The Crucifixion window at Poitiers : its origin, content and symbolism

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dc.contributor.authorKleinsmith, Nicole Michèleen_US
dc.date.accessioned2024-08-14T18:31:39Z
dc.date.available2024-08-14T18:31:39Z
dc.date.copyright1998en_US
dc.date.issued1998
dc.degree.departmentDepartment of History in Art
dc.degree.departmentDepartment of Art History and Visual Studies
dc.degree.levelMaster of Arts M.A.en
dc.description.abstractThe Crucifixion window installed in the center of the chevet wall of the Cathedral of St. Pierre at Poitiers has attracted the attention of many art historians since the middle of the nineteenth century. It has also been mentioned in art surveys and journal articles, and has been discussed in terms of stylistic evolution and, in the case of Robert Grinnell, in terms of the theory of light symbolism. However, it has not been the subject of a recent and complete monograph. In an effort to fill the gap, this thesis examines the window in terms of its origin, composition, iconography, and symbolism. For the research to be comprehensive, it was necessary to understand how the natural environment, politics, economics, and sociological factors, such as culture and religion, may have influenced not only the development of the window's design and manufacture, but the identity of its patrons and the time frame for its design, execution and installation. Moreover, it was particularly necessary to investigate how one man, Gilbert de la Porree, Bishop of Poitiers (1142-1154), and his philosophical and theological writings may have influenced the window's design, content and symbolism. Although the female donor represented in the window has been identified as Eleanor of Aquitaine, no incontrovertible conclusion can be drawn concerning the identity of the male donor. It would seem that Henry II may have been instrumental in starting the second phase of the cathedral's reconstruction. However, some components and certain aspects of the composition of the window itself provide circumstantial evidence that tends to show that Louis VII may have participated in the window's patronage. Finally, a detailed examination of the various layers of symbolism contained in the window serves to demonstrate how an art object, installed in a medieval, public place of primary importance, such as a cathedral church, is a unique expression not only of Christian dogma but, to some extent, a reflection of the contemporary society that produced it. As such, the Crucifixion window can also be seen as an expression of the subconscious desire of a people to memorialize their past, preserve their beliefs and project their ideals for future generations.
dc.format.extent236 pages
dc.identifier.urihttps://hdl.handle.net/1828/18457
dc.rightsAvailable to the World Wide Weben_US
dc.titleThe Crucifixion window at Poitiers : its origin, content and symbolismen_US
dc.typeThesisen_US

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