By Michael Greenhalgh
It is a vast survey of some of the structural and ornamental makes use of of marble and antiquities during the Mediterranean in the course of the Millennium following the Emperor Constantine. The heavy footprint of Roman civic and non secular structure helped offer beautiful and plush construction fabrics, re-used to build assorted and infrequently subtle monuments. The booklet argues that marble-rich websites and towns round this lake have been associated at numerous occasions and in various levels by means of exchange, pilgrimage, warfare and international relations, in addition to via the imperatives of faith - Venice to Alexandria, Damascus to Cordoba. Aachen makes much less feel regardless of Rome or Jerusalem; Damascus with no Kairouan; Istanbul with out Cairo. To accompany the illustrations within the textual content, the DVD behind the publication includes over 5,000 photos, including discussions which expand quite a few arguments within the published e-book.
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Additional info for Marble Past, Monumental Present: Building With Antiquities in the Mediaeval Mediterranean (The Medieval Mediterranean)
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573: for Hildebert of Lavardin, Archbishop of Tours (1056–1133), the city’s structures are immortal, “and cannot be erased by time, or any other natural or human forces”. , “The Arabs and the Colossus,” JRAS series 3 6 1996, 165–87: the multiple stories about its destruction by the Arabs can be traced to one unreliable source, so is a legend originating in an apocalyptic metaphor. 83 Stansbury, Mark Jackson, Collected works. “Spolia” and Latin textual culture, 500–900, PhD (Boston College 2002), 1–6 for the disentangling of Bede, and 6ff for the relationship of such writing to architectural re-use.
Thus at S. Vincenzo al Volturno, the 9th century rooms have dadoes “painted in imitation of panels of polished stone revêtment, with diagonal undulant veining . . ”114 Such substitution was common,115 even in marble-rich environments such as Pomposa, where one of the monastery rooms has highly unlikely-looking painted “precious” marbles for the dado. Stucco116 was another material that could imitate marble, not least because powdered marble was often one of its ingredients. ’119 Often, the marble veneer provided colour and gloss, while the stucco above provided relief sculpture, as in S.
So that in spite of his writings,85 we do not know what Abbot Suger thought about marble use, column sources, or the aesthetics of re-use and their place in church regeneration—any more than it is clear just what Bernard of Clairvaux did not like about trends in sculpture in his age. If, as Del Bozzo affirms,86 the same red and grey brecchia found in Haghia Sophia is also to be seen in fonts in S. Marco and in the Duomo in Lucera, was the sophisticated mediaeval connoisseur of marble expected to draw some message from such parallels?