1. Romanesque 3: What is Romanesque Style?

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

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

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

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

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

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

8. 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

9. 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

10. Speyer Cathedral, Germany, 1030-1106Modena Cathedral, Italy, 1099-1184 2. II. Language of architecture: Mature RomanesqueGermany (Rhine Valley) vs. Northern Italy blind arcades and dwarf galleries

11. 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

12. Speyer Cathedral, Germany, 1030-1106Modena Cathedral, Italy, 1099-1184 II. Language of architecture: TheoryGermany (Rhine Valley) vs. Northern Italy

13. Modena Cathedral, Italy, 1099-1184 sculptural frieze next to portal II. Language of architecture: Visual appeal

14. Pisa Cathedral, Pisa, Italy 11 th – 13 th cen. (1063-1118 cathedral) cathedral baptistery bell tower II. Language of architecture: Theory + Visual appealCentral Italy: Tuscany

15. 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

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

17. The Morgan Beatus, 940, Spanish Frontal of the shrine of Santo Domingo from the Abbey of Silos Spain (Burgos), 1140-50 Possible symbolism of arcades II. Language of architecture: symbolism

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

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

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

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

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

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

24. Anglo-Norman Durham Cathedral, England, nave 1133 cylindrical piers + compound piers Anglo-Norman nave of Gloucester Cathedral, England, nave b. 1089 cylindrical piers II. Language of architecture: Mature Romanesquepiers

25. 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

26. 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)

27. Abbey church Cluny III – 97' tall Pilgrimage St.-Sernin Toulouse - 68' tall Pilgrimage Ste. Foi, Conques 68' tall 10771030 1088 III. Romanesque regional schools: Burgundy

28. Abbey church of Cluny III, at Cluny, France, 11 th - 12 th century (1088-1130) 28 model of the abbey 1090-1130destroyed (mostly) 1789-1823 fragment of one transept remains III. Romanesque Burgundythe Cluniac model

29. Cluny II, ca. 1000 Cluny III, begun 1088, under Abbot Hugh of Cluny Cluny III to rival the greatest churches in Christendom III. Romanesque Burgundythe Cluniac model

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

31. 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

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

33. 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?

34. Cluny III – 1088-1130Cluniac priory at Paray-le-Moniale, France, 1100-06 (photomontage) III. Romanesque Burgundy: the Cluniac modelWhat was the goal of the designers?

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

36. Cluny III – 1088-1130Paray-le-Moniale, 1100-06So-called pilgrimage churches Compare plans Did the Cluniacs want to attract pilgrims?III. Romanesque Burgundy: the Cluniac model

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

38. 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