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provided a framework for the subject, and through his teaching and research he almost single-handedly established
English Romanesque sculpture as a subject worthy of study. Throughout his career he kept his work on handwritten file cards, one or more for each site he visited, and after his retirement
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In the spring of 1998 a pilot site was made available on the internet, containing information about the project and a few sample site entries with images. By 2001-02, site reports from the first counties were online: Berkshire, Sussex, Warwickshire, Bedfordshire and
Worcestershire. The website
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CRSBI was recognised as an important development in
Romanesque studies. In Kahnâs words, "it is worth noting an important decision: the British Academy's adoption of a project (the Corpus of Romanesque Sculpture in the British Isles), which should lead to a complete recension of the works
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Meanwhile the coverage has increased to cover more than 60 percent of the total identified sites (67 percent in
England), and the CRSBI is recognised as a valuable resource for students and their teachers, historians, art historians conservators and heritage bodies worldwide.
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undertook to record the Irish material. Initially, photography was on film, largely black and white, and photographs were scanned and digitised. The number of sites to be covered was estimated to be around 5,000, with perhaps 10-12 photographs per site on average.
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The first board, chaired by Lasko, contained George
Zarnecki, Neil Stratford, Eric Fernie, Roger Stalley, Paul Williamson, John Higgitt, Sandy Heslop and Deborah Khan. Ron Baxter replaced Deborah Khan when she took up a teaching post in the
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il convient de signaler une importante décision: celle de la
British Academy d'adopter un projet (The Corpus of Romanesque Sculpture in the British Isles) qui devrait, s'il aboutit, déboucher sur une recension complÚte des oeuvres
225:, the digital humanities researcher, who encouraged the project team to archive the text reports and digitised photographs separately. This, he argued, would simplify matters when they were eventually brought together.
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sculpture carved in the
British Isles between the mid-11thc century and the end of the 12th. It is a major project whose images are one of the Visual Arts Data Service's educational collections, and has been used by
253:(2006), published two years later. The project has since left Kingâs College to become a virtual entity. Fieldworkers are responsible for putting their own research online, via to a system supplied by
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who had joined the CRSBI committee to provide much-needed IT expertise. By this time the importance of IT to the humanities was well established, and the CRSBI was the subject of a paper in
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to ask for money to set it up. The
Academy agreed a small initial grant, and the project has been supported by that organisation ever since. The first chairman was Professor
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Bentkowska-Kafel, A, âElectronic
Corpora of Artefacts: The Example of the Corpus of Romanesque Sculpture in Britain and Irelandâ, in M. Greengrass and L. Hughes (ed.),
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Volunteer fieldworkers, many of them
Zarnecki's former students, were recruited for Scotland, Wales, and each of the English counties and a team led by
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he set about establishing a similarly systematic approach to the whole of the British Isles using volunteers to complete a comprehensive
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The British Academy suggested that the only hope for publishing the fieldwork lay in computing, and supplied an expert to help in
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Initially the project was based at the Courtauld Institute, but in 2007 a change in their research policy led to a move to the
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A Management Board was recruited to supervise, consisting of eminent scholars of medieval art and architecture.
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304:"University of Warwick, History of Art. Corpus of Romanesque Sculpture in Britain and Ireland, Leicestershire"
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125:(CRSBI) is an ongoing web-based research tool that freely provides expert reports and photographs of
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134:'s History of Art Department as an Undergraduate Research Support Scheme. It is a
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also included a glossary and a guide to the complexities of chevron ornament.
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who arrived in the United Kingdom in 1943 before spending his career at the
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Kahn, D (1988). "La Sculpture Romane en Angleterre: Ă©tat des questions".
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The official starting date of this project was 1988, when Zarnecki and
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Regional Schools of English Sculpture in the Twelfth Century,
279:"The Corpus of Romanesque Sculpture in Britain and Ireland"
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58:"Corpus of Romanesque Sculpture in Britain and Ireland"
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Corpus of Romanesque Sculpture in Britain and Ireland
49:. Unsourced material may be challenged and removed.
318:"Zarnecki, George | Dictionary of Art Historians"
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138:(1168535) with a Board of Trustees chaired by
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109:Learn how and when to remove this message
407:The Virtual Representation of the Past,
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239:Centre for Computing in the Humanities
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453:Photo archives in the United Kingdom
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47:adding citations to reliable sources
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217:Publishing the fieldwork
379:10.3406/bulmo.1988.3181
206:Professor Roger Stalley
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243:Kingâs College London
255:iBase Media Services
140:Prof. Neil Stratford
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448:Scholarly databases
367:Bulletin Monumental
346:The British Academy
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181:Peter Lasko
432:Categories
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327:2022-12-15
265:References
127:Romanesque
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187:1066 -
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