The Age of Pilgrimages:

Romanesque Art
ART ID 121 | Study of Western Arts
Slide concept by William V. Ganis, PhD NYIT Center for Teaching and Learning with Technology

With modifications by Arch. Edeliza V. Macalandag, UAP

Romanesque Art
- The term Romanesque (meaning "Romanlike") is used to designate a period lasting approximately 150 years, from 1050 to 1200, when buildings incorporated certain architectural elements that resemble ancient Roman architecture. - While mural painting and manuscript illumination continued much as before, there is a resurgence of monumental stone sculpture. - Romanesque art was also greatly influenced by Byzantine art, especially in painting, and by the anti-classical energy of the decoration of the Insular art of the British Isles, and from these elements forged a highly innovative and coherent style.

Romanesque Architecture
- Romanesque architecture is noteworthy principally for: - round arch - stone barrel - groin vaults - thick and solid walls - Most of the new buildings were cathedrals, churches, and monasteries that varied in style from one region to another. A number of churches were designed to accommodate visiting pilgrims.

The term was invented by 19th century art historians, especially for Romanesque architecture, which retained many basic features of Roman architectural style most notably roundheaded arches, but also barrel vaults, apses, and acanthus-leaf decoration - but had also developed many very different characteristics.

Romanesque Art
The rise of towns: - The increase in trade and the growth of towns and cities in the Romanesque period began to replace feudalism. Monasteries and churches: - Separated by design form the busy secular life of Romanesque towns were the monasteries and their churches. Pilgrimages: - The enormous investment in ecclesiastical buildings and furnishings also reflected a significant increase in pilgrimage traffic in Romanesque Europe.

Regional diversity is evident in Romanesque buildings. Specific to northern style of French Romanesque architecture is the use of large sawn blocks of stone to construct the walls of the buildings, but roofed with timber.

plan & interior of Saint Etienne Vignory, France

ca. 1050-1057

Further south, in southern France, Spain, and Lombardy, early Romanesque builders generally preferred to construct their edifices with brick or small bricklike blocks of stone and to cover the nave and aisles with vaults.

Saint Philbert nave vaults Tournus, France

ca. 1060

Saint-Sernin is an example of the new church of the "pilgrimage type".

Saint-Sernin Toulouse, France

ca. 1070-1120

Saint-Sernin Toulouse, France

ca. 1070-1120

Saint-Sernin is located on the site of a previous basilica of the 4th century which contained the body of Saint Saturnin or Sernin, the first bishop of Toulouse in c. 250

Saint-Sernin Toulouse, France

ca. 1070-1120

The Saint-Sernin plan is extremely regular and geometrically precise. The crossing square, flanked by massive piers and marked off by heavy arches, served as the module for the entire church.

Interior of Saint-Sernin Toulouse, France

ca. 1070-1120

Nave of Saint-Sernin Toulouse, France

ca. 1070-1120

Nave of Saint-Sernin Toulouse, France

ca. 1070-1120

The central nave is barrel vaulted; the four aisles have rib vaults and are supported by buttresses.

One of the most ancient churches in Milan, it was built by St. Ambrose in 379-386, in an area where numerous martyrs of the Roman persecutions had been buried. The first name of the church was in fact Basilica Martyrum.

Aerial view of Sant Ambrogio Milan, Italy

late eleventh to early twelfth century

One of the most ancient churches in Milan, it was built by St. Ambrose in 379-386, in an area where numerous martyrs of the Roman persecutions had been buried. The first name of the church was in fact Basilica Martyrum.

Plan of Sant Ambrogio Milan, Italy

late eleventh to early twelfth century

The modular scheme and alternate-support system employed at Sant'Ambrogio in Milan created a series of domical ribbed groin vaults.

Interior of Sant Ambrogio Milan, Italy

late eleventh to early twelfth century

Dedicated to Saint Stephen ("Saint tienne"), Saint Etienne (Saint Stephen) is one of the most notable Romanesque buildings in Normandy. The twin-towered faade of the church of Saint-tienne at Caen is divided into three bays.

West faade of Saint-Etienne Caen, France

begun 1067, ca. 1115-1120

The nave employs an alternating system of compound piers with engaged half-columns and piers with half-columns attached to pilasters that rise through three stories to support rib vaults.

Interior of Saint-Etienne (nave) Caen, France

ca. 1115-1120

Durham Cathedral Durham, England

begun ca. 1093

Durham Cathedral alternates large ornamented pillars with compound piers that support a series of seven-part groin vaults each covering two bays. It is the earliest example of ribbed groin vaults placed over a threestory nave.

