter, who carries the traditional keys. Unusually, St Peter, who is usually positioned next to Christ, is two places to the right from Mary. Above the line of figures but below the tympanum is a broad band of decoration that uses a curled leaf pattern.

Lucca Duomo – West façade, left doorway

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The tympanum of the left doorway shows the ‘Descent of Christ from the Cross’. It is a scene that is crowded with figures and full of pathos. The scene on the lintel is that of the start of the life of Christ – ‘The Nativity’.

Lucca Duomo – West façade, left doorway, lintel Like the tympanum, the lintel is crowded with people and activity. It is obviously the work of the same workshop at that responsible for the tympanum. At the centre, Mary is lying on her couch with her son shown swaddled and lying in a small cradle above her. On the extreme left there is a figure of a man consoling another person whose head is hidden. To the right of that man is a female figure, possibly one of the two midwives who are recorded in the Gnostic Gospels, though not in the New Testament. To the right of Mary are the two kneeling Magi (without their heads) and their steeds. Below Mary’s couch are sheep and, probably a shepherd, whilst at the back right, are two small heads that perhaps represent the local folk of Bethlehem. As with the lintel on the central doorway, this doorway has a broad band of similar decoration.

Lucca Duomo – West façade, right doorway

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The third door on the West façade, the right hand one, also has both a tympanum and a lintel. The tympanum shows a very simple scene, that of a soldier beheading a bowed priest. This is the martyrdom of Saint Regulus. Saint Regulus was a bishop of possibly North African origin. He was imprisoned and beheaded by the Goths who accused him of aiding Byzantium, with whom the Goths were then at war.

Lucca Duomo – West façade, right doorway, lintel The lintel above the right door continues with an earlier episode in the life of Sant Regulus. On the right is a line of six soldiers, three with spears. One carries an open scroll. All are dressed in short skirts with a cloak thrown over them. These are Goths coming with orders to arrest Saint Regulus. On the left, Saint Regulus leads three acolytes or attendants, one with a bible. The saint has a halo and he also carries an open scroll. Above the lintel is the now familiar broad band of decoration. Lucca, San Michele in Foro This church was rebuilt in its present form from 1143, as is recorded on a pillar on the left of the choir. The West façade has three doorways of which the central one has a tympanum and lintel. Most unusually, the tympanum is filled by a ‘rose’ or ‘wagon-wheel’ window that is within an archivolt of small acanthus leaves that terminates in a small lion’s head on each side.

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Lucca, San Michele in Foro – West doorway The lintel is below a broad band of decoration. The lintel does not have any direct religious theme; instead it shows animals from mythology – a centaur, a siren, dragons and lions. In the top centre of the lintel is a diminutive figure that is standing on a small dragon that it has impaled with a spear. This is St Michael, to whom the church is dedicated.

Lucca, San Michele in Foro – South door and lintel On the South wall is another door leading into the transept. This has a blank tympanum, below which there is a sculptured lintel. This lintel also has a broad band of decoration below which is a line of sculptured mythical animals linked by an undulating swag of foliage. The animals are contained below the loops of the swag, whilst in the lower bulges are three large flower heads, one in each loop or bulge.

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Lucca, San Salvatore in Mustolio The present church dates from the late XI/early XIIcs. The main West door has a sculptured lintel with a blank tympanum enclosed by an arc of black and white stones. The lintel is one of two at San Salvadore in Mustolio that concern the life of St Nicholas.

Lucca, San Salvatore in Mustolio – West door This lintel illustrates ‘The Son of Getron’, a topical non-liturgical play pertaining to the life of St Nicholas. The two main scenes are at either end of the lintel. (6)

Lucca, San Salvatore in Mustolio – West door, lintel On the left King Marmorinus is sitting on a throne at the end of a table with his Queen at his side. St Nicholas is shown bringing a covered tureen to the table to serve the king and his court.

