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ROMANESQUE ARCHITECTURE IN EUROPE

( FROM THE NINTH CENTURY )

I. GEOGRAPHICAL

The decline of the Roman Empire , the Romanesque style grew up in those countries of Western Europe
which had been under the Roman rule
Geographical position determined many of the peculiarities of the style of each country
Apart from its Roman origin , the Romanesque style owed something to Byzantine art, which carried
westwards along the great trade routes, by way of such centers as Venice, Ravenna, and Mersailles, and
thus exerted a formative influence on Romanesque

II. GEOLOGICAL

The use of local materials whether stone or brick, marble or terra cotta, as well as of ready- made columns
and other features from old Roman buildings, accounts for many of the varying characteristics in each
country over this wide area, with its different geological formations

III. CLIMATIC

Climatic conditions also contributed to differences of treatment north and south of the Alps and the
Pyrenees
In duller climates of the north, window openings were enlarged to admit sufficient light
In south , windows were kept small to exclude the dazzling sunshine
The slope of the roof was also largely determined by climate
Flat roofs of the south gave way to high pitched roofs in the north to throw off rain and snow

IV. RELIGIOUS

Christianity, the chief source of education and culture, was gradually extending throughout Northern Europe
Erection of the church often resulted in the foundation of a city
Religious enthusiasm and zeal found their material expression in the magnificent cathedral churches and
monastic buildings, which were an even more characteristic outcome of this period than were the castles of
feudal chiefs
Monastic system gave an impulse to civilization, promoted new methods in agriculture, and exercised its
influence on architecture
Until the middle of the twelfth century, science, letters, arts, and culture were the monopoly of the religious
orders
Schools attached to monasteries trained youths for the service of religions
Monks and their pupils were often the designers of cathedrals
Up to the thirteenth century architecture was almost regarded as sacred science

The chief Monastic Orders were as follows:

1. Benedictine Order ( Black Monks )


Founded during the sixth century at Montecassino in South Italy by S. Benedict of Nursia who decreed that
all architecture, painting and all branches of art were to be taught
All monasteries in England including those of Canterbury and Westminster belong to this order

2. Cluniac Order

Founded by Abbot Odo in 910 at Cluny, Burgundy


Plan had double transepts, a feature adopted in many English cathedrals

3. Cistercian Order ( White Monks )

Founded in 1098 at Citeaux by S. Stephen Harding and at Clairvaux by S. Bernard


After 1134 all Cistercian churches were dedicated to the virgin and had no separate Lady chapel
The typical church was divided transversely into three parts by screens, walls, or steps, and there were
often no aisles
Transepts and eastern arm of the cross were short so that the choir extended westward of the transept
There was an absence of towers and painted glass

4. Carthusian Order

Founded by S. Bruno at the Grande Chartreuse near Grenable in 1086


Carthusian architecture is notably severe and unadorned
Two churches were provided, one for the monks and the other for the people
The typical feature was the great rectangular cloister surrounded by an arcade on to which opened the
monks cells which were self contained and had their own gardens

5. Secular Canons, serving principally cathedrals and collegiate churches

The Orders of the Cannons Regular

6.. Augustinian Cannons ( Black Cannons Regular )

Established in about 1050


Undertook both monastic and pastoral duties in houses often sited in towns
Differed a little bit from the Benedictine and was introduced into England in AD 1185

7. Premonstratensian Cannons ( White Cannons Regular )

Founded around 1100 by S. Norbert at Premontre in Picardy

8. Gilbertine Cannons

An exclusively English order founded in the twelfth (12th) century by S. Gilbert of Sempringham

The Military Orders

9. Knights of Templars
Founded in the 1119 to protect the Holy Places in Palestine and to safeguard the pilgrim routes in Jerusalem

10. Knights of Hospitallers

Organized in about 1113 ( the Knights of S. John of Jerusalem ) under the Augustinian rule

The Friars

11. Dominicans ( Preaching or Black Friars )


Founded by S. Dominic about 1170 and came to England about AD 1217
Fra Angelico was the best known member of this order which held high place in Christian art

12. Franciscans ( Mendicant or Grey Friars )

Founded by S. Francis of Assisi in AD 1209 and came to England in AD 1224


Roger Bacon was one of the most distinguished members of this order, which was noted for intellectual
attainments

13. Carmelites ( White Friars )

Were expelled from Mt. Carmel by the Muslims in AD 1098 but only came to England in AD 1229

