The Sculpture of the West: A Lecture Delivered at the Metropolitan Museum of Art, New York, December 3, 1921 (Classic Reprint)by A. Kingsley Porter
In the guide written in the XII century for the pilgrims to Compostela we read: "There are four roads which lead to St. James. These unite at Puente la Reina in the land of Spain. The first leads through St. Gilles and Montpellier and
Excerpt from The Sculpture of the West: A Lecture Delivered at the Metropolitan Museum of Art, New York, December 3, 1921
In the guide written in the XII century for the pilgrims to Compostela we read: "There are four roads which lead to St. James. These unite at Puente la Reina in the land of Spain. The first leads through St. Gilles and Montpellier and Toulouse and the Port d'Aspe; the second through Notre Dame of Le Puy and Ste. Foy of Conques and St. Pierre of Moissac; the third through Ste. Marie Madeleine of Vezelay and St. Leonard near Limoges and the city of Perigueux; the fourth through St. Martin of Tours and St. Hilaire of Poitiers and St. Jean d'Angely and St. Eutrope of Saintes and the city of Bordeaux. The roads which pass through Ste. Foy and St. Léonard and St. Martin unite at Ostabat, and passing the Port de Cize join at Puente la Reina, the road which passes by the Port d'Aspe. Thence one road leads to St. James.'
If time permitted it would amply repay our pains to explore all four of the routes leading to Santiago, for we should find that they, together with the other pilgrimage routes leading to Rome and to Jerusalem, pass by nearly all the creative centres of sculpture of the first half of the XII century. After such a journey, we should come to suspect that the pilgrimage played no less a part in the formation of plastic art than M. Bedier has shown that it played in the chansons de geste. We should find that the road formed a river of sculpture, flowing through a region otherwise nearly desert in southern France and Spain. We should find that artistic ideas traveled back and forth along the road with the greatest facility, so that monuments separated by hundreds of miles of distance show the closest stylistic relationship.
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