774 - Sedes Sapientiae

Sedes Sapientiae Auvergne? Before 1200 Basalt The body is probably original; the stone was reworked at a later date Height 72 cm, width 23.5 cm, depth 25 cm Romanesque sculpture in France developed a powerful visual language in which sculptural unity, clear order and expressive stylisation served to convey religious themes. Alongside the extensive iconographic programmes on church portals and capitals, sculptural devotional and cult images held particular significance. Among these, the enthroned Madonnas of Auvergne occupy a prominent place. Their frontal posture and solemn stillness evoke the timeless dignity of the Mother of God and her Child. The present depiction follows the iconographic type known as Sedes Sapientiae, the ‘Throne of Wisdom’: Mary sits on a throne and becomes, in turn, the living throne of Christ, who is understood as divine wisdom made flesh. The Child is already depicted here as the Son of God, blessing and teaching. The book in his hand refers to the divine Word and emphasises this theological significance. This iconographic type was particularly widespread in 12th-century France. Mary and the Child sitting on her lap are completely enveloped in long robes. The upright posture of the Mother of God and the enclosed silhouette lend the group a austere, almost architectural effect. This order is enlivened somewhat by the Child’s lateral position on Mary’s left knee. Whilst both figures look straight ahead, the mother’s left hand, which encircles the Child’s shoulder, establishes a direct connection between them. Her right hand would originally have held an attribute. The elaborately designed throne deserves particular attention. Its backrest features a structure reminiscent of Romanesque round-arched architecture. Four small figures, appearing to be seated or kneeling, form the supports of the throne; even their robes are distinguished by rounded bowl folds. Within the composition, they act as supporting figures and emphasise the significance of the Mother of God enthroned above them. A further identification as the Evangelists or their interpretation as protective, apotropaic figures would be possible. Over her dress, Mary wears a richly ornamented cloak. Zigzag lines and rows of dots characterise the borders and are reminiscent of lavishly decorated textiles. The bird motif appearing on the front, which is ‘ ’, complements this decoration. An interpretation as the dove of the Holy Spirit would be fitting; however, it could also simply serve as a decorative ornament. On the reverse, there is a cross-shaped symbol and, in the shoulder area, a figure-eight-shaped loop motif reminiscent of the infinity symbol. Long, almost parallel folds structure the body and, in places, cascade down like fluting towards the base, beneath the hem of which the feet become visible. Straight and bowl-shaped folds enrich this linear composition. The veil merges visually with the robe; beneath it, individual strands of hair emerge on the forehead. Mary’s elongated face is characterised by prominent brow ridges, large almond-shaped and three-dimensionally protruding eyes, a straight nose and a pronounced philtrum. The wide, closed mouth and the small dimple on the chin reinforce a rather stern expression. The Christ Child echoes key features of his mother’s physiognomy. His hair is divided into short, distinctly separate strands. His right hand is raised in a gesture of blessing or speech, whilst his left hand holds the book. A dot pattern at the neckline of the robe and numerous crease lines also lend his clothing an ornamental structure. Individual surface details were probably retouched at a later date. This must be distinguished from the basic sculptural composition: the compact structure, the hieratic posture and the close grouping of the throne, mother and child suggest an older, possibly Romanesque core. The proposed dating to before 1200 therefore refers to this presumed original core. The precise identification of later alterations remains to be determined through an examination of the stone’s surface, the tool marks and the state of preservation. Several enthroned Madonnas from the Auvergne can be cited as comparable works from the same period. The ‘Vierge en Majesté’, created around 1150 and now in the Musée du Louvre in Paris (Inv. No. RF 987), exemplifies this iconographic type in a version carved from walnut. Another point of reference is the ‘Virgin and Child in Majesty’ at the Metropolitan Museum of Art in New York, dated to around 1175–1200 (Inv. No. 16.32.194a, b). Its compact composition and the solemn presentation of the Child illustrate the pictorial principles to which the present group also adheres. Both works should be regarded as typological comparators. In addition, the ‘Virgin and Child in Majesty’ from Auvergne, now in the Cleveland Museum of Art, c. 1150–1200 (Inv. No. 2012.52), is worth mentioning. Its linearly arranged drapery and emphasised frontal orientation demonstrate the importance of contour and the ornamental rhythm of the folds within this group of figures. Although the comparative works mentioned are made of wood, they illustrate the artistic and religious context within which their basic conception must be viewed. The particular impact of this Sedes Sapientiae lies in the combination of the strictly ordered image of the Virgin Mary with an unusually richly decorated figural throne. In its cohesive form, it embodies a central idea of medieval Marian devotion: Mary as the bearer and mediator of the divine Word made flesh.