romanesque architecture essay

Architecture of Cities

Romanesque Architecture and the Top 15 Romanesque Buildings

Of all the great architectural movements that swept across Europe since antiquity, Romanesque Architecture was the first to emerge after the fall of the Romans. When the Western Roman Empire fell in the 5th century , there was a huge decline in significant building projects for hundreds of years. But at the end of this period now known as the Dark Ages, a new style of architecture emerged. Borrowing heavily from older forms of Roman Buildings, Romanesque Architecture emerged to be the dominant building style in Western Europe, long before the arrival of the Gothic Age .

Definition of Romanesque Architecture

Romanesque architecture and art was a form of design that borrowed extensively from Ancient Roman art and architecture and was used throughout Europe from 500-1200 CE .

Timeline of Romanesque Architecture

Romanesque architecture was the dominant building style in Europe from roughly the point after the fall of the Roman Empire in the 5th century to the beginning of the Gothic Era in the 13 th century .

Developing from religious structures such as churches, monasteries, and abbeys, the Romanesque Style eventually spread into almost all types of buildings. The Dark Ages and Early Middle ages were the major periods that heavily utilized this style.

Romanesque Architecture Characteristics

Rounded Arches or “Roman Arches”

Photo by W. Bulach from Wikimedia Commons

By far, the most dominant feature in Romanesque Architecture is the round arch. Also referred to as the Roman Arch, the round arch predates the pointed Gothic arch. It had already been used in architecture for hundreds of years at the start of the middle ages, most notably in Ancient Roman Architecture. In the photo above you can see the entire west facade of Maria Laach Abbey in Germany is decorated with different forms of the same round arch,

Thick Walls with Small Windows

Photo by Nuno Cardoso from flickr

Overall Romanesque Architecture is full of stout, bulky, heavy, and sturdy-looking buildings. Walls had to be thick with small windows, to take the full weight of the roof above. The entire exterior of Pisa Cathedral shows how even the most monumental and impressive Romanesque buildings were built this way. Later on in architectural history, Flying Buttress allowed architects to build taller buildings with walls full of huge windows – which became the foundation for the Gothic Style .

Barrel Vaults

Photo  by  Benh Lieu Song from flickr

Earlier in the Romanesque age, the Naves of most churches were capped with wooden roofs. This was a format that dated all the way back to the ancient Roman Basilica. Eventually, the cathedrals of Europe started to get more sophisticated, constructing archways over their naves. Builders would essentially compress multiple stone arches together, to create a barrel vault. Stone barrel vaults also made churches sturdier and helped out with fire protection too, since there were no exposed wooden timbers in the roof to burn. The barrel vault within the Basilica of Saint-Sernin was one of the largest ever constructed in the Romanesque Age.

Lack of Ornamentation and Detail

Photo by Anna & Michal from flickr

Many Romanesque Churches share a distinct lack of ornamentation when compared to churches built in the Gothic Age. Although there are a few exceptions, most Romanesque buildings are stark and bare, and they only have intricate stonework in a few isolated spots. This lack of detail is especially apparent early on in the Romanesque age, before the year 1000 CE . Vézelay Abbey in France was built mostly in the early 1100s , but here you can see some sculptural elements start to appear, particularly in the column capitals.

Romanesque vs. Gothic

Romanesque architecture came before Gothic architecture. The Romanesque period lasted from the 6 th -12 th century , while the Gothic Period lasted from the 13 th -16 th century .

• (left) Rounded arches at Speyer Cathedral in Germany
• (right) Pointed arches at Milan Cathedral in Italy
• Right Photo by © J osé Luiz Bernardes Ribeiro  /  CC BY-SA 4.0

There are many differences between the two styles. A lot of these differences have to do with European history during the middle ages. Technology was advancing, and people were able to build larger more graceful buildings during the Gothic Period.

New building techniques like the pointed arch and the flying buttress allowed architects to build taller and larger churches. The buttresses allowed the weight of the roof to be spread outward with the help of the pointed arches.

• (left) Side of Pisa Cathedral, with flat walls that have small windows with round arches
• (right) Side of Reims Cathedral, with flying buttresses which allow for huge windows with gothic arches
• Left Photo by Jordiferrer from Wikimedia Commons

So now, instead of having thick stone walls with tiny windows to support your roof, like in a Romanesque building, you could use the buttresses to take the weight of the roof. This allowed architects to use these beautiful massive stained glass windows that would let incredible amounts of light into the interior space.

• (left) The interior of Vézelay Abbey in Vézelay, France. Notice the vaulted ceiling, rounded arches, heavy windows with a lack of natural light, and the lack of excessive detail and artwork.
• (right) The interior of Sainte Chappelle in Paris, France. Notice the ribbed ceiling, the pointed arches, and the massive stained glass windows filled with intricate artwork.
• Left Photo by Jörb Bittner Unna from Wikimedia Commons
• Right Photo by Artmch from Wikimedia Commons

Romanesque architecture also does not include the copious amount of detail that you find in Gothic architecture. Below you will see some simple geometric stonework in a Romanesque church, compared to the elaborate carvings in a Gothic building.

• (left) Romanesque detailing at Bamberg Cathedral in Bramber, Germany
• (right) Late Gothic detailing at the Colegio de San Gregoria in Valladolid, Spain
• Left Photo by Reinhard Kirchner from Wikimedia Commons
• Right Photo by Rafael Tello from Wikimedia Commons

Again, the discrepancies in the detailing had a lot to do with European history. Religious authorities in the middle ages were often opposed to excessive art and details, as they were thought to distract from the services of the church. But eventually, these practices were slowly abandoned, and art was made more openly, so long as it told the message of the church and the bible.

It’s scaled back, but in Romanesque architecture, you can see fine details and carved stonework. You will find stories from the bible, depicted mostly around column capitals and within the Tympanum, the main archway above the entrance to a church. Gothic architecture took this a step further and showed even more intricate depictions of various religious motifs.

• (left) Tympanum at Vézelay Abbey in Vézelay, France
• (right) Tympanum at Notre Dame in Paris, France
• Both carvings depict the scene of the last judgment, however, the Gothic version is much more intricate and detailed, with significant improvement in the realism of the sculpture. The carvings also leave the area of the Tympanum and cascade down and around the doorway and into the rest of the building.
• Left Photo by Gerd Eichmann from Wikimedia Commons
• Right Photo by Guilhem Vellut from Wikimedia Commons

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What are the Best Romanesque Buildings?

Below is a list of buildings that are often regarded as the best examples of Romanesque architecture. These buildings show all of the key features of the Romanesque style.

Rather than just focusing on churches, this list will also incorporate secular buildings as well to give a cohesive look at Romanesque Architecture. This list will focus on size, innovation, and overall beauty to determine what are the best Romanesque buildings that can still be found in Europe today.

1. Pisa Cathedral  –  Pisa, Tuscany, Italy

Pisa Cathedral may be known for its leaning tower, but it’s also one of the greatest examples of Romanesque Architecture on earth. The cathedral, baptistery , and bell tower are all built with white marble. The front elevation shows many of the standard elements of Romanesque architecture, with dozens of round arches surrounded by geometric stonework. Although the church’s exterior has a lot of windows, all of them are small and they don’t provide a lot of natural light. The walls of Pisa Cathedral are the only thing supporting the roof above, and that’s why they had to be built thick and sturdy, with just small openings for windows.

The interior of Pisa Cathedral shows a blend of a few different styles. The arches and columns you see are all romanesque, and they date from the original construction of the cathedral which took place from 1063-1092 . But the golden-detailing you see in the coffered ceiling was added later on, during the 17th century . Today the leaning tower of Pisa and Pisa Cathedral bring in millions of visitors every year, and they are listed as UNESCO World Heritage Sites .

2. Cathedral of Monreale  –  Monreale, Sicily, Italy

Much like other churches in Sicily, the Cathedral of Monreale was constructed by the Normans . Its located just outside of the Sicilian capital Palermo and is regarded as one of the greatest churches on the island. Construction began in 1172 and most of the architecture is Norman, although various additions were added in other styles. The church is famous for its Byzantine Mosaics . The church is part of a large grouping of UNESCO Listed sites found throughout the area around Palermo.

The church is famous for its Byzantine Mosaics . These mosaics cost the Normans vast amounts of wealth to build. Not only were the tiles made with fragments of real gold, but the mosaics themselves were also painstakingly assembled by Byzantine Craftsmen, some of whom traveled all the way from the Eastern Mediterranean lands of the Byzantine Empire.

3. San Miniato al Monte  –  Florenc e , Tuscany, Italy

Just like Pisa Cathedral, San Miniato al Monte is an incredible Romanesque Church, located in the Italian Region of Tuscany. Work started in the church back in 1013 , and today it looks largely the same way it did back in the 11th century . The exterior is richly decorated with white and green marble, in a color scheme similar to that of Florence Cathedral, although the cathedral was built centuries later.

The interior of the church features more intricate stonework, with colored marble to match the exterior. The church also features a wooden roof, which was the main material used for the roofs of early Romanesque buildings. The beams and joists are all richly decorated with painted geometric designs. Although San Miniato al Monte is one of the smaller churches in Florence , it’s still an incredible work of Romanesque Architecture in a city mostly known for its Renaissance buildings.

4. Speyer Cathedral  –  Speyer, Rhinlenad-Palatinate, Germany

Speyer Cathedral is a Romanesque Cathedral located in southwestern Germany. Construction on the cathedral began in 1030 , and the exterior is built with a distinct red sandstone. Most of the church is from the later stages of the Romanesque age, but the Narthex and the front facade of the were both added in the 19th century . The work was done in a Neo-Romanesque fashion, which gives the church a pretty cohesive appearance.

The interior of the Speyer Cathedral features one of the tallest naves from the Romanesque Age. The church also features a Barrel Vault, which was an important innovation in Romanesque Architecture, which evolved into the Gothic Ribbed Vault. Speyer Cathedral and the city of Speyer itself were both repeatedly involved in the conflict of the 30 Years’ War , but despite these turbulent times, the church is still remarkably preserved considering its incredible age.

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5. Basilica of Saint-Sernin  –  Toulouse, Occitanie, France

While Speyer Cathedral in Germany may be the largest Romanesque cathedral in the world, the title of the largest Romanesque building in the world goes to the Basilica of Saint-Sernin in France. The church was constructed from 1080-1120 and was originally part of a much larger abbey. The interior features a vaulted roof made of stone, which was a huge technological achievement over the flat wooden ceilings you will find on many other Romanesque buildings. Additionally, the stone vault was a huge leap forward in fire protection.

6. Trier Cathedral  –  Trier, Rhineland-Palatinate, Germany

Trier Cathedral stands on the foundation of several Roman buildings that were built in the 4 th century CE . The majority of the church that is seen today dates from the 11 th century from 1016-1041 . The church is famous for its several towers which were often replicated in other Romanesque buildings throughout Europe.

7. Maria Laach Abbey  –  Andernach, Rhineland-Palatinate, Germany

Abbeys and Monasteries were some of the wealthiest and most powerful establishments of the middle ages. All of that wealth and power often resulted in fantastic architecture. Maria Laach Abbey in Germany is one of the most cohesive examples of Romanesque Architecture in Europe. The exterior is particularly void of other building styles, unlike other churches on this list.

8. Ca’ Loredan and Ca’ Farsetti  –  Venice , Veneto, Italy

During the chaos and instability that followed the collapse of the Roman Empire, a group of refugees began a small settlement in the Venetian Lagoon. By the early middle ages, their settlement grew into one of the most powerful cities in all of Europe, Venice . Venice was the capital of the mighty Republic of Venice , a maritime republic that controlled most of the trade in the Adriatic and Mediterranean Seas. The Ca’ Loredan and Ca’ Farsetti, are two incredible works of Romanesque architecture that were financed by this impressive trade network. They are located right next to one another overlooking the Grand Canal in Venice.

9. Church of the Holy Sepulchre  –  Jerusalem, Jerusalem, Israel

The Church of the Holy Sepulchre has a long and complicated history, stretching from the time of the Roman Empire all the way until today. Much of the church is built in a distinct Romanesque Style and dates from the 12 th -13 th century . The Crusaders , who took the city of Jerusalem in the year 1099 , renovated and added to the church giving it its distinct Romanesque appearance.

10. Lund Cathedral  –  Lund, Scania, Sweden

Lund Cathedral is the only Romanesque building on this list located in Scandinavia. The church was built in the early 12 th century and remains one of the oldest stone buildings in all of Sweden. At the time it was built, Lund was ruled by Denmark so it can technically be seen as a work of Danish Romanesque Architecture.

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11. Cefalù Cathedral  –  Cefalù, Sicily, Italy

The Normans, which also controlled parts of modern-day France and England, conquered Sicily and southern Italy in the early middle ages. They created important works of Norman architecture there, which is a subcategory within Romanesque architecture. Not only was the church built as a place of worship, but the architects also designed it as a fortification to help defend the town from invaders. Today, Cefalù Cathedral is the most notable landmark in the city of Cefalù and is listed as a UNESCO World Heritage Site .

12. Parma Cathedral  –  Parma, Emilia-Romagna, Italy

Another incredible Romanesque church is Parma Cathedral in Italy. Begun in 1059 , the cathedral contains a separate baptistery, church, and bell tower. This was a similar design to many other churches in Italy. The baptisteries, in particular, were kept separate because no one was allowed to enter the church until after their baptism.