14. Austin Friars ( Hermits )
15. Friars of the Holy Trinity
16. The Crutched ( or Crouched ) Friars
16. Jesuits

V. SOCIAL

The introduction of the system of feudal tenure, or the holding of land on condition of military service cause
important changes in the social and political organization of the states
As civilization advanced the towns grew in importance but constant warfare rendered the condition of the
people unsettled and craftsmanship was consequently at a low ebb
Monastic system played an important part in the life of the people of all countries especially in rural districts
before the establishment of hospitals and when learning even of medicine was monopolized by the church
Freemasons by reason of privileges gradually acquired, did much to facilitate the building of churches

VII HISTORICAL

The breakup of the Roman Empire in the West in AD 475 led the rise of independent states and nations of
Europe
The election of the First Frankish King Charlemagne ( AD 799 ) as Holy Roman Emperor marks the
beginning of a new era
From the fall of the Roman empire till the time of Charlemagne few buildings had been erected but he
gathered artists and craftsmen around him, and before his death ( AD 814 ) he had great measure, restored
the arts and civilization to western Europe

ARCHITECTURAL CHARACTER
The term Romanesque includes those phases of European architecture which were based on Roman art
from the end of the Roman empire in Ad 475 up to the end of the twelfth century, when the pointed arch
was introduced
The later Romanesque style of the tenth to the twelfth centuries was remarkable for the tentative use of the
new constructive principles
o This was the application of equilibrium to construction in strong contrast to that of inert stability as
used by the Romans
The general architectural character of the Romanesque architecture is sober and dignified while
picturesqueness depends on the grouping of towers and the projection of transepts and choir
Roman cross vaults were used throughout Europe till the beginning of the twelfth century, but they were
heavy and difficult to construct and were gradually superseded by rib and panel vaulting
Later on produced sexpartite and quadripartite vaulting
The Roman basilica had been the model for Early Christian churches, the plan of which was subject to new
development during this period
o The addition of transepts and the prolongation of the sanctuary or chancel made the church a well
defined cross plan
o Transepts were generally the same breadth as the nave, which was usually twice the width of the
aisles
Cloisters in connection with monastic churches are often very elaborately treated with twisted columns,
curved capitals and sculptured arches
Towers were either square, octagonal, or circular are the prominent features of Romanesque architecture
Roman methods of craftsmanship still influenced constructive art in Europe but technical skill in general
was at a low ebb
Walls were roughly built and were relieved externally by buttresses formed as pilaster strips and connected
at the top by bonds of horizontal mouldings or by a series of semi circular arches on corbels
Attached columns, with rough capitals supporting semi circular arches, formed wall arcading which was a
frequent decorative feature
Arcades consisted of massive circular columns or piers which supported semi circular arches
Doors and window openings are very characteristic, with jams or sides formed in series of receding
moulded planes known as orders
A rose or wheel window was often placed over the principal west door
Glass does not appear to have come in general use till the ninth century
The general employment of vaulting in the eleventh century especially over the side aisles may have been
due to the desire to fire proof the building
The form of arch employed in vaulting was semicircular but sometimes raised or stilted
Romanesque architects began to use flying buttresses under the aisle roof to counteract the trust of a
vaulted nave roof but it was left for Gothic architects to place these flying buttresses outside the aisle roof
and to weight them with pinnacles
Columns were either cylindrical or of stumpy proportions or formed as massive piers and the shafts were
treated with flutings of vertical, spiral or trellis form or sometimes carved with ornaments
Variations of Corinthian or Ionic capitals are used and in later times in the form of a cushioned ( cubiform )
shape with a twisted shaft known as escallop
Other columns shafts used were
a. Flutted b. Zigzag c. Chevron d. Wreath
Mouldings are elaborately carved
The base of the column is generally an adaptation of the old Attic form
Ornaments were either entered vegetable or animal form and were treated conventionally
Carvings and sculpture were often rough
For interiors frescoes were more usual than mosaic
Stained glass was as yet little used