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Lucca, San Salvatore in Mustolio – West door, lintel, detail

Lucca, San Salvatore in Mustolio – West door, lintel, detail On the left side the sculptor has created a rough mirror of the scene on the left of the lintel: It is a feast in the house of the parents of Adeodatus. Adeodatus was the son (the ‘God given son’) of Getron, who had been childless until the intervention of St Nicholas. Although the subject matter on this lintel and the next lintel to be discussed both relate to the miracles of St Nicholas and there are some shared characteristics in the execution of the two sculptures, it is not certain that they are by the same hand. It has been attributed to the circle or workshops of Biduinus.

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Lucca, San Salvatore in Mustolio – West door, lintel, detail The lintel over the South door is illustrating the miracles of St Nicholas. The story of St Nicholas begins in Lycia, in Asia Minor. An elderly childless couple had a son called Nicholas. It was said that this child stood up in the basin or bowl when he was given his first bath and he raised his hands as if in prayer. It was also said that he refused his Mother’s milk on Wednesday and Friday evenings (which were times of fasting for early Christians).

Lucca, San Salvatore in Mustolio - South door, lintel The bath scene forms the central part of the lintel. The basin is inscribed with the signature of Biduinus, a Lombard sculptor. Further inscriptions identify the figure in the bath as being that of ‘St Nicholas presbyter’. Each side of the basin are servants. To the sides are domed buildings. A figure on the left holds a cross; below, under the dome, is a tonsured figure with a book. On the right, the dome is occupied by a bear

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and a lion. Both have a group of curious onlookers. Dorothy Glass notes that the inhabited towers on this lintel are of the style of the tower on the lintel of the central door at San Cassiano a Settimo, a lintel illustrating the Raising of Lazarus.

Lucca, San Salvatore in Mustolio - South door, lintel, detail Lucca, San Frediano The present basilica was built in the early XIIc and consecrated in 1147. The simple façade has three doorways. The central one, the largest, has a lintel and a blank tympanum. The two smaller doors have only a blank tympanum.

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Lucca. San Frediano – Central doorway The lintel is sculptured with six foliage motifs with a clover-like pattern. This sculpture would seem to be entirely decorative and without symbolism The motif is loosely modelled on motifs from antiquity that were probably still to be seen in quantity at that time.

Lucca. San Frediano – Central doorway Lucca, SS Giovanni e Reparta The church we see and which dates from the late 11th century was built on the site of a much earlier church. The single door on the West façade has a tympanum that houses a small rose window within archivolts of black and white stone. Below the tympanum is a lintel.

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Lucca, SS Giovanni e Reparta – West façade and top of West door The upper part of the lintel comprises a band with eight circular leaf patterns. Below this, a line of figures stretches across the lintel. There are the apostles with Mary and two angels at the centre.

Lucca, SS Giovanni e Reparta – Lintel Mary wears a cloak and hood. The cloak is open at the front and she has her hands raised in the position that indicates that she was listening – listening to the winged angels each side of her; they seem to be greeting her. The figure to the right of this trio is St Peter who is holding the symbolic keys. This lintel bears considerable resemblance to the lintel over the central door on the nearby Duomo façade. It is attributed to the circle of the Guidetto Bigarelli da Como, the master of Comancino, who worked in the late 12th century.

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Lucca, SS Giovanni e Reparta – Lintel, detail Lucca, San Pietro Somaldi The church of San Pietro Somaldi, like many churches in Northern Italy, was a very old church that was rebuilt in 12th century. The West façade has three doorways, of which the central door is the largest. It has a painted tympanum within a decorated archivolt of black and white stone and a sculptured rim.

