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Journal articles on the topic 'Sainte-Foy de Conques. Church'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Laffin, Josephine. "What Happened to the Last Judgement in the Early Church?" Studies in Church History 45 (2009): 20–30. http://dx.doi.org/10.1017/s0424208400002382.

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The Last Judgement was one of the most important themes in Christian art from the twelfth to the sixteenth centuries. It can be found in glittering mosaics on the west wall of the cathedral on the island of Torcello in the Venetian lagoon, on the sculptured centre portal of the west façade of Notre Dame in Paris, in Luca Signorelli’s haunting frescos in the Chapel of the Madonna of San Brizio in Orvieto, and in Michelangelo’s masterpiece in the Sistine Chapel. Numerous other churches had their own ‘dooms’. A dramatic but not untypical example from the twelfth century can be found above the ent

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2

Yarnykh, Vera. "The knight’s fall: personification of Pride in Southern French hagiography and iconography of the 11th — early 12th centuries." St. Tikhons' University Review 115 (December 25, 2023): 11–23. http://dx.doi.org/10.15382/sturii2023115.11-23.

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The paper explores the dismounted knight as the personification of Pride in the context of Southern French art and hagiography of the 11th–12th centuries. This motif is based on the Psychomachia, the Late Antique allegorical poem by a 4th-century Christian poet Prudentius that visualizes a series of combats between Virtues and Vice. The key point in the sequence is the battle between Humility and mounted Pride culminating in the fall of the latter into the pit. The metaphor of Pride brought low literally visualized as the fall of a proud she-warrior from her steed resonates in the literature o

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3

Taralon, Jean, and Dominique Taralon-Carlini. "La Majesté d'or de Sainte Foy de Conques." Bulletin Monumental 155, no. 1 (1997): 11–73. http://dx.doi.org/10.3406/bulmo.1997.872.

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4

Barral i Altet, Xavier. "La restauration de la façade de Sainte-Foy de Conques." Bulletin de la Société Nationale des Antiquaires de France 1995, no. 1 (1997): 378–79. http://dx.doi.org/10.3406/bsnaf.1997.11373.

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5

Pentcheva, Bissera V. "The Virgin Mary and Sainte-Foy: Chant and the Original Design of the West Façade at Conques." Religions 13, no. 12 (2022): 1229. http://dx.doi.org/10.3390/rel13121229.

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Using the evidence of Aquitanian chants, this article explores the possibility that a twelfth-century relief panel of the Annunciation today in the interior of Conques was originally designed for the West facade, where it completes the composition of the divine plan of Salvation. This hypothetic reconstruction also uncovers the important role of the patron saint, Sainte-Foy, and how she is promoted as second after Mary and efficacious intercessor.

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6

Bonnassie, Pierre, and Frédéric Gournay (de). "Sur la datation du Livre des miracles de sainte Foy de Conques." Annales du Midi : revue archéologique, historique et philologique de la France méridionale 107, no. 212 (1995): 457–73. http://dx.doi.org/10.3406/anami.1995.2489.

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7

Fau, Jean-François. "Aveyron. Au sujet des objets d'origine islamique du trésor de Sainte-Foy, à Conques." Bulletin Monumental 160, no. 2 (2002): 187–89. http://dx.doi.org/10.3406/bulmo.2002.1106.

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8

Fray, Sébastien. "Discours hagiographique et réalité sociale : le cas des miracles de sainte Foy de Conques." Les colloques de la Société de Langueset Littératures médiévales d’Oc et d’Oïl 25 (January 29, 2025): 299–312. https://doi.org/10.47421/sllmoo_25_299-312.

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9

Sansterre, Jean-Marie. "Attitudes occidentales à l'égard des miracles d'images dans le Haut Moyen Age." Annales. Histoire, Sciences Sociales 53, no. 6 (1998): 1219–41. http://dx.doi.org/10.3406/ahess.1998.279721.

