Romanesque Art EUGENIA LANGAN MATER ACADEMY CHARTER HIGH SCHOOL

Romanesque Art EUGENIA LANGAN MATER ACADEMY CHARTER HIGH SCHOOL
HIALEAH GARDENS, FLORIDA WITH APOLOGIES TO FRED KLEINER

THEME “BUILD IT (BLOCK BY BLOCK) AND THEY WILL COME” “BUILD IT”: ROMANESQUE ERA A TIME OF BUILDING CHURCHES IN WESTERN EUROPE “BLOCK BY BLOCK”: STONE BLOCK BUILDING AND VAULTING, “BLOCKY” APPEARANCE OF ROMANESQUE ARCHITECTURE “THEY WILL COME”: PILGRIMAGES AND THEIR EFFECT ON THE LOCATION AND SIZE OF ROMANESQUE CHURCHES

GENERAL GOALS: Understand the term “Romanesque” in designating the artistic style of a historic period analyze cause and effect relationships among pilgrimages, crusades, the growth of urban centers, architectural innovations, and the size and location of churches Understand the ‘millennial’ Apocalyptic mood of the Romanesque era and ItS EFFECT on artistic themes Understand the role of relics and the artistic objects designed to contain relics

recognize changes and continuities from prior civilizations and periods in romanesque art and architecture Recognize differences and similarities in regional Romanesque architecture and artistic styles. Understand the narrative function of the human figure in Romanesque sculpture. note the beginning of a new search for mimesis in romanesque sculpture know and use relevant artistic and architectural terminology

TIMELINE THE “ROMANESQUE ERA” = © 1050 – = A PERIOD IN ART HISTORY BASED ON ITS ARTISTIC AND ARCHITECTURAL STYLES CONVENTIONAL HISTORICAL PERIODIZATION = THE BEGINNING OF THE HIGH MIDDLE AGES (INCLUDES THE GOTHIC ART HISTORY PERIOD, WHICH OVERLAPS WITH ROMANESQUE) THE FOLLOWING TIMELINE = THE HISTORICAL CONTEXT OF THE ROMANESQUE ERA IN WESTERN EUROPEAN ART

© 1000 - BARBARIAN INVASIONS HAVE CEASED (VIKINGS ASSIMILATED), ALSO NO MAJOR WARS UNTIL CRUSADES
FEUDALISM NO LONGER NECESSARY SAFER TO TRAVEL, TRADE REVIVES, CITIES ARISE, NEW TOWNS ALONG TRADE ROUTES AND PILGRIMAGE RO0UTES LOTS OF SOLDIERS, NO WARS TO FIGHT AGRICULTURAL REVOLUTION (STEEL PLOWS, HARNESSES, CROP ROTATION, WINDMILLS, SEED DRILLS  MORE LAND UNDER CULTIVATION  POPULATION BOOM (W. EUROPE POP. DOUBLED )

1000: FIRST MILLENNIUM OF THE CHRISTIAN ERA -- AND THE WORLD DIDN’T END 
GRATITUDE TO GOD AND SAINTS COUNTDOWN BEGINS AGAIN: MILLENNIALISM, FOCUS ON THE COMING APOCALYPSE “THANNE LONGEN FOLK TO GOON ON PILGRIMAUGES” (CHAUCER)

© 1050: TRADE AND PILGRIMAGE ROUTES LINKED EUROPEAN REGIONS, CITIES, TOWNS TO EACH OTHER AND TO ASIA (AND NORTH AFRICA) MUCH CULTURAL DIFFUSION NEED FOR LARGE CHURCHES AT PILGRIMAGE SITES TOO MANY UNOCCUPIED SOLDIERS, AND SURPLUS POPULATION DEVELOPING 1054: GREAT SCHISM

N.B. THAT BOTH LAND AND SEA ROUTES CONNECTED EUROPE TO CONSTANTINOPLE AND THE SILK ROADS -- CLASSICS AND ASIAN TRADE PREDATE CRUSADES

SANTIAGO DE COMPOSTELA, ROME, JERUSALEM PRINCIPAL PILGRIMAGES SITES – BUT EVERYWHERE THERE WAS A RELIC, OR A MIRACLE HAD SUPPOSEDLY OCCURRED, WAS A SITE

SANTIAGO MATAMOROS (NOT UNLESS HE LIVED ≈ 700 YEARS), PILGRIMS W/ COMPOSTELA HATS AND STAFFS, COCKLESHELL = EMBLEM OF ST. JAMES

1066: HALLEY’S COMET VISIBLE (APOCALYPTIC!) NORMAN CONQUEST OF ENGLAND 1071: SELJUK TURKS CONQUERED JERUSALEM (AND MOST OF ASIA MINOR, THREATENING CONSTANTINOPLE) 1075: INVESTITURE CONTROVERSY BEGAN (POWER STRUGGLES BETWEEN KINGS AND POPES CONTINUE THROUGH 1378 (END OF AVIGNON PAPACY)

PHOTO OF THE HALE-BOPP COMET, AS VISIBLE ALL NIGHT IN THE NORTHERN HEMISPHERE IN MARCH, 1997
TRY TO IMAGINE HOW THE MEDIEVAL MIND WOULD REACT TO SEEING SOMETHING LIKE THIS – RIGHT AFTER THE MILLENNIUM!