Lucca, San Pietro Somaldi – Top of the central door The lintel shows Christ between two apostles. He is passing the keys of Heaven to St Peter, who is on his left. This short scene is set between two blocks each of four interlinked rings with a flower in the middle. These decorative motifs would have

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been commonplace on Roman ruins that would still have been evident in the Middle Ages. The lintel dates from 1238 and the sculptor of this lintel was Guido Bigarelli da Como; he was also responsible for work on the baptismal font in the Pisa Baptistery and the baptismal font and pulpit in Barga Cathedral. Lucca, San Micheletto The 12th century church of San Micheletto has been through many changes over the centuries. It was built in 1195 on the site of the 8th century church of San Michele de Cipriano. In the 15th century is became a convent until 1972 when a bank purchased it. It is now an arts centre. The North door, which is blocked, has a blank tympanum within an undecorated archivolt. Below the tympanum is a sculptured lintel that is attributed to the workshop of Biduinus. It shows a large eagle with outstretched wings on the left side; between the legs of the eagle is a small animal. Next to the eagle is a figure walking away from the eagle and towards one of three rosettes that fill the rest of the tympanum. There is second small figure at the right edge of the lintel facing inwards. He is holding one of the fronds that rests on the third rosette.

Lucca, San Micheletto – North door

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San Micheletto – Lintel Lucca, Sant’Angelo in Campo, now at the Palazzo Mazzarosa, Lucca The lintel from Sant’Angelo in Campo is now displayed in the Palazzo Mazzarosa. The lintel is signed along the bottom lip by Biduinus but it is not dated. The subject depicted is ‘Christ’s Entry to Jerusalem’, a subject the Biduinus has used on a lintel at San Cassiano a Settimo, near Pisa and on the lintel of the church of San Leonardo al Frigido, the doorway of which is now in the Cloisters Museum, New York (See below).

Lucca, Sant'Angelo in Campo, lintel now Palazzo Mazzarosa, Lucca The scene begins on the left with an angle, probably the Archangel Michael standing on a dragon. The inclusion of the Archangel was doubtless intended to link the lintel to the patron saint of the church. His right hand probably once held a spear that is now lost. In his left hand he holds a small disc.

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Lucca, Sant'Angelo in Campo, lintel, detail At the right end of the lintel is the main subject, Christ mounted on an ass. In front of him is a tree that is of similar shape to the trees in the two other lintels depicting Christ’s entry to Jerusalem. Three small figures have climbed into the tree to get a better view of the event, whilst below the tree two more figures are laying robes on the ground for the ass to walk on.

Lucca, Sant'Angelo in Campo, lintel, detail Christ is followed by a procession of disciples. The second from the front is St Peter, already holding the keys of Heaven. Others hold palms, a book (the Bible?) and censers.

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Lucca, Sant'Angelo in Campo, lintel, detail Pisa Baptistery Building of the Baptistery at Pisa was started in 1152. The work was supervised by Diotisalvi. Both facts are recorded on the wall by the entrance. The work on the exterior was carried out by a Byzantine atelier. Their principal work was focused on the East doorway. The decoration at the top of the door includes a blank tympanum below three archivolts that are decorated with two arches of foliage designs and a third with small heads of the twenty-four Elders of the Apocalypse, each within an ornamental disc. These sculptures are dated to about 1204.

Pisa Baptistery – Top of the East door Below the tympanum is a lintel that is in two broad bands. The upper band shows a line of figures, with just the head and upper body of each. They include representations of Christ, Mary and St John the Baptist at the centre. To the sides are eight of the apostles. The band below comprises a number of events from the life of St John the Baptist. In the first scene on the left, St John is shown wearing the robes of a philosopher. In the next, a much larger scene, St John is at the head of a group of

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disciples to whom he is showing Christ; Christ, who has a halo, stands on a small wooded knoll. In the third scene, St John is about to baptise Christ in the river Jordan. Christ is supported by an angel. Above the river is a dove, the Holy Spirit. At the base of the river, below St John’s feet, is a small child, perhaps the representation of the river-god. Immediately following this scene is that of St John before Herod, with the members of court looking on. The last two scenes illustrate the familiar story of the conversation between Herodias and her daughter, Salome, in which Herodias plans St John’s death. The idea of the plan is represented by the winged Devil. The sculptor then goes on the show the decapitation of St John and, on the extreme right, the burial of St John.

Pisa Baptistery – East door, lintel The North door to the Baptistery is less elaborate in its decoration. There is a blank tympanum within a narrow decorated archivolt. Below the tympanum is the lintel.