ITALIAN ROMANESQUE

ARCHITECTURAL CHARACTER

A. CENTRAL ITALY

The basilican type of church was closely adhered during this period
Naves were divided from the aisles by antique columns
Italians were slow to adopt a new system of construction and preferred to concentrate on beauty and
delicacy of ornamental detail
Architectural character was much governed by classic tradition
The most pronounced features of the faades were the ornamental arcades
Battlemented parapets primarily designed for defense was used as purely decorative feature
Used marble facing for walls
Churches are covered with timber roofs ornamented with bright coloring
Campanili or bell towers which seem to have originated in the sixth century, for carrying the bells which
summoned the Christian to prayer now became an integral part of the church group
Arcades were universal, doors and windows are small and unimportant
Mouldings were roughly imitations of old classic mouldings

B. NORTH ITALY

The most important development took place in Lombardy


The principal innovation was the development of the ribbed vault which brought about the adoption of many
new constructive features
Churches are basilican type, but the naves as well as sides aisles are vaulted and have external roofs
Aisles are often two storeys in height while thick walls between the side chapels act as buttress to resist the
pressure of the vault
The flat severe entrance faades stretch across the whole church thus masking externally the division of
nave and aisles
There is often central projecting porch with columns standing on the backs of crouching lions
Rose window light the nave area
The gable is outlined with raking arcades which had originated in gthe eaves arcades round the apses
The general character became less refined owing to the increased use of stones and bricks instead of
marbles
Ornaments shows a departure from Classic precedents and portrays with an element of the grotesque
The Comacine masters, a privileged guild of architects and sculptors originating in Como, carried out church
building and characteristic decorations during the eleventh century not only in the North but also in other
parts of Italy

C. SOUTH ITALY AND SICILY


Architectural character is greatly influenced by Byzantine, Moslem and Norman rule
Byzantine influence is evident in the mosaic decoration and predominates the plans of many buildings
Moslem influence is especially seen in the application of coloured marbles and in the use of stilted pointed
arches
Norman character is displayed in the planning and construction of cathedrals which are cruciform in plan
and decorated with mosaics and has nave arcade of stilted pointed arches
Low lanterns at crossing of the nave and transept are marked features
Lateral walls are occasionally decorated with flat pilaster strips connected horizontally by small arches
springing from the corbels
Domes rather than vault s were adopted
Timber roofs are the rule in Sicily under the Islamic influence and have stalactite ceilings, rich in design and
colour
Mouldings are specially characterized by grace of contour and intricacy of carving
Elaborately modeled bronze doors are characteristic externally
Coloured mosaic add to the beauty of the interiors
Colour in spreading masses of geometrical design was the predominant note of internal decoration

EXAMPLES OF ROMANESQUE BUILDINGS

1. PISA CATHEDRAL

One of the finest under Romanesque period and has a strong marked individuality
It resembles other early basilican churches in plan: with long rows of columns connected by arches, double
aisles, and nave which has the usual timber roof
The exterior has bands of red and white marble
The ground storey is faced with wall arcading
The entrance faade is thrown into relief by tiers of open arcades which rise one above the other right unto
the gable end
The transept with an apse at each end were an advance on the simple basilican plan
The elliptical dome over the crossing or the intersection of nave and transepts
Concentrates on delicacy of its ornamental feature rather than on any new structural development

2. PISA CAMPANILLE

It is a circular tower
16.00 m in diameter rising in eight storeys of encircling arcades
The upper part of the tower now overhangs its base more than 4.20 meters and it has a very unstable
appearance
The belfry was not added until 1350

3. PISA BAPTISTERY

Was designed by Dioti Salvi


On a circular plan with central space or nave 18.30 m in diameter
Separated by tower piers and eight columns from the surrounding two storeyed aisle which makes the
building nearly 39.30 meters in diameter
Externally it is surrounded on the lower storey by half columns, connected by semi circular arches under
one of which is the door
The structure is crowned by hemispherical roof, through which penetrates a truncated cone capped by a
small dome covering the central space
If there were a lower internal cupola, it would resemble the constructive scheme of S. Pauls, London
This baptistery bears remarkable similarity to the Church of S. Donato at Zara, Dalmatia

4. S. ANTONINO, PIACENZA

Rebuilt on the site of an earlier cathedral


Noted for its later Gothic church , Il Paradiso

5. S. AMBROGIO, MILAN

Founded by the great S. Ambrose in the fourth century


partly rebuilt with dome and vault in the twelfth century
Here S. Augustine was baptized, emperor Theodosius was excommunicated and Lombard kings and
Germanic emperors were crowned
The plan includes the only existing atrium among Lombard churches, a narthex flanked by towers, vaulted
nave and aisles with an octagon over the crossing, triforium gallery, raised choir over the crypt and an apse
The interior is severely plain and impressive