13. Vézelay Abbey  –  Vézelay, Burgundy, France

The Vézelay Abbey was constructed over a 30 year period from 1120 to 1150 . One of the more ornamental churches on this list, the front elevation features multiple stone statues and sculptures. Traditionally, Romanesque buildings only had sculptures in the portal of the church. (the part directly over the main entrance, also known as the Tympanum) But Vézelay Abbey is known for having additional details throughout.

1 4. Aachen Cathedral  –  Aachen, North Rhine-Westphalia, Germany

Aachen Cathedral is one of the greatest Romanesque Cathedrals on this list. The building was built by the great Charlemagne. Charlemagne is regarded as the most influential ruler of the early middle ages. He was able to create a massive empire that stretched through modern-day France, Germany, and Italy. Charlemagne often ruled from Aachen and was responsible for a large portion of Aachen Cathedral.

1 5. Tower of London  –  London, England, United Kingdom

William the conqueror was the Duke of Normandy during the early 11 th century . He gained his nickname after he crossed the English Channel and defeated the previous ruler of England to become the first Norman King of England. To help maintain control of his new kingdom, William began construction on the Tower of London. Overlooking the Thames River in London, the building is a great example of a Romanesque style fortification.

Romanesque Architecture Today

Although not as popular as it was at the end of the 19th century , Romanesque Architecture still lives on today in the form of the Romanesque Revival Style . A great example of a Neo Romanesque building is the Fisherman’s Bastion located in Budapest, Hungary .

During the early 19th century , the Neo-Classical style became extremely popular. It was utilized by several world powers to construct important government buildings that recalled the power and strength of the Ancient Roman government system.

Ironically, just as Romanesque architecture evolved from the architecture of the Roman Empire, Neo-Romanesque became quite popular in the aftermath of the golden age of Neo-Classical architecture .

Richardsonian Romanesque

Richardsonian Romanesque is a term coined to describe the distinct Romanesque Revival buildings of H.H. Richardson and other American Architects in the late 19th century . Some of the most notable works are Trinity Church in Boston as well as the Winn Memorial Library in Woburn Massachusetts.

Although much different thanks to new technologies in masonry construction, Richardsonian Romanesque utilizes many of the distinct principles of Romanesque architecture. The heavy and bulky forms, paired with the rounded arches greatly resemble the Romanesque buildings that were popular in Europe during the middle ages.

Romanesque Architecture’s Legacy

Architecture as a whole was greatly influenced by the Romanesque style. Romanesque architecture represents a clear link to the architecture of the Roman Empire and Gothic Architecture.

So many of Europe’s greatest cathedrals were built in the Gothic style , and all of the innovations that made those buildings possible were learned during the Romanesque period.

• About the Author
• Rob Carney, the founder and lead writer for Architecture of Cities has been studying the history of architecture for over 15 years.
• He is an avid traveler and photographer, and he is passionate about buildings and building history.
• Rob has a B.S. and a Master’s degree in Architecture and has worked as an architect and engineer in the Boston area for 10 years.

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A beginner’s guide to Romanesque architecture

The name gives it away—Romanesque architecture is based on Roman architectural elements. It is the rounded Roman arch that is the literal basis for structures built in this style.

Ancient Roman ruins (with arches)

All through the regions that were part of the ancient Roman Empire are ruins of Roman aqueducts and buildings, most of them exhibiting arches as part of the architecture (you may make the etymological leap that the two words—arch and architecture—are related, but the Oxford English Dictionary shows arch as coming from Latin arcus , which defines the shape, while arch—as in architect, archbishop, and archenemy—comes from Greek arkhos , meaning chief and  ekton means builder).

Interior of the Palatine Chapel of Charlemagne, Aachen, Germany, 792–805 (photo: Velvet , CC BY-SA 3.0)

When Charlemagne was crowned Holy Roman Emperor in 800 C.E., the remains of Roman civilization were seen all over the continent, and legends of the great empire would have been passed down through generations after the fall of Rome in the fifth century. So when Charlemagne wanted to unite his empire and validate his reign, he began building churches in the Roman style—particularly the style of Christian Rome in the days of Constantine, the first Christian Roman emperor.

After a gap of around two hundred years with no large building projects, the architects of Charlemagne’s day looked to the arched, or arcaded, system seen in Christian Roman edifices as a model. It is a logical system of stresses and buttressing, which was fairly easily engineered for large structures, and it began to be used in gatehouses, chapels, and churches in Europe.

Gloucester Cathedral, begun 1089 (photo: Steven Zucker , CC BY-NC-SA 2.0)

These early examples may be referred to as pre-Romanesque because, after a brief spurt of growth, the development of architecture again lapsed. As a body of knowledge was eventually re-developed, buildings became larger and more imposing. Examples of Romanesque cathedrals from the early Middle Ages (roughly 1000–1200) are solid, massive, impressive churches that are often still the largest structure in many towns.

In Britain, the Romanesque style became known as “Norman” because the major building scheme in the 11th and 12th centuries was instigated by William the Conqueror, who invaded Britain in 1066 from Normandy in northern France. (The Normans were the descendants of Norse, or north men (“Vikings”) who had invaded this area over a century earlier.) Durham and Gloucester Cathedrals and Southwell Minster are excellent examples of churches in the Norman, or Romanesque style.

Gloucester Cathedral, nave, begun 1089 (ceiling later) (photo: Steven Zucker , CC BY-NC-SA 2.0)

The arches that define the naves of these churches are well modulated and geometrically logical—with one look you can see the repeating shapes, and proportions that make sense for an immense and weighty structure. There is a large arcade on the ground level made up of bulky piers or columns. The piers may have been filled with rubble rather than being solid, carved stone. Above this arcade is a second level of smaller arches, often in pairs with a column between the two. The next higher level was again proportionately smaller, creating a rational diminution of structural elements as the mass of the building is reduced.

Gloucester Cathedral, decorative carving on the nave arcade and triforium (photo: Steven Zucker , CC BY-NC-SA 2.0)

The decoration is often quite simple, using geometric shapes rather than floral or curvilinear patterns. Common shapes used include diapers—squares or lozenges—and chevrons, which were zigzag patterns and shapes. Plain circles were also used, which echoed the half-circle shape of the ubiquitous arches.

Early Romanesque ceilings and roofs were often made of wood, as if the architects had not quite understood how to span the two sides of the building using stone, which created outward thrust and stresses on the side walls. This development, of course, didn’t take long to manifest, and led from barrel vaulting (simple, semicircular roof vaults) to cross vaulting, which became ever more adventurous and ornate in the Gothic .

Additional resources

Romanesque architecture from the Durham World Heritage site.

Corpus of Romanesque sculpture in Britain and Ireland.

Smarthistory images for teaching and learning:

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Romanesque Architecture and Art

Summary of Romanesque Architecture and Art

Capturing the aspirations of a new age, Romanesque art and architecture started a revolution in building, architectural decoration, and visual storytelling. Starting in the latter part of the 10 th century through the 12 th , Europe experienced relative political stability, economic growth, and more prosperity during this time and coupled with the increasing number of monastic centers as well as the rise of universities, a new environment for art and architecture that was not commissioned solely by emperors and nobles was born. With the use of rounded arches, massive walls, piers, and barrel and rib vaults, the Romanesque period saw a revival of large-scale architecture that was almost fortress-like in appearance in addition to a new interest in expressive human forms. With the Roman Church as the main patron, Romanesque metalwork, stonework, and illuminated manuscripts spread across Europe, from the Mediterranean to Scandinavia, creating an international style that was adapted to regional needs and influences. 19 th -century art historians who coined the term Romanesque thought the weighty stone architecture and the stylized depiction of the human form did not live up to the standards of the classical ideas of humanism (manifested later and powerfully in Renaissance Humanism ), but we now recognize that Romanesque art and architecture innovatively combined Classical influences, seen in the Roman ruins scattered throughout the European countryside and in Byzantine illuminated manuscripts and mosaics, with the decorative and more abstract styles of earlier Northern tribes to create the foundation of Western Christian architecture for centuries to come. While an immediate precursor to the Gothic style, the Romanesque would see revivals in the 17 th and 19 th centuries, as architects (masons) came to appreciate the clarity and formidable nature of the Romanesque façade when applied across a range of buildings, from department stores to university buildings.

Key Ideas & Accomplishments

• Along with the new political and economic security, the spread of the Roman Church and the codification of rituals and liturgy encouraged the faithful to undertake pilgrimages, traveling from church to church, honoring martyrs and relics at each stop. The economic boon of such travel to cities led to rapid architectural developments, in which cities vied for grander and grander churches. Lofty stone vaulting replaced wooden roofs, main church entrances became more monumental, and decorative architectural sculpture flourished on the façades of the churches.
• While many churches continued to use barrel vaulting, during the Romanesque period, architects developed the ribbed vault, which allowed vaults to be lighter and higher, thus allowing for more windows on the upper level of the structure. The ribbed vault would be more fully developed and utilized during the subsequent Gothic period, but important early examples in the 11 th century set the precedent.
• During the Romanesque period, the use of visual iconography for didactic purposes became prevalent. As most people outside of the monastic orders were illiterate, complex religious scenes were used to guide and teach the faithful of Christian doctrine. Architects developed the use of the tympanum, the arched area above the doors of the church, to show scenes such as the Last Judgment to set the mood upon entering the church, and other biblical stories, saints, and prophets decorated interior and exterior doors, walls, and, capitals to shepherd the worshippers' prayers.

Artworks and Artists of Romanesque Architecture and Art

Church of Sainte-Foy

This pilgrimage church, the center of a thriving monastery, exemplifies the Romanesque style. Two symmetrical towers frame the west façade, their stone walls supported by protruding piers that heighten the vertical effect. A rounded arch with a triangular tablature frames the portal, where a large tympanum of the Last Judgment of Christ is placed, thus greeting the pilgrim with an admonition and warning. The grandeur of the portal is heightened by the two round, blind arches on either side and by the upper level arch with its oculus above two windows. The façade conveys a feeling of strength and solidity, its power heightened by the simplicity of decorative elements. It should be noted that this apparent simplicity is the consequence of time, as originally the tympanum scene was richly painted and would have created a vivid effect drawing the eye toward the entrance. The interior of the church was similarly painted, the capitals of the interior columns carved with various Biblical symbols and scenes from Saint Foy's life, creating both an otherworldly effect and fulfilling a didactic purpose. Saint Foy, or Saint Faith, was a girl from Aquitaine who was martyred around 287-303, and the church held a gold and jeweled reliquary, containing her remains. The monks from the Abbey stole the reliquary from a nearby abbey to ensure their church's place on the pilgrimage route. Over time, other relics were added, including the arm of St. George the Dragon Slayer, and a gold "A" believed to have been created for Charlemagne. The construction of the church was undertaken around 1050 to accommodate the crowds, drawn by reports of various miracles. The church was designated a UNESCO World Heritage Site in 1998 for its importance on the pilgrim route and also as a noted example of early Romanesque architecture.

Stone, wood - Conques, France

A scene from the Bayeux Tapestry

This scene from the famous tapestry shows Odo, Bishop of Bayeux, carrying an oak club while riding on a black horse, as he rallies the Norman forces of Duke William, his half-brother, against the English at the Battle of Hastings in 1066. Careful attention is given to the tack of the horses, the details of the men's helmets and uniforms, while the overlay of plunging horses, their curving haunches and legs, creates a momentum that carries the narrative onward into the next scene. In the lower border, a horse is falling, while its rider, pierced with a long spear collapses on the right. At both corners, other fallen soldiers are partially visible, and convey the terrible effects of battle, while the charge to victory gallops on above them. As art critic Jonathan Jones noted, "The Bayeux tapestry is not just a fascinating document of a decisive battle in British history. It is one of the richest, strangest, most immediate and unexpectedly subtle depictions of war that was ever created." The tapestry, about 230 feet long and 21 inches tall, is a sustained narrative of the historical events that, beginning in 1064 lead up to the battle, which ended in the Norman conquest of England and the rule of William the Conqueror, as he came to be known. The upper and lower borders, each 2-¾ inches wide, shown in this sample, continue throughout the tapestry, as does the use of a Latin inscription identifying each scene. The images in the borders change, echoing the narrative, as during the battle the pairs of fantastical animals in the lower border is replaced by the images seen here of fallen soldiers and horses. Similarly when the invasion fleet sets sail, the borders disappear altogether to create the effect of the vast horizon. The borders also include occasional depictions of fables, such as "The Wolf and a Crane" in which a wolf that has a bone caught in its throat is saved by a crane that extracts it with its long beak, which may be a subversive or admonitory comment upon the contemporary events. Though called a tapestry, the work is actually embroidered, employing ten different colors of dyed crewel, or wool yarn and is believed to have been made by English women, whose needlework, known as Opus Anglicanum , or English work, was esteemed throughout Europe by the elite. The Bayeux Tapestry was a unique work of the Romanesque period, as it depicted a secular, historical event, but also did so in the medium that allowed for an extended narrative that shaped both the British and French sense of national identity. As art historian Simon Schama wrote, "It's a fantastic example of the making of history." The work, held in France, was influential later in the development of tapestry workshops in Belgium and Northern France around 1500 and the Gobelin Tapestry of the Baroque era.

