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Sculptures and works of art from the Middle Ages and the Renaissance
Marble capital carved with acanthus leaves
Southern Italy, Apulia
13th century
28,5 x 53,5 x 12,5 cm
This wedge-shape capital decorated with acanthus leaves and roses is characterized by symmetry, elegance and restraint.
The unusual shape of this sculpture can be compared to a group of wedge-shaped capitals that originate in Southern Italy. The shape of the capital is indicative of its role in supporting a thick wall above it and springing from a narrow column below. This suggest that the capital may have been a part of an upper story arcade, where an appearance of lightness can be achieved by using such a composition without much structural tension. An example of such an arcade survives in Bitonto Cathedral, Apulia, where a similar style of acanthus leaf cravings is also employed.
An early example of a wedge-shaped capital is preserved in the Cloisters Collection (MET 49.60.9) date to the late 11th century ans also thought to come from Apulia. Our capital, however, can be dated to the 13th century as it finds stylistic similarities with a more mature style of carving. The crisp refinement of the carving here testifies to the sophistication of Romanesque sculpture in Southern Italy after 1100. The acanthus leaf can be closely compared to the acanthus on the capitals in the nave of Troia Cathedral as well as the relief ornament on the cathedral’s pulpit. Unlike our sculpture, the stone used in Troia is not white marble. However, Apulia is particularly recognized for its abundance of white marble, which is used profusely in important buildings such as Bari Cathedral or Bitonto cathedral.
Bibliography:
S. Fogg, Architecture and Ornament, exhibition 22 October - 19 November 2020, pp. 22-24, N 4
Castelnuovo-Tedesco Lisbeth, and Jack Soultanian. Italian Medieval Sculpture in The Metropolitan Museum of Art and The Cloisters. New York: The Metropolitan Museum of Art, 2010. no. 7, pp. 32–34.
Part Two of the Notable Art Collection Belonging to the Estate of the Late Joseph Brummer. New York: Parke-Bernet Galleries, May 11–14, 1949. no. 348, p. 83.
