L'eglise saint-pierre de nant (aveyron) et la sculpture du onzieme siecle dans le midi de la france
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Abstract EN:
SAINT PETER OF NANT PRESENTS A CATELOGUE OF ORIGINAL FEATURES : POLYGONAL APSE AND APSIDAL CHAPELS, THE SYSTEMATIC USE OF DOUBLE COLUMNS, BLIND ARCADES. IT HAS A RICH SCULPTURAL DECORATION. AS WITNESS ONE HUNDRED TWENTY-THREE CAPITALS WHICH ARE STILL IN PLACE, DOMINATED BY THE THEME OF GEOMETRIC INTERLACE AND PALM LEAVES. THIS ARCHTECTURAL AND SCULPTURAL VOCABULARY BORROWS FREELY FROM CLASSICAL, PALEOCHRISTIAN OR PREROMANESQUE SOURCES, WHILE TAKING ITS PLACE WITHIN THE ARTISTIC RESEARCH OF THE ELEVENTH CENTURY. MY THESIS LEADS TO A PRECISE DATING OF THE VARIOUS PHASES OF BUILDING AND SCULPTURE OF SAINT PETER OF NANT. WHICH WERE CARRIED OUT IN THEREE PERIODS RUNNING FROM ONE THOUSAND SEVENTY TO ABOUT ELEVEN HUNDRED FOURTY. TH THESS CONFIRMS THE strengthS OF SOUTHERN INFLUENCES ON THE ART OF THE ROUERGUE REGION AND BEARS WITNESS TO THE VITALITY OF THAT SOUTHERN CULTURAL ENTITY, WHICH EXTENDS FROM CATELONIA TO THE BORDERS OF THE AUVERGNE. FINALLY THE THESIS SHEDS NEW LIGHT ON THE ROLE, IN THE ELEVENTH CENTURY, OF MEDITERRANEAN SOUTHERN SCHOOLS OF SCULPTURE, PARTICULARY THE SOUTHWESTERN MARBLE WORKERS, AND IT EMPHASIZES THE IMPORTANCE OF MONUMENTS SUCH AS SANT PERE DE RODES IN CATELONIA, CONQUES AND NANT IN THE ROUERGUE, IN THE FLOWERING OF CAPITALS OF GEOMETRIC INTERLACE AND PALM LEAVES STYLE.
Abstract FR:
L'eglise saint-pierre de nant offre un repertoire de formules originales : abside et absidioles polygonales, emploi systematique de colonnes jumelles, arcatures murales. Elle comporte un riche decor sculpte, dont temoignent cent vingt-trois chapiteaux encore en place ou domine le theme de l'entrelacs et de la palmette. Ce vocabulaire architectural et sculptural emprunte largement aux sources antiques, paleochretiennes ou preromanes, tout en s'inscrivant dans les recherches du onzieme siecle. Cette these debouche sur une datation precise des differentes campagnes de construction et de sculpture de l'eglise saint-pierre de nant qui se sont deroulees en trois phases s'echelonnant de mille soixante-dix a mille cent quarante environ. Elle confirme la force des apports meridionaux a l'art rouergat et temoigne de la vitalite de cette aire culturelle meridionale qui s'etend de la catalogne aux fonfins de l'auvergne. Elle claire enfin d'un jour nouveau le role, au onzieme siecle, des foyers de sculpture du midi mediterraneen, en particulier des marbriers septimaniens, et souligne l'importance d'edifices comme sant pere de rodes en catalogne, conques et nant en rouergue, dans l'epanouissement surles chapiteaux du style a entrelacs et palmettes.