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felara9614
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- Saint Étienne, Caen
- Era: Romanesque, 1067
- Location: France
- Techniques:
- Vikings - called Normans in France - started tradition of symbolism of holy trinity in architecture
- Exterior
- - divided into 3 vertical registers that represent the holy trinity - seperated by 4 large butresses
- - 3 registers horizontally, 3 windows in grouping, 3 portals
- - tower windows get larger as they go up the tower - optical illusion to make the towers seem taller
- - 3 registers of windows in eeach tower
- 3 ailse church
- 2 aisle in one bay
- alternating support system
- sexpartite vaults - 6 part bay - rib in middle of groin - compresses the ceiling - walls go taller and can be closer
- X of groin is also ribbed- compound piers - engaged half columns
- reduction in wall mass due to more arches
- clerestory windows
- 3 part elevation with nave, tribune, and clerestory windows
- columns separate clerestory windows
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- Durham Cathedral
- Era: Romanesque, 1093
- Location: Durham, England
- Techniques:
- tall and slender proportions
- sitting on a cliff
- first building originally designed to have 7 part vaulted ceiling - squeezing ceiling
- clear skeletal structure serves to lessen the density
- bays are slightly larger than crossing - rectangular bays
- Interior
- - multicolored stones
- - clustered columns to piers moving up into ceiling
- - patterned ribs and columns
- - abstract designs, diamonds, cable patterns or chevron patterns, originally painted design as well
- - alternating ornamented pillar and compound pier
- - between every large rib are two cross groins
- - ribs are slightly pointed
- - alternating support system
- higher and taller than earlier ones
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- Durham Cathedral
- Era: Romanesque, 1093
- Location: Durham, England
- Techniques:
- tall and slender proportions
- sitting on a cliff
- first building originally designed to have 7 part vaulted ceiling - squeezing ceiling
- clear skeletal structure serves to lessen the density
- bays are slightly larger than crossing - rectangular bays
- Interior
- - multicolored stones
- - clustered columns to piers moving up into ceiling
- - patterned ribs and columns
- - abstract designs, diamonds, cable patterns or chevron patterns, originally painted design as well
- - alternating ornamented pillar and compound pier
- - between every large rib are two cross groins
- - ribs are slightly pointed
- - alternating support system
- higher and taller than earlier ones
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- Durham Cathedral
- Era: Romanesque, 1093
- Location: Durham, England
- Techniques:
- tall and slender proportions
- sitting on a cliff
- first building originally designed to have 7 part vaulted ceiling - squeezing ceiling
- clear skeletal structure serves to lessen the density
- bays are slightly larger than crossing - rectangular bays
- Interior
- - multicolored stones
- - clustered columns to piers moving up into ceiling
- - patterned ribs and columns
- - abstract designs, diamonds, cable patterns or chevron patterns, originally painted design as well
- - alternating ornamented pillar and compound pier
- - between every large rib are two cross groins
- - ribs are slightly pointed
- - alternating support system
- higher and taller than earlier ones
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- Saint Sernin
- Era: Romanesque, 1080-1120
- Location: Toulousse, France
- Techniques:
- two towers never finished
- Gothic floor plan that resembles the Latin cross
- heavy block appearance of simple front facade
- 5 aisle church, two on each side of nave
- pilrgimage church - wider and longer for more pilgrims - most Romanesque churches were pilgrimage churches - increase length of nave and increase number of side aisle
- focus on ambularoty and radiating chapels
- 5 radiating chapels around ambulatory 4 more on transept
- larger piers and thick walls
- module system or square schematism model
- bay is a section of nave - 2 bays is one crossing square
- bay is a rectangle
- tribune over inner aisles
- aisles were overflow sections, obscure view of altar
- each aisle has an X which denotes a groin vaulted ceiling
- groin vaults in tribunes too - helps with pressure from giant nave - buttressing for the barrel vault of the nave
- ribs in barrel vault of nave
- engaged columns that lead from ribs to floor
- heavy and dark structure - no clerestory windows
- galleries had windows in outer aisle only
- piers mark the corner of each bay - embellished with engaged half columns
- each groin vault in aisle is seperated by a ribbed barrel vault
- double lines indicate a rib on the plan
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- Pisa Cathedral or Duomo Pisa
- Era: Romanesque, 1053-1272
- Location: Pisa, Italy
- Techniques:
- 3 entrances alludes to Holy Trinity
- heavy thick walls
- 5 aisle church
- symbolize power of God and prosperity of Pisa
- coffered wooden ceiling
- transept with crossing tower
- more interior wall decoration
- two-toned stones in galleries
- rounded arhces