6. S. MICHELE, PAVIA

Is a notable instance of a treatment which is in advance on the divisions marked only by piers
The church is cruciform in plan with well defined transepts and a raised choir under which is a vaulted crypt
The side aisles which are two storeys in height are also vaulted in square compartments
The flat faade shows little play of light and shade with its three simple recessed portals and four vertical
pilaster strips from ground to gable, almost akin to buttress
The wide spreading gable stretches across nave ad aisles and is emphasized by a characteristic raking
arcaded gallery

7. S. ZENO, MAGIORRE

Has a simple faade which is stern in simplicity


The fine projecting porch has two free standing columns which rest on the backs of the crouching beast and
support a semi circular vault
Above is the great wheel window which lights the nave and is one of the earliest in Italy
The interior has arcade of compound piers with uncarved capitals and the nave shaft is carried up as if to
support the vault
Has no triforium but with clerestory
The choir 2.10 meters above the nave has a high pointed fourteenth century vault and an apse and beneath
is the crypt, in seven aisles, with the shrine of S. Zeno
The campanile is detached as usual in Italy has no buttresses is made of alternate courses of marble and
bricks
The sturdy tower formerly belonged to a residence of the German Emperors and is finished with Ghibelline
battlements

8. ASTI BAPTISTERY and PHARMA BAPTISTERY

Are octagonal and modeled on that of Constantine, Rome


Represent a period in Christianity when baptismal rite was carried out only three times a year Easter,
Pentecost and Epiphany

9. HOUSE OF RIENZI, ROME


Sometimes known as the Casa di Crescencio is an instance of the degraded civic architecture of the
period
Said to be the only private house in Rome older than the fifteenth century

10. MONREALE CATHEDRAL

Stands on the heights southwest of Palermo


Is the most splendid of all monuments erected under Norman rule in Sicily
The plan is a combination of an Early Christian basilican church in its western part and quasi Byzantine in
its eastern part
The nave columns have capitals of Byzantine form with dosseret block encrusted with mosaic to support
pointed arches
Walls are covered with mosaics in gold and colour representing scenes from biblical history with a figure of
Christ in the apse
The interior is solemn and grand, an effect produced by the severity of the design, enhanced by the
coloured decoration
The low, oblong central lantern and the antique bronze doors add to the beauty and distinction o this
famous church
The cloisters, the only remaining portion of the Benedictine monastery are the finest of the style

11. CAPELLA PALATINA, PALERMO

The chapel in the Royal palace


Served as the model for Monreal cathedral

12. LA ZISA, PALERMO

Is a three storeyed Norman castle with battlemented parapet


Shows the influence of Saracenic art
The vestibule is rich in marble columns and coloured tiles
Stalactite vaults over the alcoves recall the glories o the Alhambra, Granada

ROMANESQUE ARCHITECTURE IN FRANCE


ARCHITECTURAL CHARACTER

Romanesque architecture in France dates from the eight to the twelfth century
The character differs in the North and south

A. SOUTHERN FRANCE

Churches were usually cruciform in plan and frequently had naves covered with barrel vaults
Buttresses are internal and form the division between chapels which flank the nave
Cloisters are treated with utmost decoration/ elaboration and form a special feature in the plan of many
churches
Circular churches are rare, but the development of the semi circular east end as an ambulatory with
radiating chapels is very common
Remarkable for richly decorated church faade and graceful cloisters
Adaptation of old Roman architectural features is remarkable
Aisleless naves covered with domes on pendentives are common in Acquitaine and Anjou
Nave wall arcades of aisleless church are semi circular with mouldings in recesses and orders
Cloister arcades are elaborated with coupled columns
Doorways have recessed jambs
Narrow windows with semi circular heads and wide splays inwards suffice to admit light
Roofs needed to be low in pitch
Piers were derived from the Roman square pier with attached columns