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A la fin du 10e ou dans la première moitié du 11e siècle, un Christ en croix pleure à Orléans, annonçant de la sorte un grand incendie ; d'autres crucifix opèrent des guérisons à Cologne et à Ratisbonne ; on montrait à Autun, là aussi sur un crucifix, une effigie du Christ qui longtemps auparavant s'était inclinée devant un saint moine lui-même élevé au-dessus du sol ; on racontait à Saint-Gall que la Vierge avait jadis guidé la main d'un moine du monastère en train de ciseler son portrait à Metz ; à Châtillonsur- Loire une statue de la Vierge échappe miraculeusement au feu ; et une statue rel

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10

Tanton, Kristine. "The Sacrifice of Isaac Capitals at Sainte-Foy at Conques and Saint-Seurin at Bordeaux." Religions 15, no. 4 (2024): 465. http://dx.doi.org/10.3390/rel15040465.

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The period between 1080 and 1160 saw an explosion in monastic construction throughout Western Europe. The textual sources from this period document this building boom and explicitly tie construction and refurbishment to monastic reform and the creation of spaces for spiritual renewal. Newly built or remodeled monasteries and churches were richly decorated with wall paintings and monumental sculpture and inscriptions. A new form of sculpture emerged during this period of increased construction—the historiated capital. Despite their small size, capitals in the eleventh and twelfth centuries were

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11

Újvári, Edit. "Stone Pipe and Metal Container: Design Semiotic Analysis of Sacral Objects." Disegno 6, no. 2 (2022): 60–73. http://dx.doi.org/10.21096/disegno_2022_2eu.

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Design or the designer’s activity is not only designing an object, but also a complex mode of socialcultural relations and environmental situations. This paper focuses on the semiotic analysis of two historical examples where László Moholy-Nagy’s views ([1946] 1971)—which I interpret as “form adjusting itself to society”—are perfectly applicable. One object included in the design semiotic analysis is a Lakota ceremonial pipe, and the other is a sacral object of European Medieval culture, the Sainte-Foy reliquary of Conques. In both cases, the analysis is centred around formal and functional el

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12

Renoue, Marie. "Lux et lumina." Figures de l'Art. Revue d'études esthétiques 17, no. 1 (2009): 145–56. http://dx.doi.org/10.3406/fdart.2009.873.

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Dotée de la fausse évidence que lui confèrent son statut et son omniprésence dans le monde des “voyants” que nous sommes, la lumière semble pourtant difficile à appréhender et à apercevoir. La richesse des valeurs qui lui sont culturellement attachées nous a incitée à limiter notre étude à celle d’un paradigme expressif et à un univers sémantique et symbolique particulier mais extraordinairement complexe : celui des lumières d’églises chrétiennes. Dispositifs de visibilité multipliant ou variant les sources, les formes et les effets lumineux, les églises, leurs parois et leurs vitraux modalise

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13

Cazes, Quitterie. "Recherches sur les origines du chevet de Saint-Sernin de Toulouse." Bulletin Monumental 178, no. 1 (2020): 139–48. https://doi.org/10.3406/bulmo.2020.13799.

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Ein genauer Grundrissvergleich zwischen Sainte-Foy von Conques und Saint-Sernin von Toulouse macht deutlich, dass der Architekt des zweiten Baus den ersten zum Vorbild genommen hat. Die beiden Grundrisse sind deckungsgleich, indessen aber nur teilweise : der Architekt hat gewisse Elemente (Joche, Pfeiler, Chorhaupt usw.) sowie ein Schema des Gesamtaufbaus vermessen. Diese Feststellung regt dazu an zu prüfen, ob es denn nicht möglich wäre, Verbindungskriterien gleicher Art zwischen beiden Kirchen zu identifizieren und darüber hinaus, zwischen – einerseits – den frühesten Bauten mit Umgang und K

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14

Vergnolle, Éliane. "Les tribunes de chevet dans l’architecture romane du début du XIe siècle." Bulletin Monumental 178, no. 1 (2020): 103–19. https://doi.org/10.3406/bulmo.2020.13797.

