1 00:00:31,310 --> 00:00:39,960 Hello, everyone. Welcome to another of the six lectures being given by the slain professor of finance at the 2021. 2 00:00:39,960 --> 00:00:49,010 These lectures are an important tradition at the University of Oxford. John Ruskin was the first to give a series of public lectures on art in 1870, 3 00:00:49,010 --> 00:00:53,970 shortly after being appointed as the initial slate professor of fine art. 4 00:00:53,970 --> 00:00:58,780 Every year, a distinguished scholar is asked to follow in his footsteps. 5 00:00:58,780 --> 00:01:04,610 My name is Geoffrey Bachem, and I am professor of the history of art at the University of Oxford. 6 00:01:04,610 --> 00:01:11,190 It is my great pleasure to introduce this year's slate, Professor Dr. Geralyn Dodds. 7 00:01:11,190 --> 00:01:14,460 Jerry Dodds, because Harlequin today, a diamond professor, 8 00:01:14,460 --> 00:01:21,840 faculty of art history at Sarah Lawrence College in the United States because the Dodd scholarly work is centred on mediaeval, 9 00:01:21,840 --> 00:01:29,640 Spanish art and architecture, and especially on issues of trans colouration and identity. 10 00:01:29,640 --> 00:01:37,980 Amongst her many publications are arts of Intimacy, Christians, Jews and Muslims in the making of Castilian culture. 11 00:01:37,980 --> 00:01:40,850 A renowned co-author of Textbook. 12 00:01:40,850 --> 00:01:50,820 In addition to her other books, catalogues and essays, Kerry has also created a number of important exhibitions and made films to accompany them. 13 00:01:50,820 --> 00:01:59,610 In 2018, in recognition of her exceptional contributions to the dissemination of knowledge of Spanish history and culture, Prof. 14 00:01:59,610 --> 00:02:05,580 Dodds was the recipient of the Cross of the Order of Civil Merit from the Government of Spain. 15 00:02:05,580 --> 00:02:09,580 We are honoured that Professor Dodds accepted that invitation to deliver this year's 16 00:02:09,580 --> 00:02:17,320 slate professor of fine art lectures and now happily hand over the microphone to her. 17 00:02:17,320 --> 00:02:22,210 Thank you so much, Professor Barton. Thank you for your kind words. 18 00:02:22,210 --> 00:02:26,650 My abiding thanks to the Committee for Slade lectures for this honour, 19 00:02:26,650 --> 00:02:38,230 for the support of the Department of Art History and to Holy Knights and the amazing torch to. 20 00:02:38,230 --> 00:02:47,490 So. Why the late 11th century, the headlands of the Douro river over which the mighty fortress of Greymouth still loomed, 21 00:02:47,490 --> 00:02:49,800 had for a long time been a frontier, 22 00:02:49,800 --> 00:03:03,570 not only between polities ruled by Christians and Muslims, but also those between Christian kings aided by their Muslim allies. 23 00:03:03,570 --> 00:03:09,060 From this ambivalent landscape emerged the Hermitage of Sambo Day or longer, 24 00:03:09,060 --> 00:03:14,460 it likely marked the possession of this frontier effort after it was claimed by King Alfonso, 25 00:03:14,460 --> 00:03:21,900 the 6th of Leone and Castiel, shortly after he took the great city of Toledo during the last quarter of the 11th century. 26 00:03:21,900 --> 00:03:25,020 Nestled in an austere landscape, this monastic, 27 00:03:25,020 --> 00:03:32,460 just monastic oratory looked for all the world like a bunker that had weathered so many changes in Germany. 28 00:03:32,460 --> 00:03:35,910 Its interior, however, is another thing altogether. 29 00:03:35,910 --> 00:03:42,150 Beneath 12th century paintings, its architectural structure is carbon dated to the late 11th century, 30 00:03:42,150 --> 00:03:48,090 and it is in its basic construction technique, part of local Romanesque tradition. 31 00:03:48,090 --> 00:03:54,860 But that locked and those arches have given some scholars pause so long is still often called miserable. 32 00:03:54,860 --> 00:04:05,250 But the term seems to survive as an explanation for the use of a horseshoe arch in the late 11th century into the temporal domain Romanesque. 33 00:04:05,250 --> 00:04:12,480 The term Mozur bit becomes something like a taxonomic strategy to assuage the anxiety caused by this departure 34 00:04:12,480 --> 00:04:23,190 from a semi-circular plasticised an arch one in a building beyond the wilds of the transcultural 10th century. 35 00:04:23,190 --> 00:04:27,000 And then it's not just the horseshoe arch that presents a challenge. 36 00:04:27,000 --> 00:04:35,670 There are only the most rudimentary pretensions to orders at SEMBLE debut and within its grand arching revolt is another miniature version. 37 00:04:35,670 --> 00:04:42,300 This one like close to examples that Toledo, such as the Little Mosque of Ibn Haddadi, 38 00:04:42,300 --> 00:04:48,480 which became the Church of Santa Cruz and is also tucked away in a fashion as that one was. 39 00:04:48,480 --> 00:04:57,540 Or to the oratory from the type of palace in Toledo, which about this time became the palace of up onto the sixth as the Castilian king took Toledo. 40 00:04:57,540 --> 00:05:01,920 Something about me, about which we spoke in the first lecture. 41 00:05:01,920 --> 00:05:09,090 This has led to an insistent on Muslim or mostly Arabic artisans as an explanation for this architecture. 42 00:05:09,090 --> 00:05:15,490 Though Isidro Bango places the bolting within local story and tradition. 43 00:05:15,490 --> 00:05:21,490 And then it also has a tribute with a separate entrance for Lance and a second altar what 44 00:05:21,490 --> 00:05:29,190 the Clooney AfriForum's likely introduced by a new bishop brought from the Diocese of Osma. 45 00:05:29,190 --> 00:05:35,730 To France brought to the Diocese of Osma from France for that purpose. 46 00:05:35,730 --> 00:05:43,470 The issue here is not whether or not there might have been and Lucy, Christian or local Muslims in Berlanga actually, 47 00:05:43,470 --> 00:05:50,640 or an attempt to appropriate a form from a Taifa Palace, perhaps as an allusion to Alfonso's triumph in Toledo. 48 00:05:50,640 --> 00:05:58,710 Our problem here is rather found in the insistence on identifying the church with a kind of ethnic nomenclature as if its vaults 49 00:05:58,710 --> 00:06:07,080 and horseshoe arches had to be accounted for in this late period by a remarkable kind of culture of cultural miscegenation. 50 00:06:07,080 --> 00:06:14,820 I've not found a survey written outside of Spain that admits somebody into the covenant of Romanesque, 51 00:06:14,820 --> 00:06:19,170 though most scholars in Spain accept this without question. And why not? 52 00:06:19,170 --> 00:06:28,110 It's a grand, entirely vaulted space built with Ashlock joining, Clooney planning and those telltale double soften our arches. 