Combat des monstres; relief (médiévale, romane médiévale, haut Moyen Age)Musée de la Romanité
This relief represents a fight between two monsters sculpted in profile. It was made during the Romanesque period, probably during the second half of the 12th century. A reused piece, its provenance is unknown today, but it likely had a counterpart and formed a pair.
Animals were often represented in medieval art, either as anecdotes or as symbols. Fantastic creatures, like monsters coming from Hell, instill fear. Animal fights are often allegories of the struggle between good and evil.
In the Middle Ages, books were rare and only circulated to a limited audience. In contrast, public buildings (especially religious buildings) were regularly packed with people. Art and architecture were therefore ideal educational vehicles.
Many scenes illustrated architectural elements. Animals, whether real or imaginary, were depicted. They could either be meaningful and understandable symbols or simply decorative elements.
Combat des monstres; griffon (médiévale, romane, médiévale, haut Moyen Age)Musée de la Romanité
The griffin is a hybrid creature: its head, wings, and legs are those of an eagle, while its body is that of a lion. Combining the wisdom of the eagle with the bravery of the lion, it symbolizes courage and sometimes embodies the dual nature of Christ.
However, it shows some particularities: the beak is like that of a parrot and its body is reminiscent of the body of a horse. He is attacking the second creature by grasping it in his talons. The griffin can also be seen in a negative light, symbolizing ferocity and persecution.
Combat des monstres; monstre gauche (médiévale, romane, médiévale, haut Moyen Age)Musée de la Romanité
This fantastic creature is unusual in medieval bestiary: its head resembles that of a crocodile, while the rest of its body is that of a reptile. It also has eagle wings and talons. It probably represents an evil monster.
Combat des monstres; monstres (médiévale, romane, médiévale, haut Moyen Age)Musée de la Romanité
The contrast between the two creatures is emphasized by the stonework: the row of drill holes along the body of the left-hand monster stresses its twist and adds great energy to the work.
Combat des monstres; profil (médiévale, romane, médiévale, haut Moyen Age)Musée de la Romanité
The geometric design of the bodies and their simplification, the high relief and the use of a row of drill holes is only found in the region of Parma, especially in the cathedral of Fidenza.
This relief is attributed to Benedetto Antelami, an Italian sculptor who traveled to the South of France, all the way to Perpignan, between 1178 and 1180–90.
Musée de la Romanité de Nîmes - https://museedelaromanite.fr/
Realization: Ville de Nîmes - Musée de la Romanité
Iconography: © Ville de Nîmes - Musée de la Romanité
