One pontile, two pontili

As a living monument, Modena Cathedral has been subjected to numerous alterations since its foundation in the eleventh century. The choir screens, or pontili , demarcating the edge of the presbytery are one part of the church that underwent radical changes as they were adapted, removed, reused, and replaced. The appearance of the first screen, consecrated in 1106, is disputed. A.C. Quintavalle's proposal that the Genesis scenes by Wiligelmo, currently on the façade, formed this monument has validity. A brief examination of the archaeological evidence, as well as the façades and eastern ends of other churches within Countess Matilda's territories, reveal the merit of his idea and lead to a hypothetical reconstruction of the original presbytery. Despite the damage incurred by the 1117 earthquake, Wiligelmo's screen was preserved, prominently displayed, and later replaced by the Campionesi, who refashioned the cathedral's east end. Their screen addressed new theological concerns and the rising preoccupation with Christ's body. In the early thirteenth century, the Campionesi adapted their earlier creation through the addition of a pulpit. This paper examines the series of extraordinary alterations at the threshold of the presbytery in order to understand how these monuments continued to actively engage the faithful. (pp. 673–685)

Amateur · Ancient history · Archaeology · Art · Art history · Choir · Damnation · Eleventh · Foundation (evidence · Literature · Order (exchange · Performance art · Pulpit · Visual arts · Byzantine Studies and History · Classics · Historical and Religious Studies of Rome · History · Medieval Literature and History

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