Linen, crewel - Bayeux Museum, Bayeux, France

Duomo di Pisa

The entrance to Pisa Cathedral, made of light-colored local stone, has three symmetrically arranged portals, the center portal being the largest, with four blind arcades echoing their effect. The round arches above the portal and the arcades create a unifying effect, as do the columns that frame each entrance. The building is an example of what has been called Pisa Romanesque, as it synthesizes elements of Lombard Romanesque, Byzantine, and Islamic architecture. Lombard bands of colored stone frame the columns and arches and extend horizontally. Above the doors, paintings depicting the Virgin Mary draw upon Byzantine art, and at the top of the seven round arches, diamond and circular shapes in geometric patterns of colored stone echo Islamic motifs. The upper levels of the building are symmetrically arranged in bands of blind arcades and innovatively employ small columns that convey an effect of refinement. The name of two architects, Buscheto, and Rainaldo, were inscribed in the church, though little is known of them, except for this project. Buscheto was the initial designer of the square that, along with the Cathedral, included the famous leaning Tower of Pisa, done in the same Romanesque style, visible here in the background, and the Baptistery. Following his death, Rainaldo expanded the cathedral in the 1100's, of whom his inscription read, "Rainaldo, the skilful workman and master builder, executed this wonderful, costly work, and did so with amazing skill and ingenuity." Dedicated to the Assumption of the Virgin Mary, the church was consecrated in 1118 by Pope Gelasius II. The church's construction was informed by the political and cultural era, as it was meant to rival St. Mark's Basilica then being reconstructed in Venice, a competing maritime city-state. The building was financed by the spoils of war, from Pisa's defeat of Muslim forces in Sicily, and it was built outside of the walls to show that the city had nothing to fear. The Pisa plaza became a symbol of the city itself, as shown by the famous Italian writer Gabriele D'Annunzio calling the square, "prato dei Miracoli," or "meadow of miracles" in 1910, so the plaza has been known since as the "Field of Miracles."

Masonry, marble - Pisa, Italy

The Temptation of Eve

Artist: Giselbertus

This relief sculpture shows an almost life-sized nude Eve, presumably reclining toward Adam (now lost) as if whispering to him seductively, while her left hand reaches back to grasp an apple from the Tree of Knowledge of Good and Evil. The composition emphasizes sinuous line and serpentine form. The tree intersects vertically with her body, covering her pubic area, and the serpent in the foliage at the right echoes both the tree and the depiction of Eve herself. The work is famously the only large-scale nude of the medieval period, an era when Christian values discouraged the study of the naked human body. With this depiction, Giselbertus pioneered the rendering of Adam and Eve in the nude, a treatment that became a tradition in Christian art, as their nakedness was connected to their fall into sin. Originally Eve was paired with a nude Adam reclining on her left, and both figures were placed on the lintel over the portal. Above the lintel, Giselbertus also created the tympanum that depicted the Last Judgment, with Christ enthroned presiding over the saved and the damned and with attendant angels and devils. The viewers, who were largely illiterate, would have understood the didactic visualization that connected the Temptation, by which sin entered the world, and the scene of ultimate redemption. Giselbertus was trained by the master of Cluny around 1115 and was influenced by the cathedral reliefs that emphasized Christ's compassion. He worked at Autun from about 1125-1135, sculpting most of church's decorative elements. Unusually for the time, Giselbertus included in the tympanum, under Christ's feet, a Latin inscription reading, "Gislebertus made this." Most scholars have taken this for the sculptor's name, though some have suggested it may refer to the patron who commissioned the work. His work was innovative for the feeling conveyed by his stylized human figures and influenced contemporaneous Romanesque, and later Gothic, sculptors. However, by the late 1700s, due to a rising conservatism in religious and artistic thought, his work was thought to be both too primitive and licentious. Eve disappeared in 1769 when it was used as building material for a local house, and his Last Judgment tympanum was completely filled with plaster, which by a stroke of luck saved it from destruction during the French Revolution. Both Eve and the tympanum were rediscovered and restored only in the 1830s when the Romantic movement revived an appreciation of medieval art.

Stone - Musée Rolin, Autun, France

Christ Pantocrator

Artist: Master of Taüll

This vivid fresco shows Christ the Pantocrator (ruler of the universe), framed by a mandorla, or body halo, bordered in red, gold, and blue. Sitting on a throne, he faces the viewer with an intense gaze, while holding a book that reads in Latin "I am the light of the world," as his uplifted right hand makes the traditional symbol of blessing and teaching. Alpha and Omega symbols float above his shoulders, while two angels flank him, their long curved forms echoing the lines of the mandorla and drawing the focus to his haloed head. The greater scale of his figure, reflecting a Byzantine influence, is meant to emphasize his importance. The four Evangelists, Matthew, Mark, Luke, and John, are depicted in a band of circles at his feet and turn to face him, gesturing. The work's innovative sense of composition, with its curving bands of blue, gold, and carmine, emphasize the semi-circular apse and focus on Christ in the center. The use of varying shades of blue to depict him, along with highlights of white and carmine dots, create a sense of movement as if he were emerging toward the faithful. Below him a number of other sacred figures are partially visible, including the Virgin Mary left of center, as she holds a chalice containing Christ's blood, a pioneering representation of the Holy Grail and indication of the cult of Mary that was developing at the time. Originally, the fresco covered the apse of the church of Sant Climent de Taüll in Vall de Boi in Catalonia. Consecrated in 1123, the basilica, with three naves and a Byzantine influenced seven-story bell tower, was known for its exceptional interior murals, all considered to be the work of the Master of Taüll, about whom little else is known. Over time, many of the murals were damaged but those remaining, including this one, were transferred to canvas for exhibition at the National Art Museum of Catalonia. This fresco influenced a number of 20 th century Spanish artists, including Francis Picabia and Pablo Picasso, who kept a poster of it in his studio.

Fresco - Museu Nacional d'Art de Catalunya, Barcelona, Spain

Moses Expounding the Law

Artist: Master Hugo

This page from an illuminated manuscript shows two scenes in which Moses, depicted with a halo and horns, explains the law to the Israelites. In the upper scene, Moses stands, left of center, explaining the Ten Commandments, as he lifts his hand in a gesture of teaching and blessing toward the small group, seated on the ground and listening attentively. In the lower scene, he addresses a group of four men as he explains the dietary laws of the Jewish faith by pointing to a sheep which can be eaten and a pig which cannot. Two doves, representing the peace obtained from following God's law, face one another at the top of a tree on the right. Overall, the work has a calm but vital stylistic flow, derived from the curving lines and the blue, red, green, and gold palette that is echoed in the patterned borders. Master Hugo pioneered this style, which came to be called "damp fold," as clothing was painted as if damp to create both a sense of movement and a more realistic human form. Master Hugo was the first named artist in England, and he worked at Bury St. Edmund's Abbey, where he made this Bible for the Abbey around 1135. The Bible contains various paintings on full and half pages and decorative initials, which as art historian Thomas Arnold wrote, "have led to a general acknowledgement of Master Hugo as the gifted innovator of the main line of English Romanesque art." He is also credited with making the bronze doors of the Abbey church's western façade and two carved crucifixes, including the famous Cloisters Cross (c. 1150-1160).

Ink and tempera on vellum - Parker Library, Corpus Christi College, Cambridge

The Shrine of the Magi

Artist: Nicholas of Verdun

Nicholas of Verdun deliberately designed reliquary, believed to contain relics of the Magi who journeyed to the Nativity of Christ, to resemble the façade of a basilica. Christ in Majesty is depicted enthroned in the upper section, his right hand raised in blessing, his left holding the Gospel, as two apostles flank him. On the lower level, the Three Kings bearing gifts, kneel on the left, facing toward the Madonna and Child enthroned in the center. On the lower right, Christ's baptism is depicted.The figurative treatment is both realistic, as shown in the different poses of the Kings conveying movement, and refined, with its fine details and flowing draperies. This three level reliquary, also known as The Shrine of the Three Kings, is a masterpiece of Mosan metalworking, with its silver and gold overlay, filigree, and enamel work. The apostles are depicted on the horizontal sides of the shrine, not visible here, and overall the work contains 74 figures in vermeil, or silver relief. Viewed from the side, the shrine resembles a basilica, with small pairs of lapis lazuli columns standing at the corners and between each of apostles. Following the Holy Roman Emperor Frederick Barbarossa's gift of the relics to Rainald of Dassel, the Archbishop of Cologne, the archbishop commissioned the shrine from Nicholas of Verdun and his workshop around 1180. The relics were of such religious importance, and the shrine considered such a masterpiece, that in 1248 construction of a new Cologne Cathedral was undertaken to suitably house the reliquary. The shrine was placed in the crossing, marking the high point of the church. As art historian Dr. Rolf Lauer wrote, "The Shrine of the Magi is the largest, most artistically significant, and, in terms of its content, most ambitious reliquary of the Middle Ages."

Gold, silver, filigree, precious stones, wood - Cologne Cathedral, Cologne Germany

Beginnings of Romanesque Architecture and Art

Vikings and insular art.

The many Viking invasions of Europe and the British Isles marked the era before the Romanesque period. Beginning in 790 with raids on Irish coastal monasteries, the raids became full-scale military excursions within a century as shown by the Sack of Paris in 845 and the Sack of Constantinople in 860. For the next two hundred years, the Vikings raided and sometimes conquered surrounding areas. With the conversion of the Vikings to Christianity, the era ended around 1066 when the Normans, themselves descended from Vikings, conquered England.

With the conversion to Christianity of the British Isles and Ireland, following from the mission of St. Augustine in 597, monasteries in Hibernia (present-day Ireland) and present-day Britain played a primary role in cultural continuity throughout Europe, developing the Insular, or Hiberno-Saxon, style that incorporated the curvilinear and interlocking ornamentation of Viking and Anglo-Saxon cultures with the painting and manuscript examples sent from the Roman church.

Stone crosses and portable artifacts such as metalwork and elaborate gospel manuscripts dominated the period. Masterpieces like the British Book of Durrow (c. 650) and the Irish Book of Kells (c. 800), created by monks, included extensive illustrations of Biblical passages, portraits of saints, and elaborately decorative carpet pages that preceded the beginning of each gospel. Insular art influenced both Romanesque manuscript illumination and the richly colored interiors and architectural decorative elements of Romanesque churches.

The Carolingian Renaissance

King of the Franks in 768 and King of the Lombards in 774, Charlemagne became Holy Roman Emperor in 800, effectively consolidating his rule of Europe. He strove to position his kingdom as a revival of the, now Christian, Roman Empire. Charlemagne was an active patron of the arts and launched a building campaign to emulate the artistic grandeur of Rome. Drawing from the Latin version of his name (Carolus), the era is known as the "Carolingian Renaissance." As art historian John Contreni wrote, his reign "saw the construction of 27 new cathedrals, 417 monasteries, and 100 royal residences." His palace complex in Aachen (c. 800) that included his Palatine Chapel modeled on the Byzantine St. Vitale (6 th century) became a model for subsequent architecture.

While Carolingian architecture drew on earlier Roman and Byzantine styles, it also transformed church façades that would have consequential effects throughout the Middle Ages. Emphasizing the western entrance to the basilica, the westwork was a monumental addition to the church, with two towers and multiple stories, that served as a royal chapel and viewing room for the emperor when he visited.

Carolingian murals and illuminated manuscripts continued to look to earlier Roman models and depicted the human figure more realistically than the earlier Hiberno-Saxon illuminators. This (early) naturalism had a lasting influence on Romanesque and Gothic art.

Cluny Abbey

In the early 900s, concern began to grow about the economic and political control that nobles and the emperor exercised over monasteries. With rising taxes imposed by nobles and the installation of relatives as abbots, the Cluny Abbey sought monastic reform, based upon the Rule of St. Benedict (c. 480-550), written by the 5 th -century St. Benedict of Nursia, that emphasized peace, work, prayer, study, and the autonomy of religious communities.

In 910, William of Aquitaine donated his hunting lodge and surrounding lands to found Cluny Abbey and nominated Berno as its first Abbott. William stipulated the independence of the Abbey from all secular and local authority, including his own. As a result, the Abbey was answerable only to the authority of the Pope and quickly became the leader of the Benedictine order, establishing dozens of monasteries throughout France. As part of its emphasis on prayer and study, the Abbey also created a rich liturgy, in which art played an important role.

Between the 10 th and the early 12 th centuries, three churches were built at Cluny, each larger than the last, and influencing architectural design throughout Europe. Not much is known of Cluny I, but it was a small, barnlike structure. After a few decades, the monastery outgrew the small church, and Cluny II (c.955-981) was erected. Based on the old basilica model, Cluny II employed round arches and barrel vaults and used small upper level windows for illumination. Designed with a cruciform plan, the church emphasized the west façade with two towers, a larger crossing tower (where the transepts and nave intersected), a narthex (an enclosed entrance area), a choir between the altar and the nave of the church, and chapels at the east end. All of these elements became characteristic of Romanesque architecture. With the building of Cluny III, completed in 1130, the church became the largest in Europe, rivaling St. Peter's in Rome, and a model for similarly ambitious projects.

First Romanesque or Lombard Romanesque

In the 10 th century, First, or Lombard, Romanesque was an early development in Lombardy region (now northern Italy), southern France, and reaching into Catalonia. Started by the Lombard Comacine Guild, or stonemasons, the style was distinctive for its solid stone construction, elaborate arching that advanced Roman models, bands of blind arches, or arches that had no openings, and vertical strips for exterior decorative effects. Particularly dominant in Catalonia, some of the best surviving examples are found in the Vall de Boí, a designated World Heritage Site in Catalonia.