Pisa Baptistery – Top of the North door Like the lintel over the East door, this lintel is in two broad bands. The upper band has seven large floral rosettes, each slightly different from the others. Below this band is a

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line of seven standing figures representing the ‘players’ at the ‘Annunciation to Zacharias’. The third figure from the right is Elizabeth, who stands with her arms raised in the ‘orans’ position. Third from the left is the angel, the bringer of the good news. There are two more angels, one at each end of the lintel. The remaining figures are prophets; each has a halo. The one on the left holds a long open scroll that is inscribed.

Pisa Baptistery – North door, lintel The South door is also decorated. There is a tympanum with a decorated device at the centre. The surrounding archivolt is plain. The lintel below has decorated florettes with elaborate rings of foliage around them.

Pisa Baptistery – Top of the South door San Cassiano a Settimo

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The church of San Cassiano a Settimo is in a commune near Pisa. Like so many churches that are mentioned in this article, a pre-Romanesque church was rebuilt in the mid 12th century. The church façade is typical of the region, having five bays with three doorways of which the central door is the largest. All three doors have a blank tympanum, though the central door has a small sculptured head in the middle of the tympanum. Below the tympanums each door has a lintel.

San Cassiano a Settimo – West façade The central has a band of foliage decoration above the main part that has a series of biblical scenes. The lintel is signed by Biduinus on a sarcophagus on the lintel. An inscription on the upper edge of the lintel records that it was sculpted in 1180.

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San Cassiano a Settimo – West façade, top of the central door From left to right the scenes that are illustrated begin with a scene that has been widely interpreted as the ‘Healing of the Blind’, followed by the ‘Raising of Lazarus’ and ‘Christ’s entry into Jerusalem’.

San Cassiano a Settimo – West façade; the central door lintel The small scene on the left shows two small figures apparently seeking help from the larger figure on the left. The scene is believed to be the ‘Healing of the Blind’, but, unusually, the tall figure has no halo or any other symbol that might identify it as being Christ. The second scene begins with the figure of Christ holding a cross; he stands on the outskirts of a town where he is met by two kneeling women beseeching him to help. The scene continues with an angel helping to raise the neatly wrapped body of Lazarus from his tomb. The sculptor has taken as a model for this tomb one of the early Paleo-Christian sarcophagi.

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San Cassiano a Settimo – West façade; the central door lintel, detail The scene on the right of the lintel shows a procession in front and behind Christ who is mounted on an ass that is being led towards a large tree. St Peter is at the head of this procession; he is holding the keys of Heaven. The tree has several small figures in it, who have climbed to have a better view of the procession. In front of the tree more figures are laying palms in the path of the ass. The scene of Christ’s entry into Jerusalem was repeated in somewhat similar fashion at the church of San Leonardo al Frigido at Massa-Carrara.; this was also executed by Biduinus; and we have seen a similar depiction on the lintel from Sant’Angelo in Campo

San Cassiano a Settimo – West façade; the central door lintel, detail The lintel over the North door shows a procession of animals; some of the animals are real, whilst others are entirely imaginary. The setting is one of a forest; the sculptor has introduced trees and branches along the length of the lintel. In amongst the animal are two men; both are dressed as hunters; the one at the left blows a long horn. The second carries what appears to be a wide, circular net.

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San Cassiano a Settimo – West façade; the North door lintel The lintel over the door is less complicated. It shows two aggressive looking griffins confronting a rather bedraggled looking ram. Dorothy Glass pointed out that there are two comparable friezes each side of a door on the campanile of the Duomo at Pisa. (6) It is at Pisa that Biduinus is believed to have trained.

San Cassiano a Settimo – West façade; the South door lintel Pistoia, Sant’Andrea In the second half of the 12th century the 8th century church of Sant’Andrea was restored and enlarged. Very unusually, the apse is at the West end and the entrances to the nave are at the east end. There are three doors, all with blank tympanums. Only the central doorway has a sculptured lintel below the tympanum.

