ABSTRACT
This paper proposes a review of the roles of the artist and the patron in the design and execution of a mural in the Romanesque period. The direct written and figurative evidence we have on this subject is unfortunately very limited. Nevertheless, the importance of the patron’s role in medieval creation is the focus of numerous studies, to the detriment of that of the painter, often regarded as a mere executor. By drawing on alternative sources, such as treatises on artistic technology, it is possible to reconsider the approach to these issues. Thus, the purpose of this article is to focus on the role of the painter, as the holder of knowledge, tools and skills essential in the design and execution of a wall painting cycle. In the pictorial project, the result of a dialogue between the different actors, one cannot deny the influence of the habits and requirements of artistic practice on intellectual projection and the achievement of a painted work. The painter is no longer merely a passive executor but a co-author. The mastery of drawing is of prime importance in this enterprise.