Monastic Centers and Pilgrimages

During the Romanesque era, no longer under constant threat from Viking raids, monastic centers, which had provided cultural continuity and spiritual consolation through desperate times, became political, economic, religious, and artistic powerhouses that played a role in unifying Europe and in creating relative stability. Monastic centers that housed religious relics became stops on pilgrimage routes that extended for hundreds of miles throughout Europe to the very edge of Spain at Santiago de Compostela. Christians revered Santiago de Compostela as the burial site of Saint James, a disciple of Christ who brought Christianity to Spain, and thus deeply symbolic to Catholic Europe.

The faithful believed that by venerating relics, or remains of saints, in pilgrim churches they could obtain saintly intercession on their behalf for the forgiveness of their sins. Fierce competition for relics sometimes developed between churches and even resulted in the monks stealing relics from other churches, as was the case with the reliquary of St. Foy, in order to attract more pilgrims and, therefore, more money. As ever-larger crowds began to flock to sites, monastic centers expanded, providing lodging and food and farrier services to the pilgrims. As a result of this growth, various craft guilds were employed to meet the demand for Romanesque construction.

Romanesque Architecture and Art: Concepts, Styles, and Trends

Found throughout Europe and the British Isles, the Romanesque style took on regional variations, sometimes specific to a particular valley or town. The most noted sub styles were Mosan Art, Norman Romanesque, and Italian Romanesque.

Mosan Art, 1050-1232

Mosan art is named for the River Meuse valley in Belgium, where the style was centered around the town of Liege and the Benedictine monastery at Stavelot. Because of the region's location, it had many political and economic links to Aachen and was greatly influenced by the Carolingian Renaissance. The style became famous for its lavish and highly accomplished metalwork, employing gold and enameling in both the cloisonné technique, where metal is used to create raised partitions on the surface that are then filled with colored inlays, and the champlevé technique, where depressions are created in the surface and then filled. Noted metalworkers were Godefroid de Claire (de Huy), Nicholas of Verdun, and Hugo of Oignies. De Claire is credited with the creation of the Stavelot Triptych (1156-1158), both a portable altar and a reliquary containing fragments of True Cross, and Nicholas of Verdun's most noted work was his reliquary Shrine of the Magi (1180-1225). Mosan goldsmiths and metalworkers were employed throughout Europe by notable patrons and spread the style's influence.

Norman Romanesque (11 th -12 th centuries)

Norman Romanesque is primarily an English style named for the Normans who developed it after conquering England in 1066. Normandy, its name derived from the Latin Nortmanni, meaning "men of the north," became a Viking territory in 911, and the abstract decorative motifs of Norman architecture reflected the Viking love of such elements. Thomas Rickman in his An Attempt to Discriminate the Styles of English Architecture from the Conquest to the Reformation (1817) first used the term Norman Romanesque to refer to the style. Used for cathedrals and churches but also castles and keeps, Norman Romanesque was distinctive for its massive walls, its cylindrical and compound piers, and the Norman arch, employed to make grand archways. A wider and higher ceiling became possible, replacing the narrow limitations of the preceding barrel vault.

The style developed in Normandy, France, and England simultaneously, but in England it evolved into a distinctive sub-style that combined the austerity of the Norman style with a tendency toward decoration. A noted masterwork was Durham Cathedral (1093-1140) built under the leadership of William of St. Carilef. Though the cathedral was later redesigned in the Gothic style, some Norman elements, particularly the nave of the church, remain.

Italian Romanesque

Italian Romanesque is characterized by a distinctive use of gallery façades, projecting porches, and campaniles, or bell towers. Regional variations occurred; for instance, the Northern Italian style had wide and severe looking stone façades, as seen in San Ambrogio in Milan (1140). However, the most important regional style was the Pisan style, sometimes called the Tuscan, or Central, style, favoring classical and refined decorative effects and using gallery facades and projected porches with horizontal bands of colored marble. Decorative elements included scenes of daily life, hunting scenes, and classical subjects, and bronze doors were frequently employed. The Piazza del Duomo, or Cathedral Square, in Pisa, which included the Baptistery (1153) the Cathedral (1063-1092) and the Campanile (1172) is the most famous example.

Later Developments - After Romanesque Architecture and Art

The Romanesque style continued to be employed through most of the 12 th century, except in the area around Paris where the Gothic style began in 1120. Subsequently as the Gothic style spread, the Romanesque style was superseded and existent churches were often expanded and redesigned with new Gothic elements, retaining only a few traces of the earlier style. In more rural regions, however, the Romanesque style continued into the 13 th century. Romanesque design was foundational to the Gothic which continued using a cruciform plan, a western façade with two towers, and carved tympanums above the portals. Similarly, Gothic art was informed by the same movement toward a more realistic treatment of the human form that can be seen in the Romanesque Mosan style. Romanesque tapestries, like the Bayeux Tapestry, influenced the formation of tapestry workshops throughout Europe in the Gothic period and beyond.

Romanesque Revival styles first developed in England with Inigo Jones' redesign of the White Tower (1637-1638). In the following century Norman Revival castles were built for estates throughout the British Isles, and in the early 1800s, Thomas Pesnon developed a revival style for churches. Romanesque manuscript illumination, with its jewel-like colors and stylized motifs, also influenced and informed the Pre-Raphaelite Brotherhood and the Arts and Crafts movement in the middle and later 19 th century.

In Germany Rundbogenstil , or round-arch style, became popular around 1830, and the style was influential in America, as seen in the Paul Robeson Theater, formerly the Fourth Universalist Church in Fort Greene, Brooklyn (1833-34) and the former Astor Library, now the Public Theatre (1849-1881), in Lower Manhattan.

In America the first work of Romanesque Revival architecture was Richard Upjohn's Maaronite Cathedral of Our Lady of Lebanon (1844-1846) in Brooklyn. The American architect James Renwick's design for the Smithsonian Institute (1847-1851) was a prominent example. The style became known as Richardsonian Romanesque, as Henry Hobson Richardson actively promoted the style and designed notable buildings including the Marshall Field Wholesale Store (1885-1887) in Chicago and Trinity Church (1872-1877) in Boston. Harvard University commissioned Richardson to design several campus buildings, including Sever Hall (1878-1880), considered one of his masterpieces and designated a National Historic Landmark. As a result the style was adopted by other American universities in the following decades.

Useful Resources on Romanesque Architecture and Art

• Romanesque: Architecture, Sculpture, Painting Our Pick By Rolf Toman
• Romanesque Art: Perspectives Our Pick By Andreas Petzold
• The Stavelot Triptych , Mosan Art, and the Legend of the True Cross By Pierpont Morgan Library and Charles Ryskamp
• The Bayeux Tapestry Our Pick By Lucien Musset and Richard Rex
• Bayeux Museum Our Pick
• Immersive experience in a World Heritage Site Our Pick #Taull1123 is an immersive on-site experience that brings visitors of the Romanesque church of Sant Climent de Taüll
• Winchester BibleExhibition Blog Our Pick
• Super Art Gems of New York City By Thomas Hoving / ArtNet.com
• Ireland's Exquisite Insular Art Our Pick By James Wiener / Ancient History et cetera / October 30, 2014
• Bayeux tapestry: a brag, a lament, an embodiment of history's complexity Our Pick By Jonathan Jones / The Guardian / January 19, 2018
• The Bayeux tapestry: is it any good? By Jonathan Jones / The Guardian / January 17, 2018

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Light of the World (1853-54)

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Content compiled and written by Rebecca Seiferle

Edited and revised, with Summary and Accomplishments added by Valerie Hellstein

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17.2: Romanesque Architecture

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First Romanesque Architecture

The First Romanesque style developed in the Catalan territory and demonstrated a lower level of expertise than the later Romanesque style.

Learning Objectives

Differentiate between First Romanesque and Romanesque styles of architecture

Key Takeaways

• The First Romanesque style developed in the north of Italy, parts of France, and the Iberian Peninsula during the 10th and 11th centuries.
• Abott Oliba of the Monastery of Santa Maria de Ripoll served as an important supporter of the First Romanesque style.
• The term “First Romanesque” was coined by architect Josep Puig i Cadafalch.
• First Romanesque, also known as Lombard Romanesque, is characterized by thick walls, lack of sculpture, and the presence of rhythmic ornamental arches known as Lombard bands .
• In contrast to the refinement of the later Romanesque style, First Romanesque architecture employed rubble walls, smaller windows, and unvaulted roofs.
• Romanesque : The art of Europe from approximately 1000 CE to the rise of the Gothic style in the 13th century or later, depending on region.
• First Romanesque : The name given by Josep Puig i Cadafalch to refer to the Romanesque art developed in Catalonia since the late 10th century.
• Lombard band : A decorative blind arcade, usually exterior, often used during the Romanesque and Gothic periods of architecture.

Development of First Romanesque Architecture

Romanesque architecture is divided into two periods: the “First Romanesque” style and the “Romanesque” style. The First Romanesque style developed in the north of Italy, parts of France, and the Iberian Peninsula in the 10 th century prior to the later influence of the Abbey of Cluny. The style is attributed to architectural activity by groups of Lombard teachers and stonemasons working in the Catalan territory during the first quarter of the 11th century. Abott Oliba of the Monastery of Santa Maria de Ripoll served as a particularly influential impeller, diffuser, and sponsor of the First Romanesque style.

To avoid the term Pre-Romanesque, which is often used with a much broader meaning to refer to early Medieval and early Christian art (and in Spain may also refer to the Visigothic, Asturias, Mozarabic, and Repoblación art forms) Puig i Cadafalch preferred to use the term “First Romanesque.”

Characteristics

The First Romanesque style, also known as Lombard Romanesque style, is characterized by thick walls, lack of sculpture, and the presence of rhythmic ornamental arches known as Lombard bands. The difference between the First Romanesque and later Romanesque styles is a matter of the expertise with which the buildings were constructed. First Romanesque employed rubble walls, smaller windows, and unvaulted roofs, while the Romanesque style is distinguished by a more refined style and increased use of the vault and dressed stone. For example, Abott Oliba ordered an extension to the Monastery of Santa Maria de Ripoll in 1032 mirroring the First Romanesque characteristics of two frontal towers, a cruise with seven apses , and Lombard ornamentation of blind arches and vertical strips.

Ripoll Monastery : The Monastery of Santa Maria de Ripoll is a Benedictine monastery built in the First Romanesque style, located in the town of Ripoll in Catalonia, Spain. Although much of the present church includes 19th century rebuilding, the sculptured portico is a renowned work of Romanesque art.

Cistercian Architecture

The Cistercians are a Roman Catholic order whose monasteries and churches reflect one of the most beautiful styles of medieval architecture.

Relate Cistercian architecture to the rational principles upon which it is based

• Architecturally speaking, the Cistercian monasteries and churches are counted among the most beautiful relics of the Middle Ages due to their pure style .
• Cistercian architecture embodied the ideals of the order and in theory was utilitarian and without superfluous ornament .
• The Cisterian order, however, was receptive to the technical improvements of Gothic principles of construction and played an important role in the spread of these techniques across Europe.
• Cistercian construction involved vast amounts of quarried stone and employed the best stone cutters.
• Gothic : Of or relating to the architectural style favored in western Europe in the 12th to 16th centuries.
• Romanesque : Refers to the art of Europe from approximately 1000 CE to the rise of the Gothic style in the 13th century or later, depending on region.
• Cistercian : A member of a monastic order related to the Benedictines, who hold a vow of silence.

The Cistercians are a Roman Catholic religious order of enclosed monks and nuns. This order was founded by a group of Benedictine monks from the Molesme monastery in 1098, with the goal of more closely following the Rule of Saint Benedict.

Characteristics of Cistercian Architecture

Cistercian architecture is considered one of the most beautiful styles of medieval architecture and has made an important contribution to European civilization . Because of the pure style of the Cistercian monasteries and churches, they are counted among the most beautiful relics of the Middle Ages. Cistercian institutions were primarily constructed in Romanesque and Gothic architectural styles during the Middle Ages, although later abbeys were also constructed in Renaissance and Baroque styles. The Cistercian abbeys of Fontenay in France, Fountains in England, Alcobaça in Portugal, Poblet in Spain, and Maulbronn in Germany are today recognized as UNESCO World Heritage Sites.

Fountains Abbey : The abbeys of 12th century England were stark and undecorated – a dramatic contrast with the elaborate churches of the wealthier Benedictine houses – yet to quote Warren Hollister, “even now the simple beauty of Cistercian ruins such as Fountains and Rievaulx, set in the wilderness of Yorkshire, is deeply moving”.

Theological Principles

Cistercian architecture was based on rational principles. In the mid-12 th century, the prominent Benedictine Abbot Suger of Saint-Denis united elements of Norman architecture with elements of Burgundinian architecture (including rib vaults and pointed arches , respectively), creating the new style of Gothic architecture . This new “architecture of light” was intended to raise the observer “from the material to the immaterial;”it was, according to the 20 th century French historian Georges Duby, a “monument of app lied theology.” Cistercian architecture expressed a different aesthetic and theology while learning from the Benedictine’s advances. St. Bernard saw church decoration as a distraction from piety and favored austerity in the construction of monasteries, the order itself was receptive to the technical improvements of Gothic principles of construction and played an important role in its spread across Europe.

