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l & G
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Great Romances of History -- "Lancelot and Guinevere" by Caro Romanelli.
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$63.00
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| Great Romances of History -- "Lancelot and Guinevere" by Caro Romanelli.
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Great Romances of History -- Lancelot and Guinevere by Caro Romanelli. Hand crafted in solid incolay stone by the artisons of Incolay Studios of California. Plate size approx 10.25 inches. Incolay stone must contain the two vital ingredients of semi-precious carnelian and crystal quartx. Without them both, the stone cannot be genuine. 1982 production. Suggested Retail $90.00
Behind them loom the stone battlements and towers of Camelot. The fabled, idyllic, I kingdom is at peace. But soon the illicit
love of Lancelot and Guinevere will
destroy the very foundations of this legendary realm, destroying King Arthur, his Round Table of knights, and the lovers themselves.
Lancelot and Guinevere — long ago they fell in love in an age of chivalry and honor. He was a knight, the most noble of King Arthur's Round Table, and the monarch's trusted friend. She was a Queen, Arthur's beloved wife, the fairest lady in all of Britain. And together they were swept away by a passion which proved stronger than Lancelot's oath of fealty to his sovereign, or Guinevere's sacred vows of marriage.
The lovers are depicted here in an innocent pose, but we can read the signs of their impending romance, and destruction, in the subtle art of sculptor Carl Romanelli. As Lancelot kneels to kiss Guinevere's hand, she averts her eyes, as if refusing to witness what appears to be an innocuous gesture— a gesture that is in fact the prelude to the full flowering of their passion. And in Lancelot's hand is his plumed helmet, emblem of his honor as a knight, removed now to facilitate his courting of Guinevere.
The two central figures are arranged to form a pyramid — the classic compositional device — with Guinevere's steeple headdress serving as the apex. Framing the lovers on either side are objects both man-made and natural — the castle, the bridge, the foliage—which suggest the conflict between principle and passion. And in the swirling movement of the trees, the royal banners, and Guinevere's gown and veil—all lashed by the same pitiless wind—we can see the ultimate victory of their desires over their reason.
Carl Romanelli's "Lancelot and Guinevere" is surely relief sculpture at its finest. The immaculate lines of the intaglio passages are incised with authority and clarity; the swelling volumes of the two figures in cameo have a subtle beauty which is almost unkown to this art form; and the entire composition is bound together with interlocking shapes and arabesque tracery.
But beyond Romanelli's mastery of the "lost" technique of the stiacciato reliefs of the fifteenth century, is a touch perhaps of magic, an almost impossible talent for infusing obdurate material with the very breath of life — a gift which will insure that Lancelot and Guinevere, the doomed lovers of the Arthurian legend, live forever in the warmth of fine-grained Incolay stone.
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