By Stefano Zuffi
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Extra resources for Giorgione
55, 57, quoting from the Epitome of Helgaud's Life of King Robert, and the History of the Translation of the Relics of Saint Euspicius. On the question as — a whole, cf. L. Brehier, L'art en France ... p. 140. THE ART OF THE WEST 24 dominated and moulded by a unified architectural thought. cannot be said It that the sculptors of the period lacked the capacity for figure for monumental stone sculpture was still dormant in the —the —but the taste work displayed in great numbers of lovely ivories proves the contrary skill West, though certain Asiatic Christian communities were already creating, especially in the Trans- caucasian churches, important figures which hid the stone beneath biassed Middle Age, hung and grand compositions.
V THE ART OF THE WEST 26 was to establish the Western type of monarchy as far afield as Syria. On the death of Al-Mansour the caliphate of Cordova disintegrated into Berber, Slavonian and —the 'kingdoms of the Spain was built up by leaders — Sancho the Great, Alfonso VI —who, with the collaboration of Cluny, Andalusian principalities The strength of Christian taifas'. 'rex Iberorum', into the Western system, and who, despite political geography for centuries to rivalries Ferdinand I, reassimilated the country and partitions, defined its come; their work was crowned in 1085 by the capture of Toledo, the ancient capital of the Goths.
It might appear that the components of Romanesque art were already present in this period, and that the beginnings of that art must therefore be put back beyond the eleventh century to the advent of the Carolingian architects. Yet, however important the groundwork which they laid, however interesting their experiments and however promising their results, they left untouched the problem of vaulting in stone the great basilican naves, together with the associated problems of abutment and direct lighting.