Interior of Durham Cathedral Durham, England

begun ca. 1093

In architecture, it signaled the importation of French Romanesque building and design methods. 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 churchs vaulted interior which predates that of the remodeled Saint-Etienne at Caen, retains its original severe Romanesque appearance.

Nave of Durham Cathedral Durham, England

begun ca. 1093

Plan & transverse section of Durham Cathedral Durham, England

begun ca. 1093

Exterior of Durham Cathedral Durham, England

begun ca. 1093

Pisa Cathedral complex in Pisa, Italy

cathedral begun 1063; baptistery begun 1153; campanile begun 1174
Tuscan Romanesque architecture adheres closely to the traditions of the Early Christian basilica. The cathedral complex at Pisa comprises a cathedral, a freestanding bell tower, and a baptistery. The cathedral has a timber ceiling and a nave arcade of reused classical columns. Arcaded galleries decorate the exterior of the leaning bell tower.

Pisa Cathedral complex in Pisa, Italy

cathedral begun 1063 baptistery begun 1153 campanile begun 1174
Partly paved and partly grassed, it is dominated by four great religious edifices: the Duomo (cathedral), the Campanile (the cathedral's free standing bell tower), the Baptistry and the Camposanto.

Baptistery Pisa Cathedral complex in Pisa, Italy

cathedral begun 1063 baptistery begun 1153 campanile begun 1174

The exterior of the octagonal Baptistery in Florence is decorated with polychrome marble incrustation.

Pisa Cathedral campanile Pisa, Italy

begun 1174

Pisa Cathedral complex in Pisa, Italy

cathedral begun 1063 baptistery begun 1153 campanile begun 1174

The interior also at first suggests the basilica, with its timber rather than vaulted ceiling and nave arcade of reused Roman columns 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.

Interior of Pisa Cathedral Pisa, Italy

cathedral begun 1063

It 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 gablecrowned faade 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 incrustation makes for a rich ornamental effects foreign to the earlier buildings.

West faade San Miniato al Monte Florence, Italy

1062 and twelfth century

West faade San Miniato al Monte Florence, Italy | 1062 and twelfth century

Though at first glance, the lowest level much resembles the patterning of Florences baptistery, the arcades and panels do not reflect the buildings structure. The faades upper levels, of much later date than the lowest level are filled capriciously with geometrical shapes that have a purely, ornamental function. The nave is divided into three equal compartments by diaphragm arches. The arches rise from compound piers and brace the rather high, thin walls. They also provide firebreaks beneath the wooden roof and compartmentalize the basilican interior in the manner so popular with most Romansque builders.

Interior of San Miniato al Monte Florence, Italy

1062 and twelfth century

The sharply incised lines and ornamentation of the marble relief of Christ in Majesty is characteristic of pre-Romanesque metalwork.

Bernardus Gelduinus Christ in Majesty relief in the ambulatory of Saint-Sernin Toulouse, France | ca. 1096 | marble | 4 ft. 2 in. high

Wiligelmo Creation of Adam and Eve, frieze on the west faade, Modena Cathedral Modena, Italy | ca. 1110 | marble | approximately 3 ft. high

The high relief carving of the figures in the frieze at Modena breaks through the arcaded frame format to produce a more continuous narrative.

Tympanum of the south portal of Saint-Pierre Moissac, France | Marble | ca. 1115-1135

The tympanum at Moissac exhibits a distinctive style of Romanesque sculpture characterized by figures with elongated bodies and draperies decorated with zigzag and dovetail lines.

Christ in Majesty with angels and the Twenty-Four Elders Tympanum of the south portal of Saint-Pierre Moissac, France | Marble | ca. 1115-1135 | approximately 16 ft. 6 in. wide at base

Christ in Majesty with angels and the Twenty-Four Elders Tympanum of the s. portal of Saint-Pierre Moissac, France
marble ca. 1115-1135 approximately 16 ft. 6 in. wide at base

The scalloped trumeau at Moissac shows an elongated, cross-legged figure accompanied by roaring lions.

Lions and Old Testament prophet (Jeremiah or Isaiah?) From the trumeau of the south portal of Saint-Pierre Moissac, France
ca. 1115-1130 marble approximately life-size

Cloister of Saint-Pierre Moissac, France

ca. 1100-1115 marble piers approximately 6 ft. high

Cloister of Saint-Pierre Moissac, France

ca. 1100-1115 | marble | piers approximately 6 ft. high

Abbey of Notre-Dame Fontenay, Burgundy, France

1139-47

Abbey of Notre-Dame Fontenay, Burgundy, France

1139-47

Gislebertus Last Judgment (plaster cast) West tympanum of Saint-Lazare Autun, France | ca. 1120-1135 | marble | approximately 21 wide at base

Ascension of Christ and Mission of the Apostles Tympanum of the center portal of the narthex of La Madeleine Vzelay, France
1120-1132

Ascension of Christ and Mission of the Apostles Tympanum of the center portal of the narthex of La Madeleine Vzelay, France
1120-1132

For the churchs western entrance, a projecting portal resembling a Roman arch was attached to the buildings otherwise simple faade. Strictly Christian and thematically related to other Romanesque portals already examined here. The tympanum shows Christ surrounded by the signs of the Four Evangelists.