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Der Längsschnitt und die Choransicht, die 1726 für Montfaucon angefertigt wurden, zeigen in der Apsis einen dreiteiligen Aufriss. Ein Vergleich mit späteren Bauten – Sainte-Foy von Conques und Saint-Sernin von Toulouse – erlaubt, das mittlere Register als Emporenregister zu identifizieren. Die Suche nach Vorgängern dieser Lösungsart ist heikel, da mögliche Schlüsselbauten wie Sankt Martin von Tours oder die Kreuzkathedrale von Orléans verloren und nur durch partielle Grabungen bekannt sind. Indessen zeigen mehrere Umgangschöre des beginnenden 11. Jhs., die im Aufriss erhalten sind und die in w

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15

Kim, Haeng-Ji. "The Ultra-Black Paintings by Pierre Soulages and the Stained Glass for the Abbey of Sainte-Foy de Conques." Journal of Art and Culture Studies 25 (April 30, 2023): 5–44. http://dx.doi.org/10.18707/jacs.2023.04.25.5.

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16

Schmitz-Esser, Romedio. "Beate Fricke, Fallen Idols – Risen Saints. Sainte Foy of Conques and the Revival of Monumental Sculpture in Medieval Art, trans. Andrew Griebeler. Studies in the Visual Cultures of the Middle Ages, 7. Turnhout: Brepols, 2015, 282 S." Mediaevistik 32, no. 1 (2020): 369–71. http://dx.doi.org/10.3726/med.2019.01.68.

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Dies ist die von Andrew Griebeler durchgeführte Übersetzung des deutschen Titels Ecce fides. Die Statue in Conques, Götzendienst und Bildkultur im Westen, die 2007 erstmals erschien. Wie der Übersetzer bereits in seinem Vorwort bemerkt, stellt diese Übersetzung zwar keinen neuen Forschungsstand her, doch entstand die Übersetzung in enger Zusammenarbeit mit Beate Fricke, so dass ein neuer, der englischen Sprache angepasster Text entstand. Für den deutschsprachigen Leser ergibt sich damit kein erheblicher Vorteil, ist das Original doch nicht nur in der eigenen Muttersprache erhältlich, sondern m

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17

Foulon, Jean-Hervé. "Les reliques et miracles de sainte Foy de Conques. Dévotion, contestation et enjeu de pouvoir entre terre et ciel au XIe siècle." Cahiers de Fanjeaux 53, no. 1 (2018): 267–94. http://dx.doi.org/10.3406/cafan.2018.2289.

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18

Remensnyder, Amy G. "Un problème de cultures ou de culture ? La statue-reliquaire et les joca de sainte Foy de Conques dans le Liber miraculorum de Bernard d'Angers." Cahiers de civilisation médiévale 33, no. 132 (1990): 351–79. http://dx.doi.org/10.3406/ccmed.1990.2477.

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19

Allios, Dominique. "X. Barral i Altet, Il cantiere romanico di Sainte-Foy de Conques. La ricchezza, i miracoli e le contingenze materiali, dalle fonti testuali alla storia dell'arte." Hortus Artium Medievalium 25, no. 1 (2019): 233–35. http://dx.doi.org/10.1484/j.ham.4.2019024.

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20

Karge, Henrik. "Early Studies in Romanesque Architecture and the Discovery of the Pilgrimage Routes to Santiago de Compostela." Ad limina XVI-1, no. 16-1 (2025): 65–90. https://doi.org/10.61890/adlimina/16.1.2025/02.

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Since Émile Mâle’s book L’art religieux du XIIe siècle en France (1922) and Arthur Kingsley Porter’s ten-volume work Romanesque Sculpture of the Pilgrimage Roads (1923), the pilgrimage routes to Santiago de Compostela have been the subject of many studies on medieval culture. In the nineteenth century, the early days of art history as an academic discipline, the situation was quite different: the architectural heritage of the Middle Ages in France and Spain was almost exclusively studied in a national context, with the Islamic culture of Al-Andalus being the main focus in Spain. An important i

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21

Yang, Shu. "How Do Building Materials Obtain Their Multiple Cultural Meanings Through Architecture." Communications in Humanities Research 48, no. 1 (2024): 112–22. https://doi.org/10.54254/2753-7064/2024.18754.

