Art mosan

The Art mosan is an art active Médiéval of the valley of the Meuse with. The area mosane corresponds to the borders of the old diocese of Liege, which extended in current the Belgium, more precisely in most of the Wallonia, not however all this space and overflowing in addition it (in Flanders, France and Holland). The most various historians clearly defined it until today.

More precise historical definition

Felix Rousseau, the father of Walloon historiography and the discoverer of the Art mosan written : the country mosan corresponds to old the Diocèse of Liege. I say diocese and not ecclesiastical principality - these are distinct things that it is necessary to take care not to confuse - the principality being a creation, policy (...) the diocese formed a true entity, not only from the religious point of view, but also from the intellectual and artistic point of view, the point of view folkoric (with regard to the beliefs and the uses traditional) and, in the same way from the dialectal point of view. It is not curious to note that the field of the Wallon itself from the linguistic point of view, corresponds, in a striking way, with the old diocese of Liege.

Role of the Church and the Christian Faith

Jean Lefèvre prolongs his reflection: It is the Christian faith, very early, which created the genuine unit leaven - and oldest - Walloon countries or old small fatherlands (...) to support the religious conquest, the Carolingians have their own abbeys of family (Nivelles, Andenne, later Saint-Hubert) and they encourage the foundation of other monasteries, almost all out of Romance ground. In one century (towards 625-750), it creates for itself it about fifteen in the territory current Wallonia. It describes then the structures of évêchés: Turned, Liege and Cambrai and concludes: Thus, very early and organized well, the ecclesiastical structures and the faith which they diffuse will impregnate the Walloon countries deeply, on the level of the parishes, i.e. small rural communities. All our Walloon traditions were thus kneaded Christian rites (...). The Christian faith (...) was thus a considerable unit factor of the small fatherlands in Wallonia. Being based on work of the professor inhabitant of Li2ege JL. Kupper, the professor louvanist JF Gilmont speaks even about a Walloon spirituality , as Jean Lejeune had also done it besides.

Universality of art mosan, anchoring in Wallonia and beyond

Its reflections precede work by Albert Lemeunier, Conservateur of the Musée of Religious art and Art mosan, Art mosan, reflection of the Christian thought in Wallonia which he concludes in these terms: Art mosan testifies to the primarily Walloon contribution to the art and the spirituality not only of Wallonia, but also of the western world. It holds its universality of what it was able to give as much as receiving. In most recent History of Wallonia , Philippe George, conservative of the treasure of the cathedral of Liege, speak about a identity culture . It describes it as follows: the Meuse and all its affluents irrigate an area whose culture and religion make the unit and the identity: the country mosan. In the west and the south, the diocese of Liege does not recover all Wallonia, but it exceeds it very largely towards north. .

The area includes the town of Maastricht which was controlled at the same time by the Duché of the Brabant and the principality of Liege, and it is to some extent artistic. It was the heart of the empire Carolingiens and thus was very influenced by the tradition of the Carolingian Art, but it is also the producing one of a specific art which while overflowing of the current territory of Wallonia found in this space its more important radiation just as its principal anchoring.

Structure

Collegial Midsummer's Day with Liege
Saint-Pierre and Saint-Remacle with Stavelot
Hastière
Parish church Saint Martin's day with Old Tourinnes-the-Gross
Collegial Saint-Ursmer with Lobbes
Holy-Marguerite Vault with Nadrin (Ollomont)
Old collegial Saint-Felix with Sclayn
Old collegial Notre-Dame with Huy
Old collegial Saint-Feuillen with Old Pit-the-City
collegial Saint-Hadelin with Those
Old collegial Saint-Georges and Holy-Ode with Amay
Collegial St. Bartholomew's Day Massacre in Liege
Parish church Notre-Dame with Wierde
Old collegial Saint-Etienne with Waha
Parish church with Ocquier
Parish church Saint-Pierre with Hamoir (Xhignesse)
Parish church Saint Martin's day with Orp-the-Large
Old collegial Notre-Dame with Dining
Parish church abbey Saint M3edard's Day with Jodoigne
Old with Villers-the-City

Goldsmithery

The Triptych of Stavelot is one of the chiefs of work of goldsmithery mosane.

Ivory

At the origins of art mosan there is precisely a masterpiece related to Notger, the Ivoire of Notger .

See this masterpiece on this external bond

It is certainly, quite former to the ivory reproduces opposite.

With him only it gives again the context of the art mosan which is at the same time of Empire and Church. The policy ottonienne set up a political system based on the bishops, who are like prefects of the Emperor. Jacques Stiennon writes the origins of art mosan in art Carolingien: One seizes it here in an attitude of humility, knelt at the same time in front of the divinity surrounded of the tétramorphe and a sanctuary which one can identify with the parish church Midsummer's Day the Evangelist of Liege. The comparison made by Suzannne Colonist-Gevaert with a miniature representing the bishop Berward d' Hildesheim justifies this interpretation (…) By the full softness of its volumes, work has all the characters of the style Ottonien worm the year millet, a style ottonien which draws largely from the treasure of the Carolingian formulas. (Jacques Stiennon, art mosan, in Wallonia, country and the men , volume I, Letters, arts, culture, Brussels, 1977).