This new Cistercian architecture embodied the ideals of the order, and in theory it was utilitarian and without superfluous ornament. The same rational, integrated scheme was used across Europe to meet the largely homogeneous needs of the order. Various buildings, including the chapter-house to the east and the dormitories above, were grouped around a cloister and sometimes linked to the transept of the church itself by a night stair. Cistercian churches were typically built on a cruciform layout, with a short presbytery to meet the liturgical needs of the brethren, small chapels in the transepts for private prayer , and an aisle-edged nave divided roughly in the middle by a screen to separate the monks from the lay brothers.

Santa Maria Arabona : Abbey church of Santa Maria Arabona, Italy.

Engineering and Construction

Cistercian buildings were made of smooth, pale stone where possible. Columns , pillars , and windows fell at the same base level, and plastering was extremely simple or nonexistent. The sanctuary kept to a proportion of 1:2 at both elevation and floor levels. To maintain the appearance of ecclesiastical buildings, Cistercian sites were constructed in a pure, rational style, lending to their beauty and simplicity. The building projects of the Church in the High Middle Ages showed an ambition for the colossal , requiring vast amounts of quarried stone. This was also true of the Cistercian projects. Foigny Abbey was 98 meters (322 ft) long; Vaucelles Abbey was 132 metres (433 ft) long. Even the most humble monastic buildings were constructed entirely of stone. In the 12 th and 13 th centuries, Cistercian barns consisted of a stone exterior divided into nave and aisles either by wooden posts or by stone piers .

The Cistercians recruited the best stone cutters. As early as 1133, St. Bernard hired workers to help the monks erect new buildings at Clairvaux. The oldest recorded example of architectural tracing, Byland Abbey in Yorkshire, dates to the 12 th century. Tracings were architectural drawings incised and painted in stone to a depth of 2–3 mm, showing architectural detail to scale.

Acey Abbey, France : The “architecture of light” of Acey Abbey represents the pure style of Cistercian architecture, intended for the utilitarian purposes of liturgical celebration.

Characteristics of Romanesque Architecture

While Romanesque architecture tends to possess certain key features, these often vary in appearance and building material from region to region.

Identify the defining characteristics and variations of Romanesque architecture found throughout Europe

• Variations in Romanesque architecture can be noted in earlier styles compared later styles; differences in building materials and local inspirations also led to variations across regions.
• Romanesque architecture varies in appearance of walls, piers , arches and openings, arcades , columns , vaults , and roofs and in the materials used to create these features.
• A characteristic feature of Romanesque architecture, both ecclesiastic and domestic, is the pairing of two arched windows or arcade openings separated by a pillar or colonette and often set within a larger arch.
• Columns were often used in Romanesque architecture, but varied in building material and decorative style. The alternation of piers and columns was found in both churches and castles.
• The majority of buildings have wooden roofs consisting of a simple truss , tie beam, or king post form . Vaults of stone or brick took on several different forms and showed marked development during the period, evolving into the pointed, ribbed arch characteristic of Gothic architecture .
• capital : The uppermost part of a column.
• blind arcade : A series of arches often used in Romanesque and Gothic buildings with no actual openings and no load-bearing function, simply serving as a decorative element.
• ocular window : A circular opening without tracery, found in many Italian churches.
• vault : An arched structure of masonry forming a ceiling or canopy.
• Piers : In architecture, an upright support for a structure or superstructure such as an arch or bridge.

Variations in Romanesque Architecture

The general impression given by both ecclesiastical and secular Romanesque architecture is that of massive solidity and strength. Romanesque architecture relies upon its walls, or sections of walls called piers , to bear the load of the structure, rather than using arches, columns, vaults, and other systems to manage the weight. As a result, the walls are massive, giving the impression of sturdy solidity. Romanesque design is also characterized by the presence of arches and openings, arcades, columns, vaults, and roofs. In spite of the general existence of these items, Romanesque architecture varies in how these characteristics are presented. For example, walls may be made of different materials or arches and openings may vary in shape. Later examples of Romanesque architecture may also possess features that earlier forms do not.

The building material used in Romanesque architecture varies across Europe depending on local stone and building traditions. In Italy, Poland, much of Germany, and parts of the Netherlands, brick was customary. Other areas saw extensive use of limestone , granite, and flint . The building stone was often used in small, irregular pieces bedded in thick mortar. Smooth ashlar masonry was not a distinguishing feature of the style in the earlier part of the period, but occurred where easily worked limestone was available.

Arches and Openings

A characteristic feature of Romanesque architecture, both ecclesiastic and domestic, is the pairing of two arched windows or arcade openings separated by a pillar or colonette and often set within a larger arch. Ocular windows are common in Italy, particularly in the facade gable , and are also seen in Germany. Later Romanesque churches may have wheel windows or rose windows with plate tracery . In a few Romanesque buildings , such as Autun Cathedral in France and Monreale Cathedral in Sicily, pointed arches have been used extensively.

Abbey Church of St. James, Lebeny, Hungary (1208) : Characteristics of Romanesque architecture include the ocular window and the pairing of two arched windows or arcade openings within a larger arch, both open here at the Abbey Church of St. James.

The arcade of a cloister typically consists of a single stage (story), while the arcade that divides the nave and aisles in a church typically has two stages, with a third stage of window openings known as the clerestory rising above. Arcades on a large scale generally fulfills a structural purpose, but they are also used decoratively on a smaller scale both internally and externally. External arcades are frequently called “blind arcades,” with only a wall or a narrow passage behind them.

Collegiate Church of Nivelles : The Collegiate Church of Nivelles, Belgium uses fine shafts of Belgian marble to define alternating blind openings and windows. Upper windows are similarly separated into two openings by colonettes.

Notre Dame du Puy : The facade of Notre Dame du Puy, le Puy en Velay, France, has a more complex arrangement of diversified arches: doors of varying widths, blind arcading, windows, and open arcades.

Although basically rectangular, piers can often be highly complex, with half-segments of large hollow-core columns on the inner surface supporting the arch and a clustered group of smaller shafts leading into the moldings of the arch. Piers that occur at the intersection of two large arches, such as those under the crossing of the nave and transept , are commonly cruciform in shape, each with its own supporting rectangular pier perpendicular to the other.

Columns were often used in Romanesque architecture, but varied in building material and decorative style. In Italy, a great number of antique Roman columns were salvaged and reused in the interiors and on the porticos of churches. In most parts of Europe, Romanesque columns were massive, supporting thick upper walls with small windows and sometimes heavy vaults. Where massive columns were called for, such as those at Durham Cathedral, they were constructed of ashlar masonry with a hollow core was filled with rubble. These huge untapered columns were sometimes ornamented with incised decorations.

Durham Cathedral, England : Durham Cathedral has decorated masonry columns alternating with piers of clustered shafts supporting the earliest example of pointed high ribs.

A common characteristic of Romanesque buildings, found in both churches and in the arcades that separate large interior spaces of castles, is the alternation of piers and columns. The most simple form is a column between each adjoining pier. Sometimes the columns are in multiples of two or three. Often the arrangement is made more complex by the complexity of the piers themselves, so that the alternation was not of piers and columns but rather of piers of entirely different forms.

The foliate Corinthian style provided the inspiration for many Romanesque capitals , and the accuracy with which they were carved depended on the availability of original models. Capitals in Italian churches, such as Pisa Cathedral or church of Sant’Alessandro in Lucca and southern France, are much closer to the Classical form and style than those in England.

Corinthian style capitals : Capital of Corinthian form with anthropomorphised details, Pisa Campanile

Vaults and Roofs

The majority of buildings have wooden roofs in a simple truss, tie beam, or king post form. Trussed rafter roofs are sometimes lined with wooden ceilings in three sections like those that survive at Ely and Peterborough cathedrals in England. In churches, typically the aisles are vaulted but the nave is roofed with timber , as is the case at both Peterborough and Ely. In Italy, open wooden roofs were common, tie beams frequently occurred in conjunction with vaults, and the timbers were often decorated, as at San Miniato al Monte, Florence.

Vaults of stone or brick took on several different forms and showed marked development during the period, evolving into the pointed, ribbed arch characteristic of Gothic architecture.

Architecture of the Holy Roman Empire

Architecture from the Holy Roman Empire spans from the Romanesque to the Classic eras.

Compare the characteristics of Romanesque architecture to pre-Romanesque and later styles

• The Holy Roman Empire existed from 962 to 1806 and at its peak included territories of the Kingdoms of Germany, Bohemia, Italy, and Burgundy.
• Pre- Romanesque architecture is thought to have originated with the Carolingian Renaissance in the late 8th century.
• The Romanesque period (10th – early 13th century) is characterized by semi-circular arches , robust appearance, small paired windows, and groin vaults .
• Gothic architecture such as the Cologne Cathedral flourished during the high and late medieval periods.
• Renaissance architecture (early 15th – early 17th centuries) flourished in parts of Europe with a conscious revival and development of ancient Greek and Roman thought and culture .
• Baroque architecture began in the early 17th century in Italy and arrived in Germany after the Thirty Years War. The interaction of architecture, painting, and sculpture is an essential feature of Baroque architecture.
• Classicism arrived in Germany in the second half of the 18th century, just prior to the dissolution of the Holy Roman Empire.
• Ottonian Renaissance : A minor renaissance that accompanied the reigns of the first three emperors of the Saxon Dynasty, all named Otto: Otto I (936–973), Otto II (973–983), and Otto III (983–1002).
• Rococo : An 18th-century artistic movement and style which affected several aspects of the arts, including painting, sculpture, architecture, interior design, decoration, literature, music, and theater; also referred to as Late Baroque.

Background: The Holy Roman Empire

The Holy Roman Empire was a varying complex of lands that existed from 962 to 1806 in Central Europe. The empire’s territory lay predominantly in Central Europe and at its peak included territories of the Kingdoms of Germany, Bohemia, Italy, and Burgundy. For much of its history, the Empire consisted of hundreds of smaller sub-units, principalities, duchies, counties, Free Imperial Cities, and other domains.

Pre-Romanesque

The Pre-Romanesque period in Western European art is often dated from the Carolingian Renaissance in the late 8 th century to the beginning of the 11 th century. German buildings from this period include Lorsch Abbey , which combines elements of the Roman triumphal arch (including arch-shaped passageways and half- columns ) with the vernacular Teutonic heritage (including baseless triangles of the blind arcade and polychromatic masonry). One of the most important churches in this style is the Abbey Church of St. Michael’s, constructed between 1001 and 1031 as the chapel of the Benedictine monastery. It was built in the so-called Ottonic (Early-Romanesque) style during the Ottonian Renaissance .

The Romanesque period (10 th – early 13 th century) is characterized by semi-circular arches, robust structures, small paired windows, and groin vaults. Many churches in Germany date from this time, including the twelve Romanesque churches of Cologne. The most significant Romanesque building in Germany is Speyer Cathedral, built in stages from about 1030. In the 11 th century, it was the largest building in the Christian world and an architectural symbol of the power of the Salian dynasty , four German Kings who ruled from 1024–1125. Other important examples of Romanesque styles include the cathedrals of Worms and Mainz, Limburg Cathedral (in the Rhenish Romanesque style), Maulbronn Abbey (an example of Cistercian architecture), and the famous castle of Wartburg, which was later expanded in the Gothic style.

Speyer Cathedral (image by Alfred Hutter) : Speyer Cathedral was built during the Romanesque era and is an example of Romanesque architecture; in the 11th century, it was the largest building in the Christian world and an architectural symbol of the power of the Salian dynasty.

Gothic architecture flourished during the high and late medieval periods, evolving from Romanesque architecture. Freiburg Cathedral is noted for its 116-meter tower, which is nearly square at the base with a dodecagonal star gallery at the center. Above this gallery, the tower is octagonal and tapered with a spire above. Cologne Cathedral is the largest Gothic cathedral in the world after Milan Cathedral. Construction began in 1248 and took until 1880 to complete—an intermittent period of more than 600 years. Because of its enormous twin spires, it also has the largest façade of any church in the world, and its choir boasts the largest height to width ratio of any Medieval church.

Cologne Cathedral : Cologne Cathedral is—after Milan Cathedral—the largest Gothic cathedral in the world, built over a process of 600 years.

Brick Gothic is a specific style of Gothic architecture common in Northern Europe, especially in Northern Germany and the regions around the Baltic Sea without natural rock resources. The buildings are mainly built from bricks. Cities such as Lübeck, Rostock, Wismar, Stralsund, and Greifswald are shaped by this regional style; key examples include Stralsund City Hall and St. Nicholas Church.

The dwellings of this period were mainly timber-framed buildings still seen in Goslar and Quedlinburg, the latter of which has one of the oldest half-timbered houses in Germany. The method of construction, used extensively for town houses of the Medieval and Renaissance periods, lasted into the 20th century for rural buildings.

Renaissance

Renaissance architecture (early 15 th – early 17 th centuries) flourished in different parts of Europe with the conscious revival and development of ancient Greek and Roman thought and culture. As in other areas of Europe, Renaissance architecture in the Holy Roman Empire placed emphasis on symmetry , proportion, geometry, and the regularity of parts as demonstrated in the architecture of classical antiquity , particularly ancient Roman architecture. Orderly arrangement of columns, pilasters , and lintels and the use of semicircular arches, hemispherical domes , niches, and aedicules replaced the complex proportional systems and irregular profiles of medieval buildings. The earliest example of Renaissance architecture in Germany is the Fugger chapel in St. Anne’s Church, Augsburg; other works include St. Michael in Munich, Heidelberg Castle, Augsburg City Hall, and castles and manors throughout Wester, Thuringia, and Saxony.