1095: COUNCIL OF CLERMONT – POPE URBAN II CALLED CRUSADE AGAINST MUSLIMS
1096 – 1272: CRUSADES (MOSTLY AGAINST MIDDLE-EASTERN MUSLIMS, ONE AGAINST CONSTANTINOPE, ONE AGAINST “ALBIGENSIANS” = CATHARS IN S. FRANCE (AND THE RECONQUISTA IN SPAIN)

ROMANESQUE ARCHITECTURE

SPECIFIC GOALS: Examine the architectural elements and scheme that made possible MATURE ROMANEQUE ARCHITECTURE/ PILGRIMAGE CHURCHES Understand that the design of a Romanesque church is based on mathematical ratios in relation to the size of its crossing square Understand the importance of Cluny and the Cistercian monastic orders in architecture and art. RECOGNIZE REGIONAL VARIATIONS IN ROMANSQUE ART

Recognize the following architectural features:
Ambulatory Radiating chapels Portal and its parts (TYMPANUM, VOUSSOIRS, LINTEL, TRUMEAU, JAMBS) Nave, transept, and side aisles Cruciform CROSSING SQUARE

Bays Gallery/ tribune level Clerestory (usually small in Romanesque churches) Barrel vault (the norm for Romanesque naves) Groin vault (less common, used more in side aisles) Cloister (element in a monastic abbey church) RECOGNIZE IMPORTANCE OF architectural SCULPTURE IN ROMANESQUE ART

FRANCE

SAINT ÉTIENNE, VIGNORY © 1050 – 1057 (EARLY ROMANESQUE

SAINT ÉTIENNE, VIGNORY

interior of Saint Étienne, VIGNORY
HOW DOES IT DIFFER FROM OTTONIAN BASILICA? FALSE TRIBUNE TIMBER LOFT .

plan of Saint Étienne 1) NAVE 2) AISLES 3) CHOIR 4) AMBULATORY 5) RADIATING CHAPELS WHERE DID WE SEE AMBULATORIES BEFORE? SANTA CONSTANZA

SANTA COSTANZA, ROME ©

Saint Philbert, Tournus, France
© 1060 STONE VAULTS

Christ in Majesty (Maiestas Domini) with apostles, LINTEL FROM CATHEDRAL OF Saint-Genis-des-Fontaines, France, THE EARLIEST OF MANY RELIEFS ON ROMANESQUE CHURCH FAÇADES DEPICTING THE LAST JUDGMENT CHRIST IN MANDORLA SUPPORTED BY ANGELS FLANKED BY APOSTLES (WHO LOOK LIKE PENGUINS) Dated by inscription, the lintel depicts Christ enthroned in a lobed mandorla supported by angels and flanked by apostles. To the left and right of Christ are inscribed the first and last letters of the Greek alphabet, a reference to his role as Last Judge: “I am the Alpha and the Omega, the first and the Last, the Beginning and the End." The Saint-Genis lintel is the earliest of many reliefs on Romanesque church facades depicting or alluding to Judgment Day and the separation of those who will be saved from those who will be damned. Its hierarchical, hieratic composition reflects that of Early Christian sarcophagi.

Saint-Sernin, Toulouse, France © 1070-1120
Pilgrimage church

SAINT-SERNIN

PLAN OF SAINT-SERNIN. 1) CROSSING SQUARE 2) QUADRUPLE AISLES 3) BAYS

Interior of Saint-Sernin, NAVE DESCRIBE:
TRIBUNE (FOR OVERFLOW CROWDS). COMPOUND PIERS WITH ENGAGED COLUMNS THAT FLOW INTO TRANSVERSE ARCHES (MARK BAYS) BARREL VAULT -- why? To gain height and avoid fires The builders placed the semicircular stone barrel vault below the timber-roofed loft to avoid fires – and also to gain height in the nave The geometric floor plan is reflected in the nave walls. The engaged columns rise from the bottom of the compound piers to the vaults springing and continue across the nave as transverse arches.

Nave of Saint-Sernin

NOTE SCULPTURE ON CEILING
Nave of Saint-Sernin NOTE SCULPTURE ON CEILING

PROBABLY COPIED FROM OTTONIAN MANUSCRIPT -- CHRIST IS IN MANDORLA
BERNARDUS GELDUINUS, Christ in Majesty, relief in the ambulatory of Saint-Sernin, Toulouse, France © Marble, 4’ 2” high PROBABLY COPIED FROM OTTONIAN MANUSCRIPT -- CHRIST IS IN MANDORLA Christ enthroned in a mandorla, raising his hand in blessing and holding a book with the words “pax vobis” (pax vobiscum = “peace go with you.” He is flanked by the emblems of the four Evangelists.

