![]() In Saint-Lazare’s Last Judgment, the artist, who may be identified by the inscribed name Gislebertus at the bottom of the program, has used a novel way to organize the figures, with the Virgin Mary sitting in a frontal position in the top left corner-a depiction unseen in prior Last Judgment sculptures-in the register of heaven (fig. Virgin Mary on the Last Judgment portal, Cathedral of Saint-Lazare, Autun.ĭenny reveals how the piece seems disparate from its Byzantium precedents. Gallagher, “The ‘Visio Lazari,’ the Cult, and the Old French Life of Saint Lazarus: An Overview,” Neuphilologische Mitteilungen 90, no. Marian Bleeke, “The Eve Fragment from Autun and the Emotionalism of Pilgrimage,” in Crying in the Middle Ages: Tears of History (New York: Routledge, 2013), 27–28.ĥ. Edward J. Mariëtte Verhoeven, “Appropriation and Architecture: Mary Magdalene in Vézelay,” in Monuments & Memory Christian Cult Buildings and Constructions of the Past (Turnhout, Belgium: Brepols Publishers, 2016), 107–20.Ĥ. Walter, “On a Sculptured Capital in the Cathedral of Autun,” Archaeological Journal 27, no. Elizabeth Caesar, foreword to Who Was Saint Lazarus? (Malta: Lulu Press Inc., 2017), 5–6.Ģ. Moreover, this theme was accompanied by stories of the miraculous healing effects induced by the church, which added a practical aspect to the pilgrims’ visits.ġ. The intricacy of the marble figures, exemplified by Christ in figure 3, reinforces the visitors’ immersion when stepping “side by side” with these religious figures. Medieval pilgrims engaged with this theme by stepping into the shrine and experiencing their own resurrection through a mise-en-scène. The significance of the Cathedral of Saint-Lazare rests upon the theme of resurrection. 4 Moreover, a pagan princess was cured of infertility, leading to her and her husband’s subsequent conversion to Christianity. The archdeacon of Reims, Ursus, who was suffering from leprosy, was healed in front of the church a “possessed deaf-mute” was cured after being in proximity to the Lazarus relics. Sculpture of Saint Andrew, from the late-12 th-century tomb at the Cathedral of Saint-Lazare, now displayed with the miniature of the tomb in the Musée Rolin, Autun.Ī series of miracles was also performed after the relics were transported into the church, as Elina Gertsman has outlined. Described by art historian Mariette Verhoeven, the shrine featured Lazarus’s resurrection, with sculptures of Christ, Saint Peter, Saint Andrew, the Virgin Mary, and Mary Magdalene surrounding his relics. Figure 2 shows a miniature version of the shrine, constructed in wood, currently in the Rolin Museum. Instead taking the form of a sarcophagus, the Tomb of Saint Lazarre was constructed as a miniature marble church-two stories tall-located behind the altar of the cathedral. A miniature of the late-12 th-century tomb of Saint Lazarus, wood. 2 Although the actual relic failed to survive the upheavals associated with the French Revolution in the eighteenth century, the Tomb of Saint-Lazare exhibits substantial religious significance for visitors. ![]() 1 Risen from the dead, Saint Lazarus devoted himself to preaching in Provence for the remainder of his life.Ĭonsecrated in 1130 by Pope Innocent II, the Cathedral of Saint-Lazare was built to host the relics of Saint Lazarus from Marseilles. In desperation, Mary and Martha sent a plea to Jesus Christ, and subsequently Lazarus was resurrected when Christ visited his tomb in Marseilles. According to the Easton Bible, Lazarus was the brother of Mary and Martha of Bethany who contracted a serious illness that led to his death.
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