53 00:06:28,110 --> 00:06:39,100 A detail of the tendency to convert a mural aesthetic into one in which architecture articulates its rational, weight bearing properties. 54 00:06:39,100 --> 00:06:43,330 This disagreement is in part possible because unlike earlier mediaeval 55 00:06:43,330 --> 00:06:48,280 architectural categories organised according to political or temporal strategies, 56 00:06:48,280 --> 00:06:54,370 we characterise Romanesque as both a period and a style in indulgently overlapping categories 57 00:06:54,370 --> 00:07:00,430 so that buildings can be embraced chronologically or on the basis of common aesthetic values. 58 00:07:00,430 --> 00:07:10,120 If we ascribe to the period as the beginning of the 11th century, it's it is contemporary with shifts in political economy, 59 00:07:10,120 --> 00:07:20,140 agriculture and technology with the Gregorian reforms and with a surge of intellectual interest in antiquity as a style in architecture. 60 00:07:20,140 --> 00:07:27,040 We see it as growing from the rational values of an increasingly inventive and resourceful artisanal tradition, 61 00:07:27,040 --> 00:07:36,400 interacting with new and varied, ambitious patrons. I very much like Professor Slops proposition that Romanesque might be seen 62 00:07:36,400 --> 00:07:41,620 as an isolating the part of his argument in which he refers to architecture, 63 00:07:41,620 --> 00:07:50,950 a redeployment of ancient forms and a desire to exploit a resource and organise it for the purposes of clarification. 64 00:07:50,950 --> 00:07:56,440 Using an architecture, the Blasters have columns, volts and diaphragm arches, 65 00:07:56,440 --> 00:08:02,980 a theory that musters many of the formal characterisations offered by regional CEO Eric Phirni. 66 00:08:02,980 --> 00:08:09,880 And it's an army to this. I would like to add John McNeil's remarks regarding those ancient forms that they're 67 00:08:09,880 --> 00:08:15,100 persistent and geographically wide ranging and often ideologically explicit. 68 00:08:15,100 --> 00:08:23,800 And yet retrospection in the Romanesque is often eclectic, partial and highly localised. 69 00:08:23,800 --> 00:08:28,810 I feel that the problem lies not in any particular definition of the style or 70 00:08:28,810 --> 00:08:33,940 even in the selection and rejection of works that might fit into a given rubric. 71 00:08:33,940 --> 00:08:42,280 The problem arises instead when the limitations of a particular stylistic definition are then extended to the idea of Romanesque 72 00:08:42,280 --> 00:08:51,460 as a period when a curated formal definition becomes a gatekeeper to belonging to the monumental topography of Romanesque, 73 00:08:51,460 --> 00:08:55,510 which is also the topography of Europe. 74 00:08:55,510 --> 00:09:04,330 At this point, to search for what Pizarro calls a quintessential style is a particular danger for the study of the Iberian Peninsula. 75 00:09:04,330 --> 00:09:06,370 This is because strange as it may seem, 76 00:09:06,370 --> 00:09:16,060 we still bear the transgenerational methodological scars of the ancient artistic vision created by Emil Moll and Arthur Kingsley Porter, 77 00:09:16,060 --> 00:09:19,300 who spawned the infamous Spain or Toulouse debate, 78 00:09:19,300 --> 00:09:27,460 channelling a fixation on relative chronology in a quest for an overarching style fostered by itinerant masons. 79 00:09:27,460 --> 00:09:36,250 But of course, style is negotiated and its promiscuous now intimately involved in practise and subconscious habits of thinking. 80 00:09:36,250 --> 00:09:37,450 And then in the next moment, 81 00:09:37,450 --> 00:09:48,840 submitting those collectively held values to the needs of patrons and other agents for transformation into conscious or symbolic meaning. 82 00:09:48,840 --> 00:09:53,010 So the intersection of local interests with most more wide ranging ones can 83 00:09:53,010 --> 00:09:57,990 route us not only in that which is formerly common in Romanesque buildings, 84 00:09:57,990 --> 00:10:04,170 but also in that which is particular. We do not normally require the presence of the antique and Romanesque. 85 00:10:04,170 --> 00:10:11,850 Nor do we exclude other interlopers into its monumental liturgical space so that one of our most interesting tasks has become, 86 00:10:11,850 --> 00:10:21,770 in fact, to understand those formal interlopers, those anomalies within the space of Romanesque. 87 00:10:21,770 --> 00:10:27,020 But there are barriers to the inclusion of certain anomalies into its canon. 88 00:10:27,020 --> 00:10:30,920 I am, of course, far from attempting here to rework the kamut canon. 89 00:10:30,920 --> 00:10:39,500 I do wish, however, that we might begin to sweep into the fold of Romanesque, a few divergent formal voices that have been excluded. 90 00:10:39,500 --> 00:10:49,840 We need to be careful not to suppress certain architectural expressions of a moment for the sake of constructing a myth of a single Western style. 91 00:10:49,840 --> 00:10:54,700 For instance, there is an entire group of churches from the 12th and 13th centuries, 92 00:10:54,700 --> 00:11:00,310 often excluded from the Romanesque canon by scholars both inside and out of Spain, 93 00:11:00,310 --> 00:11:07,270 a well-studied group of brick buildings found in Toledo, the MRT, a new Castiel and in Aragon as well. 94 00:11:07,270 --> 00:11:08,440 The subject is not new. 95 00:11:08,440 --> 00:11:19,360 It's been the theatre of operations for over a century long battle about how to account for what's perceived as Islamic form in church building. 96 00:11:19,360 --> 00:11:30,640 The earliest of these buildings to survive is very likely sent in Toledo, built to receive the arm of the Saint brought by brought to King Alfonso, 97 00:11:30,640 --> 00:11:38,800 the 7th by the French monarch Louis, the seventh himself in 11:56 on his pilgrimage to Santiago de Compostela. 98 00:11:38,800 --> 00:11:44,710 The church is allied in style and construction to the absent crossing of Santa Cruz in the same city. 99 00:11:44,710 --> 00:11:52,390 The conversion of a mosque building in eleven eighty five that we discussed at excruciating length in the first lecture in this series. 100 00:11:52,390 --> 00:11:53,830 In both of these buildings, 101 00:11:53,830 --> 00:12:04,030 broad semicircular apps are covered with a skin of bricks divided into rows of horseshoe keels shaped and poorly looked arches. 102 00:12:04,030 --> 00:12:09,400 These forms were understood as early as the 19th century as part of an Islamic tradition 103 00:12:09,400 --> 00:12:14,380 that indicated the intervention of Muslims who had submitted to Christian rule. 104 00:12:14,380 --> 00:12:18,460 So these churches were quite early categorised as something apart. 