Kloostergang in het benedictijnerklooster van Monreale 1857 - 1914

Curator: This striking albumen print captures the cloister of the Benedictine Monastery of Monreale, dating from between 1857 and 1914, credited to Giorgio Sommer. The image presents a long perspective of Romanesque arches and columns. Editor: Wow, that receding perspective...it almost pulls you in! It feels like stepping into a dream, or maybe a very ornate rabbit hole. A rabbit hole made of stone and light, that is. It is so neat and organized though. I wonder, what sort of life happened here? Curator: The repetitive geometric forms—the arches, the columns—create a sense of rhythm, yes, but also of spiritual order. The cloister was and still is meant as a transitional space, bridging the secular world and the sacred inner space of the monastery. In early monastic symbolism, columns represent pillars of faith, so to speak. The sheer number on display suggests great emphasis, like in many large-scale church or basilica designs. Editor: You’re totally right about that order thing! It almost feels...claustrophobic? Beautiful, but kind of rigid, especially since the black-and-white processing sucks the colour and any apparent life out. Those repetitive arches; is that soothing, or oppressive? Maybe a little of both? How were these buildings decorated initially, by the way? Was it much the same feeling in those days? Curator: The Romanesque style is characterized by that sense of weight and solidity. Early decorations of these cloisters, built in the late 12th century, were likely brightly colored—a stark contrast to our view of it today. Think mosaic-like displays with symbolic connotations! Editor: Ah, colourful displays…makes it a very different feeling! It still would have to be quite an adjustment for any individual; sort of stripping away a personal identity perhaps? So there would not have been just this black, white, and stone sort of thing to it. I bet people who love Brutalist architecture feel right at home with the black and white. I personally need a splash of something. Curator: It is truly fascinating how much emotional weight visual representation bears—this print almost empties out and flattens the space. However, those columns are so full of subtle stories if you view them up close... Editor: Definitely makes me wonder about the contrast to life both inside and out of those walls at the time, that's for sure. All things said, Giorgio Sommer’s image is quite remarkable, especially if it's meant to emphasize a singular way of thought, devotion, and geometric style. It does its job very well, either way!