Portal on the west faade of Saint-Trophime Arles, France

second third of the twelfth century

Portal on the west faade of Saint-Trophime Arles, France

second third of the twelfth century

The sculptor BENEDETTO ANTELAMI was active in the last quarter of the twelfth century. Several relief's by his hand exist, including Parma Cathedrals pulpit and the portals of that citys baptistery. His elbows are kept close to his body, and his stance is stiff, lacking any hint of the contrapposto that is classical statuarys hallmark. Yet the sculptors conception of this prophet is undeniably rooted in Greco-Roman art.

Benedetto Antelami King David on the west faade of Fidenza Cathedral Fidenza, Italy
ca. 1180-1190 marble approximately life-size

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.

Virgin and Child ( Morgan Madonna) from Auvergne, France

second half of twelfth century painted wood 2 ft. 7 in. high

Head Reliquary of Saint Alexander from Stavelot Abbey, Belgium

1145 silver repouss, gilt bronze, gems, enamel 17 1/2 in. high

Christ in Majesty apse fresco from Santa Mara de Muir near Lrida, Spain
mid-twelfth century fresco 22 x 24 ft.

The Vision of Hildegard of Bingen Detail of facsimile of a lost folio in the Scivias by Hildegard of Bingen from Trier or Bingen, Germany
ca. 1050-1079

Initial R with knight fighting dragon from the Moralia in Job from Cteaux, France
ca. 1115-1125 ink and tempera on vellum 13 3/4 x 9 1/4 in.

Master Hugo Moses Expounding the Law folio 94 recto of the Bury Bible from Bury Saint Edmunds, England
ca. 1135 ink and tempera on vellum 20 x 14 in.

12 Scenes from the Christmas Story MS 37472 folio 1 recto from Canterbury, England
ca. 1140 ink and tempera on vellum 40.5 x 30 cm

Cat, Mouse and Weasel Bestiary, MS 11283, folio 15, (detail) from England
ca. 1170 ink and tempera on vellum 30 x 180 cm

Mouth of Hell Winchester Psalter from Winchester, England

ca. 1150 ink and tempera on vellum 12 3/4 x 9 1/8 in.

Eadwine the Scribe(?) Eadwine the Scribe at work folio 283 verso of the Eadwine Psalter
ca. 1160-1170 ink and tempera on vellum

Funeral of Edward the Confessor procession to Westminster Abbey detail of the Bayeux Tapestry From Bayeux Cathedral, Bayeux, France
ca. 1070-1080 | embroidered wool on linen | 229 ft. 8 in. overall

Battle of Hastings detail of the Bayeux Tapestry From Bayeux Cathedral, Bayeux, France
ca. 1070-1080 | embroidered wool on linen | 229 ft. 8 in. overall

Dated 1019-1020 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 relief's 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.

Christ in Majesty (Maiestas Domini) with apostles Saint-Genis-des-Fontaines, France

1019-1020

Rainer of Huy Baptism of Christ Baptismal font from NotreDame-des-Fonts Liege, Belgium
1107-1118 bronze 2 ft. 1 in. high

RAINER OF HUY, a bronze worker from the Meuse River valley in Belgium, an area renowned for its metalwork. In 1118 her masterfully cast in a single piece the baptismal font for NorteDame-des-Fonts in Liege. The bronze basin rests on the foreparts of twelve oxen, a reference to King Solomons temple. The Old Testament story was thought to prefigure Christs baptism which is the central scene on Rainers font.

Entombment of Christ fresco above the nave arcade, SantAngelo in Formis Near Capua, Italy | ca. 1085 | fresco

The Tree of Jesse Explanatio in Isaiam from Cteaux, France

ca. 1125 | ink and tempera on vellum 15 x 9 in.

Sources http://www.wadsworth.com/art_d/templates/student_resources/015505 0907_kleiner/studyguide/ch17/ch17_1.html http://websites.swlearning.com/cgiwadsworth/course_products_wp.pl?fid=M20b&product_isbn_issn=0155 050907&discipline_number=436 http://en.wikipedia.org/wiki/Romanesque_art Art Through the Ages, 12th/11th ed., Gardner