105 00:12:18,460 --> 00:12:24,370 Mood architecture, would they? How is the term, if anything, more problematic than was there? 106 00:12:24,370 --> 00:12:33,910 Because a modifier for material culture, but one that somehow has stubbornly survived a condition to which I have perversely contributed? 107 00:12:33,910 --> 00:12:36,640 Please find in this lecture an attempt at redress. 108 00:12:36,640 --> 00:12:44,920 I'm offering myself sort of in penance today as a mediator in the troubled relationship between Romanesque and Islam. 109 00:12:44,920 --> 00:12:49,840 The arts that are named for this democratic graphic group stretch across a dizzying 110 00:12:49,840 --> 00:12:55,990 chronological abyss from the 11th to the 17th centuries in Spain and in the new world. 111 00:12:55,990 --> 00:13:02,260 But here I'd like to concentrate on its use to account for Greek churches of the late 11th through the 13th centuries. 112 00:13:02,260 --> 00:13:07,480 That is those that overlap chronologically and type of logically with Romanesque buildings. 113 00:13:07,480 --> 00:13:13,180 In the conventional canon, Moody is the name commonly given to Muslims who, 114 00:13:13,180 --> 00:13:18,220 without changing their religion, remained in territories ruled by Christians. 115 00:13:18,220 --> 00:13:23,890 And this definition sometimes includes the implication of vacillates to Christian rulers as well. 116 00:13:23,890 --> 00:13:32,320 Harvey cites Arabic tests that use the people who stayed on a which the principal form is Sudarshan, 117 00:13:32,320 --> 00:13:37,210 finding it is usually used by those authors with opprobrium. 118 00:13:37,210 --> 00:13:47,140 It is also, he finds, there are subtle semantic links to moderation, using it used in reference to domesticated animals, 119 00:13:47,140 --> 00:13:55,000 suggesting a taunt by three Muslims that grew to become a name for status for which there was no other existing term. 120 00:13:55,000 --> 00:14:03,430 The abandonment of the adjective mu daha as regards art in architecture is now happening and in mediaeval Iberia. 121 00:14:03,430 --> 00:14:11,950 It has in particularly been argued most convincingly by Juan Carlos Presenza and other colleagues. 122 00:14:11,950 --> 00:14:16,570 Compounding this etymology are the burdens to interpretation that we lay upon 123 00:14:16,570 --> 00:14:21,130 the arts and employing it would enhance being used to describe any example 124 00:14:21,130 --> 00:14:30,790 of architecture in the arts that displays a vestige of the impact of visual language that might be associated with a London or Islamic culture. 125 00:14:30,790 --> 00:14:40,090 Conceived in the largest sense, it's used to describe carved wooden ceilings, architectural brickwork, stucco carvings, tile working floors, 126 00:14:40,090 --> 00:14:48,730 painting, jewellery and armour to explain the presence of some form of ornament that might be associated with Islamic culture. 127 00:14:48,730 --> 00:14:54,520 Because the term applies uniquely to Muslims, it it implies the religion of the artist and by extension, 128 00:14:54,520 --> 00:15:01,690 the artist subordination to those who ruled it, who ruled the society in which the work was made. 129 00:15:01,690 --> 00:15:12,010 This notion of subordination came to denote, in Judith Feliciano, those words the subordination of Islamic ornament to Christian structures, 130 00:15:12,010 --> 00:15:17,770 with the implication that ornament is robbed of its signifying power within that structure. 131 00:15:17,770 --> 00:15:23,620 And this implication has continued as a kind of subconscious stratum in its application today, 132 00:15:23,620 --> 00:15:30,660 as if Christian patrons and their projects provide a framework for containing and controlling Islamic content. 133 00:15:30,660 --> 00:15:35,470 Madiha carries with it, thus the 19th century fixation with Christian identity, 134 00:15:35,470 --> 00:15:43,900 which transmute in the 21st century when we tend to romanticise the dynamic, plural nature of the identities on the peninsula. 135 00:15:43,900 --> 00:15:53,020 And I do mean we to a kind of throbbing subconscious taxonomic anxiety to which I will return. 136 00:15:53,020 --> 00:16:01,540 So the use of the term stops one short interpretive leap in obscures the fact that these are kids themselves are derivative of Roman brick tradition, 137 00:16:01,540 --> 00:16:07,030 part of a reverberation of formula between allied traditions of construction about which the 138 00:16:07,030 --> 00:16:13,000 intervention of Muslims or formal Muslims as possible masons does not signify one way or the other. 139 00:16:13,000 --> 00:16:20,170 We just witnessed witless leap identify this particular local tradition and taste as an anomaly. 140 00:16:20,170 --> 00:16:29,080 Grounds for an ethnic name. The term would air in a way provides permission to exclude these buildings from the canon of Romanesque. 141 00:16:29,080 --> 00:16:34,320 And so the question is why would we want to exclude them? 142 00:16:34,320 --> 00:16:39,330 How some monuments on the Iberian Peninsula came to be seen as foreign to the broader project of 143 00:16:39,330 --> 00:16:46,890 Romanesque when others are not think of Sicily is not only the fruit of 19th century historiography, 144 00:16:46,890 --> 00:16:55,110 it's also part of a mediaeval discourse. And yet our own formulations can at times fall under the spell of those ancient values, 145 00:16:55,110 --> 00:17:03,580 beguiling us into a kind of cultural triage of a Romanesque canon that we ourselves construct. 146 00:17:03,580 --> 00:17:11,350 In this terrain, it's perhaps useful, useful to consider much of what we think of as mature Romanesque enters the Iberian 147 00:17:11,350 --> 00:17:16,600 Peninsula on the long arm of the Monastery of Cluny and of the reformed papacy, 148 00:17:16,600 --> 00:17:21,910 and is materially tagged with their explicit agendas. 149 00:17:21,910 --> 00:17:26,530 A circumstance that stimulated the already heightened capacity of construction 150 00:17:26,530 --> 00:17:32,050 of forms to signify specific identities and ideologies on the peninsula, 151 00:17:32,050 --> 00:17:37,220 something we saw in our discussion of 10th century architecture last week. 152 00:17:37,220 --> 00:17:43,580 Aragorn, Nivar and Castiel in the 11th century present us with interesting sites for understanding 153 00:17:43,580 --> 00:17:48,470 some of the different local ways in which these interventions were located. 154 00:17:48,470 --> 00:17:57,210 And for this, I turn to our colleagues who work on the Iberian Peninsula. 