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The Age of Pilgrimages

Architecture. . Sculpture. . Painting.

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The Age of Pilgrimages

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    1. The Age of Pilgrimages Romanesque Art

    2. Europe around 1100Europe around 1100

    3. Europe around 1100/1150Europe around 1100/1150

    4. Architecture

    5. ARCHITECTURE The term Romanesque (meaning "Romanlike") is used to designate a period lasting approximately 150 years, from 1050 to 1200, when buildings incorporated certain architectural elements that resemble ancient Roman architecture. While mural painting and manuscript illumination continued much as before, there is a resurgence of monumental stone sculpture. Romanesque architecture is noteworthy principally for the use of the round arch and for the use of stone barrel and groin vaults. Walls are also thick and solid. Most of the new buildings were cathedrals, churches, and monasteries that varied in style from one region to another. A number of churches were designed to accommodate visiting pilgrims. The rise of towns: The increase in trade and the growth of towns and cities in the Romanesque period began to replace feudalism. Monasteries and churches: Separated by design form the busy secular life of Romanesque towns were the monasteries and their churches. Pilgrimages: The enormous investment in ecclesiastical buildings and furnishings also reflected a significant increase in pilgrimage traffic in Romanesque Europe. France Wood and stone at Vignory: Regional diversity is evident in Romanesque buildings. Specific to northern style of French Romanesque architecture is the use of large sawn blocks of stone to construct the walls of the buildings, but roofed with timber. 17-1: Interior of Saint-Étienne, Vignory, France, 1050-1057. 17-2: Plan of Saint-Étienne, Vignory, France, 1050-1057. ARCHITECTURE

    6. Vaulting at Tournus: Further south, in southern France, Spain, and Lombardy, early Romanesque builders generally preferred to construct their edifices with brick or small bricklike blocks of stone and to cover the nave and aisles with vaults. 17-3: Interior of Saint Philibert, Tournus, France, nave vaults, ca. 1060. Vaulting at Tournus:

    7. Toulouse's Pilgrimage Church: Saint-Sernin is an example of the new church of the "pilgrimage type".        17-4: Aerial view (from the southeast) of Saint-Sernin, Toulouse, France, ca. 1070-1120. Toulouse's Pilgrimage Church:

    8. 17-5: Plan of Saint-Sernin, Toulouse, France, ca. 1070-1120 (after Kenneth John Conant). 17-5: Plan of Saint-Sernin, Toulouse, France, ca. 1070-1120 (after Kenneth John Conant).

    9. Geometry and vaulting: The Saint-Sernin plan is extremely regular and geometrically precise. The crossing square, flanked by massive piers and marked off by heavy arches, served as the module for the entire church.        17-6: Interior of Saint-Sernin, Toulouse, France, ca. 1070-1120. Geometry and vaulting:

    10. Europe's largest church: At the time of its erection, the stone-vaulted monastery church at Cluny (Cluny III) was the largest in Europe. The church had an innovative and influential design, with a barrel-vaulted nave, dour aisles, and radiating chapels, as at Saint-Sernin, but with a three story nave elevation (arcade-tribune-clerestory) and slightly pointed nave vaults. 17-7: Model of the third abbey church (“Cluny III"), 1088-1130. Musée du Farinier, Cluny, France. Europe's largest church:

    11. Cistercian austerity: The church of Notre-Dame, at Fontenay is representative of the Cistercian approach to architectural design. The Cistercians' rejection of worldly extravagance and their emphasis on poverty, labor, and prayer are reflected in the austerity of their churches.                    17-8: Interior of abbey church of Notre-Dame, Fontenay, France, 1139-1147. Cistercian austerity:

    12. Germany and Lombardy Groin vaults in naves: During the 11th century, masons, using ashlar blocks joined by mortar, developed a groin vault of monumental dimensions that allowed for clerestory windows. The Speyer solution: The design of Speyer Cathedral follows a modular scheme and employs an alternate-support system in the nave. 17-9: Interior of Speyer Cathedral, Speyer, Germany, begun 1030; nave vaults, ca. 1082-1106. Germany and Lombardy

    13. Lombard innovation: The modular scheme and alternate-support system employed at Sant'Ambrogio in Milan created a series of domical ribbed groin vaults. 17-10: Sant'Ambrogio, Milan, Italy, late eleventh to early twelfth century. ‘ Lombard innovation:

    14. 17-11: Interior of Sant'Ambrogio, Milan, Italy, late eleventh to early twelfth century. 17-11: Interior of Sant'Ambrogio, Milan, Italy, late eleventh to early twelfth century.