Baroque architecture began in the early 17 th century in Italy and arrived in Germany after the Thirty Years War. The interaction of architecture, painting, and sculpture is an essential feature of Baroque architecture, which integrated new fashions to express the triumph of the Catholic Church and was characterized by new explorations of form , light and shadow and dramatic intensity . Zwinger Palace in Dresden illustrated the architecture of absolutism, which always put the ruler at the center thus increasing the spatial composition; for example, a magnificent staircase leading to the figure. In Rococo , the late phase of Baroque, decoration became even more abundant and used brighter colors. Other examples of Baroque church architecture include the Basilica of the Vierzehnheiligen in Upper Franconia and the rebuilt Frauenkirche in Dresden.

Die Frauenkirche in Dresden : The rebuilt Frauenkirche in Dresden was created by George Bähr between 1722 and 1743, and is an example of Baroque architecture in Germany.

Classicism arrived in Germany in the second half of the 18 th century. It drew inspiration from the classical architecture of antiquity and was a reaction against the Baroque style in both architecture and landscape design. The most important architect of this style in Germany was Karl Friedrich Schinkel. Schinkel’s style, in his most productive period, is defined by its appeal to Greek rather than Imperial Roman architecture; his most famous buildings are found in and around Berlin.

Romanesque Architecture: The Church of Saint-Lazare

The Autun Cathedral, or the Cathedral of Saint-Lazare, is a Roman Catholic cathedral and a national monument in Autun, France.

Describe the architecture and sculpture of the Church of Saint-Lazare

• Famous for its Cluniac inspiration and Romanesque sculptures by Gislebertus , The Cathedral of Saint-Lazare epitomizes Romanesque art and architecture in Burgundy.
• Due to the veneration of relics in this period, the Bishop of Autun ordered the creation of a larger cathedral to house the relics and accommodate the influx of pilgrims into Autun.
• The column capitals and main façade of the church are embellished with realistic sculptures carved by Gislebertus; the artwork was designed to teach the masses about Christian ethics with dramatic scenes of heaven and hell.
• The cathedral has a ground plan in the form of a Latin cross, with an aisled nave , a plain transept , and a three-stage choir with a semicircular end.
• Many of the historiated capitals that adorn the columns within Saint-Lazare were carved by Gislebertus and include representations of biblical scenes.
• In the Last Judgement, Gislebertus successfully integrated the modern view of heaven and hell and created a sculpture to act as a visual educational device for illiterate individuals.
• Cluniac : Of or related to the Benedictine order at Cluny, Saône-et-Loire, France.
• transept : The transversal part of a church, perpendicular to the greatest length and between the nave and choir.
• Gislebertus : A French Romanesque sculptor, whose decoration (about 1120-1135) of the Cathedral of Saint Lazare at Autun, France—consisting of numerous doorways, tympanums, and capitals—represents some of the most original work of the period.
• archivolt : An ornamental molding or band following the curve on the underside of an arch.
• triforium : The gallery of arches above the side-aisle vaulting in the nave of a church.

The Autun Cathedral, or the Cathedral of Saint-Lazare, is a Roman Catholic cathedral and national monument in Autun, France. Famous for its Cluniac inspiration and Romanesque sculptures by Gislebertus, it epitomizes Romanesque art and architecture in Burgundy.

Due to the veneration of relics in this period, the Bishop of Autun ordered the creation of a larger cathedral to house these relics and accommodate the influx of pilgrims into Autun. The column capitals and main façade of the church are embellished with realistic sculptures carved by Gislebertus, and the artwork is a means of teaching the masses about Christian ethics with dramatic scenes of heaven and hell. Work on the cathedral began around 1120 and advanced rapidly; the building was consecrated in 1130. The designs were the work of the bishop Etienne de Bâgé, who was particularly influenced by the Cluniac abbey of Paray-le-Monial.

Autun Cathedral, ca. 1120-46 : Exterior of Autun Cathedral, which stands in the highest and best fortified corner of the town, and through external modifications that have been applied to the building, the appearance has been much altered by the addition of a Gothic tower, a spire and side chapels in the 15th century.

Design Elements

The interior of the cathedral has a nave and two aisles divided by massive columns with longitudinal carvings punctuated with decorated Romanesque capitals. The plan of the cathedral has a narthex or antechamber of two bays topped by two towers, followed by a seven-bay nave flanked by side aisles and a transept with the tower-surmounting cross. The nave elevation is composed of three levels: grand arcade , triforium , and clerestory , each marked by a cornice . The three-story elevation of Saint-Lazare was made possible by the use of pointed arches for the nave. Each nave bay is separated at the vault by a transverse rib . Each transept projects to the width of two nave bays and the west entrance has a narthex which screens the main portal .

Capital Sculptures

The cathedral of St. Lazare has a ground plan in the form of a Latin cross, with an aisled nave, a plain transept, and a three-stage choir with a semicircular end. Many of the historiated capitals that adorn the columns in Saint-Lazare were carved by Gislebertus. What makes Saint-Lazare a masterpiece of Romanesque art is the quality of Gislebertus’ sculptures. These stone-carved scenes from the Bible appear on dozens of capitals in the nave and chancel. Specifically, Gislebertus created used the tendrils of the actual Corinthian capital to create an architectural frame for the narrative to develop. These portal capitals are carved with biblical and traditional scenes.

The West Tympanum

The West façade of Saint-Lazare contains the tympanum (1130–1135), signed Gislebertus hoc fecit (meaning “Gislebertus made this”) within the portico . It is ranked among the masterpieces of Romanesque sculpture in France. The sheer size of the tympanum required support by double lintels and middle column to further bolster the sculpture. The left side of the tympanum displays the rise to the heavenly kingdom, and on the right is a portrayal of demons in hell with an angel and a devil weighing the souls on a balance. Zodiac signs surround the arch vault, with Christ in the center portrayed as a serene figure. Christ is placed in perfect symmetrical position with a balanced composition of elongated figures. Jesus is flanked by his mother, the Virgin Mary, and his apostles cast as penitents and observers of the last judgment. St. Peter guards the gate to heaven and looks on as resurrected individuals attempt to squeeze in with the assistance of the angels.

Last Judgement : Last Judgement by Gislebertus in the west tympanum.

In the Last Judgement, Gislebertus successfully integrated the modern view of heaven and hell and created a sculpture to act as a visual educational device for individuals who were illiterate. The tympanum inspired terror in believers who viewed the detailed high relief sculpture . Indeed, the bottom of the tympanum underneath the weighing of the souls has an inscription which states, “May this terror terrify those whom earthly error binds for the horror of the images here in this manner truly depicts what will be.” The tympanum is framed by two archivolts: the inner has carved foliage, while the outer consists of magnificently detailed medallions representing the four seasons, zodiacs, and labors of the months.

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Heilbrunn Timeline of Art History Essays

• Romanesque Art

Panel with Byzantine Ivory Carving of the Crucifixion

Apse from San Martín at Fuentidueña

The Virgin and Child in Majesty and the Adoration of the Magi

Attributed to the Master of Pedret

Plaque with the Journey to Emmaus and Noli Me Tangere

The Temptation of Christ by the Devil

Baptismal Font

Manuscript Illumination with Initial V, from a Bible

Saint-Guilhem Cloister

Julien Chapuis Department of Medieval Art and The Cloisters, The Metropolitan Museum of Art

October 2002

The expansion of monasticism was the main force behind the unprecedented artistic and cultural activity of the eleventh and twelfth century. New orders were founded, such as the Cistercian, Cluniac, and Carthusian, and monasteries were established throughout Europe. Writing in the early eleventh century, the Burgundian historian Radulfus Glaber described a “white mantle of churches” rising over “all the earth.” Stimulated by economic prosperity, relative political stability , and an increase in population, this building boom continued over the next two centuries. Stone churches of hitherto unknown proportions were erected to accommodate ever-larger numbers of priests and monks, and the growing crowds of pilgrims who came to worship the relics of the saints ( Sainte-Foy at Conques ). Adapting the plan of the Roman basilica with a nave, lateral aisles, and apse, these churches typically have a transept crossing the nave, and churches on the pilgrimage road included an ambulatory (a gallery allowing the faithful to walk around the sanctuary) and a series of radiating chapels for several priests to say Mass concurrently. For the first time since the fall of the Roman empire , monumental sculpture covered church facades, doorways, and capitals ( Last Judgment , Tympanum, Beaulieu-sur-Dordogne ; Standing Prophet, Moissac ). Monumental doors, baptismal fonts, and candleholders, frequently decorated with scenes from biblical history, were cast in bronze, attesting to the prowess of metalworkers. Frescoes were applied to the vaults and walls of churches (Temptation of Christ, San Baudelio de Berlanga, 61.248 ). Rich textiles and precious objects in gold and silver, such as chalices and reliquaries, were produced in increasing numbers to meet the needs of the liturgy and the cult of the saints . The new monasteries became repositories of knowledge: in addition to the Bible, the liturgical texts, and the writings of the Latin and Greek Church Fathers, their scriptoria copied the works of classical philosophers and theoreticians, as well as Latin translations of Arabic treatises on mathematics and medicine . Glowing illuminations often decorated the pages of these books and the most eminent among them were adorned with sumptuous bindings (Book Cover with Byzantine Icon of the Crucifixion, 17.190.134 ).

The study of medieval art began in earnest in the decades following the iconoclasm of the French Revolution. Art historians in the early nineteenth century, following the natural sciences in an effort to classify their field of inquiry, coined the term “Romanesque” to encompass the western European artistic production, especially architecture, of the eleventh and twelfth centuries. The term is both useful and misleading. Clearly, medieval sculptors and architects of southern France and Spain had firsthand knowledge of the many Roman monuments in the region. The twelfth-century capitals from the cloister of Saint-Guilhem-le-Désert ( 25.120.1–.134 ), for example, adopt the acanthus-leaf motif and decorative use of the drill holes found on Roman monuments (Section of a pilaster with acanthus scrolls, 10.210.28 ). Likewise, the contemporary apse ( L.58.86 ;  50.180a–l ) from Fuentidueña uses the barrel vault familiar from Roman architecture .

While emphasizing the dependence on Roman art, the label ignores the two other formative influences on Romanesque art, the Insular style of Northern Europe and the art of Byzantium , nor does it do justice to the inventiveness of Romanesque art. Comparison of the Initial V from a Bible ( 1999.364.2 ), illuminated at the end of the twelfth century in the Cistercian monastery of Pontigny in eastern France, with the sixth-century Anglo-Saxon Square-Headed Brooch ( 1985.209 ), illustrates how long impulses from Insular art lingered in the Romanesque vernacular. Like the Anglo-Saxon goldsmith, the French illuminator created a lavish surface decoration combining interlaced ribbons with animal motifs , and yet the miniature conveys a greater sense of energy. Instead of merely filling the space, the interlace has a rhythm of its own, reinforced by the bold palette and vibrant juxtaposition of colors. The robust striding lions echo the vitality of the abstract decoration, further embellished by foliate ornament.

Byzantine influences, by way of Italy, found echoes in Romanesque art from the late eleventh century onward. The tenth-century plaque with the Crucifixion and the Defeat of Hades ( 17.190.44 ) reveals that Byzantium had preserved certain features of Hellenistic art that had disappeared in the West, such as a coherent modeling of the human body under drapery and a repertoire of gestures expressing emotions. These elements are present in the ivory plaque with the Journey to Emmaus and the Noli Me Tangere ( 17.190.47 ) carved in northern Spain in the early twelfth century. Compared to the Byzantine sculptor, however, the Romanesque artist has imbued his composition with a heightened sense of drama, through a more emphatic play of gestures and swirling draperies with pearled borders.

More important than its synthesis of various influences, Romanesque art formulated a visual idiom capable of spelling out the tenets of the Christian faith. Romanesque architects invented the tympanum, on which the Last Judgment or other prophetic scenes could unfold, as a stern preparation for the mystical experience of entering the church. Inside, as they meandered around the building, the faithful encountered other scenes from biblical history, on doors, capitals, and walls ( The Temptation of Christ , 61.248 ), and were drawn into the narrative by their dynamic, direct language.

Chapuis, Julien. “Romanesque Art.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/rmsq/hd_rmsq.htm (October 2002)

Further Reading

Petzold, Andreas. Romanesque Art . New York: Harry N. Abrams, 1995.