155 00:17:57,210 --> 00:17:59,720 The first Christian ruler. 156 00:17:59,720 --> 00:18:07,430 To affect something like the unification of the Christian kingdoms, albeit a short lived one, was centre the third of Navarre. 157 00:18:07,430 --> 00:18:11,060 A king, a king. The famous Abbot Oliver of Brick. 158 00:18:11,060 --> 00:18:22,010 And he called the Iberian King a reflection of his desire to be considered the only peninsular Christian king in the first year of the 11th century. 159 00:18:22,010 --> 00:18:26,930 Though a 14 year old king of Leone slipped, his mind is zero Bengal. 160 00:18:26,930 --> 00:18:29,630 In his monumental catalogue concerning Central, 161 00:18:29,630 --> 00:18:40,080 The Great describes him as possessed of a desire to participate in the same world of practises and ideas as Europe beyond the Pyrenees. 162 00:18:40,080 --> 00:18:50,520 In this, his mentor was Abbott Clooney, who records that King censure was deemed a familiar audience and member of Clooney's Associate Toss Centre, 163 00:18:50,520 --> 00:18:57,600 was recruited to the project of Reform to effect the conversion of local private monasteries to the Benedictine rule. 164 00:18:57,600 --> 00:19:01,110 Beneath the more rigorous authority of bishops by ten twenty eight, 165 00:19:01,110 --> 00:19:08,430 he installed a new abbot at the dramatically cited Monastery of San Juan de la Pena and famously wrote to Woody Allen 166 00:19:08,430 --> 00:19:16,620 that he wished for monks from Clooney to come to the monastery so that the community of someone would order their lives, 167 00:19:16,620 --> 00:19:22,460 according to the laws and customs of those of Cluny. 168 00:19:22,460 --> 00:19:29,660 Since you embarked on a programme of reconstruction of monastic sites associated with his family's patronage after the cessation of 169 00:19:29,660 --> 00:19:39,410 destructive raids of the allied rulers al-Mansour and Abdulmalik between 1998 and 5:50 in the first quarter of the 11th century, 170 00:19:39,410 --> 00:19:48,470 he restored the monastery of some beyond the local Goya, having two bishops to its own bishop, thus consolidating a restive territory. 171 00:19:48,470 --> 00:19:59,220 The monastery had long enjoyed his family's support, in particular that of his forbearers, the famous queen Tota and her son and grandson. 172 00:19:59,220 --> 00:20:07,260 It had been constructed a generation before in the 10th century as a variant of the repopulation movement we discussed before with a 173 00:20:07,260 --> 00:20:17,340 single arcade of horseshoe arches accommodated accommodating awkwardly is ardently the site of a hermitage from the busy gothic period. 174 00:20:17,340 --> 00:20:28,850 But then, as we've come to expect in the 10th century. The ABS were also covered with centrally planned revolts that might be considered Islamic. 175 00:20:28,850 --> 00:20:32,630 Perhaps a local interpretation of the revolts of Cordoba, 176 00:20:32,630 --> 00:20:42,650 which Queen told his family in their diplomatic interactions with the caliphate to which they were related might have known directly or indirectly. 177 00:20:42,650 --> 00:20:52,550 When Centre of the Great comes to renovate the old site, he conserves the old church but adds to bass in a distinctive round arch style creating, 178 00:20:52,550 --> 00:20:59,780 as Janice Mann emphasises a bold division between parts deliberately showing the conservation of the old, 179 00:20:59,780 --> 00:21:05,390 as well as the addition of the new for work shows that amongst all the restorations made in this period, 180 00:21:05,390 --> 00:21:14,390 following the raids of all al-Mansour, only a few sites sort of sort of highlight the suture made between old and new. 181 00:21:14,390 --> 00:21:26,550 So explicitly drawn. Such a wish to visualise to visualise the following that he anchored his rule in the past and then at the same time, 182 00:21:26,550 --> 00:21:33,340 he wished to mark his programme of monastic, ecclesiastical and political reform. 183 00:21:33,340 --> 00:21:38,380 He would make a similar restoration to the Monastery of San Juan de la Pena, 184 00:21:38,380 --> 00:21:48,430 where he adds semi-circular arched extension with transverse ribs and occlusive from pier to a 10th century church, of course, to arcades. 185 00:21:48,430 --> 00:21:54,440 But with no attempt to obscure this fissure between the two styles. 186 00:21:54,440 --> 00:21:59,210 The works of Centro, as well as those of his mentor, Abbott Oliva, a pusher, 187 00:21:59,210 --> 00:22:08,180 took what seems to have been seen as a French semi-circular arch and vaulting style executed in local techniques, 188 00:22:08,180 --> 00:22:13,010 and gave it meaning through a clear juxtaposition with the distinctive older local 189 00:22:13,010 --> 00:22:20,570 architecture making the new early Romanesque form other to the historical indigenous one. 190 00:22:20,570 --> 00:22:25,730 And the meaning survives at San Juan de la Pena, now in the late 11th century, 191 00:22:25,730 --> 00:22:34,790 pieces of an old horseshoe arch were reconstructed and enshrined as a portal to yet another refurbished church bearing witness to the older church, 192 00:22:34,790 --> 00:22:42,860 showing a conscious and continuing association of this art style with local history and local identity. 193 00:22:42,860 --> 00:22:47,870 The monarchy of Centre of the Great would splinter in that division of a kingdom amongst sons, 194 00:22:47,870 --> 00:22:53,910 which was the most cherished method of self-destruction to the north in monarchies in Spain. 195 00:22:53,910 --> 00:23:02,310 But what might have survived is this degree of meaning latently associated with this juxtaposition of two arch types, 196 00:23:02,310 --> 00:23:08,880 this type of logical consciousness was not intended to be an assertion of radical austerity in these monasteries, 197 00:23:08,880 --> 00:23:19,650 but could rather signify both distinct temporality and the need to mediate a local political need with a trans local aspiration. 198 00:23:19,650 --> 00:23:26,660 Just such an explicit juxtaposition occurs. Later, when Santos grandson, Alfonso, 199 00:23:26,660 --> 00:23:38,480 the six king of Leone and Castile would preside over an architectural addition to a late 19th century built not 19th century 9th century, 200 00:23:38,480 --> 00:23:42,650 a late 19th late 19th century basilica, 201 00:23:42,650 --> 00:23:48,260 one of those from the repopulation donated by the Crown to an end the Lucy community, 202 00:23:48,260 --> 00:23:58,760 the Monastery of Saints for Kunduz and Primitive at Sargon, founded by an Abbot Alfonso and his monks who came from Spain from the south. 