    15. Normandy and England The conqueror's church: The Normans in Normandy and (after 1066) in England developed a distinctive Romanesque architectural style. The twin-towered façade of the church of Saint-Étienne at Caen is divided into three bays. The nave employs an alternating system of compound piers with engaged half-columns and piers with half-columns attached to pilasters that rise through three stories to support rib vaults.        17-12: West facade of Saint-Étienne, Caen, France, begun 1067. 17-13: Interior of Saint-Étienne, Caen, France, vaulted ca. 1115-1120. 17-14: Plan of Saint-Étienne, Caen, France. Normandy and England

    16. English Romanesque: Durham Cathedral alternates large ornamented pillars with compound piers that support a series of seven-part groin vaults each covering two bays. It is the earliest example of ribbed groin vaults placed over a three-story nave.        17-15: Interior of Durham Cathedral, England, begun ca. 1093. 17-16: Plan and transverse section of Durham Cathedral, England (after Kenneth John Conant). English Romanesque:

    17. Tuscany Romanesque Pisa: Tuscan Romanesque architecture adheres closely to the traditions of the Early Christian basilica. The cathedral complex at Pisa comprises a cathedral, a free-standing bell tower, and a baptistery. The cathedral has a timber ceiling and a nave arcade of reused classical columns. Arcaded galleries decorate the exterior of the leaning bell tower.        17-17: Cathedral complex, Pisa, Italy; cathedral begun 1063; baptistery begun 1153; campanile begun 1174. Tuscany

    18. Florence baptistery: The exterior of the octagonal Baptistery in Florence is decorated with polychrome marble incrustation. 17-18: Baptistery of San Giovanni, Florence, Italy, dedicated 1059.Florence baptistery:

    19. The Basilican tradition: Geometric polychrome marble incrustation decorate the exterior of San Miniato al Monte, while the inside of the nave is divided by diaphragm arches and roofed with timber. 17-19: Interior of San Miniato al Monte, Florence, Italy, ca. 1062-1090. The Basilican tradition:

    20. Sculpture

    21. SCULPTURE Architectural Sculpture Stone sculpture revived: The revival of stonecarving is one of the hallmarks of the Romanesque age. Individual Romanesque sculptural motifs and compositions often originated in Carolingian and Ottonian ivory carving, metalwork, and manuscript illumination. But Roman sculptures throughout France, Italy, Germany, and Spain provided a powerful spur to the imaginations of Romanesque patrons and artists alike. Cloister Sculpture: The beginnings of a revived tradition of stonecarving can be seen in the carved capitals of northern Romanesque churches. The most extensive preserved ensemble of sculptured early Romanesque capitals is found in the cloister of Saint-Pierre at Moissac in southwestern France.        17-20: Cloister of Saint-Pierre, Moissac, France, ca. 1100-1115. Limestone with marble relief panels, piers approx. 6' high.SCULPTUREArchitectural Sculpture

    22. Art and the laity: The Romanesque period also witnessed the spread of a sculpture to other areas of the church, both inside and out. With the rise of towns in the Romanesque period, churches, especially those on the major pilgrimage routes, increasingly served the lay public. Sculpture at Toulouse: The sharply incised lines and ornamentation of the marble relief of Christ in Majesty is characteristic of pre-Romanesque metalwork.       17-21: BERNARDUS GELDUINUS, Christ in Majesty, relief in the ambulatory of Saint-Sernin, Toulouse, France, ca. 1096. Marble, 4' 2" high. Art and the laity:

    23. Genesis at Modena: The high relief carving of the figures in the frieze at Modena breaks through the arcaded frame format to produce a more continuous narrative.       17-22: WILIGELMO, creation and temptation of Adam and Eve, frieze on the west facade, Modena Cathedral, Modena, Italy, ca. 1110. Marble, approx. 3' high. Genesis at Modena:

    25. The second coming at Moissac: The tympanum at Moissac exhibits a distinctive style of Romanesque sculpture characterized by figures with elongated bodies and draperies decorated with zigzag and dovetail lines.        17-23: South portal of Saint-Pierre, Moissac, France, ca. 1115-1135. Marble, approx. 16' 6" wide at base. The second coming at Moissac:

    26. A prophet at the door: The scalloped trumeau at Moissac shows an elongated, cross-legged figure accompanied by roaring lions.        17-24: Lions and Old Testament prophet (Jeremiah or Isaiah?), from the trumeau of the south portal of Saint-Pierre, Moissac, France, ca. 1115-1130. Marble, approx. life-size. A prophet at the door:

    27. Judgment day at Autun: The tympanum at Autun shows figures carved in relief with expressive facial expressions and gestures.        17-25: GISLEBERTUS, Last Judgment, west tympanum of Saint-Lazare, Autun, France, ca. 1120-1135. Marble, approx. 21' wide at base. Judgment day at Autun:

    28. Vézelay and the Crusades: The tympanum at Vézelay shows elongated, angular figures with agitated poses. Drapery patterns are linear with zigzags, loops and whorls.        17-26: Ascension of Christ and Mission of the Apostles, tympanum of the center portal of the narthex of La Madeleine, Vézelay, France, 1120-1132. Vézelay and the Crusades:

    29. Provence and Rome: The portal of Saint-Trophîme resembles a Roman arch.                   17-27: Portal on the west facade of Saint-Trophîme, Arles, France, mid twelfth century. Provence and Rome:

    30. Benedetto Antelami: The revival of monumental stone sculpture in Italy shows a classical sensibility rooted in Greco-Roman art. 17-28: BENEDETTO ANTELAMI, King David, statue in a niche on the west facade of Fidenza Cathedral, Fidenza, Italy, ca. 1180-1190. Marble, approx. life-size. Benedetto Antelami:

    31. Metalwork and Wood Sculpture Rainer of Huy: Rainer of Huy's bronze baptismal font shows a Classicizing style with idealized bodies and faces and heavy clinging drapery. 17-29: RAINER OF HUY, Baptism of Christ, baptismal font from Notre-Dame-des-Fonts, Liège, Belgium, 1107-1118. Bronze, 2' 1" high. Saint-Barthélémy, Liège. Metalwork and Wood Sculpture

    32. The throne of wisdom: The soft modeling of the faces of the Virgin Mary and the Christ Child on a wooden reliquary lends the figures a human warmth and intimacy.        17-30: Virgin and Child (Morgan Madonna), from the Auvergne, France, second half of twelfth century. Painted wood, 2' 7" high. Metropolitan Museum of Art, New York (gift of J. Pierpont Morgan, 1916). Wibald's silver reliquary: A reliquary of Saint Alexander is a life-size idealized head. 17-31: Head reliquary of Saint Alexander, from Stavelot Abbey, Belgium, 1145. Silver repoussé (partly gilt), gilt bronze, gems, pearls, and enamel, approx. 1' 5 1/2" high. Musées Royaux, Brussels. The throne of wisdom:The soft modeling of the faces of the Virgin Mary and the Christ Child on a wooden reliquary lends the figures a human warmth and intimacy.        17-30: Virgin and Child (Morgan Madonna), from the Auvergne, France, second half of twelfth century. Painted wood, 2' 7" high. Metropolitan Museum of Art, New York (gift of J. Pierpont Morgan, 1916). Wibald's silver reliquary:A reliquary of Saint Alexander is a life-size idealized head.17-31: Head reliquary of Saint Alexander, from Stavelot Abbey, Belgium, 1145. Silver repoussé (partly gilt), gilt bronze, gems, pearls, and enamel, approx. 1' 5 1/2" high. Musées Royaux, Brussels.