Largest church in Europe until New St
Largest church in Europe until New St. Peter’s was built in 17th century. Nave alone > 500’ long and 100’ high with three stories (arcade-tribune-clerestory). Cluny III had four aisles, radiating chapels and slightly pointed barrel vaults. Cluny was the wealthiest, most powerful monastery in Europe. It was sacked during the French Revolution and Cluny III was mostly destroyed. RESTORED CUTAWAY VIEW OF THIRD ABBEY CHURCH AT CLUNY (CLUNY III), CLUNY, FRANCE – LARGEST CHURCH IN EUROPE

CHURCH, SAINT-PIERRE, MOISSAC © 1100-1155
SAINT-PIERRE = MONASTERY UNDER CLUNY ABBEY

The church’s cloister was decorated for the monks alone to see
The church’s cloister was decorated for the monks alone to see. It provided the monks with a foretaste of Paradise. At Moissac a timber-roofed walkway supported by piers and columns decorated with sculpture surrounds the cloister garth on four sides. This was the sort of ornamentation St. Bernard of Clairvaux criticized. GENERAL VIEW OF THE CLOISTER, SAINT-PIERRE, MOISSAC. (POINTED ARCHES ARE LATER ), 76 PIERS AND COLUMNS (SINGLE/ PAIRED) AROUND GARTH = 20 X 18

HISTORIATED CAPITAL – THE BEHEADING OF JOHN THE BAPTIST
Salome dances (center). To left, Herod’s attendants hold the silver platter with the head of John the Baptist. HISTORIATED CAPITAL – THE BEHEADING OF JOHN THE BAPTIST

FOLIATE CAPITAL 45 OF THE CAPITALS ARE HISTORIATED. THE OTHER 31 ARE DECORATIVE (FOLIATE OR BESTIARY )

BESTIARY CAPITAL

ST. ANDREW, PIER RELIEF, CLOISTER AT SAINT-PIERRE, MOISSAC
ST. ANDREW, PIER RELIEF, CLOISTER AT SAINT-PIERRE, MOISSAC. LIMESTONE, 6’ HIGH. NOTE STYLIZED HAIR, BEARD AND DRAPING, HEAD IN PARTIAL PROFILE BUT EYE FRONTAL, BODY FRONTAL (ONLY EXCEPTION TO PROFILE HEAD / FRONTAL EYE ON PIER RELIEFS IS PORTRAIT OF ABBOT DURANDUS)

SOUTH PORTAL, SAINT-PIERRE, MOISSAC

ARCHIVOLTS

SOUTH PORTAL. MOISSAC

LAST JUDGMENT, TYMPANUM, SAINT-PIERRE, MOISSAC
Because the tympanum is both filled with figures and now dirty, it's difficult to make out the design. It has thirty-one figures: the representation of Christ, which occupies three registers, a size which befits his importance, the 24 Elders beneath and flanking him, and two angels, a seraph, and the four symbols of the Evangelists. On the left side (Christ's right) are a seraph holding a phylactery, who standing is the height of the seated Christ--again height related to a hieratic scale; the symbol for Matthew, a beautiful elongated crossed-legged angel; and the lion, symbol for Mark. On the opposite side there are a tall seraph who holds a scroll (the record of deeds on earth); the eagle, symbol of John; and the winged ox, symbol for Luke. LAST JUDGMENT, TYMPANUM, SAINT-PIERRE, MOISSAC

Notice the stylization.
DETAIL OF MOISSAC TYMPANUM: CHRIST FLANKED BY TWO ANGELS AND SYMBOLS OF EVANGELISTS

DETAIL OF MOISSAC TYMPANUM: FIVE OF THE 24 ELDERS (FROM THE BOOK OF REVELATION)

LIONS AND OLD TESTAMENT PROPHET, TRUMEAU, SOUTH PORTAL, SAINT-PIERRE MOISSAC
On the trumeau’s right face is a prophet identified by some as Jeremiah, by others as Isaiah. Whoever the prophet is, he displays the scroll where his prophetic version is written. His position below the apparition of Christ as the apocalyptic Judge is yet another instance of the pairing of New Testament themes and Old Testament prefigurations.

CATHEDRAL OF ST. LAZARE, AUTUN,
1120 – 1146 ALSO CLUNIAC

The Cluniac bishop Etienne de Bage had the Cathedral of Saint-Lazare d'Autun built, and it was consecrated in It supposedly houses the relics of Lazarus. At Autun, the Judgment is in progress, announced by four trumpet-blowing angels. In the typanum’s center, far large than any other figure, is Christ, enthroned in a mandorla angel support, dispassionately presiding over the separation of the Blessed from the Damned. At the far left, an obliging angel boosts one of the Blessed into the heavenly city. GISLEBERTUS, Last Judgment, west tympanum of Saint-Lazare d' Autun, France, © 1120–1135. Marble, 21’ wide at base.

