Abstract
Eighty-three sculptured fragments from the abbey of Cluny are attributed to the choir screen of Cluny III, constituting the only large-scale low chancel closure to survive from Romanesque France. In type, the arcaded screen is conceived as sculpture in scale, decoration, and construction, yet it parallels the motifs, workmanship, and even the dimensions of architectural carving from 1120-30 at Vezelay, Cluny, and Paray, and suggests that the “sculptors” in fact were ashlar masons. It thus reflects the period in which it was created at Cluny, when the media of architecture and sculpture were combined in a new synthetic whole.
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