    33. Painting

    34. PAINTING Mural Painting Romanesque painting shows considerable regional and stylistic diversity. Artists continued the practice of painting murals on the walls and ceilings of churches. Christian Spain: In the apse fresco from Santa María de Mur, the figures are posed in formal frontality. Drapery is partitioned into volumes arranged in irregular geometric patterns. 17-32: Christ in Majesty, apse fresco from Santa María de Mur, near Lérida, Spain, mid-twelfth century. 22’ X 24’. Museum of Fine Arts, Boston. PAINTING

    35. Italy and Byzantine: The fresco above the nave arcade at Sant'Angelo in Formis shows fully modeled figures, a three-dimensional architectural setting, and a natural blue sky. 17-33: Entombment of Christ, fresco above the nave arcade, Sant’Angelo in Formis, near Capua, Italy, ca. 1085. Italy and Byzantine:

    36. Painted vaults: The paintings in the vault of the nave of Saint-Savin-sur-Gartempe show elongated, agitated cross-legged figures.       17-34: Nave of the abbey church, Saint-Savin-sur-Gartempe, France. Painted barrel vault, ca. 1100. Painted vaults:

    37. Manuscript Illumination Hildegard’s visions: A facsimile of a lost folio shows Hildegard of Bingen's vision. 17-35: The vision of Hildegard of Bingen, detail of a facsimile of a lost folio in the Scivias by Hildegard of Bingen, from Trier or Bingen, Germany, ca. 1050–1079. Formerly in Hessische Landesbibliothek, Wiesbaden. Knight versus dragons: An example of Cistercian illumination shows a colorful letter R in the form of two figures battling a dragon. The banding of the torso and partitioning of the folds are typical of the Romanesque style. 17-36: Initial R with knight fighting a dragon, folio 4 verso of the Moralia in Job, from Cîteaux, France, ca. 1115–1125. Ink and tempera on vellum, 1’ 1 3/4” X 9 1/4”. Bibliothèque Municipale, Dijon. Manuscript IlluminationHildegard’s visions:A facsimile of a lost folio shows Hildegard of Bingen's vision.

    38. Master Hugo: Folio 94 recto of the Bury Bible is an example of sumptuous illustration with dignified figures painted in softly glowing harmonized colours. 17-37: MASTER HUGO, Moses expounding the Law, folio 94 recto of the Bury Bible, from Bury Saint Edmunds, England, ca. 1135. Ink and tempera on vellum, approx. 1’ 8” X 1’ 2”. Corpus Christi College, Cambridge. The prince of scribes: The self-portrait of Eadwine the Scribe shows softly modeled drapery that follows the movements of the body underneath it. 17-38: EADWINE THE SCRIBE(?), Eadwine the scribe at work, folio 283 verso of the Eadwine Psalter, ca. 1160–1170. Ink and tempera on vellum. Trinity College, Cambridge. Master Hugo:

    39. The conquest of England: The Bayeux Tapestry, which recalls the historical narratives of ancient Roman art, shows the linear patterning and flat colour of the Romanesque style. 17-39: Funeral procession to Westminster Abbey, detail of the Bayeux Tapestry, from Bayeux Cathedral, Bayeux, France, ca. 1070–1080. Embroidered wool on linen, 1’ 8” high (entire length of fabric 229’ 8”). Centre Guillaume le Conquérant, Bayeux. The conquest of England:

    40. 17-40: Battle of Hastings, detail of the Bayeux Tapestry, from Bayeux Cathedral, Bayeux, France, ca. 1070–1080. Embroidered wool on linen, 1’ 8” high (entire length of fabric 229’ 8”). Centre Guillaume le Conquérant, Bayeux. 17-40: Battle of Hastings, detail of the Bayeux Tapestry, from Bayeux Cathedral, Bayeux, France, ca. 1070–1080. Embroidered wool on linen, 1’ 8” high (entire length of fabric 229’ 8”). Centre Guillaume le Conquérant, Bayeux.

    41. Mounted warriors on a handscroll: All the Heian painting types continued in the Kamakura period. The narrative handscroll, The Burning of the Sanjo Palace, is a fragment of a work illustrating battles in the civil wars at the end of the Heian period. Here, the drama unfolds in swift staccato brushwork and vivid flashes of color. 8-16: Detail of The Burning of the Sanjo Palace, Kamakura period, thirteenth century. Handscroll, ink and colors on paper, 1' 4 1/4" high; complete scroll, 22' 10" long. Museum of Fine Arts, Boston (Fenollosa-Weld Collection). Mounted warriors on a handscroll:

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