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- Pisa Cathedral or Duomo Pisa
- Era: Romanesque, 1053-1272
- Location: Pisa, Italy
- Techniques:
- 3 entrances alludes to Holy Trinity
- heavy thick walls
- 5 aisle church
- symbolize power of God and prosperity of Pisa
- coffered wooden ceiling
- transept with crossing tower
- more interior wall decoration
- two-toned stones in galleries
- rounded arhces
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- Baptistery of San Giovanni
- Era: Romanesque
- Location: Florence, Italy
- Techniques:
- dedicated to St. John
- reflects the significance of Florentines
- entire community came to a baptism
- domed octagon with elegant arcade
- has bays each with 3 arches
- multicolored marble creates more elegance and attempts to dematerialize the wallls
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- San Miniato al Monte
- Era: Romanesque, 1062
- Location: Florence, Italy
- Techniques:
- exterior has 3 entrances
- 2 colored stones
- very geometric design
- Interior
- - wooden ceiling
- - longitudinal supports with beams with multicolored designs
- - diaphragm arches, divide the nave into 3 equal compartments
- - thin walls
- - 1 compound pier, two simple columns
- - alternating support systems
- - Roman revival of compound capitals
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- San Miniato al Monte
- Era: Romanesque, 1062
- Location: Florence, Italy
- Techniques:
- exterior has 3 entrances
- 2 colored stones
- very geometric design
- Interior
- - wooden ceiling
- - longitudinal supports with beams with multicolored designs
- - diaphragm arches, divide the nave into 3 equal compartments
- - thin walls
- - 1 compound pier, two simple columns
- - alternating support systems
- - Roman revival of compound capitals
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- Christ in Majesty, St. Sernin
- Artist: Bernardus Gelduinus
- Era: Romanesque, 1096
- Location: Toulousse, France
- Techniques:
- made of marble
- ambulatory of St. Sernin
- emulates the repousse technique - buldge in knee, buldging abdomen, and shoulder popping through
- flattened space - tops of feet
- stylized drapery
- head is in high relief- nimbus behind head
- 4 evangelists in symbolic form in the corners
- highly polished marble, gloss that resemble metal work or ivory
- mandorla - sign of divinity
- left hand on open book - "pax vobis" - peace be on to you
- 2 fingers pointing up represent him as teacher
- sharply incisies lines
- ornamentation on mandrola is similar to metalwork, very detailed
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- Creation and Temptation of Adam and Eve
- Era: Romanesque, 1100
- Location: Cathedral of Modena, Italy
- Techniques:
- made of marble
- attempted recession into space through different levels of relief
- stylized facial features-
- acking naturalism in bodies
- static movement
- Christ is on far left in mandorla as a teacher with a book
- high relief - creates high play of light and shadow
- rounded arcade in background
- highly decorative arch emulates metal work
- stylized patterns and drawn-on folds, incised lines, direction of folds is regulated
- at entrance, above doorway - reminder of man's original sin and that salvation is only achieved through Christian church
- one of the first fully developed narrative reliefs in Romanesque art
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- Tympanumn of St. Pierre
- Era: Romanesque, 1115-1135
- Location: Moissac, France
- Techniques:
- Christ is flanked by four evangelists
- kings around him, all their heads are turned towards Christ
- flanked by 2 angels holding scrolls that list's everyone's deeds
- kings hold musical instrument
- jambs are scallop-shaped
- wavy lines divide the kings in to three tiers and represent clouds
- angels are in a cross legged dancing pose
- elder's heads are hinged for movement - moissac style
- dove-tailed folds
- band-like torsos
- wide cheek bones
- hands turned back in towards body
- contrast of energy between kings and Christ
- inspire fear in sinners
- second coming of Christ
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- The Prophet Jeremiah
- Era: Romanesque, 1115-1130
- Location: St. Pierre, Moissac, France
- Techniques:
- made of marble
- side of trumeau
- approx. life size
- holding a scroll where his prophetic vision is written
- iconographically paring old and new testament themes - he is below Christ
- elongated figure
- cross legged dance position
- movement represents the passionate nature of his soul
- rounded legs and body- undulating form of body and drapery which mimics the scalloped edging of the jambs
- folds are drawn on - flowing lines similar to manuscript illuminations
- serpentine locks of hair that frame his face - capture dreamy mystical look in eyes - receiving prophetic vision
- interlaced lions - linked to Richard the Lion Heart
- lions were the churches protectors
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- Tympanum of St. Lazare
- Artist: Gislebertus
- Era: Romanesque, 1120-1135
- Location: Autun, France
- Techniques:
- made of marble
- four trumpet blowing angels
- Christ in mandorla
- Christ is separated and seated and is dividing the damned and the blessed souls
- on our left are the blessed souls and on our right is Hell
