Emperor John II Komnenos focuses his activities…

Vsevolod Olgovich, at this time Prince of Chernigov, the Cumans, and his allies who are invited by Iziaslav to make his point against Viacheslav, continue their war against Yaropolk and cross the Dnieper to loot the Kiev region.

After a decisive battle in 1135, Yaropolk has to cede the towns of Kursk and …

…Posechenoye, gained only seventeen years earlier.

Eric II, having dispatched Harald Kresla and most of his sons, now seeks to consolidate and legitimize his rule over Denmark.

He awards titles and privileges to his supporters, and proclaims Archbishop Asser's nephew as Bishop Eskil of Roskilde.

Eric is defeated in 1135 in a naval battle near the coast of Denmark, and Slavs under duke Ratibor I, Duke of Pomerania, sack Roskilde.

Eric initiates the process of getting his half-brother Canute Lavard canonized, and establishes an abbey at Ringsted to document reports of miracles at Canute's grave.

Eric wants to establish the divine right of kings, and canonizing Canute will support his claim on the throne. (Canute will finally be canonized in 1170.)

Conrad, Lothair’s rival, acknowledges the latter’s suzerainty in 1135.

Boleslaw, in 1135, finally pays twelve years past Pomeranian tribute to the Holy Roman Empire.

In Merseburg, Boleslaw accepts overlordship Emperor Lothair III over his gains in Rügen and Western Pomerania, parts of which the emperor "grants" Boleslaw as fiefs.

Zengi had became involved in Artuqid affairs in 1134, allying with the emir Timurtash (son of Ilghazi) against Timurtash's cousin Da'ud.

Zengi's real desires, however, lie to the south, in Damascus.

In 1135.

Zengi receives an appeal for help from Ismail, who had succeeded his father Buri as emir of Damascus, and who is in fear for his life from his own citizenry, who consider him a cruel tyrant.

Ismail is willing to surrender the city to Zengi in order to restore peace.

None of Ismail's family or advisors want this, however, and Ismail is murdered by his own mother, Zumurrud, to prevent him from turning over the city to Zengi's control.

Ismail is succeeded by his brother Shahib ad-Din Mahmud.

Not discouraged by this turn of events, Zengi arrives at Damascus anyway, still intending to seize it.

The siege lasts for some time with no success on Zengi's part, so a truce is made and Shahib ad-Din's brother Bahram-Shah is given as a hostage.

At the same time, news of the siege had reached the caliph and Baghdad, and a messenger is sent with orders for Zengi to leave Damascus and take control of the governance of Iraq.

The messenger is ignored, but Zengi abandons the siege, as per the terms of the truce with Shahib ad-Din.

On his way back to Aleppo, Zengi besieges Homs, whose governor had angered him.

Shahib ad-Dini responds to the city's call for help by sending Mu'in ad-Din Unur to govern it.

Ferrarra, taken by siege by the countess Matilda of Tuscany in 1101, is at this time is mainly dominated by several great families, among them the prominent Adelardi (or Aleardi) family.

Construction of the present Ferrara Cathedral, dedicated to Saint George, the patron saint of the city, began in the twelfth century, when the city was being extended towards the left bank of the Po River; the new cathedral is consecrated in 1135.

The original Romanesque design is manifest in the façade, which resembles those of Modena and Parma Cathedrals: it is in white marble, with three cusps and a series of loggias, small arcades and rose windows, statues and numerous bas-reliefs.

Gislebertus and the Burgundian Romanesque Sculpture of Saint-Lazare, Autun (c. 1125–1135 CE)

Between 1125 and 1135, the French sculptor Gislebertus led a remarkably homogeneous group of sculptors in creating the figural capitals and portal sculpture for the Cathedral of Saint-Lazare in Autun, Burgundy. His work represents the culmination of Burgundian Romanesque sculpture, distinguished by its delicate linearity, elongated figures, and dynamic drapery forms.

The Burgundian Romanesque Style

Gislebertus and his workshop developed a highly expressive and dramatic sculptural style, characterized by:

• Exaggerated elongation of human figures, heightening their spiritual intensity.
• Intricate, fluttering drapery edges, which enhance movement and emotion.
• Deep relief carving, emphasizing the contrast between light and shadow, creating a striking visual impact.
• Linear and delicate detailing, lending a refined elegance to otherwise robust Romanesque forms.

The Last Judgment Tympanum: A Masterpiece of Medieval Sculpture

The tympanum over the west entrance of Saint-Lazare Cathedral is Gislebertus’s most famous work. It depicts a high-relief composition of the Last Judgment, divided into:

• The left side (Christ’s right hand): Heaven and the Saved, where the righteous are received into eternal bliss.
• The right side (Christ’s left hand): Hell and the Damned, where grotesque demons drag sinners into torment, featuring some of the most vividly horrifying medieval imagery.
• The central figure of Christ, portrayed as a commanding, elongated figure, presides over the judgment with grace and power.
• The lintel beneath the tympanum, illustrating the raising of the dead, where souls awaken to their final fate.

Notably, the tympanum bears an inscription crediting Gislebertus:

“Gislebertus hoc fecit” (Gislebertus made this), an unusual signature for medieval sculptors, who were typically anonymous.

The Figural Capitals: A Sculpted Narrative

Inside the cathedral, the sculpted capitals continue the highly expressive Romanesque tradition, depicting:

• Scenes from the Bible, including the Temptation of Eve, the Dream of the Magi, and Christ’s Passion.
• The lives of saints, reinforcing the cathedral’s role as a pilgrimage center dedicated to Saint Lazarus.

Legacy and Influence

• Gislebertus’s work at Autun is considered a masterpiece of medieval sculpture, influencing Romanesque and early Gothic art.
• His expressive, highly dramatic figures foreshadow the emotional intensity of later Gothic sculpture.
• The Last Judgment at Autun remains one of the most haunting and powerful depictions of medieval eschatology, reflecting the intense spirituality of the time.

Gislebertus’s work at Saint-Lazare Cathedral stands as a testament to the artistic ambition of Romanesque sculptors, blending narrative, theological depth, and visual grandeur into a monumental expression of medieval faith.