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Pistoia, Sant’Andrea – East façade & top of central door The sculptures on the lintel give the appearance of illustrating one continuous scene – that of the ‘Adoration by the Magi’; in fact there are three scenes. On the extreme left the three Magi, all wearing a crown and with their cloaks billowing behind them, are shown riding towards Bethlehem on horses. In a small central scene one of the Magi or a messenger is seen kneeling before the crowned figure of King Herod. He is no doubt telling him of the star and their journey to see the child who is to be King of the Jews. In the last scene, on the right, the Magi are presenting their gifts to Christ who is seated on his mother’s knee. Behind her stands Joseph. All three scenes are enclosed at the top of the lintel and to the sides by a fine lozenge pattern. On the lower edge of the lintel is a long inscription.

Pistoia, Sant’Andrea – East door, lintel

Pistoia, Sant’Andrea – East door, lintel, detail

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The throne of Herod contains one very interesting detail: at the rear of the side the viewer sees there is a small dragon that is holding a small child. Doubtless this is intended to allude to the impending massacre of the children on Herod’s orders.

Pistoia, Sant’Andrea – East door, lintel, detail Mary is also seated on a throne as she receives the Magi. At the base of this is an angel who is flying and who is in the acting of blessing those in front of her. The lintel rests on two capitals. The one on the right, which depicts the Annunciation, has an inscription which gives both the subject of the capital and the name of the sculptor: Master Henricus. However, we cannot assume that he carved the lintel also but the lintel has been dated to 1166 and it is the work of Gruamons and his brother, Adeodatus. Pistoia, San Giovanni Fuorcivitas This is a large church that has gone through many changes since its foundation by the Lombards. Only the North wall is Romanesque. It is built from narrow bands of alternating white and black stone. There is a small door in the North wall with a sculptured lintel, and a blank tympanum with a XVc statue of St John the Baptist set between two small lions. The tympanum has an inscription around the top edge on the white stones: GRUAMONS MAGISTER BONUS FECIT. This probably indicates that Gruamons was responsible for the building as a whole, as well as for the sculptured lintel below the tympanum. The lintel has been dated to about 1180.

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Pistoia, San Giovanni Fuorcivitas – North door Below a broad band of decorative foliage and flowers there is a long table with twelve figures, one of whom seems to be asleep. This is the scene of the ‘Last Supper’. Christ is at the centre, with John on his right and ten other apostles arranged along side them, all looking very stiff and solemn. The lintel has an inscription below the decoration.

Pistoia, San Giovanni Fuorcivitas – North door, lintel Across the table, in the centre, is a kneeling figure, that of Judas Iscariot. Christ is apparently passing him some thing to eat and is identifying him as the apostle who will betray him.

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Pistoia, San Giovanni Fuorcivitas – North door, lintel, detail Pistoia, San Bartolomeo in Pantano This church was part of a Benedictine abbey founded in the 8th century. The church was rebuilt from 1159. The West façade has five bays with three doorways. All three have a blank tympanum. The central door is larger and has, below the tympanum, a lintel.

Pistoia, San Bartolomeo in Pantano – West façade and Top of central door The format of the lintel is very similar to that at San Giovanni Fuorcivitas: there is a broad band of foliage decoration, below which is a lintel with a sculptured scene. The lintel shows the apostles standing between two angles. Each of the apostles has a halo around the head and, apart from St Peter who carries the keys, each carries a book or a scroll. The lintel, not unlike that at Sant’Ilaria in Piacenza, has a dual subject: ‘The Mission to the Apostles’ and ‘The Incredulity of St Thomas’. On the underside of the lintel is an inscription that reads: ‘The worker Rodolfinus. AD 1167’. We have no record that might indicate who Rodolfinus might have been or what role he played in the construction of the church.

