1. 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.
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2. Romanesque Architecture
ROMANESQUE: roughly 10th through 12th centuries ( 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

3. 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

4. Romanesque Portal

5. 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

6. Romanesque Portals: http://www. metmuseum

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

8. 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

9. 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

10. 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 (based on Durham Catherdal)
Vaults and pointed clerestory windows added to height
GOTHIC PERCURSOR

11. 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.

12. “Christ in Majesty”, Stavelot Bible
Parchment, 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

13. 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

14. 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

15. Bayeux Tapestry
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

16. Bayeux Tapestry Halley’s Comet
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
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.