212 (mistakenly restored in the last century), a possible source for several experiments with ribbed domes in the churches of 11th-century northern Spain. In her final chapter, ‘The Making of Romanesque’, Walker interprets the movement of people and motifs in relation to the social and political networks of reforming papal legates, drawing attention to the renewal of interest in antique sarcophagi as emblems of the Roman (pre-Visigothic) Church. This is one of the book’s most compelling chapters, and one that highlights Walker’s acute perspicacity. She notes, for instance, the contrast between the confident handling of vegetal and geometric work in the capitals of San Isidoro and the more experimental carving of figural scenes. Might this imply that the sculptors were trained in al-Andalus? It is certainly a suggestive idea, even if the paucity of surviving stone or marble sculpture from taifal Toledo makes it difficult to prove. This is a very expensive book, but with so much material covered it is nonetheless inevitable that there are occasions when objects that receive quite lengthy descriptions are not illustrated. Perhaps those illustrations that are included — as well as the very useful maps — could also be made to do a bit more work if only their captions were less succinct. But to quibble with such details in no way undermines the broader achievement. There is a very real danger that Walker’s book could pass under the radar of Spanish specialists, or summarily dismissed by nitpickers — especially given its price and its language. That would be a terrible shame. This is a study of extraordinary range, courage and originality, and one that advances multiple fields. The Art of Medieval Spain now looks rather different.

中文翻译：

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中世纪早期西班牙的教堂建筑c。700–c。1100

212（在上个世纪被错误修复），可能是在西班牙11世纪北部的教堂中对带肋穹顶进行几次实验的可能来源。在其最后一章《罗马式的制作》中，沃克解释了与改革教皇使节的社会和政治网络有关的人和主题的运动，提请人们注意对古董石棺作为罗马人的象征的重新关注-Visigothic）教堂。这是本书最引人注目的章节之一，也是强调沃克敏锐敏锐性的一章。她指出，例如，在圣伊西多罗（San Isidoro）首都自信地处理植物和几何作品与对人物形象进行更具实验性的雕刻之间的对比。这可能意味着雕刻家在安达卢斯接受过训练吗？这肯定是一个暗示性的想法，即使泰法尔·托莱多（Taifal Toledo）幸存的石材或大理石雕塑的匮乏也很难证明。这是一本非常昂贵的书，但是由于涵盖了太多的材料，因此不可避免地会出现一些情况，即未说明接收到冗长说明的对象。如果只是标题不太简洁，也许包括的插图以及非常有用的地图也可以做更多的工作。但是，对这些细节进行争论绝不会损害更广泛的成就。沃克的书有一个非常现实的危险，那就是它可能会受到西班牙专家的监视，或者被nit窃者一视同仁，特别是考虑到其价格和语言。那真是太可怕了。这是对非凡范围，勇气和独创性的研究，还有一个可以促进多个领域的发展。中世纪西班牙的艺术现在看起来颇有不同。