Additional Essays by Julien Chapuis

• Chapuis, Julien. “ Gothic Art .” (October 2002)
• Chapuis, Julien. “ Late Medieval German Sculpture .” (October 2002)
• Chapuis, Julien. “ Late Medieval German Sculpture: Materials and Techniques .” (October 2002)
• Chapuis, Julien. “ Patronage at the Early Valois Courts (1328–1461) .” (October 2002)
• Chapuis, Julien. “ Patronage at the Later Valois Courts (1461–1589) .” (October 2002)
• Chapuis, Julien. “ Late Medieval German Sculpture: Images for the Cult and for Private Devotion .” (October 2002)
• Chapuis, Julien. “ Late Medieval German Sculpture: Polychromy and Monochromy .” (October 2002)

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Romanesque Art by Elizabeth Valdez del Álamo LAST REVIEWED: 06 May 2016 LAST MODIFIED: 15 December 2010 DOI: 10.1093/obo/9780195396584-0074

The fully vaulted building and its large-scale sculptural decoration is the great invention of Romanesque art of the 11th and 12th centuries in Europe. Dramatic compositions, often with figures expressively distorted for heightened emotional appeal, are characteristic of the arts of the time. Around the year 1000 CE , after devastating invasions by the Normans, Hungarians, and Muslims, a period of prosperity and rebuilding began in which the arts flowered. The church, as the greatest international power of the time, sponsored the construction of large-scale buildings decorated with sculpture, wall paintings, stained glass, as well as illuminated manuscripts and jeweled furnishings. The sheer inventiveness, liveliness, and profoundly theological basis for Romanesque art has lent itself to rich scholarship on iconography, patronage, pilgrimage, and audience reception as well as on the sociopolitical forces behind artistic production. The term, however, does not denote an international style, as does “Gothic,” with which “Romanesque” overlaps chronologically. Although Gothic can be identified as having specific origins, there is no clear point of origin or any unifying element in so-called Romanesque art. Because the Carolingian 9th century first employed the artistic forms that would characterize Romanesque, many would argue logically that there is a continuum from the 9th century onward. The word itself was invented in the early 19th century to describe pre-Gothic vaulted architecture, deemed to be “in the manner of the Romans” because of its rounded arches and barrel vaults. By extension, “Romanesque” was applied to the newly monumental sculpture that decorated these buildings, and eventually to other media produced in Europe during the 11th and 12th centuries. Ironically, even though the architecture was compared to Classical Rome, the figural arts were often described as “anti-Classical” because they were generally more fantastic than naturalistic. With its schematic renderings, and stylized expressiveness, Romanesque painting and sculpture did not find a modern audience until abstract art emerged in the early 20th century. The following bibliography selects surveys and bibliographies that should lead the user to more focused studies in the field.

There are few satisfactory surveys of Romanesque art mainly because it is difficult to define as a single entity ( Bober in Mâle 1978 ; see also Historiography ). As art historians classified their subject into periods, “Romanesque” became the descriptor of art c . 1000–1200 ( Grodecki, et al. 1973 , Avril, et al. 1982 , Avril, et al. 1983 ; see also Textbooks ), but it would also be correct to broaden the range to c . 800–1200 ( Dodwell 1993 , Historiography , Luxury Arts , Architecture ). For graduate students or scholars wishing a thorough overview of Romanesque art, Grodecki, et al. 1973 , Avril, et al. 1982 , and Avril, et al. 1983 are essential reference tools. The three are part of the series L’Univers des formes, which has been translated, in part, into several languages, but these volumes are not in English. A large number of coffee-table books with spectacular photographs are currently on the market, but their formulaic texts do not provide the tools for serious research. The first grand vision of the period was furnished by Émile Mâle in his 1922 study of religious imagery of the 12th century (see Mâle 1978 ). He vividly described art and a society in service of the church. Mâle’s strongly nationalistic statements about the priority of French art caused him to become engaged in a war of words with Arthur Kingsley Porter (see Porter 1923 , cited in Sculpture ). The very influential Focillon 1980 (also cited under Sculpture ), identified “laws” in which forms went through evolutionary stages and were subordinated to their context, architecture or a frame, a theory strongly affirmed by most scholars, especially in France (e.g., Grodecki, et al. 1973 ). Schapiro found these theories flawed, but his views were less well known because his initial response was published in German (see Schapiro 1977 ). Additional responses remained unpublished until after his death (see Sculpture ). Unlike Focillon, Schapiro identified the coexistence of various styles in a single location and interpreted the figure-frame relationship as an expression of meaning, not arbitrary “laws.” Schapiro 1977 first demonstrated a love of art for its own sake on the part of medieval authors; religious content was not necessary for an artwork to be appreciated as Mâle 1978 assumed.

Avril, François, Xavier Barral i Altet, and Danielle Gaborit-Chopin. Le Monde roman 1060–1220 . Vol. 1, Le temps des Croisades . L’Univers des formes 29. Paris: Gaillimard, 1982.

The first of two volumes on Le Monde roman 1060–1220 (see also Avril, et al. 1983 ). The Holy Roman Empire and related sites are covered: Germany, northeast France, Burgundy, the Low Countries, Switzerland, Denmark, Sweden, Provence, Italy; and the Holy Land. Artworks inadequately covered in many surveys are included: civil and military architecture, enamels, metalwork and manuscripts. Plans and reconstructions, a synchronized table correlating objects with historical events, thorough bibliography, a dictionary-index, and maps, some repeated in Avril, et al. 1983 . In French.

Avril, François, Xavier Barral i Altet, and Danielle Gaborit-Chopin. Le Monde roman, 1060–1220 . Vol. 2, Les royaumes d’Occident . L’Univers des formes 30. Paris: Gallimard, 1983.

Volume 2 of Le Monde roman 1060–1220 (see also Avril, et al. 1982 ) includes Norway, England, Ireland, France, Spain, and Portugal. Emphasizes movements of the population contributing to shared tastes in diverse regions. Provides a balanced view of the development of monumental sculpture, even if some dating has since been corrected. Includes essays on “Romanesque,” “Transitional,” and “early Gothic”; the importance of period mentalité ; and the social and physical context for understanding images. Plans and reconstructions, a synchronized table correlating objects with historical events, bibliography, a dictionary-index, and maps. In French.

Dodwell, C. R. Pictorial Arts of the West 800–1200 . Pelican History of Art. New Haven, CT: Yale University Press, 1993.

Organized geographically, chronologically, and by the various painting media within centers of production (embroidery, wall painting, glass painting, manuscripts, mosaics, and panel painting). Useful introductory essays provide background on Byzantine art and the West, attitudes to figural art, traveling artists, and portable objects. Clearly lays out the issues of identifying scriptoria and their impact, set within the broader historical context. Where there is scholarly disagreement, the question is explained. Good maps, notes, separate index for iconography and named artists.

Focillon, Henri. The Art of the West in the Middle Ages . Translated by Donald King. Edited by Jean Bony. 3d ed. Ithaca, NY: Cornell University Press, 1980.

Forms and styles evolve from archaic to classic then to baroque. The relationship between architecture and sculpture is explained by “the law of the frame,” in which a figure is subject to the shape of its enclosing frame, often leading to its distortion. Enlightening, highly influential since Focillon taught in France and the United States. Nevertheless, these “laws” are not as hard and fast as Focillon makes them seem. Originally published in French in 1938.

Grodecki, Louis, Florentine Mütterich, Jean Taralon, and Francis Wormald. Le Siècle de l’an mil, 950–1050 . Vol. 5, Le Premier millénaire occidental . L’Univers des formes 20. Paris: Gallimard, 1973.

A fundamental survey of the art of Europe during the 11th century, with detailed maps, thorough bibliography, and names, dates, dimensions, and shelf numbers for the artworks illustrated. Chapters treat architecture and monumental decoration, as well as manuscript painting and luxury arts. Southern Europe gets short shrift for architecture, which covers only Catalonia in the Iberian Peninsula, but the same does not hold true in the other essays. In French.

Mâle, Émile. Religious Art in France, the Twelfth Century: A Study of the Origins of Medieval Iconography . Translated by Marthiel Mathews. Princeton, NJ: Princeton University Press, 1978.

Mâle’s lively account of art inspired by the cult of the saints, pilgrimage, liturgical drama, and Eastern sources brought the period to a broader public. The 12th century is treated as a whole, not as “Romanesque” or “Gothic.” His work is fundamental even if many specific ideas have since been disputed or corrected: for example, that Romanesque sculpture was born in France and that Abbot Suger first devised the image of the Tree of Jesse. First published in 1922.

Schapiro, Meyer. Selected Papers . Vol. 1, Romanesque Art . New York: Braziller, 1977.

Valuable insight into the nature of Romanesque art is found in the articles “On the Aesthetic Attitude in Romanesque Art” (1947), and “On Geometrical Schematism in Romanesque Art” (1932–1933; only in German until 1977). Schapiro’s must-read essay on the aesthetic attitude is still the best introduction to medieval art but lacks illustrations necessary for students to follow the argument. His critique of the “law of the frame” ( Focillon 1980 ) is found in the essay on geometrical schematism.

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Romanesque architecture.

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                          Romanesque architecture was established in western Europe and was used from about 1000A. After Rome fell in 476, Roman culture was spread by the Christian church. By the end of the pre-Romanesque period Roman styles had fused with elements from the Byzantium Empire and the middle east, and from the Germans, the Celts, and other northern tribes in western Europe. These various combinations created a number of local styles, called Romanesque, meaning "in the manner of the roman." Bunch material.              An extraordinary achievement of Romanesque architects was the use of stone vaulted buildings. This was a ceiling over a room built in a variety of curved shapes. This new type of building style replaced the highly flammable wooden roofs and walls of pre-Romanesque structures. Although vaults were a huge breakthrough, they posed their own set of problems. These problems were resolved with structures such as, the dome, round and pointed vaults, and plain and ribbed groined vaulting. To support the heavy stone vaults, architects used massive walls and piers which created a typical building plan that treated the entire structure as a complex composed of smaller units, called bays. Bays are square or rectangular spaces enclosed by groin vaults and used by architects as the basic building unit. .              A prime example of the Romanesque style is found in the Fuentiduena Chapel, which is currently located at the Cloisters medieval museum. This limestone constructed beauty was functioned as a chapel for an adjacent castle constructed of more than two thousand massive blocks of stone. Features of this chapel include a dome ceiling, vaulted walls, and an elevated crucifix.              The fresco that dominates the apse is of the virgin and child (Mary and Christ). In the fresco, Mary is the largest figure. On either side of her is one winged figure. These two winged figures represent the biblical Michael and Gabriel. These two Angels are the second largest figures represented in the fresco.

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Essays Related to Romanesque Architecture

1. gothic and romanesque architecture.

Starting with the Romanesque style, and later the Gothic style architecture, churches began to become massive monuments built to house sculptures, be early tourism destinations, and simply allow the people in growing cities to all worship at one central location. Romanesque and Gothic architecture certainly sound different from their names, but the similarities are much more numerous than one may think. Romanesque architecture came before Gothic starting in the late 1000s when architects started to, almost out of nowhere, favor stone buildings and roofs as opposed to easily flammable wood str...

• Word Count: 614
• Grade Level: Undergraduate

2. Artisitc Changes of the High Gothic Era

There were many Architectural and structural changes during the evolution from the Romanesque Era to the High Gothic Era. Romanesque (Roman like) Architecture, for example the Pisa Cathedral located in Pisa Italy changed into Early Gothic, and a number of years later High Gothic Architecture. ... The Pisa Cathedral is an example of Romanesque Architecture which started construction in 1064 C.E. and was drafted by the Italian Architect Busketo. ... In the period between the times of Romanesque architectural concepts to the creation of the Gothic style an age of enlightenment moved through Euro...

• Word Count: 677
• Approx Pages: 3
• Has Bibliography
• Grade Level: High School

3. Achievements of Gothic Architecture

Gothic architecture was influenced by a previous genre known as Romanesque. Romanesque had provided a basic architectural blueprint for all cathedral churches, castles, and monasteries. Many Romanesque features were used in these buildings such as ribbed vaults, buttresses, ambulatories and more. However, one of the many specific features that distinguished the Gothic design from the Romanesque were the pointed arches. ... Gothic Architecture is an undeniably aesthetic experience. ...

• Word Count: 648

4. Romanesque Architecture - Regional Comparison

After the collapse of the Roman Empire, nearly all architectural development came to an end in Europe. ... Subsequent to Byzantine came Carolingian architecture in the 9th and 10th centuries. This finally brings us to the time period of Romanesque Architecture, 11th and 12th centuries, where we find the Basilica of San Marco in Venice, Italy, and the Durham Cathedral in Durham, England. ... This brought rise to a Gothic style of Architecture in later centuries. Both the Basilica of San Marco and the Durham Cathedral show signature qualities of Romanesque architecture. ...

• Word Count: 729

5. Durham Catherdal's Architectural History

" Romanesque architecture is characterized by semi-circular arches, massive size, thick walls, large arches and decorative arcading. ... Durham Cathedral is an excellent example of Romanesque architecture. ... The present cathedral was founded in 1093 AD and is one of the finest examples of Romanesque architecture in the world. ... Durham Cathedral is fortunate in that the integrity of the original construction is intact and it is one of the oldest examples of Romanesque Architecture in England today. ... There is evidence of early Gothic architecture in the cathedral. ...

• Word Count: 1339
• Approx Pages: 5

6. Art as a reflection of the society

Romanesque builders made several advances and changes. ... In the middle of the twelfth century, when builders throughout Europe worked in the Romanesque style, a new architecture was born in Paris- the Gothic style. ... The plan of the choir resembled of a Romanesque pilgrimage church. ... Denis is similar to that of the Romanesques Church of St. ... The structural elements in Romanesque were reversed. ...

• Word Count: 1753
• Approx Pages: 7

7. Gothic Architecture

In time, the separation point would set around the style, which followed, the Romanesque era. The title was later limited to the hardly barbaric architecture of the period between Romanesque and Renaissance. Gothic architecture emerged from Romanesque architecture in the year 1144 AD. ... Many of the individual characteristics of gothic architecture, such as ribbed vaults and pointed arches, were also used in the Romanesque style. The way they were combined made gothic architecture unique. ...

