In the 1790s the sculptural decoration of many French cathedrals
was destroyed, and monastic churches were stripped of their royal
and noble tombs. As a result, modern art historians have remained
largely unaware of the link between architectural sculpture and
monumental tomb sculpture. Some years ago, Anne Morganstern
recognized the hand of a master sculptor who worked at Chartres in
the little-known tomb of a nobleman. This connection prompted the
author to investigate the relationship between the two. In High
Gothic Sculpture at Chartres Cathedral, the Tomb of the Count of
Joigny, and the Master of the Warrior Saints, Morganstern offers a
new study of the sculptor whom Louis Grodecki associated with a
group of stained-glass windows that he attributed to the "Master of
Saint Cheron." Morganstern proposes that the windows reflect the
designs of the sculptor whom she calls the "Master of the Warrior
Saints," whether or not he was their designer. She also shifts the
chronological framework associated with the south transept porch
back approximately twenty years, a move that has broad implications
for scholarly consideration of the development of French High
Gothic sculpture.
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