In Kedar’s sculptural analysis of the early Romanesque corbels, he focused on the small wall reliefs depicting intense human emotions which he claimed that art historians often neglected due to their insignificant roles and monstrous appearance. As a result, their meanings remained secluded from society for many centuries. The corbels jutting from the walls of Romanesque French churches illustrate not only the social caste of marginalized members of the medieval society but also their grotesque and frank style was a silent protest from the neat religious iconography of the church. The visual justification of the author’s argument ...
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