Romanesque and Gothic Architecture Romanesque Gothic Radiating chapels and apse: Separate compartments .Unified, unbroken space. Vault: Mostly barrel-vaults, some groin-vaults Groin-vaulted cathedrals. Arch type: Rounded arches Pointed arches. Main vault support: Thick walls, buttresses Exterior flying buttresses. Clerestory: Small windows Large stained-glass windows. Elevation: Horizontal, modest height Vertical, soaring. Exterior: Plain, little decoration, solid Ornate, delicate, lots of sculpture. Sculptural Thin, elongated, abstract figures More realistic proportions and Decoration: individualized features. Mood: Dark, gloomy Tall, light-filled. Information provided by: http://daphne.palomar.edu

Romanesque Architecture ROMANESQUE: roughly 10th through 12th centuries (800-1100 CE) Name literally means in the Roman style (stone basilica) but also uses Carolingian, Ottonian, and Byzantine elements Large spaces to accommodate large numbers of travelers on pilgrimage Crusades More funding available as economy and society stabilized Feudalism Slightly different based on region (influences of various : Byzantine, Islamic, Viking, Hiberno-saxon, etc…) Northern Southern

Romanesque Architecture Specific Architectural Elements: Barrel vault replaces wooden gable roof (fire hazard) Required thick walls with few windows to displace the thrust Cluster piers also bear weight carried by rib vaults Radiating chapels and apse ambulatory Cruciform plan with transepts and spire at the crossing PORTAL and FAÇADE ELEMENTS: Tympanum with narrative in top of rounded arch Archivolts composed of voussoirs Multiple jambs corresponding with archivolts Trumeau separating double doors

Romanesque Portal http://www.arthistory.upenn.edu/smr04/101910/101910lecture12.html

Sainte-Foy,Conques: West Portal Christ is central, largest, in a mandalora with radiating light, stylized figures, right hand raised (right hand of God, saved souls), LAST JUDGEMENT is the typical narrative for westwork (west-facing entry) in Romanesque churches

Romanesque Portals: http://www. metmuseum

Sainte-Foy Interior, Floorplan Apse Chevet Cluster pier Quadrant Bay with groin vault Transverse rib

Pisa Cathedral Complex, 1053 CE - Clerestory Full marble exterior Campanile (bell tower) instead of West tower Separate Baptistry Elliptical Dome (islamic influence) Blind Arcade Gallery serving as abutment

Pisa Interior and Plan Flat wooden roof, coffered ceiling Arcades separating aisles use Corinthian and Byzantine capitals Transepts have small apse at end Arch at end of the nave Apse mosaic in Byzantine style Alternating colors – southern feature

Sainte-Etienne, Caen, 1067-87 CE Built at request of William the Conqueror Flat wooden roof Three vertical sections, three horizontals Stone string courses define interior stories Towers accentuate the upward directionality (spires are latter Gothic additions) NOTE: groin vaults in nave finished in 1115-20 (based on Durham Catherdal) Vaults and pointed clerestory windows added to height GOTHIC PERCURSOR

Reliquary of Sainte-Foy Dated to various time between the 9th and 11th centuries Head may have been a death mask of a Roman emperor Body is gold and gems over wood core Hands added later, shoes 16th century addition Reliquaries held fragments of sacred objects (or body parts, hair, teeth, bones, of saints) such as the cross, virgin’s veil or clothing, nails from the cross,…) Relics were believed to have miraculous power and the sacredness cold be absorbed by touching or being in the presence of the relic. http://www.metmuseum.org/toah/hd/relc/hd_relc.htm

“Christ in Majesty”, Stavelot Bible Parchment, 1093-97 CE Byzantine Elements: Mandalora, outlines, stylized figures, bearded Christ, cross in halo Roman Elements: Evangelists symbols in tondos, shading and modeling of clothing Monastic bible – used on the alter in a Benedictine monastery in Belgium Not for common use “Mosan” art is regional Romanesque from Rhine/Belgium area

Stavelot Triptych Commissioned by Abbot Wibald, 1156-58 CE Gold, gems, enamel Outside wings of the smallest triptych show the annunciation Outside wings of other interior triptych show the four evangelists Inside wings show four Byzantine saints Champleve: Western, on outer triptych Cloisonne: Eastern, Inner triptych Constantine and Helena, fragments of the true cross embedded in the cross Crucifixion, contains a silk pouch with wood, linen, soil, nail head Helena’s discovery of the true cross Constantine’s Conversion

Mural Paintings, Chapel of Castel Appianno Circa 1200 Buon fresco under painting (cartoon), Fresco secco final painting with tempera added on top Outlines added to emphasize the figures – Byzantine effect Decorative as well as didactic (teaching) Homunculus

Bayeux Tapestry http://www.bayeuxtapestry.org.uk/ http://www.youtube.com/watch?v=bDaB-NNyM8o 1070-80 CE, wool on linen 1.6 by 230 feet, reads left to right with Normans right facing, defeated are below in lower register/border, no attempt at 3D space

Bayeux Tapestry Halley’s Comet http://www.bayeuxtapestry.org.uk/ http://www.youtube.com/watch?v=bDaB-NNyM8o Halley’s Comet Considered an omen when it was seen on March 20, 1066 prior to William the Conq. Invasion of England and defeat of Harold at the battle of Hastings 1070-80 CE, wool on linen 1.6 by 230 feet, embroidered not woven, tells the story of the Norman invasion of Britain by William the Conq., commissioned by Bishop Odo (William’s half-brother), most embroidery done by women at court.