DETAILS OF TYMPANUM, SAINT LAZARE D'AUTUN

Pope Urban II planned to call the First Crusade at La Madeleine, but did it at Clermont. St. Bernard of Clairvaux called the Second Crusade at La Madeleine, and Richard the III launched the Third Crusade there. VÈZELAY ABBEY (BASILICA OF ST. MARY MAGDALENE (LA MADELEINE) – CRUSADE CHURCH

The tympanum at La Madeleine is unique for its time, because it does not depict the Last Judgment. That is a reflection of the church's relationship to the Crusades. The tympanum depicts the Pentecost and the Mission of the Apostles. According to the New Testament, Christ foretold that the Twelve Apostles would receive the power of the Holy Spirit and become the witness of the truth of the Gospels throughout the world. The Book of Acts says this occurred on the Pentecost, the fiftieth day after the crucifixion. The tympanum depicts this with the light rays emanating from Christ’s hands represent the instilling of the Holy Spirit in the apostles at the Pentecost. The figures in the tympanum who have not received the word of God are depicted as not fully human. Some are shown with pig snouts or dog heads; others are misshapen; and several are depicted as dwarves. One pygmy in particular is depicted as mounting a horse with the assistance of a ladder. On the far right, there is a man with elephantine ears, while in the center we see a man covered in feathers. This is a direct reflection of Western perceptions of foreigners such as the Muslim Seljuk Turks and Jews, who were being specifically targeted by the Crusaders. Pope Urban II, in his call for a crusade, helped promote this ethnocentric perception of the Turks by calling on westerners to "exterminate this vile race." Pentecost and Mission of the Apostles, tympanum of the center portal of the narthex of La Madeleine, Vézelay, France, 1120–1132.

DETAIL: DOG-HEADED PEOPLE

PEOPLE WITH PIG SNOUTS

INTERIOR OF ABBEY CHURCH OF NOTRE DAME DE FONTENAY, 1139-47
CISTERCIAN ABBEY – COMPARE TO CLUNAIC NOTICE THAT POINTED ARCHES SUPPORT THE BARREL VAULT OVER THE NAVE The Cistercian Order of Monks was founded by St. Bernard of Clairvaux, who believed that Clunaic monasteries did not adhere strictly enough to the Benedictine Rule, particularly the vow of poverty. Cistercian monks and nuns follow the via contempliva, (contemplative life) which means they are “enclosed.” They never leave their abbeys (except for extraordinary reasons). St. Bernard of Claivaux founded the Abbey of Notre Dame at Fonteny (near Clairvaux) in The plainness of the church and cloister, especially when compared to those of Cluniac abbeys, reflects Cistercian goal of strict observance of the Benedictine rule.

ABBEY CHURCH, NOTRE DAME DE FONTENAY AND ITS PLAN – CISTERCIAN MONASTIC SIMPLICITY
Notre Dame de Fontenay was sacked during the French Revolution, but most of the buildings survived. It has been in private hands ever since. It was a paper mill in the 19th century, but the family who bought the property in the early 20th century restored the abbey and church so now it is a museum and tourist attraction.

CLOISTER, NOTRE DAME DE FONTENAY

REGIONAL VARIATIONS

NORMAN KINGDOM (ENGLAND AND NORMANDY)
SPECIFIC GOAL IDENTIFY ROMANESQUE ARCHITECTURAL VARIATIONS AND INNOVATIONS IN THE NORTHERN EUROPEAN TERRITORY OF THE NORMAN KINGDOM

Durham was a pilgrimage site associated with St
Durham was a pilgrimage site associated with St. Cuthbert, a bishop of Lindisfarne, before the Cathedral was built, but his relics were not enshrined there until 1103. DURHAM CATHEDRAL, 1093 – NAVE 461' X 81' X 73'. PATRON: WILLIAM I (THE CONQUEROR)

Plan & transverse section of Durham Cathedral
Durham Cathedral signals the arrival of French Romanesque architecture in England. It is a basilica with a transept -- but its plan is typically English with its long, slender proportions. It was begun around 1093, in the generation following the Norman conquest, and is the centerpiece of a monastery, cathedral, and fortified-castle complex on the Scottish frontier. . The longitudinal section reveals that simple quadrant arches were used in place of groin vaults in the tribune. The structural descendants of the Durham quadrant arches are the flying buttresses that epitomize the mature Gothic solution to church construction. Plan & transverse section of Durham Cathedral

THREE STORIES, RIBBED GROIN VAULTS
NAVE, DURHAM THREE STORIES, RIBBED GROIN VAULTS PROBABLY USED AS A DECORATIVE ELEMENT AT DURHAM (RECALL THE NORMAN-ARAB CHURCH AT MONREAL, SICILY The church’s vaulted interior, which predates that of the remodeled Saint-Etienne at Caen, retains its original severe Romanesque appearance. The ribbed groin vaults at Durham predate those of the remodeled church at Caen. The ribs compose a structural skeleton that partially supports the fairly massive web. These vaults rise high enough to provide room for an efficient clerestory, which allows more light to enter the nave.

RIBBED GROIN VAULTS, WITH HEMISPHERICAL ARCHES (L) AND POINTED ARCHES (R).
Earlier Romanesque churches had barrel vaults in their naves. Putting windows in the clerestories weakened the barrel vaults at their springing (bases), the most vulnerable point of any arch because it's where gravity created lateral (sideway) thrust. So it was necessary to support the walls of those churches with massive buttresses. Ribs in groin vaults form a scaffold to hold the stone panels (webs) of the vaults. The ribs allow the webs to be lighter than domes or barrel vaults (although in Romanesque churches the webs are still very heavy), and more efficiently channel lateral thrust downward (to piers or columns) and require less buttressing. Pointed arches in groin vaults have structural advantages over semi-circular arches. Pointed arches channel lateral thrust downward more efficiently, so vaults with those arches require less buttressing than vaults with semi-circular arches. Stylistically, pointed arches create more symmetric vaults, even when vaults top rectangular bays. In a vault with semi-circular arches, the height of each arch is determined by its width, so that if the vault tops a rectangular bay the transverse arches will be higher than the arcade arches. Also the crown will be higher than the arches. Using pointed arches allows the transverse and arcade arches to be the same height as the crown. In addition, pointed arches draw the eye upward and make the ceiling appear higher than it is. TRANSVERSE RIBS DIAGONAL RIBS

