1-2 of 2 results  for:

  • Medieval Art x
  • Installation Art, Mixed-Media, and Assemblage x
Clear all

Article

Stephen T. Driscoll

Scottish royal centre in Perthshire, which reached its zenith in the late Pictish period (8th–9th centuries ad) and is the source of an assemblage of high quality ecclesiastical sculpture. Occupying the fertile heart of Strathearn, Forteviot has been more or less in continuous use as a ceremonial centre since the 3rd millennium bc and is the focus of élite burials from the Early Bronze Age (c. 1900 bc) through to the Pictish era. Cinead mac Alpín (Kenneth mac Alpine), the king traditionally identified with the foundation of the Gaelic kingdom of the Scots, died at the palacium (palace) of Forteviot in ad 858. It was eclipsed as a royal centre by Scone in ad 906, but remained a significant royal estate until the 13th century.

The only surviving fabric of the palace is a unique monolithic arch, presumably a chancel arch, carved with three moustached Picts in classical dress flanking a crucifix (now in the Royal Museum of Scotland, Edinburgh). Fragments of at least four additional sandstone crosses indicate the presence of a major church, perhaps a monastery. The celebrated Dupplin Cross (now in Dunning Church) originally overlooked Forteviot from the north. This monolithic, free-standing cross (2.5 m tall) bears a Latin inscription naming Constantine son of Fergus, King of the Picts (...

Article

Roger Lehni

Pilgrimage and parish church in Alsace, France. It contains an important assemblage of late medieval art. Towards the end of the 13th century a relic of St Ubaldo, Bishop of Gubbio (d 1160), was brought to Thann; the saint was given the name of Thiébaut (Theobald), and his remains, it was claimed, began to work miracles. He was seen as a universal miracle-worker, invoked throughout the Holy Roman Empire. With the encouragement of the Habsburgs and a rise in pilgrimage in the 14th and 15th centuries, a large church was begun c. 1330, becoming collegiate in 1442. The church shows the influence of the Parler workshop: it has no transept, an aisled nave of four bays, a rib-vaulted choir (consecrated 1422) as long as the nave and flanked by a tower, and a western portal with a triple tympanum. The Late Gothic north aisle was built from ...