203 00:23:58,760 --> 00:24:08,810 Jose Luis Serra has revealed the two styles of the Monastery Church of Sargsyan, built between 10, 80 and 1100 distinct manners of building. 204 00:24:08,810 --> 00:24:17,180 That marked another transition from an architectural policy of, in his words, local atavism to a foreign approach. 205 00:24:17,180 --> 00:24:22,850 Beneath the eyes of the Cluny Abbot, Bernard upstages rock. 206 00:24:22,850 --> 00:24:28,880 The style of local atavism is a 10th century wooden roofed basilica with horseshoe arched arcades 207 00:24:28,880 --> 00:24:33,800 and three horseshoe shaped apps is reconstructed very much like the Church of San Diego. 208 00:24:33,800 --> 00:24:40,370 The Escalada and the foreign approach is a massive Ash Lau Western edition, 209 00:24:40,370 --> 00:24:46,910 echoing that found at the Burgundy and Church of something bare of tour news. 210 00:24:46,910 --> 00:24:55,880 A Clooney formula responding to the needs of a reformed liturgy connected to the monastic vocation of prayer for the souls of the dead. 211 00:24:55,880 --> 00:25:03,260 Sound was thus transformed from a building that evoked a long standing or short tradition to one that 212 00:25:03,260 --> 00:25:11,120 juxtapose that traditional paradigm to an Ashlan building allied with Clooney at practise and the Roman right, 213 00:25:11,120 --> 00:25:20,090 the agents. The adjacency of these two styles became, in centres words, a visual metaphor for a kingdom in transition. 214 00:25:20,090 --> 00:25:29,510 The admission saga was used by Alfonso, the six was said to unify his ambitious presence with his own dynastic past, 215 00:25:29,510 --> 00:25:33,350 but to those who wish to impose the new order. 216 00:25:33,350 --> 00:25:39,830 That juxtaposition might have signified in a divergent way the transformation of 217 00:25:39,830 --> 00:25:45,620 rights at Castiel was intimately aligned with this shift in architectural expression. 218 00:25:45,620 --> 00:25:49,910 Fonts of the six found himself at the centre of the reform papacy attempted the 219 00:25:49,910 --> 00:25:54,770 late 11th century to aggregate not only the spiritual functions of the office, 220 00:25:54,770 --> 00:25:59,270 but the authority of secular lordship on a feudal model as well. 221 00:25:59,270 --> 00:26:05,570 On the Iberian Peninsula, the existence of lands that had newly passed from Muslim to Christian hands 222 00:26:05,570 --> 00:26:10,670 seemed to present an opening to establish a territory claim for the papacy. 223 00:26:10,670 --> 00:26:16,400 One intensified by the apocalyptic presence of Islam and other to the Dominion of Christ, 224 00:26:16,400 --> 00:26:22,150 in whose interest the reformed papacy staked its own terrestrial claims. 225 00:26:22,150 --> 00:26:27,130 Gregory, the seventh appeared to appeal to Alfonso Inten, 77, 226 00:26:27,130 --> 00:26:38,650 that the Kingdom of Spain belonged to the Holy Roman Church as an extension of its universal authority over the kingdoms of the whole world. 227 00:26:38,650 --> 00:26:47,650 Alphonso, his reaction to this was to defiantly name himself emperor of all Spain, in case his claim to hegemony was unclear. 228 00:26:47,650 --> 00:26:53,080 A detente was established through Hugh Abbot of Clooney and for much of this period of people, 229 00:26:53,080 --> 00:27:00,880 Liggett and Agent Abbott, who engaged Alfonso in a complex dance that proposed devoted obedience to the pope, 230 00:27:00,880 --> 00:27:09,340 as regarded Roman liturgical reform while sidestepping the messy issue of Iberia's mythic feudal indenture to Rome, 231 00:27:09,340 --> 00:27:17,690 Alfonso with thus suppress the indigenous Hispanic liturgy that the papacy and the Cluny felt to be tainted. 232 00:27:17,690 --> 00:27:26,810 Gonsalves explains that for Pope Gregory, the abolition of the Mozur Arabic liturgy, which is another name for the Hispanic liturgy, 233 00:27:26,810 --> 00:27:34,280 the abolition for that liturgy was nothing more than a means for the submission of the Spanish church to Rome. 234 00:27:34,280 --> 00:27:42,200 One might read then, in the monumental Romanesque addition to Saga, juxtaposed to its delicate local or church name, 235 00:27:42,200 --> 00:27:49,910 not only local activism and reform a sense of revealed but also local identity and domination. 236 00:27:49,910 --> 00:27:54,620 There was slippage in the smooth discourse of reform in Leon Castiel. 237 00:27:54,620 --> 00:28:04,250 The liturgical changes were fraught with tension. Chronicles famously imagined a trial by combat between the two liturgy or trial by fire, 238 00:28:04,250 --> 00:28:11,630 in which the Hispanic liturgy miraculously leapt from the flames, only to have King Alfonso kick it back in. 239 00:28:11,630 --> 00:28:14,630 In his own correspondence, Alfonso sounds beleaguered, 240 00:28:14,630 --> 00:28:22,850 complaining in a letter to aperto that our realm is wholly desolated on account of the Roman office, which on your command, we accept it. 241 00:28:22,850 --> 00:28:28,910 He asks you to intervene with the pope lamenting the profound resistance to the Roman right. 242 00:28:28,910 --> 00:28:35,600 There was a strong investment in the traditional Hispanic liturgy that cut to the heart of local identity and 243 00:28:35,600 --> 00:28:42,710 of an agitated indigenous clergy that resisted the changes both to their traditional rights and to the new, 244 00:28:42,710 --> 00:28:47,740 often foreign superiors. I wonder if someone's new, 245 00:28:47,740 --> 00:28:55,540 monumental Western mass might have seemed to Frankish clergy to envision a victorious Roman church overwhelming 246 00:28:55,540 --> 00:29:02,680 an older Hispanic one functioning in much the same way as the voluminous apps of the Church of Santa Cruz, 247 00:29:02,680 --> 00:29:07,330 which seems continuously to overcome the mosque of Ibn Hadid. 248 00:29:07,330 --> 00:29:16,240 Because here Clooney was the colonial presence. Such large western masses appear in Cluny institutions throughout the north, 249 00:29:16,240 --> 00:29:23,410 performing a capacity to make markers of papal victory on the landscape of Iberia a meaning possible 250 00:29:23,410 --> 00:29:30,190 because of the way an indigenous horseshoe which traditionally signified local history and identity. 251 00:29:30,190 --> 00:29:35,800 Gregory The Seven, spoke of Spain as a place polluted by early heresies and cut off from the church 252 00:29:35,800 --> 00:29:42,460 by invading Saracens interactions that he claimed debilitated the Spanish church, 253 00:29:42,460 --> 00:29:49,990 though the traditional justification for the attack on the Hispanic liturgy had been its corruption through contact with adoption ism. 254 00:29:49,990 --> 00:29:53,140 Gonsalves notes that by 1777, 255 00:29:53,140 --> 00:30:03,790 all references to Aryans have disappeared and the entire responsibility for liturgical irregularity is assigned to the Muslims and the Pagans. 