PATRON: WILLIAM THE CONQUEROR
West faÇade of Saint-Étienne, Caen, France, begun (SPIRES are gothic) PATRON: WILLIAM THE CONQUEROR INFLUENCE? Carolingian/ ottonian westwork "magic number?" 3 (trinity) This church was begun by William of Normandy in 1067 and must have advanced rapidly, as he was buried there in 1087. Saint-Etiennes west façade is a striking design rooted in the tradition of Carolingian and Ottonian westworks , but it displays the increased rationalism of Romanesque architecture. The three story elevation, with its large arched openings, provides more light into the interior.

INTERIOR, SAINT-ÉTIENNE, CAEN
WHAT KIND OF RIBBED VAULTS? SEXPARTITE NOTE HOW MUCH MORE LIGHT ENTERS CHURCHES WITH RIBBED GROIN VAULTS – FULL THIRD STORY WITH BIG WINDOWS POSSIBLE The original plan for Saint-Étienne de Caen called for a wooden roof. But the builders decided to install ribbed groin vaults, supported by the compound piers already in place.

VIEW OF SIDE OF NAVE, SAINT-ÉTIENNE, CAEN

The transept is less wide in relationship to the nave, choir and apse than in the major pilgrimage churches, making its cruciform aspect less pronounced. The radiating chapels are not exedra but rather are incorporated in the apse. PLAN OF SAINT-ÉTIENNE, CAEN. NOTE THAT EACH GROIN VAULT COVERS TWO BAYS. PLAN IS MORE ROOTED IN OTTONIAN TRADITION THAN OTHER ROMANESQUE CHURCHES.

NAVE, SAINT-SAVIN-SUR -GARTEMPE © 1000
ARCHITECTURE: HALL CHURCH = AISLES ARE AS HIG AND NAVE. IN CHURCH WITHOUT RIBBED VAULTS, THIS ALLOWED BIG WINDOWS (IN AISLE) THIS CHURCH IS YOUR TEXTBOOK BECAUSE THE BARREL VAULT IS PAINTED The paintings are unremarkable. They are all Old Testament prefigurations. You have an image of them in your card set.

HOLY ROMAN EMPIRE

SPECIFIC GOALS Identify Romanesque architectural elements in Germany, Lombardy, AND TUSCANY Examine the distinct qualities of Italian Romanesque ARCHITECTURE, PARTICULARLY IN TUSCANY Notice architectural elements such as stone tracery, gables, and pinnacles that were later Gothic additions.

Patron of nave RIBBED vaults: henry iv (investiture controversy!)
Interior of Speyer Cathedral, Speyer, Germany, begun 1030; nave vaults, © 1082–1105. Patron of nave RIBBED vaults: henry iv (investiture controversy!) DOUBLE-BAY VAULTING Speyer is not a pilgrimage cathedral. It was the traditional burial place of Holy Roman Emperors. The cathedral was begun in 1030 and consecrated in It originally had flat timber ceiling and the aisles were covered by barrel vaults. Around 1090 Emperor Henry IV commenced a building program to enlarge the cathedral. Among other things, the height of the nave was raised five meters. And engaged column was placed atop every other pier to support ribbed groin vaults. Therefore each vault covers two bays. This double-bay vaulting became a model for German cathedrals.

SPEYER PLAN – BUT APSE IS LATER – ORIGINALLY IT WAS SQUARE

SPEYER CATHEDRAL AS IT APPEARS TODAY – BUT WESTWORK AND APSE ARE NOT THE ORIGINAL ONES

Aerial view of Sant’ Ambrogio Milan, Italy.
late 11TH TO 12TH CENTURIES NOTE THE OCTAGONAL DOME This church erected in honor of Saint Ambrose, Milan’s first bishop. It has an atrium in the Roman- Early Christian tradition, and an octagonal dome over dome reflecting early . It also has a two-story narthex (pieced by arches) and twin bell towers, reflecting German (Carolinginan/Ottonian) westwork. A two-story narthex pierced by arches on both levels, two bell towers joined to the building, and over towers of German churches Of the façade bell towers the shorter one dates back to the tenth century while the taller north campanile is a twelfth century addition. The main vaults are slightly domical, rising higher than the transverse arches. The emphatic alternate support system perfectly reflects the plans geometric regularity.

Plan of Sant’ Ambrogio, MILAN.
WHAT'S REALLY DIFFERENT FROM OTHER ROMANESQUE CHURCHES? IT HAS AN ATRIUM AND NO TRANSEPT (ROMAN, EARLY X'IAN (OLD ST. PETER'S) Sant’ Ambrogio has an atrium and no transept. Each bay consists of a full square in the nave flanked by two small squares in each aisle, all covered with groin vaults. An octagonal dome covers the last bay, its windows providing the major light source for the otherwise rather dark interior.

