Session Title

New Research in Medieval Parish Church Art and Architecture III: Placement and Mapping in Medieval Parish Churches

Sponsoring Organization(s)

Special Session

Organizer Name

Sarah Blick

Organizer Affiliation

Kenyon College

Presider Name

Catherine E. Hundley

Presider Affiliation

Kenyon College

Paper Title 1

Mapping the Trade in Art with Digital Tools: Altarpieces in the Swiss Alps

Presenter 1 Name

Joan A. Holladay; Christine James Zepeda

Presenter 1 Affiliation

Univ. of Texas-Austin; Univ. of Texas-Austin

Paper Title 2

The Deposition from the Cross in the Pyrenees: Between Painting and Sculpture in the Catalan Parish Church

Presenter 2 Name

Anabelle Gambert-Jouan

Presenter 2 Affiliation

Yale Univ.

Start Date

9-5-2020 3:30 PM

Session Location

Schneider 1160

Description

Medieval parish churches, though created as placed to celebrate the liturgy, became true community centers. Parishioners would agree on business deals at the church door, hold village celebrations in the churchyard, and paid taxes, organized poor relief, lent out plows, placed fire-fighting equipment and agreed-upon weights and measures, and stored important documents in the nave and tower. Because villagers had reasons to enter the church almost every day, artist and patrons sought to create compelling visual images that would continue to engage the parishioners over many years.

These sessions seek papers that explore new approaches to some very old architecture, sculpture, painting, and other church furnishings. Why were certain plans acceptable and others ignored? What determined the placement of windows, doors, ceiling openings, and trapdoors and how did that change throughout the centuries? How did artists respond to increased demand from pious laypeople for intense, emotional devotion, but in a public space through ever-changing decorative programs?

Sarah Blick

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May 9th, 3:30 PM

New Research in Medieval Parish Church Art and Architecture III: Placement and Mapping in Medieval Parish Churches

Schneider 1160

Medieval parish churches, though created as placed to celebrate the liturgy, became true community centers. Parishioners would agree on business deals at the church door, hold village celebrations in the churchyard, and paid taxes, organized poor relief, lent out plows, placed fire-fighting equipment and agreed-upon weights and measures, and stored important documents in the nave and tower. Because villagers had reasons to enter the church almost every day, artist and patrons sought to create compelling visual images that would continue to engage the parishioners over many years.

These sessions seek papers that explore new approaches to some very old architecture, sculpture, painting, and other church furnishings. Why were certain plans acceptable and others ignored? What determined the placement of windows, doors, ceiling openings, and trapdoors and how did that change throughout the centuries? How did artists respond to increased demand from pious laypeople for intense, emotional devotion, but in a public space through ever-changing decorative programs?

Sarah Blick