256 00:30:03,790 --> 00:30:12,010 Perhaps the image of one architectural language replacing another carried for the reformers a visualisation of Spain's tainted past, 257 00:30:12,010 --> 00:30:22,560 its horseshoe arch architecture reimagined as a marker of its moral infirmity brought on by its intimacy with Islam. 258 00:30:22,560 --> 00:30:25,380 These associations meant that horseshoe arches, 259 00:30:25,380 --> 00:30:31,620 like those it were longer would cease to appear in new masonry churches in the 11th and 12th centuries as 260 00:30:31,620 --> 00:30:38,130 the product of as the project of reform spread throughout the lands newly conquered by Christian kids. 261 00:30:38,130 --> 00:30:45,150 The horseshoe arch was not, of course, for 11th century patrons on the Iberian Peninsula, a reference of its a reference of Islam. 262 00:30:45,150 --> 00:30:50,670 They knew its history, its indigenous implications. There longer were contemporaries of Alfonso. 263 00:30:50,670 --> 00:30:55,830 The 6th at the end of the 11th century must have signalled territorial and hegemonic 264 00:30:55,830 --> 00:31:01,650 dominion in typologies that were not as yet instrumentalized by the Roman Church. 265 00:31:01,650 --> 00:31:12,160 But as Alfonso submitted to its cultural yoke and Romanesque spread throughout the peninsula, the horseshoe arch would be effectively erased. 266 00:31:12,160 --> 00:31:17,790 Oh, and I have to say as we begin to talk about Hawkins and I've just heard that Isidro bangles much awaited 267 00:31:17,790 --> 00:31:26,160 book has just come out and we're waiting impatiently to read it and see how it enters our conversation. 268 00:31:26,160 --> 00:31:37,440 So that when we turn to such canonical buildings on the Iberian Peninsula as the cathedral at Hakka, we find more familiar Romanesque typologies. 269 00:31:37,440 --> 00:31:43,620 Though it was the ardent project of papal reform that internationalised Iberian Romanesque, 270 00:31:43,620 --> 00:31:53,640 its solutions are still local and inflected by the relationship between local rulers and their ecclesiastical hierarchy as having had Javi Martinez, 271 00:31:53,640 --> 00:32:00,930 the IDB has shown in many studies this can be seen in particular in the crown of Aragon with the interests of King Central. 272 00:32:00,930 --> 00:32:09,840 Ramirez did not lie in the evocation of history. They propelled him instead into the arms of the papacy at a quite early date. 273 00:32:09,840 --> 00:32:19,950 He adopted the Roman liturgy, allied himself with Clooney and promoted monastic reform, probably because his father's illegitimacy has ignominy, 274 00:32:19,950 --> 00:32:26,190 had ignominiously submitted him as a vassal to the reign of the King of Pamplona so that 275 00:32:26,190 --> 00:32:32,280 he found a kind of feudal submission to Rome offered him more authority and independence. 276 00:32:32,280 --> 00:32:43,550 Sandro Ramirez went to Rome in 10 68 as Pope Alexander, the second invitation to hand himself in his kingdom over to the power of God and Saint Peter. 277 00:32:43,550 --> 00:32:52,490 David Simon has shown that on his return from Rome, he memorialised his symbolic indenture to the papacy in a cathedral dedicated to Saint Peter, 278 00:32:52,490 --> 00:33:00,620 the entire decorative enterprise Apopka in Simon's roots was constructed to reflect conscious romanisation. 279 00:33:00,620 --> 00:33:07,970 Despite arduous attempt, attempts to find vestiges of bolting to connect to hawkers need responds. 280 00:33:07,970 --> 00:33:13,130 Simon's reminds us that the building was never intended to be vaulted, 281 00:33:13,130 --> 00:33:21,230 but instead to evoke a particular class of antique buildings in which the wooden roof virtually serves to define form. 282 00:33:21,230 --> 00:33:28,140 The early Christian Basilica of Rome and perhaps the eponymous St. Peter's. 283 00:33:28,140 --> 00:33:34,110 Santiago de Compostela, we now know was begun under de Diego Playa beneath the shelter, 284 00:33:34,110 --> 00:33:40,320 in Sandra's words of the Gregorian reform's iconic buildings like Santiago in Toulouse, 285 00:33:40,320 --> 00:33:48,000 can be seen as outsized platforms for connecting local ambitions with the imperial reach of the papacy. 286 00:33:48,000 --> 00:33:54,000 But these buildings was dizzying monumentality and brilliant creative figural arts. 287 00:33:54,000 --> 00:34:01,350 Place them at the centre of our didactic project or the exception, rather than the rule on the Iberian Peninsula. 288 00:34:01,350 --> 00:34:12,720 The negotiation of local and international interests happens intricately and intentionally reflected in diverse manners in different places. 289 00:34:12,720 --> 00:34:22,410 What happens when the response to reform and expansion does not align with the values expressed at some good ad hoc or Santiago, 290 00:34:22,410 --> 00:34:28,800 the crossing in apps added to the mosque of Evenhanded when it became the Church of Santa Cruz at eighty five, 291 00:34:28,800 --> 00:34:38,000 was also part of a papal agenda as a font of the eighth allied himself with military orders to respond to a call for crusade. 292 00:34:38,000 --> 00:34:45,980 And though we'd like to talk about Horseshoe and Polly looked arches as the product of indigenous transcultural tradition of construction, 293 00:34:45,980 --> 00:34:51,830 here it is actually a 12th century revival of an indigenous decorative tradition. 294 00:34:51,830 --> 00:34:56,180 The revival of the fabrication of brick and brick building in Toledo and in those 295 00:34:56,180 --> 00:35:01,130 parts of Castiel into which Christian rulers expanded in the 11th and 12th centuries, 296 00:35:01,130 --> 00:35:09,410 responded Ortagus explained to the project of reform and the need for widespread church building in newly populated areas. 297 00:35:09,410 --> 00:35:17,310 These were buildings constructed explicitly for the Roman liturgy. 298 00:35:17,310 --> 00:35:21,060 In the city of Saigon itself, the Church of St Tirso, 299 00:35:21,060 --> 00:35:28,810 so has compound appears a liturgical space and broad typologies that are the same as other wooden roofed Romanesque churches. 300 00:35:28,810 --> 00:35:35,790 Yet more than one quite distinguished survey sites, it's would have our qualifications aerobic building technique, 301 00:35:35,790 --> 00:35:42,510 horseshoe shaped arches and very different from the Romanesque repertoire. 