Romanesque 3: What is Romanesque Style?

Benedictine abbey of San Vicente de Cardona (Catalonia), consecrated 1040 The First RomanesqueIII. Design on and off the pilgrimage route: Spain

Carolingian Empire in 843 divided among Charlemagne’s heirs Region of the so-called “First Romanesque” style Definitions of RomanesqueGeographic and stylistic divisions Lotharingia

Catalan group of “first Romanesque” churches Definitions of RomanesqueGeographic and stylistic divisions

North Italian group of “first Romanesque” churches Definitions of RomanesqueGeographic and stylistic divisions

German (Rhine River valley) group of “first Romanesque” churches Definitions of RomanesqueGeographic and stylistic divisions

Lombardy, Italy Northern Italy (Lombardy)-Southern France-Catalonia – Catalonia-Southern France-Northern Italy (Lombardy) “First Romanesque” linkages Definitions of RomanesqueGeographic and stylistic divisions

Speyer, Germany Rome, Italy Lombardy, Italy “First Romanesque” linkages Definitions of RomanesqueGeographic and stylistic divisions Holy Roman Empire-Northern Italy (Lombardy)-Rome – Rome-Northern Italy (Lombardy)-Holy Roman Empire

Speyer, Germany Rome, Italy Lombardy, Italy Holy Roman Empire-Northern Italy (Lombardy)-Rome – Rome-Northern Italy (Lombardy)-Holy Roman Empire Developments after “First Romanesque” Rhine Valley Germany Northern Italy Definitions of RomanesqueGeographic and stylistic divisions

Speyer Cathedral, Germany, Modena Cathedral, Italy, II. Language of architecture: Mature RomanesqueGermany (Rhine Valley) vs. Northern Italy blind arcades and dwarf galleries

Perhaps Romanesque architecture reveals the order of the universe? “Beauty is a concordance and fittingness of... all the individual parts to themselves and to each other and to the whole, and that of the whole to all things” (Robert Grosseteste, 13 th cen., a view based on Vitruvius). Romanesque cathedral at Modena, Italy II. Language of architecture: Theory

Speyer Cathedral, Germany, Modena Cathedral, Italy, II. Language of architecture: TheoryGermany (Rhine Valley) vs. Northern Italy

Modena Cathedral, Italy, sculptural frieze next to portal II. Language of architecture: Visual appeal

Pisa Cathedral, Pisa, Italy 11 th – 13 th cen. ( cathedral) cathedral baptistery bell tower II. Language of architecture: Theory + Visual appealCentral Italy: Tuscany

E.C. St. Peter’s Romanesque Pisa CathedralEarly Christian St. Peter’s Central Italy: Tuscany blind arcades and dwarf galleries II. Language of architecture: Theory + Visual appeal

Pisa Cathedral 3. II. Language of architecture: symbolismCentral Italy: Tuscany blind arcades and dwarf galleries

The Morgan Beatus, 940, Spanish Frontal of the shrine of Santo Domingo from the Abbey of Silos Spain (Burgos), Possible symbolism of arcades II. Language of architecture: symbolism

Anglo-Norman Durham Cathedral, England, nave 1133 clerestory passage (interior dwarf gallery) II. Language of architecture: Function + Visual appealNorman Architecture in England

Pisa Cathedral – details of exterior marble facing Central Italy: TuscanyII. Language of architecture: Theory + Visual appeal

Pisa Cathedral, Pisa, Italy St.-Sernin at Toulouse, France French pilgrimage church v. Central ItalyII. Language of architecture: Mature Romanesque

Pisa Cathedral 5. Central Italy: TuscanyII. Language of architecture: Mature Romanesque

St.-Philibert at Tournus, France (Burgundy), nave 1060 II. Language of architecture: Mature Romanesquepiers

St.-Savin-sur-Gartempe, western France, nave 1100 II. Language of architecture: Mature Romanesquepiers

Anglo-Norman Durham Cathedral, England, nave 1133 cylindrical piers + compound piers Anglo-Norman nave of Gloucester Cathedral, England, nave b cylindrical piers II. Language of architecture: Mature Romanesquepiers

Byzantine-Romanesque domed churches Venice, Italy Périgueux, France Constantinople II. Language of architecture: Mature Romanesque St.-Front, Périgueux, France, 1120St. Mark’s, Venice, Italy, b. 1063

The “pilgrimage church” transcends localism of Romanesque architecture Strength of local schools: Example of Burgundy and its thin wall construction III. Romanesque regional schools: Burgundy (France)

Abbey church Cluny III – 97' tall Pilgrimage St.-Sernin Toulouse - 68' tall Pilgrimage Ste. Foi, Conques 68' tall III. Romanesque regional schools: Burgundy

Abbey church of Cluny III, at Cluny, France, 11 th - 12 th century ( ) 28 model of the abbey destroyed (mostly) fragment of one transept remains III. Romanesque Burgundythe Cluniac model

Cluny II, ca Cluny III, begun 1088, under Abbot Hugh of Cluny Cluny III to rival the greatest churches in Christendom III. Romanesque Burgundythe Cluniac model

30 Where the great nave of Cluny III once stood III. Romanesque Burgundythe Cluniac model

thin wall construction Cluny III model clerestorey tall nave arcade triforium (no gallery) Cluny III – reconstructive rendering of altar and ambulatory flying buttresses added after vault collapsed in 1125 thin wall – clerestory and triforium, no gallery III. Romanesque Burgundy: the Cluniac model

Kenneth Conant in 1931 Cluny III naveCluny III surviving south transept arm reconstruction thin wall constructionIII. Romanesque Burgundy: the Cluniac model

Cluny III interior of transeptthis bay like nave elevation What was the goal of the Cluniac designers?III. Romanesque Burgundy: the Cluniac model more light? more height? greater verticality?

Cluny III – Cluniac priory at Paray-le-Moniale, France, (photomontage) III. Romanesque Burgundy: the Cluniac modelWhat was the goal of the designers?

Cluniac priory at Paray-le-Moniale nave crossing III. Romanesque Burgundy: the Cluniac modelWhat was the goal of the Cluniac designers?

Cluny III – Paray-le-Moniale, So-called pilgrimage churches Compare plans Did the Cluniacs want to attract pilgrims?III. Romanesque Burgundy: the Cluniac model

Cluny III - chevetSt.-Sernin at Toulouse - chevet Did the Cluniacs want to attract pilgrims?III. Romanesque Burgundy: the Cluniac model

The intellect and the senses Cluny III choir scale model historiated capital depicting the 3 rd tone of plain chant III. Romanesque Burgundy: the Cluniac model