Dante later turned to him for a model of the poet of rectitude. The vida also suggests that
Giraut was a master in another sense: a teacher. Certainly, his lyrics are the work of a
poets’ poet, at once learned and elegant. In his approximately seventy-six songs of certain
attribution, including some fifty love songs and fifteen moral sirventes, Giraut is a
difficult poet, concise and cerebral. His cold rhetoric and his obsession with style seem to
confirm the vida’s assertions. Giraut was as much at ease in the hermetic style of trobar
clus, perhaps in imitation of Raimbaut d’Aurenga, as he was in the clear style of trobar
leu, which he defends in a debate with Raimbaut. His most successful lyric is the
religious alba Reis glorios, but he also practiced the planh, tenso, crusade song, romance,
and pastorela.
Roy S.Rosenstein
[See also: TROUBADOUR POETRY; PASTOURELLE/PASTORELA]
Giraut de Bornelh. Giraut de Borneil, maestre dels trobadors: choix de poésies, ed. James and
Claude Dauphiné. Périgueux: Fanlac, 1978.
——.Sämtliche Lieder des Trobadors Guiraut de Bornelh, ed. Adolf Kolsen. 2 vols. Halle:
Niemeyer, 1910–35.
——. The Cansos and Sirventes of the Troubadour Giraut de Borneil, ed. and trans. Ruth
V.Sharman. Cambridge: Cambridge University Press, 1988.
Sharman, Ruth V. “Giraut de Borneil: maestre dels trobadors.” Medium Aevum 52 (1983):63–76.
GISLEBERTUS
(fl. late 1 1th-early 12th c.). The west tympanum of Saint-Lazare at Autun bears the
inscription GISLEBERTUS Hoc FECIT, and this sculptor’s career can be traced through
stylistic comparisons to Autun. Around 1115, Gislebertus assisted the Master at Cluny
working on some capitals and the west portal. He was briefly at Vézelay producing
sculpture intended for the west tympanum. His major œuvre was at Autun ca. 1125–35,
where he carved the Last Judgment of the west tympanum, in the north doorway of which
a lintel fragment of Eve remains, and, with assistants, about fifty foliate and historiated
capitals. His significance as a Romanesque sculptor arises from the quantity and
expressive quality of his work.
Karen Gould
[See also: AUTUN; ROMANESQUE SCULPTURE; VÉZELAY]
Grivot, Dennis, and George Zarnecki. Giselbertus, Sculptor of Autun. New York: Orion, 1961.
GISORS
. Capital of the Norman Vexin, Gisors (Eure) was the principal base of operations of the
Anglo-Normans in their struggles against the Capetian monarchy. A fortress with a
double curtain wall was begun here in 1096–97 by the Norman Robert de Bellême on
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