“L’Aigle de Suger” : un faucon plutôt qu’un aigle
The quality and precision of the goldsmith work known as the “Suger’s Eagle” lead to question the identity of the bird taken as a model for this precious zoomorph ewer. A set of anatomical features, foremost among which is the tomial tooth of the beak, the shape of the latter and of the head, the co...
Kaydedildi:
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| Materyal Türü: | Article ou chapitre numérique |
| Dil: | Français |
| Baskı/Yayın Bilgisi: |
2020
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| Online Erişim: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Özet: | The quality and precision of the goldsmith work known as the “Suger’s Eagle” lead to question the identity of the bird taken as a model for this precious zoomorph ewer. A set of anatomical features, foremost among which is the tomial tooth of the beak, the shape of the latter and of the head, the complication of the nostril, and the shape of the wings, identify this bird as a falcon. This is surprising because in the Middle Ages the falcon is associated with hunting and pleasure and does not have the Christic, apostolic or imperial symbolism of the eagle, which would have been better adapted to the religious context of Suger’s abbey church. Nevertheless, the precision of the anatomical details of this piece contrasts with the poor accuracy of the numerous medieval representations of birds of prey, and leads to the assumption that this exceptional work is based on direct observation of a real bird. Such a preoccupation with realism illustrates one of the characteristics of the emerging Gothic art, a greater attention given to nature. |
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