Literature

See also Séquence of holy Eulalie. The first literary text written in French, then named Romance (ancestor of the Former French and French), is probably the Séquence (or Cantilène ) of holy Eulalie . One goes back it to 880 or 881 of the Christian era and it is included in a compilation of Latin speech in of Gregoire saint, in addition to four others poems, three in Latin and one in tudesque language (Germanic Langue). Such a sequence, or rhythmic poetry, was sung at the time of the Gregorian liturgy; this one probably was it with the Abbaye of Saint-Amand (close to Valencian). Swallow (see bibliography) confirms work of Bischoff which locates the drafting of work in a “area towards Liege and Aachen”, which leads the Walloons (the historian Léopold Genicot for example) to consider that the French literature “pushed its first cry in Wallonia”…

This sequence is dedicated to Sainte Eulalie de Mérida; it takes as a starting point an anthem of the Latin poet Prudence which one can read in the Peristephanon .

Description of the manuscript

The text of the sequence occupies partially the back of layer 141 of manuscript 150 of the public library of Valencian. It belonged to the abbey of Saint-Amand-the-Water before the 12th century. It had with the departure contained only one copy of the Latin translation of works of Saint Gregoire de Nazianze provided, written Maurice Delbouille, by Rufin (hand has , dating from the beginning of the beginning from the Carolingian time and localisable on left bank of the the Rhine, in Basse Lorraine). It is a hand B which, as of the end of the 11th century, registered with the recto of layer 141, initially remained virgin, a Latin sequence dedicated to the worship of Holy-Eulalie of Mérida and inspired by the anthem devoted as of the 4th century by the poet Prudence, with the memory of holy martyrdom. The structure of this sequence is the same one as that of the Romance sequence registered then with the back of the same layer by a hand C . Neither in the Latin poem, nor in the Romance poem, this structure is however respected perfectly as for measurement of the worms, following negligence of transcription. The two texts were built to be sung on the same melody which is unknown for us. the back of the F 141 carries, of the same hand C (which copied the Romance sequence) the beginning of the Ludwigslied, sung at the time of the victory of king Louis over the Normands with Saucourt (August 881). The language of this text is the Francique practiced in the north of the field Gallo-novel, bilingual at the elites. The Romance text seems to be built for a more popular public for its construction. The passage of Latin to the French writes Delbouille implies an osmosis between erudite language and daily language through an individual bilingualism, by the fact of an internal and secret translation which one could say latent. . For Maurice Delbouille the whole of the features of Picard, Wallon and Champenois supposes the existence at the end of the 9th century of a poetic Scripta Romance commune with these three linguistic fields in formation (the dialects will be completely formed only at the 13th century), which corresponds to the intellectual vitality of those at that time (see Histoire of sciences in Wallonia (900-1800)

Study of the text

The Séquence comprises twenty-nine towards:

Notes:

les left between right hooks, in the original text, is indicated by a Tilde or another mark of Abréviation. Thus, the word dom is noted dõ ; Mireille Huchon, in its History of the French language , transcribed dõ by deo . It is also a possibility; some contracted words were separate to facilitate the reading; the original text is traced in Minuscule rather readable Caroline. The beginning of each towards is marked by a capital letter in Rustica ;
on note the use of the old Digraph cz for /ts/ in czo /tso/, form pronominal, “that”, resulting from Latin ecc (E) hoc . Later, Z of the digraph will give rise to the Cédille: there would be thus then Co (to compare with modern French that );
les towards is written two to two per line; for reasons of legibility, each one is followed of one return to the line;
la translation wants to be literal, in order to better show the historical links between the Romance and French words; it is thus normal that it seems sometimes difficult access; it is enough to take for each word its etymological meaning ( coulpe : “sinned”, chief: “head”, century : “life in the world”, figure : “form”, ministry : “service”, thank you : “pity”, etc), to remember that the subject can not be expressed and that the word order is more flexible ( Want the century to leave : “She wants to leave the century”, etc).

The text is written in a form of Picard - Wallon; it uses the articles ( Li inimi : “enemies”, lo name : “the name”, enl : Agglutination for “in lo”, domnizelle the : “young lady”, etc), unknown of Latin, show that some Voyelle S finales of Latin are now null and void (use of E or has to return: pulcella : “virgin (young girl)”, thimble : “thing”, arde : “arde (burns)”, etc) and that certain vowels have diphthong (Latin bona > Romance buona : “good”, Latin toti > Romance tuit , etc). It is as in this text as the first Conditionnel of the history of the French language ( sostendreiet is attested: “would support”), unknown mode to Latin, formed starting from the morphological Thème of the future (a Infinitif, in fact) and Désinence S of Imparfait.

Digitalization of parchment (ref. Public library of Valencians 150 (olim 143) fol.141v)

Random links: