The writer interprets the innovative narrative of Adam and Eve reflected in the Genesis sculptural cycle at the pilgrimage church Saint-Theobald (1324–1400) in Thann, Alsace, as an imprint of the dual, ecclesiastical and lay, patronage of the church. Local clergy may have seen the sculptural cycle of a counterpart expression of the comfort literature that appeared in response to the Black Death, whereas the local nobility may have seen it as an imprint of their own identity and moral stance.
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