Interior of Sant’ Ambrogio, milan Dark – no clerestory
There is no clerestory. The only windows are those in the octagonal dome over the last bay. Interior of Sant’ Ambrogio, milan Dark – no clerestory Note alternate support defining square bays

Pisa Cathedral complex, Pisa, Italy.
Pisa cathedral has a freestanding bell tower and a baptistery, where infants and converts were initiated into the Christian community. The freestanding baptistery was unique to Italy. Pisa presents a rare opportunity to examine a group of three Romanesque buildings – but all have Gothic elements on upper stories. Construction of Pisa Cathedral began first-in 1063, the same year work began on San Marco in Venice. The cathedral is large, five aisled, and one of the most impressive and majestic of all Romanesque churches. Pisa Cathedral complex, Pisa, Italy. cathedral begun 1063 baptistery begun 1153 (freestanding!) campanile begun 1174 and was not completed until 1319. All the buildings have gothic elements

Pisa Cathedral campanile "the leaning tower"
Shallow foundation and sandy soil! 186.02' on high side, ' on the low side> Does it recall any other monumental building? colosseum The campanile began to lean in 1178 when the third floor was finished. Construction was halted and was not resumed until 1272, primarily because Pisa was at war with other city-states – but this allowed the soil under the tower to settle so more stories could be added. Three more stories were added between 1272 and The upper stories were built with the walls on the "outside" higher than those of the "inside" so the tower is actually curved. Construction was again delayed because of wars and the 7th story was not completed until 1319. Originally the tower was 5.5 degrees off plumb. Because it was in danger of falling, between 1999 and 2001 soil was removed from under the higher side and now the tower is 3.99 degrees off plumb. That means it is displaced by 3.9 meters (12' 10") from where its top would be if it were straight.

Interior of Pisa Cathedral, begun 1063
The interior at first suggests the Early Christian basilica, with its timber rather than vaulted ceiling and nave arcade of reused Roman columns (spolia) in unbroken procession. Above the colonnade is a continuous horizontal molding, on which the gallery arcades rest. The striped walls of alternating dark green and cream-colored marble provide a luxurious polychromy that became a hallmark of Tuscan Romanesque and Gothic buildings.

BAPTISTERY OF SAN GIOVANNI, FLORENCE. DEDICATED 1059
CENTRAL PLAN: DOMED OCTAGON (DOME 90' HIGH) PRECEDENTS? PANTHEON, SANTA COSTANZA, SAN VITALE, ETC. ROMAN FIRST-STYLE WALL PAINTING (INCRUSTED MARBLE PANELS) NOTE HOW PANELS DIFFERENTIATE STORIES

San Miniato al Monte, Florence. BEGUN 1062
San Minato at Monte sits, as its name implies, on a hillside overlooking the Arno River and the heart of the Florence. The body of the church was completed by 1090, the gable-crowned façade during the twelfth and early thirteenth centuries. Even more than Pisa Cathedral, the structure recalls the Early Christian basilica in plan and elevation, although its elaborate geometric marble incrustation makes for a rich ornamental effects distinctive to Florence. San Miniato al Monte, Florence. BEGUN 1062

WESTERN FAÇADE, SAN MINIATO AL MONTE
Though at first glance, the lowest level much resembles the patterning of Florence’s baptistery, the arcades and panels do not reflect the building’s structure. Though at first glance, the lowest level much resembles the patterning of Florence’s baptistery, the arcades and panels do not reflect the building’s structure. The façade’s upper levels, of much later date than the lowest level are filled capriciously with geometrical shapes that have a purely, ornamental function. WESTERN FAÇADE, SAN MINIATO AL MONTE

INTERIOR, SAN MINIATO AL MONTE.
DIAPHRAGM ARCHES DIVIDE NAVE INTO THREE BAY AND SERVE AS FIREBREAKS FOR TIMBER ROOF GEOMETRIC INCRUSTATION The nave is divided into three equal compartments by diaphragm arches – transverse wall-bearing arches. The arches rise from compound piers and brace the rather high, thin walls. They also provide firebreaks beneath the wooden roof and compartmentalizes the basilican interior in the manner so popular with most Romanesque builders.

MODENA CATHEDRAL,

Wiligelmo, Creation of Adam and Eve, frieze on the west façade, Modena Cathedral © marble, approximately 3' high The haut-relief segment shown illustrates the creation and temptation of Adam and Eve, the theme employed almost exactly a century earlier on Bishop Bernward’s bronze doors to Saint Michael’s at Hildesheim. Christ is at the far left, framed by a mandorla held up by angels, a variation on both the motifs and the themes of the lintel at Saint Genis-des-Fontaines and the reliefs of Saint-Sernin. The creation of Adam, then Eve, and the serpent’s temptation of Eve are to the right.