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Pistoia, San Bartolomeo in Pantano – Top of door, lintel At the centre is the resurrected Christ, who is giving to each apostle his command to preach and to spread the Word of God. Along the upper edge of the lintel is a long inscription: PAX EGO SVM VOBIS QVO SIT FIRMISSIMA DO BIS CECERNITE DISCRETE QVIA SUM DEVS ECCE VIDETE AMATE EXPVLSIS MORBIS PER CLIMATA QVATVOR ORBIS FONTE SACRO LOTVM MVNDVM CONVERTITE TOTVM. This inscription has been interpreted as referring to the whole building. Below each apostle his name has been inscribed on the edge of the lintel. Included in the line of apostles is Mathias, the replacement for Judas. Facing Christ is St Thomas at the moment when Christ invites the saint to touch him and feel the hole in his side. This lintel is unsigned and, though some consider it to be the work of Biduinus, it is more generally thought to be another work of Graumons on the grounds that the sculpting of the figures and, particularly, their heavy drapery are in keeping with his style. The date of 1167 has been assigned to this lintel.

Pistoia, San Bartolomeo in Pantano – Top of door, lintel, detail Massa-Carrara, San Leonardo al Frigido (now in Cloisters Museum, NY)

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The church of San Leonardo al Frigido is in the extreme North-west of Tuscany near Massa-Carrara. In the late 19th century the West door was removed from the ruined church; it was purchased by the Cloisters Museum, New York in 1962. The elements at Cloisters comprise the two doorposts, two capitals on the door posts, a lintel and a thin archivolt.

San Leonardo al Frigido – Doorway now at Cloisters Museum, NY The lintel has been attributed to the school or workshop of Biduinus. It shows the scene of ‘Christ’s entry into Jerusalem on Palm Sunday’. On the left side is a procession that is following Christ. The sculptor has modelled this on one of the many liturgical processions that were a feature of medieval church ritual.

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San Leonardo al Frigido – Lintel The right side of the lintel shows Christ mounted on an ass. In front of the animal two children are laying garments in the road whilst four other children have climbed up into a tree to get a better view of Christ as he passes by. This is a detail from the imagination of the sculptor; there is no mention of children in the version of the event in the Gospels. The image of the tree with its ‘S’ shaped trunk closely resembles that on the lintel of the central door at San Cassiano a Settimo.

San Leonardo al Frigido – Lintel, detail Some concluding remarks

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In this article we have looked at the lintels of 27 cathedrals, churches and baptisteries; these have, between them, 41 sculptured lintels. The variety of styles and subjects has been considerable. The historical events of the period shaped many in different ways, reflecting the varied local influences and international politics of the times. Art historians have attributed many of the lintels to a specific individual sculptor or to his ‘school’ or workshop. The repertoire of these individuals and workshops extended beyond the lintels of the doorways and it includes the complete decorative programme of the building. This article is therefore not the place in which to analyse the details of style, inspiration and models. That is done very adequately in the references by Dorothy Glass and GH Crichton. The following are those sculptors or workshops that have been identified in the article: Wiligelmus or his workshop: Piacenzo Duomo, left door Modena Duomo, South door Nicholaus (Niccoló) or his pupil: Piacenza Duomo, right door Piacenza, Sant’Ilaria, North door Ferrara Duomo, West door Verona Duomo, West door Antelami: Fidenza Duomo, central door Parma Baptistery, North, South & East doors Biduinus or his workshop: Lacca, San Salvadore in Mustolio, West door and South door Lucca, San Micheletto, West door Lucca, Sant’Angelo in Campo San Leonardo in Frigido Guidetto Bigarelli da Como: Lucca, Ss Giovanni e Reparte, West door Lucca, San Pietro Somaldi, West door Gruamons: Pistoia, Sant’Andrea, East door Pistoia, San Giovanni Fuorcivitas, North door Pistoia, San Bartolomeo in Pantano, central door Amongst the subjects that were used by the sculptors, several were repeated on other church lintels. From the list below it may be seen that subjects were not confined to