• Word Count: 1655

8. Gothic Architecture in France

Gothic Architecture in France The Romanesque and Gothic styles herald one of the most important periods in art history, the Renaissance. ... The architectural structure of the Abbey of St. ... With this now in place, the area is seemingly weightless and open compared to the solid rigidity of the Romanesque churches. ... They could also be widened and heightened to planes never before reached by the Romanesque. ... This is seen undoubtedly through the architectural style. ...

• Word Count: 1344

9. Speyer Cathedral Germany

The architecture is inspired by a combination of Eastern and Western influences. ... The Speyer Cathedral is the most stunning outcome of early Salian architecture and served as a model for the further development of Romanesque church building. ... Romanesque towns carried a good bit of ecclesiastical influence. ... Despite all of the destruction and changes down through the centuries, and all of the religious movements and re-modeling, the Speyer Cathedral is a monument to Romanesque architecture and a unique example of the meaning of medieval belief. ... The structures of the Romanesque...

• Word Count: 1773

Art History Leaving Cert

Romanesque Architecture

The eleventh century (1000 – 1100 AD) saw peace and prosperity gradually begin to return to Europe after several centuries of war and poverty since the collapse of the Roman Empire at the end of the 5th century. Encouraged by the Catholic Church, communities began to replace their small wooden chapels with large stone churches. These builders looked to the structures of ancient Rome for guidance and for inspriation. These new churches were in the style of the Romans and therefore called Romanesque.

The Romanesque church was based on a Roman structure; the Bascilica ; A long rectangular building with a central nave and two aisles – one on either side. The aisles were seperated from the nave by an arcade consisting of a row of pillars and arches. The Romanesque bulders added to two transepts the top of the nave, one on either side to form a crucifix shape. Behind this was a small recess called an apse. This structure was the standard format for a Romanesque Church. Later on as Romanesque architecture developed, towers and other such features were added.

Romanesque Churches were built completely of stone and in some cases of brick. This was a huge improvement on previous churches which were constructed with a wooden roof – a stone roof was permanent since if would not burn or rot. Stone was cut into wedge shapes blocks valled voussoirs. These were built up to form a vault. There were two main types of vaults; Barrel Vaults and Groin Vaults.

Holding up the weight of a stone roof proved to be problematic. As the stone was very heavy – much heavier than wood, it created pressure on the walls of the church – this is called “ Outward Thrust”. As the walls were at risk of collapsing under the pressure of the outward thrust, Romanesque builders made the walls extra thick to compensate for this pressure – 2 to 3 meters in thickness.

The thick walls gave Romanesque Churches a very heavy appearance. Also; very few windows could be built as this would weaken the walls, this meant that Romanesque churches were very dark inside.

St Sernin’s Basilica, Toulouse, France 1080 – 1120 AD

St Sernin’s is a large Romanesque Church. It was located in Toulouse along the pilgrimage route to Santiago de Compostela in Spain, ( where St james is reputedly buried) so it was built extra large to accommodate the numerous pilgrims aswell as the local population.

St Sernin’s is a typical Romanesque church in that it was built in the basilica format, but because it is so large it has a few adaptions to this format. The main features of St Sernins are;

1) Heavy appearance with small rounded windows 2) Made of local brick not stone 3) An extra aisle on either side of the nave 4) The extra aisle continues around the transept and the apse creating an ambulatory where pilgrims could walk and pray 5) Nine small chapels at the back of the chuch behind the transept and the apse. 6) The nave is barrel vaulted the aisles are groin vaulted 7) Lantern Tower at the crossing of the transepts and the nave which lets in much light 8) A Clerestory/ Clearstory – a row of windows up at the top of the walls to let in light

Romanesque Sculpture

Romanesque sculpture had two functions; 1) firstly sculpture was used to decorate the church; very often sculpture was placed in prominent positions such as the capitals ( top of the pillars) or the Tympanum ( the space over the doorway). 2) Secondly, Sculpture was used tell the stories of the bible to the ordinary people. At that time there were very few books in existence as they has to be written by hand. Almost all the population with the exception of the clergy could not read or write. These scupltures were used by the church to teach the bible.

Romanesque sculpture is carved “ in relief”. This means that it is not free standing but is carved out of the background support. Sculptors had not yet developed the skills and techniques to carve a fully 3-dimensional figure.

Gislebertus; A Romanesque Master Sculptor

Gislebertus is perhaps the most famous sculptor of the Romanesque Era. His work on the Cathedral of St Lazare in Autun, France 1120 -1135 is the most original sculpture of the period. Gislebertus is a master of visual storytelling and his work brilliantly expresses the stories from the bible.

The Last Judgement is Gislebertus masterpiece. It is carved into the Tympanum of St Lazare, Autun. ( A Tympanum is the semi-circular space over the doorway). Gislbertus boldly carves his name below Christs feet – Gislebertus Hoc Fecit ( Gislebertus made this).

The large figure of Christ is enthroned in centre with four angels – one either side of his head and one at each foot. On Christs right side are the good souls who will be saved and who are being helped into heaven by St Peter and the angels. On Christs left side – the Archangel Michael weighs each soul to see who is worthy to enter heaven. The devil is there to take the unworthy souls to hell. Below Christs feet the unweighed souls line up in purgatory waiting their turn to be weighed.

In the Last Judgement Gislebertus shows us why he is master of visual story telling. The expressions on the faces and his use of hand gestures conveys strong emotion to us. Gislebertus had a talent for drama and his vision of the Last Judgement must have been truly terrifying to people of the medieval era who gazed upon it.

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Jong-Soung Kimm: Romanesque Architecture Photo Essay

January 22, 2020 6–8 p.m. S. R. Crown Hall, North Core Register Here

Jong-Soung Kimm (B.ARCH. ’61, M.S.ARCH. ’64) is a Korean-born architect with roots in Chicago as both an Illinois Institute of Technology alumnus and a former employee of Ludwig Mies van der Rohe’s architecture firm. On January 22 Kimm will present and discuss his new book, Architect Jong-Soung Kimm’s Romanesque Architecture Photo Essay—Germany and Belgium , at the College of Architecture.

Kimm came of age as an architect during a heyday of Modernist architecture. He started his career by working on Mies projects such as the Toronto-Dominion Centre and the Brown Pavilion at the Houston Museum of Fine Arts while working at Mies’ firm during its later years, from 1961 to 1971. Kimm was also a faculty member at the College of Architecture starting in 1966, teaching for 12 years and serving as assistant and interim dean.

Soon after, Kimm moved back to Seoul, South Korea; opened his own design consultancy, SAC International; and created contemporary works such as the Olympic Weightlifting Gymnasium for the 1988 Olympic Games and the Wooyang Museum of Contemporary Art in Gyeongju, South Korea. In 2014 Kimm was awarded the Korean Institute of Architects Gold Medal and the Order of Merit by the Korean government.

Despite his Modernist roots, Kimm is fascinated by the architectural space of Romanesque architecture of the Middle Ages. An especially adept photographer, Kimm has visited and photographed Romanesque churches and monasteries in Europe since 2002. Those photos are presented in " Romanesque Architecture Photo Essay ," which provides insight into how these structures influence conceptions of architectural space and volume that transcend architecture’s various genres.

The event—co-sponsored by the College of Architecture and the Mies Society—is free, but registration is required . A reception will follow the presentation.

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Comparing Romanesque and Gothic Styles in Architecture Essay

The single most remarkable difference pertains, certainly, to the reimagined façade of the Gothic cathedrals: airy, impressively high, and vertical-oriented. Several principles of the previously dominant Romanesque were violated in the Gothic style at the time of its conception in the 12 th century (“Gothic Art”). These include thick walls, round, often “a full semi-circle” arches, and small windows, rounded at the top as well (“Gothic” 0:58). Romanesque buildings gave the impression of stability and authority, with minimal ornamentation in the form of the same kind of semi-circular arches – and oftentimes, supported by a colonnade of piers (“Romanesque Architecture”). Arches, being a similarity between the two styles, however, present themselves in a strikingly different appearance. Contrary to the Romanesque arches typically being round, only sometimes being “slightly distorted”, the Gothic style introduced pointing arches – lancet arches — with a closer resemblance to a triangular form (“Gothic Art”). Now, pointed arches are considered the most characteristic aspects of Gothic architecture, present in every regional variation.

The presence of an arch, and, subsequently, the arcade – a set of arches – is a persistent aspect of both cathedral styles; however, the reason Gothic was so revolutionary in its time deals with the inclusion of natural light. The windows of a Gothic cathedral are enormous, mesmerizing, and let in a generous amount of sunlight – unlike the Roman style. The Romanesque cathedrals, namely the ones like Speyer Cathedral or Abbey Church of St. James in Hungary, are all closed-off structures with a defensive quality about them (“Romanesque Architecture”). Their narrow and small windows let only a limited amount of light, producing a feeling of exclusion from the rest of the world; the idea that was intensified by the thick walls of the cathedral. These were “robust structures, with small paired windows and groin vaults” (“Romanesque Architecture”). Unlike Gothic cathedrals, Romanesque buildings showed greater simplicity and visual stability in structure, with a closed-off, protected interior.

The creations of the newly invented style, Gothic, still excite the minds of its admirers today – it is barely possible to imagine the impression it had on a 12th-century person. The structure feels high and airy, with large windows that allow the interplay of natural light with the interior vaults. The greatest example would also be the most famous one – a true masterpiece of Gothic – the Cathedral of Notre-Dame de Paris. It is said that “it helped change architecture forever, ushering in the Gothic style” (“The History of France’s Notre Dame Cathedral” 0:46). Remarkable architectural features, made the Gothic structure possible are the “ribs” – supporting structures of both Gothic and Romanesque vaults; and “flying buttresses” – supporting structures on the outside of the cathedral walls, that bore the majority of the structure’s weight. According to CBS News, “the only thing that could weaken the structure was water”, which was, in the example of Notre Dame, brilliantly solved via the installation of creative drain pipes (“The History of France’s Notre Dame Cathedral” 2011). The cathedral remains the most famous and notable example of Gothic architecture known to the public.

It is easy to disregard the effect Notre Dame de Paris produced and the enormous amount of effort that was put into its construction of it. Apparently, the original construction from the year 1183 took 200 years to complete – ending in 1345 (“The History of France’s Notre Dame Cathedral”). During the course of its long life, the building has seen many devastations and was partially destroyed on multiple occasions. The famous “rose windows” made out of intricate stained glass, which is characteristic of a Gothic style as well, were removed “in the fear of Nazi vandalism” (“The History of France’s Notre Dame Cathedral” 1:14). Thus, the look of the Gothic style had different connotations throughout the ages – from being highly innovative to lacking modernity to being immensely appreciated again.

Generally, the majority of stylistic features that mark the differences between Gothic and Romanesque styles pertain to the visual impression the cathedrals give. Roman architecture is notable for its structural and visual stability, with its thick walls and squat façade; as well as “round arches, sturdy piers, groin vaults, large towers” (“Romanesque architecture”). It descends from an architectural tradition of the Roman empire, which is noticeable through the visual clues of characteristically Greco-Roman columns and piers. Romanesque buildings have minimal decorations, often abstract-themed. Romanesque buildings are often very symmetrical, which “results in a simpler appearance, than the Gothic ones that would follow” (“Gothic art”). Gothic architecture, contrastingly, employed dense and intricate decorates inside the cathedrals as well as on the exterior; the walls were significantly thinner, which was possible with the addition of supportive structures like flying buttresses. Gothic architecture can be characterized by large stained-glass windows, a feature unimaginable in Romanesque style. Although it retained some features, like arches and ribbed vaults from Roman architecture, the appearance of the Gothic style differs drastically, being vertical-oriented, emphasizing the grandeur of impressively high cathedrals – giving the visitors a sense of entering heavenly realms.

Works Cited

“Introduction to Gothic Art”. LumenLearning – Boundless Art History, Web.

“Notre Dame Cathedral: A Brief History”, YouTube uploaded by Global News, 2019, Web.

“Romanesque architecture”. LumenLearning – Boundless Art History, Web.

“Romanesque vs Gothic Architecture”, YouTube, uploaded by Russell Tarr, Web.

“ The History of France’s Notre Dame Cathedral”, YouTube , uploaded by CBS News, 2014, Web.

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IvyPanda. (2022, October 19). Comparing Romanesque and Gothic Styles in Architecture. https://ivypanda.com/essays/comparing-romanesque-and-gothic-styles-in-architecture/

"Comparing Romanesque and Gothic Styles in Architecture." IvyPanda , 19 Oct. 2022, ivypanda.com/essays/comparing-romanesque-and-gothic-styles-in-architecture/.

IvyPanda . (2022) 'Comparing Romanesque and Gothic Styles in Architecture'. 19 October.

IvyPanda . 2022. "Comparing Romanesque and Gothic Styles in Architecture." October 19, 2022. https://ivypanda.com/essays/comparing-romanesque-and-gothic-styles-in-architecture/.

1. IvyPanda . "Comparing Romanesque and Gothic Styles in Architecture." October 19, 2022. https://ivypanda.com/essays/comparing-romanesque-and-gothic-styles-in-architecture/.

Bibliography

IvyPanda . "Comparing Romanesque and Gothic Styles in Architecture." October 19, 2022. https://ivypanda.com/essays/comparing-romanesque-and-gothic-styles-in-architecture/.

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