302 00:35:42,510 --> 00:35:45,810 I might have said the same thing not long ago, 303 00:35:45,810 --> 00:35:53,100 but today I think that Santiago so might instead be seen as marking a turn to a local Romanesque type in Sagaing, 304 00:35:53,100 --> 00:36:02,850 where the cut stone used in the Cluny Monastery have since become pretty mediaeval became too costly, with the waning of the city's importance. 305 00:36:02,850 --> 00:36:08,550 And yet its greatest taxonomic sin might really be the return of the horseshoe arch, 306 00:36:08,550 --> 00:36:18,330 which accompanied the resurgence of brick construction in the 12th century to serve reform in this expanding Castilian population. 307 00:36:18,330 --> 00:36:23,130 The occasional return of the horseshoe arch in the 12th century parochial church, 308 00:36:23,130 --> 00:36:29,220 or the countryside was not a problem for those in Castiel's expanding country. 309 00:36:29,220 --> 00:36:36,720 Instead, it is for us that it has been a problem. Santi Rousseau is sequestered from the canon of Romanesque, 310 00:36:36,720 --> 00:36:46,080 largely for academic suspicion of collusion with Arabs or with big brick buildings like this one son Roman in Toledo. 311 00:36:46,080 --> 00:36:48,270 Now here's a building to suspect, 312 00:36:48,270 --> 00:36:57,270 one that very few feel safe calling Romanesque by 12:21 The Church of Some Roman was dedicated by Rodrigo here minister. 313 00:36:57,270 --> 00:37:00,450 Rather Castiel's indefatigable archbishop, 314 00:37:00,450 --> 00:37:08,970 historian and mentor of kings known as the ardent promoter of the eight of the crusade of less than obviously Tolosa. 315 00:37:08,970 --> 00:37:18,090 Its paintings are kind of stage set for an immediate, experiential apocalypse in framed in banded arches, Arabic and Latin topography. 316 00:37:18,090 --> 00:37:24,330 The resurrected dead bursting from their tombs in a kind of frameless cinematic drama. 317 00:37:24,330 --> 00:37:29,340 Tiny angels lurking in splayed app's windows. 318 00:37:29,340 --> 00:37:30,540 Let's say that again, 319 00:37:30,540 --> 00:37:42,600 tiny angels lurking in splayed windows appear appear to be looking into the church from behind Polly lobed arches with Arabic scripts, 320 00:37:42,600 --> 00:37:49,110 interventions of the cosmic into the earthly consciousness of the faithful. 321 00:37:49,110 --> 00:37:56,550 An enormous arching, apocalyptic beast just speared by an angel, explicitly evoking the words of innocent, 322 00:37:56,550 --> 00:38:01,950 the third who compared the Alamo had to the beast of the apocalypse of the apocalypse, 323 00:38:01,950 --> 00:38:06,420 declaring that Rodrigo's crusade had made their demise imminent. 324 00:38:06,420 --> 00:38:11,700 This, in the triumphal hymns and the Latin epigraph that Gomez told us about, 325 00:38:11,700 --> 00:38:21,420 give Son Ramon a crusading like analogy and the presence of Hispanic saints, together with recently canonised Clooney and Bernard have said Iraq. 326 00:38:21,420 --> 00:38:31,320 He, of Hug saw Sahgal address an internal theme of conciliation with local Arab clergy. 327 00:38:31,320 --> 00:38:36,340 Are these competing visual agendas? In the beginning of his day reboot, 328 00:38:36,340 --> 00:38:41,850 Hispano Rodrigo explains that the multiplication of languages in the world was a 329 00:38:41,850 --> 00:38:46,620 punishment Christians had to endure for the construction of the Tower of Babel. 330 00:38:46,620 --> 00:38:52,800 His theological justification for the world in which he was daily participating in Toledo, 331 00:38:52,800 --> 00:38:58,920 multiple languages and the divergent peoples who spoke them were present by God's choice. 332 00:38:58,920 --> 00:39:07,290 How far are multiple languages from multiple artistic styles and why is Rodrigo's ardent vision of unity and crusade 333 00:39:07,290 --> 00:39:15,240 in a basilica highlighting classical spoolie compound Piers and Bay Division excluded from the Romanesque canon? 334 00:39:15,240 --> 00:39:22,620 Though somehow send Mini out to El Monte, also wooden roofed and with only one respond is often included. 335 00:39:22,620 --> 00:39:33,510 But of course, it has papal dispensation, and we will perhaps forgive any diversion from the ideal if it if it is due to an abundance of classicism. 336 00:39:33,510 --> 00:39:38,160 When we construct Romanesque as a European style, how do we choose? 337 00:39:38,160 --> 00:39:46,080 And how do we exclude? Do we channel the confessional suspicions of the reformed papacy as part of our academic definition 338 00:39:46,080 --> 00:39:51,270 when we separate either of these buildings from the narrative of Western European architecture? 339 00:39:51,270 --> 00:39:59,940 We might be unwittingly following the papacy and Clooney in implementing a kind of cultural cleansing of a place that had become, to their mind, 340 00:39:59,940 --> 00:40:06,120 liturgical and architecturally to Trent's culture to perhaps in order to find the 341 00:40:06,120 --> 00:40:11,190 correct place in our lexicon for buildings traditionally called mosi Arabic or mujer. 342 00:40:11,190 --> 00:40:15,360 We need to do more than simply to vanquish those problematic terms. 343 00:40:15,360 --> 00:40:22,860 We might also need to be sure to diversify and prod the peculiarities of more conventional Romanesque. 344 00:40:22,860 --> 00:40:28,500 I wonder if we might say that Iberia would be the site for the germination of several kinds of Romanesque, 345 00:40:28,500 --> 00:40:38,620 and that only some of these were monumental classes sizing Ashley Styles, but that all of these styles were part of Europe. 346 00:40:38,620 --> 00:40:42,940 If we turn to Romanesque buildings associated with institutions aligned with 347 00:40:42,940 --> 00:40:48,640 the people cause in areas outside of the Iberian Peninsula and Echo of Islam, 348 00:40:48,640 --> 00:40:53,350 that other that had been so provocative and exhilarating to the early reformed church in 349 00:40:53,350 --> 00:41:00,010 Spain was brought back from the Crusades and fetishised as a reminder of Romanesque Europe's 350 00:41:00,010 --> 00:41:06,190 shared identity under the church in the face of a common foe in places that did not have 351 00:41:06,190 --> 00:41:11,980 Iberia's Horse York style to push back against the alternating bazaars of the Dome of the Rock, 352 00:41:11,980 --> 00:41:19,150 reinvented as the Temple of the Lord were drawn into Claremont, where the first crusade had been preached, 353 00:41:19,150 --> 00:41:27,370 and into Luke Le Puy, from which its first leader and a member of the We Came and of course, to Vasili, 354 00:41:27,370 --> 00:41:33,700 which celebrated and justified the cosmic implications of the crusade through its thrilling Tim Panopto 355 00:41:33,700 --> 00:41:40,750 references to the Crusades bloom in the domed churches of Paraguay or in the facade of St. Pierre, 356 00:41:40,750 --> 00:41:42,760 that old name. In fact, 357 00:41:42,760 --> 00:41:52,720 many in France have found it difficult to stray far from allusions to Islam against which the church would define its new western Roman Empire. 