The church of Saint-Nicholas at Civray: The facade and its sculptural decoration. (Volumes I and II).

Abstract

Saint-Nicholas of Civray with its abundant sculptural decoration on the facade is one of the most visually striking among the many Romanesque churches of western France. This study examines the present facade, its sculptures, their themes, and the historical context for their creation. The first chapter reviews pertinent historical documents and investigates relevant archival sources for Civray and the church of Saint-Nicholas. The second chapter reconstructs the history of the church's restoration by examining written accounts, prints, and drawings. It also presents the author's recent on-site evidence. Many archival sources indicate dramatic restorations and reconstructions and question the present arrangement if not the authenticity of certain sculptural decorations. The author's first-hand study and analysis of the facade itself confirm many of these findings. Subsequent chapters consider the organization of architectural elements on the Civray facade in relation to that of other churches in western France. The decoration of facade components such as capitals, corbels and archivolts is specifically addressed in Chapter IV. Chapter V is devoted to certain regionally predominant themes: the virtues and vices; and the allegory of wise and foolish virgins. The theme of music, though appearing in certain corbel and capital sculptures at other western French monuments, receives unprecedented attention at Civray. A monumental mounted cavalier also once adorned the facade. These subjects and the issue of an underlying program thematically linking the sculptures on the facade are addressed in extended discussion. This chapter also considers the efforts of the Church to adapt secular imagery, with courtly references, for its own purpose, and for the metaphorical sense in which such images could have been read by both the laity and the religious. The integrated facade sculptures are shown as products of the workshop associated with the west portal and some interior decorations at Aulnay. The Aulnay sculptures are pivotal in establishing the relative dating and stylistic context for the works at Civray. The final chapter considers this relationship with churches in the Aulnay orbit and demonstrates their affinities for compositional and iconographic complexities. The dissertation concludes with an extensive appendix that diagrams and describes all facade sculptures.