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principles of natural form or space. In contrast to sculptors who were more concerned with placing material beings in a three-dimensional space, the Saint-Génis artist created a sculpture that corresponded more closely with ancient relics or altar frontals. Ultimately, the Saint-Génis lintel was a springboard in the tradition of architectural sculpture and by the twelfth century, such portal carvings became a standard feature of church entrances and facades.
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The cloister was built in the 13th century, and was already completed in 1271. It has been supposed that a cloister existed here before, which would be the one depicted near the figures in the portal architrave, but no traces of it remain. The capitals supporting the 13th century cloister are in late
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The 1153 enlargement, with the addition of the vaulted ceiling over the transept and nave, led to the reconstruction of the walls in order to support the additional weight of the roof vaults. The ceilings of the apses were also modified and decorated with frescoes, of which only a few traces remain
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of Liébana. The Saint-Génis lintel of Christ and the apostles is the oldest, preserved architectural example of sculpted
Apocalyptic iconography. Prior to the dissemination of eleventh century manuscripts, the iconography of Christ in Majesty can be traced to ancient images of the enthroned ruler.
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started to appear on almost every church building. The apostles, set into
Mozarabic horseshoe arches, are reminiscent of early Christian sarcophagi in their occupation of architectural space; however, the Saint-Génis figures are purely decorative in their two-dimensionality and do not conform to
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The Christ in
Majesty is an Apocalyptic theme that became a common icon depicted in church portals beginning in the early eleventh century in Catalonia. Throughout the eleventh century, people in northern Spain and southern France were exposed to Apocalyptic iconography through widely circulated
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The image of Christ in
Majesty set above the portal of the Church is an appropriate choice of iconography as it reminds humble worshippers that they are entering God's home. As a result of the Saint-Génis lintel, such visual manifestations of God in the eyes of humans or
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The abbey church was most likely built at the same time as the original monastery, in the 8th century. Of the original church there remain some of the foundation structures, which show its plan to have included a main apse and two deep side apses, with a long transept.
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The exterior has two bell towers from different ages. The larger one is located next to the transept and nave. The façade has several
Romanesque sculptures and tombstones of monks and local notables. The main portal has an
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74:. The abbey church was enlarged and re-consecrated in 1153. In the 13th century it gained a marble cloister on the north-eastern side. Subsequently the abbey declined, and in 1507 was united with
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The monastery is recorded for the first time in 819, in a document mentioning its abbot, Sentimir. Plundered and destroyed, it was rebuilt by order of King
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was 1020-21. A similar sculpture, perhaps by the same artist, is also present in the Abbey of St. Andrew, 4 km from Saint-Génis-des-Fontaines Abbey.
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with bas-reliefs commissioned by abbot
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Romanesque style. It has been suggested that they could originally have been painted.
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The
Allegory of the Church: Romanesque Portals and Their Verse Inscriptions
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and flanked by two groups of three figures under arcades of
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L'abbaye romane de Sant-Genis que l'on dit "des
Fontanes"
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Chavannes-Mazel, Claide A. (2009). "Charisma-Czaczkes".
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12th-century Roman
Catholic church buildings in France
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Christian monasteries established in the 8th century
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Carolingian and
Romanesque Architecture, 800 to 1200
268:. Toronto: University of Toronto Press. p. 187.
51:, to whom the surviving church is still dedicated.
286:. New Haven: Yale University Press. p. 118.
306:. Berlin and Boston: De Gruyter. p. 303.
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422:Monuments historiques of Pyrénées-Orientales
304:Encyclopedia of the Bible and Its Reception
432:Tourist attractions in Pyrénées-Orientales
66:Later it came under the protection of the
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326:(2nd ed.). Routledge. p. 165.
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25:Saint-Génis-des-Fontaines Abbey
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282:Conant, Kenneth John (1978).
126:. In the middle is portrayed
156:Commentary on the Apocalypse
264:Kendall, Calvin B. (1998).
102:today. The church kept the
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322:Stokstad, Marilyn (2004).
33:Saint-Génis-des-Fontaines
153:manuscripts such as the
108:Romanesque architecture
341:Boulet, Louis (2000).
43:. It was dedicated to
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383:42.54333°N 2.92194°E
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357:Images of the abbey
147:Robert II of France
134:, supported by two
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388:42.54333; 2.92194
185:Lintel 11th ctry.
128:Christ in majesty
83:French Revolution
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104:Latin Cross
81:During the
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371:42°32′36″N
251:References
221:Main altar
136:archangels
120:architrave
374:2°55′19″E
166:theophany
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31:abbey in
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132:mandorla
114:altars.
63:in 981.
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112:Baroque
55:History
161:Beatus
41:France
130:in a
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