358 00:41:52,720 --> 00:41:56,590 We ought perhaps to ask if these Romanesque buildings bristling with references to 359 00:41:56,590 --> 00:42:02,350 Islam within the structure of their conventional monumental classicism are anomalies, 360 00:42:02,350 --> 00:42:07,000 or are they an architectural message that found its proving ground in Iberia, 361 00:42:07,000 --> 00:42:13,000 the territorial marker of a papacy attempting to unite Europe under its imperial insignia, 362 00:42:13,000 --> 00:42:17,860 providing separate polities with a common identity and a common intent? 363 00:42:17,860 --> 00:42:23,720 A common enemy around which to congeal? 364 00:42:23,720 --> 00:42:34,090 This reconfigured architectural iconography returned to Spain through, and by now, this should come as no surprise, the Monastery of Cluny. 365 00:42:34,090 --> 00:42:38,830 Clooney's abbot, Peter, the venerable, travelled to Liberia during the rule of Alfonso, 366 00:42:38,830 --> 00:42:47,290 the seventh in 11:42 and eleven forty three hoping hoping to renew the once lucrative support the Castilian had offered the Abbey, 367 00:42:47,290 --> 00:42:56,500 as well as the contract for a translation of the Koran with which he might refute Islam, a goal fulfilled by Robert of Kent as support. 368 00:42:56,500 --> 00:43:00,580 He received the monastery of San Pedro Lake Hamdania. 369 00:43:00,580 --> 00:43:12,440 And what followed was the difficult and contested Clooney takeover of Cardinia from its indigenous monks and its simultaneous artistic transformation. 370 00:43:12,440 --> 00:43:22,790 Sculptors from Auxerre and Clooney fashioned capitals of a new cloister built with robust columns bound by a ribbon of banded arches. 371 00:43:22,790 --> 00:43:26,960 A form unknown in Romanesque Siberia, north of Toledo, 372 00:43:26,960 --> 00:43:34,410 Burgundy and masons were induced to introduce it here as a way of binding the project of crusade in the Holy Land. 373 00:43:34,410 --> 00:43:43,110 With that of Hispano, these alternating blue only carry a big whiff of that which bound Cordova to Jerusalem. 374 00:43:43,110 --> 00:43:50,520 They were now a French motif, mustering a bipolar opposition to Islam promoted in fabricated murder drums. 375 00:43:50,520 --> 00:43:56,040 It was here also that Clooney reinvented Rodrigo de Steber as El CID, 376 00:43:56,040 --> 00:44:03,090 a sanctified royer in the fight against the reductive Islam, and they did it already in the 11th century. 377 00:44:03,090 --> 00:44:12,270 Although his an 18th century mounted figure in the monasteries facade is called in Cadenas mallette monastic literature, 378 00:44:12,270 --> 00:44:18,810 a CID Matamoros Sid, the more killer the bodies of Muslims beneath his horse's hooves. 379 00:44:18,810 --> 00:44:25,650 It's a far off echo of the 12th century militarisation of St. James as Santiago Matamoros embraced 380 00:44:25,650 --> 00:44:35,500 here in the 17th century in the red and white language of architectural data on the more. 381 00:44:35,500 --> 00:44:39,910 By the 12th century, indeed, the church had learnt to redeploy forms, 382 00:44:39,910 --> 00:44:46,750 once resisted both the conscious and ambivalent meanings of the Chapel of of Santa Cruz and Toledo, 383 00:44:46,750 --> 00:44:52,810 for instance, would travel at the Church of Saint, sepulchral in towards the real. 384 00:44:52,810 --> 00:45:01,840 The ribbed vault from the little Toledo Mosque that once referenced Cordoba is redeployed in a tiny replica of the Holy Sepulchre 385 00:45:01,840 --> 00:45:09,700 and became the model for other churches in Iberia and France dedicated to the Holy Cross as the Church of Santa Cruz was. 386 00:45:09,700 --> 00:45:14,740 This is all pointed out by Martinez, the IGAD. Tallest, 387 00:45:14,740 --> 00:45:21,940 Ariel holds in its form both a reference to the crusading activities of the hospital to the Holy Land and 388 00:45:21,940 --> 00:45:29,700 then also an evocation of the immediate and palpable presence of Islam and crusade on the peninsula. 389 00:45:29,700 --> 00:45:36,720 What was too exotic and indigenous at Berlanga is now appropriated and tamed in Ashmore, 390 00:45:36,720 --> 00:45:42,180 reinvented to serve an Iberian coup de crusading project proud project. 391 00:45:42,180 --> 00:45:51,030 But of the two buildings. Berlanga and Torres del Rio only the second it's ideological instrumentalized ization of exotic form. 392 00:45:51,030 --> 00:45:59,130 Carefully defined only the second is admitted to us in the canon of Romanesque. 393 00:45:59,130 --> 00:46:08,730 Karen Armstrong remarks that the first collective act of the body we now think of as Europe was the first crusade called by Gregory's successor, 394 00:46:08,730 --> 00:46:11,850 Cluny Herbert, the second in ten ninety five. 395 00:46:11,850 --> 00:46:20,850 Nothing Dennis Hayes or Pynes did more to compel a specifically territorial view of Christianity than opposition to Islam. 396 00:46:20,850 --> 00:46:30,180 It was, in fact, in the reign of Gregory, the seventh that the word Christian to which first take on a territorial identification with Europe. 397 00:46:30,180 --> 00:46:37,050 Phoenix Christianity. The boundaries of Christian term became the limits of the West. 398 00:46:37,050 --> 00:46:45,150 The West, under Steffensen, reminds us, has even today become not so much a place as one side of a dualism. 399 00:46:45,150 --> 00:46:53,490 William of Malmesbury recalled Urban, the second cautioning Europe that it was threatened by Saracens and Turks 300 years ago. 400 00:46:53,490 --> 00:46:59,010 They conquered Spain, and now they hope to conquer the rest of Europe, too. 401 00:46:59,010 --> 00:47:07,290 Thus, the great reforming popes and one or two politicians today marked the unification of Europe in a world aligned against the mythic, 402 00:47:07,290 --> 00:47:14,550 reductive Islam. The question is do we wish to accept the papacy as West as our West? 403 00:47:14,550 --> 00:47:24,900 The papacy is Romanesque as our Romanesque. We know that the mediaeval West, like the West today, was richer and much more complicated than that. 404 00:47:24,900 --> 00:48:15,017 Thank you.