The most recent seminal contributions to the interpretation of the tympanum at Vézelay (i.e., the central sculpture in the narthex portal of Basilica of Sainte‑Marie‑Madeleine, Vézelay) are two articles by the eminent art historian Conrad Rudolph titled “Macro/Microcosm at Vézelay: The Narthex Portal and Non-Elite Participation in Elite Spirituality” (published in Speculum 96 (3) (July 2021): 601-661), later followed “Astrological Theory and Elite Knowledge in Non-Elite Public Art: Order in the Zodiacal Archivolt at Vézelay, in ”Studies in Iconography 44 (2023) 1-30. The First is a freemium article !
Who can read Dutch: a summary with images can be found here:
Key points of Rudolph’s interpretation
- Rudolph argues that beyond the traditional readings (e.g., the scene of the Pentecost of the Apostles, the Ascension of Christ or the Mission to the Apostles) the portal is structured as a Neoplatonic macro/microcosm.
- In his reading, the portal integrates elements such as the four classical elements (fire, air, water, earth), the signs of the zodiac, the labours of the months, the representation of the peoples of the world, and Christ at the centre, so that the tympanum’s program can be read as something like mundus/annus/homo (world/year/human) — a schematic cosmology in which the pilgrim is invited to see themselves in relation to the cosmos via Christ at the centre.
- Rudolph further emphasises the audience: he suggests that given the complexity of the program, the average non-elites (pilgrims) would not have grasped all its theological or cosmological subtleties without mediation — e.g., guided explanation by a tour-guide or monastic mediator. Thus the portal functions not just as “visual theology” but as a participation in elite monastic spirituality made accessible (though mediated) to a wider audience.
- This interpretation shifts the emphasis from simply “what does the image depict?” (Pentecost/Mission/The Church) to “how does the image function in its cultural / monastic / pilgrimage context?”: cosmology, pedagogy, spiritual initiation.
Why this contribution matters
- It provides a fresh conceptual frame for the tympanum (macro/microcosm) rather than simply identifying the biblical scene, and discussing whether it depicts Pentecost or Ascension or Ephesians 2 (the Church).
- It addresses the ritual/experiential dimension of the sculpture: how pilgrims would engage with it, rather than only its formal iconography.
- It brings together iconography (zodiac, months, monstrous peoples, classical elements) with site-specific contextual function (monastic church, pilgrimage gateway) in a coherent reading.
A caveat
- While the macro/microcosm reading is compelling, it depends on identifying certain sculptural elements (e.g., the wavy “undulating components” as the four elements) which are not always convincing.