- arms are open as he is taking all the souls in
- background is deeply drilled
- patterned folds on garment and symmetrical
- surrounded by four evangelists
- lintel below him - dead rising to be judged
- inscription of artist's name below Chrit's feet - request to pray for his salvation on judgement day
- two men carrying bags inscribed with cross and shell - symbols of pilgrims who go to Jerusalem and Santiago de Compostana
- 3 figures begging angels to save them but angel points to Christ, the only judge
- weighing souls in hell
- demons have thin bodies , insect-like
- second coming of Christ
- visual representation of an intangible god, manifestation of the divine
- developed after turn of millennium
- Purpose
- - warn people and inspire and reassure people that Christ and the church is there for them
- - reminds viewer of teaching of scripture
- - reinforces the importance of a pilgrimage as a devotional act and part of life's journey
- - tympanum is am entryway to the celestial Jerusalem symbolized by the church
- - separates the mundane world from the spiritual mysteries inside
- - scares sinners into leaving
- - inscription "may this terror terrify those who earthly error binds for the horror of these images here in this manner truly depicts what will be" reinforces fear
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- The Ascension of Christ and the Mission of the Apostles
- Era: Romanesque, 1120-1132
- Location: La Madeline, Vezelay, France
- Techniques:
- inside narthex
- wavy line are the holy spirit coming off Christ and going to apostles
- goals of apostles
- - save or condemn souls
- - preach the gospel to all nations
- - heal the sick and drive you the devil
- more realistically seated
- stylized folds, flat garment
- quick rhythm in drapery and spinning whirls - conveying spiritual light
- protruding large nimbus behind him
- archivolts hold scene of saving and condemning
- other archivolts are signs of the zodiac and symbols of the season, and works of the month, in medallions
- lintel - objects of the apostles' missions
- Christ looms above human misery and deformity
- presents church as road to salvation
- church at Vezelay most closely associated with Crusades
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- Portals and West Facade, St. Trophime
- Era: Romanesque, late 12th century
- Location: Arles, France
- Techniques:
- projecting portal that is like a roman arch
- frieze above free standing columns
- figures in high relief between columns, Classical statuary
- strictly Christian subject matter
- Christ is clearly sitting, projecting knees
- elaborate garment, each layer has a different length
- crown represents a celestial and an earthly king
- surrounded by 4 evangelists in symbolic form
- lintel has 12 apostles, part of frieze, part of story of last judgement
- Christ's right is saved and Christ's left is damned
- sculpture between jambs
- influenced by Classical
- undercut folds
- windblown drapery
- elongated figures
- agitated poses and gestures
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- Norman Cavalry Charging in the Battle of Hastings
- Era: Romaesque, 1070-1080
- Location: Bayeux Tapestry
- Techniques:
- embroidered wool on linen
- continuous narration
- commission by bishop Odo, half brother of William the Conqueror
- possibly done by wife Mathilda, first large scale art piece done by a woman
- Battle of Hastings united England and most of France under one rule
- border filled with sections of animals or with dead or wounded
- horses have twisting necks and contorted bodies
- linear patterning
- flat sections of color
- larger figures in center
- diagonal lines in borders signal the end of an event
- stylized trees separate scenes
- embroiedered Latin text- compare to Trajan Column - conquerors version of history, represents national pride, showcases all the events that took place
- hand of god points to West Minister Abbey, location of coronation of every English monarch
- 1'8" tall by 229'8" long
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- Moses Expounding the Law
- Era: Romanesque, 1135
- Location: Bury Bible, Bury St. Edmunds, England
- Techniques:
- ink and tempera on vellum
- found in wealthy abbeys
- symmetrical leaf motif with harmonized colors in the border
- border limits the function of the figures
- top scene is Moses and Aaron proclaiming the law of the Bible
- Moses' "horns" are divine rays of light
- patterned drapery - creating volume with ladder-like folds
- almond shaped eyes
- gestures as a pantomime of ideas - Moses is pointing out the clean edible animals
- gestures are slow and gentle, quiet dignity
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- Eadwine the Scribe
- Artist: The Scribe Eadwine
- Era: Romanesque, 1160-1170
- Location: Canterbury Psalter
- Techniques:
- ink and tempera on vellum
- not a specific likeness of monk, type
- described himself as a "prince among scribes"
- signed his own work as a prayer for his salvation
- drapery falls more softly
- whorls in shoulders
- architectural, throne like seat
- inside an architectural scene- multilobed arch with two columns on side
- rounded and rhythmic
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