BENEDETTO ANTELAMI, King David, statue in a niche on the west facade of Fidenza Cathedral, Fidenza, Italy, © 1180–1190. Marble, life-size. WHAT'S REMARKABLE? WE HAVEN'T SEEN ANY FULLY-IN-THE-ROUND SCULPTURE ON BUILDINGS SINCE THE CLASSICAL ERA The sculptor BENEDETTO ANTELAMI was active in the last quarter of the twelfth century. Several reliefs by his hand exist, including Parma Cathedral’s pulpit and the portals of that city’s baptistery. He also carved the monumental in-the-round statues for the west façade of the Fidenza Cathedral. In the statute of King David David's elbows are kept close to his body, and his stance is stiff, lacking any hint of the contrapposto that is classical statuary’s hallmark. Yet the sculptor's conception of this prophet is undeniably rooted in Greco-Roman art.

OTHER ROMANESQUE ART

Christ in Majesty apse fresco from Santa María de Muir
near Lérida, Spain mid-12th century. Fresco, 22' x 24'. Museum of fine arts, boston Note: typical romanesque preoccupation with last judgment and christ in mandora flanked by signs of the evangelists ; byzantine influence This is in your textbook because it's a rare example of a Medieval fresco, and a painted apse in a Romanesque church. It is not necessarily representative of other Spanish churches of the era.

Virgin and Child (Morgan Madonna), FROM Auvergne, France,
second half of twelfth century. painted wood, 2' 7" HIGH. MET (GIFT OF J. PIERPONT MORGAN) SELDES SAPIENTE – THE THRONE OF WISDOM. WESTERN THEOTOKIS A wooden statuette depicting the Virgin Mary with Christ Child in her lap. The Morgan Madonna so named because it once belonged to the financer and prolific collector J.Pierpont Morgan. The type-known as the Throne of Wisdom, seldes sapientiae, is a western European freestanding version of the Byzantine Theotokos theme popular in icons and mosaics.

Head Reliquary of Saint Alexander, from Stavelot Abbey, Belgium, 1145 silver repoussé, gilt bronze, gems, enamel 17 ½" high. MUSÉES ROYAUX D'HISTOIRE, BRUSSELS, BELGIUM Reliquaries are cases made to hold relics of saints.

RAINER OF HUY, baptism of Christ, baptismal font from Notre-Dame-des-Fonts, Liège, Belgium, Bronze, 2’ 1” high. Saint-Barthélémy, Liège Classical elements include rounded figures, idealized figures and faces, soft draping, foreshortening and nudity – Christ is naked. Nudity was rare in Medieval art because it was associated with Adam and Eve and thus Original Sin. The font rests on 12 oxen (only their foresections are visible), a reference to the "molten sea on twelve oxen" cast for Solomon's Temple (1 Kings 7:23-25) which was regarded as an Old Testament prefiguration.

NAKED JESUS GETTING BAPTIZED (BUT HE KEEPS HIS TRIDENTINE HALO ON!)

Hildegard receives her visions, detail of a facsimile of a lost folio in the Ruperts-berger Sciviasby Hildegard of Bingen, from Trier or Bingen, Germany, ©1150–1179. Abbey of St. Hildegard, Rüdesheim/Eibingen. Hildegard of Bingen was a Cistercian nun and a "pop star" in the 12th century. After she published her visions and Saint Bernard certified them as genuine, people flocked to her abbey to consult her. Hildegard, a nun from the age of 8, had visions (which generally featured God telling her how sinful everyone else was), composed church music, wrote two scientific treatises, and invented and alternative alphabet. The book of her visions, if the facsimile is accurate, like many manuscripts we have seen, adhered to classical conventions, such as the architectural setting for the figures. We also see a hint of Northern Eureopean "hunching" and the Ottonian-Byzantine gold background. But note how "cartoonish" it is compared to other manuscripts we've seen. It looks like a picture of a woman with her head on fire being observed by a monkey, not a monk. This is one you need to know because it depicts a famous woman (like the Votive Disk of Enheduanna) – the College Board is very politically correct! Being a nun and indubitably holy was the only way a woman in Medieval Europe could get away with any public intellectual life.

Initial R with knight fighting dragon from the Moralia in Job
from Cîteaux, France © ink and tempera on vellum 13 ¾" x 9 ¼". bibiliothÈque municipale, dijon, france Ornamented initials date to the Hiberno-Saxon era, but according to your textbook this one translates the theme into typically French Romanesque terms. It's certainly got near-severe draping and the elongated torso differentiated from the legs is characteristic of French Romanesque and Gothic art, but the only example you have so far where it's clear it isn't a matter of fairly unskilled sculptors is at Moissac. We will see more examples in French Gothic art. However, the androgynous body of the knight in the Moralia in Job is unique, not characteristic of either Romanesque or Gothic. Note the breasts and wasp waist!

Moses Expounding the Law folio 94 recto of the Bury Bible
Master Hugo, Moses Expounding the Law folio 94 recto of the Bury Bible from Bury Saint Edmunds, England © 1135 ink and tempera on vellum 20" x 14". Corpus christi college, cambridge, england Note that moses has horns! (he was a jew, after all!) Exodus 34:29 says that when Moses came down from Mount Sinai with the Tablets on which God had inscribed the Law, his face was radiant and it uses the Hebrew word qaran which is a verb meaning to emit light. The Greek translation (Septuagint) got it right, but when Saint Jerome made the first translation of the Bible into Latin (the Vulgate) somehow he read quran as qeren, a noun meaning "horn." Whoops! And nobody in Christian Europe noticed the "mistake" until after the Reformation. So in Gothic and Renaissance art, a man with horns is always either Moses (or Satan). This manuscript is notable for its color and the illusion of movement created by the abstract draping that outlines the bodies, the posed and the gestures. Static figures are more typical of Romanesque art. Note the interwined leaf border and the fantastic foliage and animals in the lower panel.

