IMC 2018: Sessions

Session 1045: At the Cutting Edge of Digital Memory: The Online Corpus of Romanesque Sculpture in Britain and Ireland - Post-Conquest Carving at Your Fingertips, I

Wednesday 4 July 2018, 09.00-10.30

Sponsor:Corpus of Romanesque Sculpture in Britain & Ireland (CRSBI)
Organiser:Jill A. Franklin, Corpus of Romanesque Sculpture in Britain & Ireland (CRSBI), London
Moderator/Chair:Ron Baxter, Corpus of Romanesque Sculpture in Britain & Ireland (CRSBI), London
Paper 1045-aArchitecture and Memory: The Re-Use of Romanesque Sculptural Fragments
(Language: English)
Toby J. Huitson, School of History, University of Kent
Index terms: Architecture - Religious, Art History - Sculpture
Paper 1045-bSpot the Altar: Locating the Liturgy in the Romanesque Parish Church
(Language: English)
James Alexander Cameron, Independent Scholar, Blackpool
Index terms: Architecture - Religious, Art History - Sculpture, Liturgy
Paper 1045-cBaptismal Fonts, I: Ornament as Monument - A Family of Elaborately Decorated Romanesque Fonts in Victorian Churches in Norfolk
(Language: English)
Jill A. Franklin, Corpus of Romanesque Sculpture in Britain & Ireland (CRSBI), London
Index terms: Architecture - Religious, Art History - Sculpture
Abstract

Mainland Europe’s connection with Britain and Ireland became arterial during the art-historical period dubbed Romanesque, a pejorative term coined by antiquaries, dismissing the pan-European architectural styles of the 11th and 12th centuries as ‘sub-Roman’. Though adumbrated by classical forms, Romanesque architecture was innovative, notably as a matrix for carved ornament. A post-conquest building boom in Britain combined with a shift in liturgical practice to produce a skilled workforce and an increasingly articulated and perforate masonry architecture: columnar and arcuated, its inter-connecting nodes of focal interest- arcades, capitals, imposts, voussoirs, doorways- called for distinctive carved embellishment. What survives, be it figural, foliate or geometric, on buildings and on furniture, ranges from the unsophisticated to the exquisite, the finest rendered with the delicacy of carved ivory and metalwork. The Corpus of Romanesque Sculpture in Britain and Ireland (CRSBI) is using interactive digital technology to construct a scholarly database of the stone carving created during the century following the Norman Conquest. Launched with British Academy support, CRSBI, an illustrated online record of the Romanesque sculpture surviving at over 5000 sites, is both searchable and free to use. These papers, by contributors to the database, demonstrate its research potential.