| Abstract | Paper -a:
Vikings were Scandinavian seafaring warrior who occupied vast areas of Europe (850-1050). Their vigorous exuberance was highly expressed in conventionalised animal ornamentation with categorisation of Jelling/Mammen/Ringerike/Urnes styles. After the arrival of Christianity to Norway in the 11th century, the stave wooden churches (1000-1550) became the country's most significant contribution to the corpus of European medieval art. Of hundreds' church buildings, Urnes has the oldest and most elaborately decorated with high quality craftsmanship and exquisite wood carving. Particularly its portal displays intricate vegetal and geometric patterns. The paper discusses of architectural ornamentation in the 28 surviving churches inspired by the Romanesque.
Paper -b:
This paper examines what structures, often called chapels, were used for, who used them and when in the dioceses of Sodor and Galloway. It will seek to demonstrate how these structures diversified religious practice in the parish, both supplementing and complimenting the functions of the parish church. I will also present a preliminary typology of chapels, the purpose of which is to determine the function and use of chapels. I will assess whether the current typology of four chapel types is suitable for Sodor and Galloway. In particular, it will discuss how we can assign undocumented archaeologically recorded sites to the typology.
Paper -c:
Dating of building campaigns in Burgundian architectural sculpture can be difficult due in part to limited extant documentation. Many iconographical programs used in and on religious architecture were based on sacred narrative themes. Through comparisons of the iconographical programs on existing buildings against standard themes and with other related examples, a researcher may detect inconsistencies or omissions within a given example. The missing or incongruous elements may be used as tool by the researcher in dating campaign sequences. This paper analyzes four examples of Romanesque portal sculpture in Burgundy, comparing them with each other and against the standard themes previously identified by medieval scholars, in an effort to reveal irregularities. These irregularities help identify combinations of elements that may have been separated either by time, atelier or both.
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