1. Romanesque Pilgrimage Churches

2. Romanesque Vaulting
Groin Vault
Rib Vault
Barrel Vault

3. Romanesque Portal Voussoir Archivolts Tympanum Lintel Doorjambs
Trumeau
This was a common foundation for various styles. How much of the surface was decorated was dependant on the architect and patron.

4. Cathedral of St. James Date: 1078-1182
Location: Santiago de Compostela, Spain
Held the body of St. James the apostle to the Iberian Peninsula.
Accommodates the crowds of pilgrims

5. Cathedral of St. James Date: 1078-1182
Location: Santiago de Compostela, Spain
Additional aisles added to the transcept and ambulatory space around the apse.
Known as the pilgrimage plan
Additional radiating chapels added to the apse.
This allowed worshipers to move throughout the church without disrupting mass.
Entered through the large double doors at the end of the transcepts rather than at the western enterence.
Entire space has two levels allowing for the gallery around the space.
Gives a sculptural form to the space.
Lantern tower over the crossing allowed for light to enter the church. Many windows.

6. Cathedral of St. James Date: 1078-1182
Location: Santiago de Compostela, Spain
Lantern Tower
Gallery

7. Sainte-Foy, Conques Date: 1050-1120 C.E. Location: Auvergne, France
At this period Churches became larger to accommodate the growing numbers of pilgrims.
They also had to be structurally sound and adequately illuminated.
Also the Aesthetic appeal of the churches also became a focus.
Also because of the higher travel rates of artisans we see similar styles develop thrughout most of Europe.
Sainte-Foy (AKA St. Faith was martyred because she refused to worship Pagan gods as a child. Her relics were transported to Conques
This was a Benedictine order church that was errected over her tomb.
The Relics in the Church were the most important attraction for pilgrims
The church looks the same today as it did in the 12th century.
It has a short Nave, side isles that are built to the full height of the Nave, and a Transept.
A Belfry or bell tower rises above the roof at the crossing of the Nave and transept.

8. Sainte-Foy, Conques Date: 1050-1120 Location: Auvergne, France
The plan shows extended Aisles to accommodate for the large numbers of Pilgrims
Still shows the traditional latin cross arrangement of the period.
There are three small radiating chapels that produde from the main apse called Ambulatories
Also there are two chapels on either side.
This system allowed for the pilgrims to visit the site without disrupting the normal process of the clergy.

9. Sainte-Foy, Conques Date: 1050-1120 Location: Auvergne, France
At this point we see the replacement of wooden roofs with stone barrel vaults.
This lessened a risk of fire in the building as well as improved acoustics for the Gregorian Chants.
This required additional weight bearing components.
The Traverse Ribs cross un the underside of the quadrent - the half barrel vaults of the nave.
They are supported by cluster piers (a group of enganged piers) which was reinforced by four engaged half-columns
These pier accent the corners of the groin vaulted wall sections or bays on the side isles.

10. Sainte-Foy, Conques Date: 1050-1120 Location: Auvergne, France
Romanesque churches are decorated with sculpture, painting, and wall hangings.
The imagery on these objects made Christian stories accessible to the illiterate
The Tapestries are lost hung along the aisles adding color.
The Front entrance of these churches had important imagery around the doorway or portal.
These were intended to attract the worshiper as they were the first images they would see.

11. Sainte-Foy, Conques Date: 1050-1120 Location: Auvergne, France
The relief sculpture at St. Foy was confined to the Tympanum and the lintel.
The image is of the Last Judgement, a common theme or usual scene from the period.
It conforms to Iconographic conventions in its arrangement.
Those on the left (Christs right) are the holy. Arches over the holy at the bottom and angels at the top.
The right is lowered toward hell. Damned souls are tortured by the devil.
Order Vs. Disorder.
Jesus is the central and largest figure.