Eadwine the Scribe at work folio 283 verso of the Eadwine Psalter
© ink and tempera on vellum. Trinity college, cambridge Clearly based on paintings of saint matthew in earlier manuscripts (e.g.. Coronatiion and Ebbo gospels) This is in your textbook because it is a rare depiction of an artist at work and it may be a self-portrait. As the book says, many of Eadwine's paintings in the psalter are based on the Utrecht Psalter, but the depiction of Eadwine is clearly based on earlier paintings of Saint Matthew, examples of which you have seen in the Coronation Gospel and the Ebbo Gospel. Note that the draping is a bit softer and more natural than in the work of other Romanesque artists but still has some abstract patterning. Note also the totally unrealistic architectural setting, and the intertwining in the border.

© 1170. ink and tempera on vellum 30 x 180 cm. British library. london
Cat, Mouse and Weasel, detail from Bestiary, MS 11283, folio 15, from England © ink and tempera on vellum 30 x 180 cm. British library. london Bestiaries, books that depicted and described various animals (not all real ones) were very popular in the Medieval Era. They were not secular books. Their purpose was to show that God had made all living creatures and all of them were symbols of Jesus, the Evangelists, saints or demons. Note the ornamented initial capital letters of every description.

Mouth of Hell Winchester Psalter
from Winchester, England © 1150 ink and tempera on vellum 12 ¾" x 9 1/8". British library, london. Typical Romanesque subject matter: the fate waiting for everyone who didn't do what the Church said they should. Note Hiberno-Saxon and classical elements. Notice that the angel has the key to the lock on the door to Hell.

DON'T FORGET THIS MOZARABIC MANUSCRIPT – WHICH YOU CAN NOW PLACE IN ROMANESQUE CONTEXT
Stephanus Garsia, Enthroned Christ with 4 Evangelists and the 24 Elders, folios 121 verso and 122 recto of the Apocalypse of Saint-Sever from Saint-Sever-sur-l’Adour, France © ink and tempera on vellum 14 ½” x 22”. bibliothÈque nationale, paris

Stephanus Garsia, Rain of Fire and Blood, folios 137 verso, Apocalypse of Saint-Sever

From Bayeux Cathedral, Bayeux, France
The Bayeux Tapestry (not a tapestry at all, but rather embroidered cloth) is not least, but is last in this PowerPoint because it is one of a kind. It is a narrative, much like a comic strip, depicting the Norman Conquest and the event leading to it, from the point of view of the Normans, of course. The lines are stem-stitched and the solid parts are laid-and-couched work. There is a good description of the techniques on page 456 of the textbook. The Bayeux tapestry is also significant because it was made by women. Men did not do embroidery. The "tapestry" would have been much brighter in the 11th Century than it is now. The artists used wool thread in two shades of blue, three shades of green, yellow, buff and terra-cotta red. But the colors have faded. Historical context: Emma of Normandy, great-aunt of William, was the mother of King Harthacnut of England through her marriage to Cnut the Great, the Danish Viking who conquered England in 1018, and also of King Edward the Confessor through her first marriage to the Anglo-Saxon King Aethelred the Unready (who was deposed by Cnut). Both Harthcnut and Edward the Confessor died without surviving heirs. When Edward (last to rule because son of the deposed king) died in January 1066, the English Witanegemot, the council of barons, named Harold Godwinson King. Godwinson was the most powerful of the barons. Legend has it both that Edward named Harold and that he named William of Normandy his successor. In any event, William claimed the throne of England through the female line (something neither Norman nor English law allowed) and invaded. England is, of course, right across the English channel from Normandy and a natural target for the Normans. Funeral of Edward the Confessor, procession to Westminster Abbey, detail of the Bayeux Tapestry From Bayeux Cathedral, Bayeux, France © embroidered wool on linen ' 8" overall. Centre guillaume conquerant, bayeux

"Isti mirant stella" = "these men wonder at the star
"Isti mirant stella" = "these men wonder at the star." The appearance of the comet presages Harold Godwinson's "betrayal" of William by accepting the crown of England. HALLEY'S COMET APPEARS

detail of the Bayeux Tapestry
Battle of Hastings, detail of the Bayeux Tapestry

IN ADDITION TO THE OTHER GOALS, YOU SHOULD NOW KNOW THE NAMES OF SIX ROMANESQUE ARTISTS:
BERNARDUS GELDUINUS GISLEBERTUS RAINIER OF HUY WILIGELMO BENEDETTO ANTELAMI MASTER HUGO MORE AND MORE ARTISTS SIGNED THEIR WORK FROM THE ROMANESQUE ERA ON – MORE TO MEMORIZE!

Romanesque Art EUGENIA LANGAN MATER ACADEMY CHARTER HIGH SCHOOL

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