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any particular region; they might be used as readily in Lombardy as in Emilia-Romagna or North Tuscany. Examples of those subjects that were used more than once include: ‘Nativity’ on Piacenza Duomo, left door Ferrara Duomo, West door Pisa Baptistery, North door (‘Annunciation’) Pistoia, Sant’Andrea, East façade, central door Life & death of St John the Baptist Parma Baptistery, North door Pisa Baptistery, East door ‘The Mission to the Apostles’ Bergamo, Santa Maria Maggiore, North door Cremona, Santa Maria Assunta, North door Piacenza, Sant’Ilaria, West door Pistoia, San Bartolomeo in Pantano, central door ‘Traditio legis’ Parma, San Michele, South door Lucca, San Pietro Somaldi, Central door ‘Christ’s Entry into Jerusalem’ Lucca, Sant'Angelo in Campo San Cassiano a Settimo, central door San Leonardo al Frigido ‘The Incredulity of St Thomas’ Piacenza, Sant’Ilaria, West door Pistoia, San Bartolomeo in Pantano, central door The Virgin Mary & the Apostles Lucca Duomo, central door Lucca, Ss Giovanni e Reparta, West door In the introduction to this article the importance of Cluny, the ‘Mother’ monastery of the Benedictine movement with its considerable influence on the pilgrimage movements that went to the Holy Land, Rome and Santiago de Compostela, was identified. The transmission of styles, motifs and techniques was a natural consequence of the pilgrimage movement. There were, of course, other activities such as commerce and itinerate entertainers that contributed to the dissemination of the forms of motifs. Travel was not as hazardous and daunting as is sometimes thought. Senior clerics travelled extensively for synods and other formal meetings, to attend consecrations, coronations and even funerals. For some of these events, the cleric might have taken as a gift a manuscript. These were easily portable and frequently contained cycles of scenes and motifs that, in turn, could be disseminated by the recipient, whether an individual or an institution such as a monastery. Similarly noblemen, whether returning from pilgrimage or war, would frequently endow a priory or monastery in gratitude for their safe return. In so doing they might bring with them the memory of a motif or scene that they wished to have replicated.

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Finally, mention has already been made of the analysis carried out by Dorothy Glass of the impact of the conflict between the Papacy and the Imperial authorities. She identified scenes in sculpture that had been commanded to give emphasis to the righteousness of the cause of one or the other. Annex List of the churches with lintels that are described in the article. Lombardy Milan, Sant’Ambrogio Pavia, San Michele Maggiore Bergamo, Santa Maria Maggiore Cremona, Santa Maria Assunta Cremona, Baptistery Emilia Romagna Piacenza, Duomo Piacenza, Sant’Ilaria Fidenza, Duomo Berceto, Duomo Parma Baptistery Modena, Duomo Ferrara, Duomo Veneto Verona, Duomo North Tuscany Lucca, Duomo Lucca, San Michele in Foro Lucca, San Salvador in Mustolio Lucca, San Frediano Lucca, SS Giovanni e Reparta Lucca, San Pietro Somaldi Lucca, San Micheletto Pisa, Baptistery San Cassiano a Settimo, near Pisa Lucca, Sant'Angelo in Campo (Now in Palazzo Mazzarosa, Lucca) Pistoia, Sant’Andrea Pistoia, San Bartolomeo Pistoia, San Giovanni Fuorcivitas Massa-Carrara, San Leonardo al Frigido (Now in Cloisters, New York)

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References:

1. Glass, Dorothy F. ‘The Sculpture of Reform in North Italy ca1095-1130’. Ashgate 2010.

2. http://www.green-man-of-cercles.org/articles/alexander.pdf 3. Crichton, GH. ‘Romanesque Sculpture in Italy’. Routledge & Kegan Paul

1954. 4. Stocchi, Sergio. ‘Emilie Romane; Plaine du Po’. Zodiaque: la nuit des temps

1984. 5. http://green-man-of-cercles.org 6. Glass, Dorothy F. ‘Portals, Pilgrimage and Crusade in Western Tuscany’.

Princeton University Press 1997. Other references consulted:

1. Chierici, Sandro. ‘Lombardie Romane’. Zodiaque: la nuit des temps 1977. 2. Moretti, I & Stopani, R. ‘Toscane Romane’. Zodiaque: la nuit des temps 1982.

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