12. Saint-Pierre Date: 1115-1135 Location: Moissac, France Chapel House
Sarcristy
Also along the route to Santiago was Saint Pierre which was founded in the 7th century, destroyed and rebuilt several times.
The Romanesque sections are the Cloister, the lower walls of the Church and the South Porch, and a tower.
The most imporant sculptures are on the south porch entrance.
Nave
Apse
Narthex

13. Saint-Pierre, Last Judgement
Date:
Location: Moissac, France
The Tympanum over the south portal is filled with reliefs depicting the Second coming of Christ.
The artist has removed the theological connection between the last judgement and second coming, thus there is no imagery of damnation and hell.
Christ is sown in Glory surrounded by saints
It is framed by floral motifs on the archivolts and there are ten rosettes in the lintel.
The Trumeau runs between the doors and is decorated with images of figures, in this example elongated elders.

14. Saint-Pierre
Date:
Location: Moissac, France

15. Saint Paul, Saint-Pierre
Date: Location: Moissac, France
St. Paul is lengthened from the wait down, creating an unexpected shift in proportion.
The Flat drapery folds provide the idea of legs, but do not flow in relationship to the body.
The diagonal feet give the idea of support.
The saint resembles a wooden puppet, hanging as if attached to the trumeau from behind.

16. Cloister pier with a relief of Abbot Durand, Saint-Pierre
Date: Location: Moissac, France
The Cloister was an important part of monastic life is a prominent feature of st. Pierre.
It was a place for relaxation and mediation for the monks.
This image of the Abbot Durand is carved in a very flat relief.
He is symmetrical and tightly enclosed by the arch.
He is in perfect harmony with his frame, even his halo fits inside and around the curve of his head.

17. Capital, North Gallery of the Cloister, Saint-Pierre
Date: Location: Moissac, France
The design on the capitals have various arrangements.
Many resemble tight weave found in Islamic masque decoration
Capitals had geometric designs in the early Christian period. They slowly assimilated Islamic and Anglo-Saxon motifs.
As there was a revival of figures following the iconoclastic controversy, artists began representing figures as well as geometric forms.

18. Capital depicting the Flight into Egypt, Cathedral of Saint-Lazare
Date: 1130
Artist: Gislebertus
Location: Autun, Burgundy, France
This captial is decorated with a narrative scene.
These sculptures were carved by a single artists who has traditionally associated with the architect/artist Gislebertus.
This shows the holy family fleeing the edict of king Herod, who decreed the death of all male children under the age of two.
Joseph lead the lively donkey.
This reflects the elegant surface design characteristic of the Romanesque sculptural style.
The background contains decorative foliage and open and closed circular design having a more organic design.
The cloth on Joseph’s skirt gives the sense of wind blowing or his movement.
The concept of Gravity isn’t represented, Jesus almost seems to fall off Mary’s Lap.

19. Last Judgement, Typanum of the West Portal, Saint-Lazare
Date:
Artist: Gislebertus
Location: Autun, Burgundy, France
This flat pattern and weightlessness is also seen in the typanum
Gislebertus signed his name to this work, which is why we associate him with this work.
It depicts the large imposing figure of Christ is at center and appears to be in a majestic sense of light.
His arms are prostrate proclaiming his divine presence.
The drapery is flattened, but the folds correspond to his curved arms.
On either side there are angels and souls
Again we see those which are saved on his right and damned on his left.

20. This flat pattern and weightlessness is also seen in the typanum
Gislebertus signed his name to this work, which is why we associate him with this work.
It depicts the large imposing figure of Christ is at center and appears to be in a majestic sense of light.
His arms are prostrate proclaiming his divine presence.
The drapery is flattened, but the folds correspond to his curved arms.
On either side there are angels and souls
Again we see those which are saved on his right and damned on his left.

21. Last Judgement, Saint-Lazare
Date: Artist: Gislebertus
Location: Autun, Burgundy, France
In this The archangel Michael bends at the left and weighs the soul in human form, while two huddle under his robe for protection.
Gislebertus plays with the sense of physical weight and weightlessness as a metaphor for spirituality and salvation.
Oddly enough the saved soul weighs more than the damned soul.
The strip below contains the warning that souls who do not live virtuous lives will be damned.