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ROMANESQUE EUROPE

ROMANESQUE EUROPE. GARDINER CHAPTER 17-1 PP. 431-437. ROMANESQUE EUROPE - BACKGROUND. Romanesque is a title art historians invented to describe medieval art that appeared “Roman-like” Romanesque designates the history and culture of western Europe between 1050 and 1200 MANOR LIEGE LORD

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ROMANESQUE EUROPE

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  1. ROMANESQUE EUROPE GARDINER CHAPTER 17-1 PP. 431-437

  2. ROMANESQUE EUROPE - BACKGROUND • Romanesque is a title art historians invented to describe medieval art that appeared “Roman-like” • Romanesque designates the history and culture of western Europe between 1050 and 1200 • MANOR • LIEGE LORD • VASSALS • FEUDALISM • Rise of cities and trade -> prosperity • Boom in church building

  3. ROMANESQUE EUROPE • Romanesque” broadly designated the history and culture of western Europe between about 1050 and 1200 • Feudalism saw the warrior lords of the early Middle Ages eventually settle down and establish themselves as landholding barons • Two great Monastic orders the Cluniac and Cistercian grew in importance. The Cluniacs especially fostered the arts. • The pilgrimage was the principal feature of Medieval Christian life. Shrines housed relics that attracted pilgrims with the most famous being Santiago de Compostela in Spain. Many Romaesque cathedrals were developed as travel way stations enroute to Santiago de Compostela, as well as important spiritual destinations in their own right. • Romanesque architecture varied but has basic style characteristics: overall blocky appearance, a grouping of large, simple, easily definable geometrical masses (rectangles, cubes, cylinders, etc.).

  4. PILGRIMAGES AND THE CULT OF RELICS • RELICS = bones, clothing, body parts, or other objects associated with the holy family or saints • Veneration of relics • PILGRIMAGE -> greatest display of public devotion • Could take more than a year to complete -> hardship and danger -> often undertaken as repentance or last resort • Rome and Jerusalem -> holiest • The tomb of St. James at Santiago de Compostela in N.W. Spain • Led to changes in church design • Established the routes that later became major avenues of commerce and communication

  5. ARCHITECTURE AND ARCHITECTURAL SCULPTURE • Pronounced regional differences in exist in Romanesque art and architecture • Italy retained wooden roofs of the Early Christian style -> stone vaulting was common elsewhere • France and N. Spain -> innovative uses of stone vaulting and some timber-roofed churches

  6. SAINT-ETIENNE, VIGNORY • Interior of Saint-Etienne, Vignory, France, 1050-1057 • The timber-roofed abbey church of Saint Stephen at Vignory reveals a kinship w/the three story naves of Ottonian churches -> features and alternate-support system of piers and columns

  7. SAINT-ETIENNE, VIGNORY • Innovative plan of the east end of the Vignory abbey church features an ambulatory around the choir and three semi-circular radiating chapels opening on to it for the display of relics 1 = nave 2 = aisles 3 = choir 4 = ambulatory 5 = radiating chapels

  8. SAINT-SERNIN, TOULOUSE • Aerial view of Saint-Sernin, Toulouse, France, 1070-1120 • Pilgrimages were a major catalyst for the art and architecture of the Romanesque period -> clergy vied w/one another to provide magnificent settings for the display of holy relics • “pilgrimage church” -> increased length of nave, doubled the side aisles, added a transept, ambulatory and radiating chapels for viewing relics • Increased pilgrim traffic led to changes in church design

  9. St. Sernin, Toulouse (France) offers good examples of Romanesque architectural qualities. • fireproof ceiling of stone supported by semicircular barrel vaults. • Radiating chapels as separate units projecting from the mass of the building. • Inadequate lighting: the central problem of Romanesque architecture was the development of a masonry vault system that admitted light. • Tribunes, or upper galleries to accommodate large crowds • Ambulatories (extension of aisles around the eastern end) to aide in the circulation of all the people.

  10. SAINT-SERNIN • Groin vaulted tribune galleries housed overflow crowds and buttressed the stone barrel vault over the nave • Groin vaults (X) absorbed pressure from the barrel vault along the nave • Extremely regular and geometric plan • Nave walls w/engaged columns on the piers = compound piers • Transverse arches

  11. TIMBER ROOFS AND STONE VAULTS • Canterbury Cathedral in England • In 1174 it was accidentally set ablaze and destroyed -> big problem -> led to the use of stone vaulting in many churches • Desire to provide majestic setting for display of relics and better acoustics

  12. CHRIST IN MAJESTY • BernardusGelduinus, Christ in Majesty, relief in the ambulatory of Saint-Sernin, Toulouse, France, ca. 1096, marble • One of the earliest series of large Romanesque reliefs decorated the pilgrimage church of Saint Sernin • The models were probably Carolingian or Ottonian book covers in metal of ivory • Revival of stonecarving is a hallmark of the Romanesque age • Beautify the house of God -> churches now served the lay public and provided inspiration and educ.

  13. CLUNY III • Restored cutaway view of the third abbey church (Cluny III), Cluny, France, 1088-1130 • Primary patrons of Romanesque sculpture were the monks of the CLUNIAC ORDER -> famous for their scholarship, music, and art • Cluny III was the largest church in Europe for 500 years -> largely destroyed today -> had a 500 foot long, three story nave, four aisles, radiating chapels, and slightly pointed stone barrel vaults

  14. CLUNY III

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