Up until the later Gothic period the names of nearly all the great medieval architects, sculptors, painters and glass makers are not known to us. Written records mention the rich and powerful, kings, nobles and church prelates; the artists themselves were regarded as workers and simply referred to as the Master of the place where they produced their major work. The name, however, of the greatest Romanesque sculptor is known to us, because he carved it into his greatest work.
Gislebertus (Latin for Gilbert) lived his life in Burgundy. From 1120 to 1135 he worked in Autun on the construction of the cathedral of St Lazare, where he produced a large sculptural ensemble: numerous doorways, tympanums and capitals. The culmination of his work in Autun is the tympanum in the west portal, The Last Judgment, a masterpiece of Romanesque sculpture. And on this work, at the feet of the Christ figure, he left his name: Gislebertus hoc fecit (Gilbert made this).
In recent times a number of the original carved capitals have been taken down from their original position on the top of columns in the interior of the cathedral and placed on display in the chapter house, where they can be viewed at close quarter. Three of these capitals represent scenes related to the birth of Christ.
This first capital concerns the story of the three Wise Men. Tired from their journey they are resting up, side by side, sharing a pillow, the bedcover forming a large semi-circle that dominates the image, its hem hinting at its preciousness. But the scene is not static: it captures a moment in time when an adolescent-faced guardian angel has just touched the hand of the nearest Wise Man with its index finger, in order to awaken him. His eyes have just opened while the other two kings remain fast asleep. With the index finger of his other hand the angel is pointing at the star of Bethlehem. Come on, gentlemen, rise and shine, time to be following that star again! This is the moment of awakening forever fixed, magically, in stone.
The Adoration of the Magi depicts the three Wise Men presenting their gifts to the Christ child. The first of the Wise Men kneels before the mother and child at a respectful distance, proffering his gift which the child accepts with both hands (one arm has been broken off), seemingly eager to lift the lid and look inside. The second Wise Man is about to lift his crown as a mark of respect, an engaging and joyful smile on his face. The third Wise Man unveils the chest he has brought to surprise the child, also wearing a smile of tenderness and delight. The Christ has been sculpted with the face of a young child fascinated with a present.
And on the same capital, just around the corner behind Mary, Joseph is watching on, with his pointed beard, his knees crossed, left hand on hip, chin resting in the palm of his right hand, a whimsical look on his face, as if wondering what all this fuss is about.
It is remarkable that the master has been able to capture the emotions of these biblical figures; he has expressed in stone the interior feelings of the people in these scenes.
The Flight into Egypt portrays both the distress of the family at having to escape from their home town and their loving care for their child. Joseph, sword over shoulder, rein in his right hand, leads the family away. Mary has a look of tenderness toward her child but also of resignation to the necessity of the long trip. The child is presented front on, still holding one of the gifts of the Wise Men. His face is an adult face, the promised Messiah of the Old Testament. Even the expression of the high-stepping donkey seems a recognition of its role in this very human drama.
The artistry of Master Gislebertus lies in the unusually emotive power of gestures, subtle as well as vehement, that make up the sculptural programme, which is a high point in the history of the development of sculpture.
