Wiligelmus (1106 to 20). Creation and Fall [west façade, Modena Cathedral, Modena, Emilia, Italy].

Individuals are recognizable and details (eg, clothing, expressions) are respectably developed. Figures and shapes are scaled to fit the work space and contorted to conform to a front-on angle of view (ie, picture plane), resulting in semi-abstract realism. Backgrounds are reduced to the literal depth of the relief. There seems to be a loosely calculated design framework in place.  Time is developed in this work based on its narrative organization and even-paced patterning built on the arrangement of figures and arcade that defines the upper boundary of this series of reliefs. In addition, the observer is required to move laterally with the work as the story unfolds. 

This is an example of a work that binds through unbalanced proportions. While there are roughly equal numbers of figurative and artificial shapes, figurative are the clear focus. They bind through similar size, vertical orientation and consistent pacing. Artificial forms are also formatted in the same manner, or are geometrically circular.

Wiligelmus provides the observer a crutch by labeling some of the figures. Combined with general recognizability, the narrative essentially becomes this works center of interest. However, if a pictorial element had to be identified, it would be the clothed (embellished, slightly enlarged) figure of God. For the most part he is the active figure. 

Relief work by artists such as Wiligelmus illustrate a handful of the formal and conceptual transitions that crystallize the definition of Romanesque expression from those before it. Narratives begin to shift from inaccessible biblical figures and concepts to the experiences of everyday people; subject matter centered on religious expression remains, however it begins to move from the apse to public facades; finally, the formatting of subjects and backgrounds begin to be tinged with perceptions of actual, physical surroundings instead of abstract expressions of the eternal.