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Building materials are transformed from ordinary objects into significant cultural symbols through the work of designers in architecture. The cultural significance embedded in these materials can be perceived through the buildings constructed from them. At present, most of the research on the meaning of materials is concentrated in the field of design, while most of the research on building materials stays on the discussion of the use of materials themselves. This article will analyze two representative buildings from different cultures and materials: the stone Sainte-Foy Church from medieval

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22

Weisz, Attila, and Zsolt Kovács. "Medieval stone carvings from the Castle of Borosjenő (Ineu, Arad County, Romania)." Acta Historiae Artium 63, no. 1 (2023): 9–34. http://dx.doi.org/10.1556/170.2022.00002.

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The castle of Borosjenő (Ineu, Romania), which is largely Renaissance in form, also displays important architectural phases from before and after this period. During the on-site art historical research of 2016 and 2019 it was an especially important task removing numerous Romanesque, pre-1200 carvings in secondary use as building material. The (majority of) carvings we have identified most likely originated in the monastery of Dénesmonostora (Dienesmonostora), which once stood near Borosjenõ. Probably by the end of the fourteenth century, when it had disappeared from the written sources, and c

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23

Castiñeiras, Manuel. "Beate Fricke, Fallen Idols, Risen Saints: Sainte Foy of Conques and the Revival of Monumental Sculpture in Medieval Art. (Studies in the Visual Cultures of the Middle Ages 7.) Turnhout: Brepols, 2015. Pp. 282; many black-and-white figures. €110. ISBN: 978-2-5035-4118-1." Speculum 96, no. 1 (2021): 216–18. http://dx.doi.org/10.1086/712193.

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24

López-Menchero Bendicho, Víctor Manuel, M. Esther Chávez-Álvarez, M. del Cristo González Marrero, et al. "Nuevas perspectivas en el estudio y documentación de los grabados del Pozo de la Cruz (San Marcial de Rubicón, Yaiza, Lanzarote, España)." Vínculos de Historia Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 12 (June 28, 2023): 192–221. http://dx.doi.org/10.18239/vdh_2023.12.10.

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RESUMENEste trabajo presenta los resultados de la última documentación y estudio de los grabados existentes en el Pozo de la Cruz, que forman parte de las estructuras visibles en el yacimiento arqueológico de San Marcial de Rubicón (Yaiza, Lanzarote, España). Gracias al uso combinado de la fotografía nocturna y de la fotogrametría 3D, y a partir del análisis detallado de dos de sus grabados más singulares, se propone una nueva hipótesis de trabajo que apoya en gran medida la teoría inicial lanzada por sus descubridores a finales de la década de 1980. El objetivo es arrojar luz sobre uno de los

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25

Maldavsky, Aliocha. "Financiar la cristiandad hispanoamericana. Inversiones laicas en las instituciones religiosas en los Andes (s. XVI y XVII)." Vínculos de Historia. Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 8 (June 20, 2019): 114. http://dx.doi.org/10.18239/vdh_2019.08.06.

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RESUMENEl objetivo de este artículo es reflexionar sobre los mecanismos de financiación y de control de las instituciones religiosas por los laicos en las primeras décadas de la conquista y colonización de Hispanoamérica. Investigar sobre la inversión laica en lo sagrado supone en un primer lugar aclarar la historiografía sobre laicos, religión y dinero en las sociedades de Antiguo Régimen y su trasposición en América, planteando una mirada desde el punto de vista de las motivaciones múltiples de los actores seglares. A través del ejemplo de restituciones, donaciones y legados en losAndes, se

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26

Palermo, Alejandra. "Alta Edad Media: Románico." Cuadernos del Centro de Estudios de Diseño y Comunicación, no. 37 (October 30, 2019). http://dx.doi.org/10.18682/cdc.vi37.1747.

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La iglesia de Sainte-Foy de Conques y el claustro del monasterio de Moissac son ejemplos de cómo fue configurado el diseño interior de culto durante la época románica en el Occidente cristiano. Sus espacios, construidos para cumplir diferentes funciones dentro de la comunidad monástica, fusionaron los conocimientos arquitectónicos del período con el importante simbolismo otorgado a cada una de sus partes creando un todo orgánico como materialización de la Jerusalén Celeste en la tierra.

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