The first chapter, The ZAfar as "Vision," uses the patristic concept of the Meaning of the wor k, but rather enhances and enriches it. Of the theologians," which in no way diminishes or detracts from the surface Burke displays a vast erudition in his investigation of the field he has chosen, "figural or typological allegory, the allegory Wide-ranging study of the secondary or implied meaning of the Zifar, orĪllegory in its broadest sense. THIS, the twenty-seventh publication in the Tamesis Monografias series, is a BURKE, History and Vision: The Figured Structure of the "Libro delĬaballero Zifar." (Coleccion Tamesis, Serie A: Monografias, xxvm.) London: Tamesis Books, 1972. Monographs which the great monuments of Provencal Romanesque art It will be of continuing value to the authors of the Even though the early chronology proposed forĪvignon and Aix will continue to be debated, especially in the context ofįrancis Salet's conclusive resolution of the chronology of Cluny III, Borg'sīook is excellent. Borg's analyses of these later monuments are excellent, and in some cases (e.g., Saint-Paul-Trois-Chateaux, Saint-Restitut) theyĪre the best that we have. The two-story arrangement of the Aix and Avignon capitals is not followed, and the lush, antique-revival character of the The later nave capital churches, clearly retardataire, derive obviously fromĪries, e.g., Saint-Siffrien at Carpentras (PI. No longer show the two-zone disposition of the Aix and Avignon capitals,Īnd they exhibit a lushness, much more pronounced than that of the Avignon capitals, which anticipates the art of the Aries cloister and facade. The antique-revival style of mature Provencal Romanesque sculpture: they But the nave capitals of Aries plainly prefigure Revival of antiquity as Lassalle has shown, was almost completely independent of the sculptural art of the nave capital churches, which at Avignon andĪix is clearly anti-classical.