B. NORTHERN FRANCE

Plans are basilican with nave and aisles


Square compartments tom produce high nave vault is a common practice
Roman influence is lesser in significance due to few surviving Roman remains
Western faade of churches, especially in Normandy are distinguished by the introduction of two flanking
towers
Plain massive side walls with flat buttresses emphasizes the richness of the faade
Naves are covered with ribbed vault which are often sexpartite and in square compartments
Nave arcades are spanned by semi circular arches which are repeated in deep triforia
Imposing western doorways with sculptured tympana are great trademarks
Windows with semi circular heads are sometimes group together and enclosed in a larger arch
The most important development in stone vaulting technique took place with the introduction of the ribbed
and panel vaulting
Vaults were usually covered with wooden roof, finished with slates and steep pitch to throw of s now and
water
Massive walls of rubble faced with square stones
Sculptured and moulded ornament is concentrated on wall arcades
Buttresses were wide strips of slight projection or half round shafts
Towers were generally square with pyramidal or conical roof
Mouldings executed in stone are courser than those marble in Italy
EXAMPLES

1. CAHORS CATHEDRAL
In Aquitaine is an aisleless church crowned by two domes on pendentives
Somewhat resembles S. Irene, Constantinople

2. S. FRONT, PERIGUEX

In Aquitaine is Greek cross in plan


Closely resembles S. Mark, Venice
Is covered with five spheroidal domes, elongated towards the top, indicating an Eastern influence due to the
trade with Byzantium
The only existing Greek cross church plan with cupolas in France
Was the prototype of other churches with cupola

3. CHURCH OF S. GILLES-du- GARD

Near Arles has probably the most elaborate sculptured faade in Provence
With three porches connected by colonnades perhaps suggesting the faade of S. Mark, Venice

4. ABBEY CHURCH, CLUNY

Formed part of the most famous monastic establishment in Burgundy


It is the longest Romanesque church in France
136.00 meters with nave and choir, each with double aisles, double transept and a chevet of five apsidal
termination
Its pointed arches are the one of the earliest in Europe

5. S. MADELEINE, VEZELAY

In Burgundy, has a most remarkable narthex with nave and aisles crowned
It is believed to have the earliest pointed cross vault in Europe

6. ABBEY OF BERNAY

Was probably the first important Norman church


It has a nave of seven bays of which five are still intact, divided into arcade, triforium and clearstory

7. ABBAYE aux HOMMES, CAEN

Known as S. Etienne
Also known as the Mens abbey
One of the many fine churches in Normandy of this period which were the product of the prosperity and
power of the Norman dukes
It was commenced by William the Conqueror
It is a vaulted basilican type which was developed into the complete Gothic in the thirteenth century
It may have been modeled on the Romanesque cathedral of Speyer
Its original eastern apse is superseded in 1166 by the characteristic chevet
It has nine spires, a remarkable instance of the use of spires as architectural features

8. ABBAYE aux DAMES ( LA TRINITE), CAEN

Also known as the womens abbey


Founded by Matilda, wife of William the Conqueror
Has fine western faade with two towers in arcaded stages

9. ABBEY OF S. DENIS

Was built by Abbe Suger


Is one of the few buildings of this style in Ile de France
It is the burial place of the French kings
It is the first building to adapt Gothic features

ROMANESQUE ARCHITECTURE IN CENTRAL EUROPE

ARCHITECTURAL CHARACTER

Dates back from the eighth to the thirteenth century


The style owing to historical influence bears striking similarity to that of Lombardy
It is a combination of Carolingian tradition and Lombard influence
Church plans are peculiar for having both western and eastern apses
o Eastern apses may have been used for the abbot and the monks
o Western apse for the bishop and the laity
o Western apse may be the survival of the detached baptistery which had been usual in earlier
churches
The general character is picturesque by reason of numerous circular and octagonal turrets, polygonal
domes, and arcaded galleries under the eaves
Cloisters often have small columns supporting arches in groups of three
Doorways are frequently in the side aisles instead of the west front or transept
Windows are often single but occasionally grouped and sometimes have mid wall shafts
Shafts and capitals in doorways were frequently elaborately carved with figures of men birds and animals
General absence of mouldings in the nave arcade
Carvings in bands are employed
Lines of coloured bricks were use externally in North Germany
Choir at western end, often accommodated in western apse
Three apse plan in trefoil in 11th and 12th century

EXAMPLES

1. AIX-la-CHAPELLE CATHEDRAL
Built by the Emperor Charlemagne as his royal tomb house
Resembles S. Vitale, Ravenna
The entrance is flanked by staircase turrets, leads into a polygon of sixteen sides, 32.00 meters in diameter
The building is of great interest as the prototype of other similar churches in Germany
Coronation place of the Holy Roman Emperors

2. MONASTERY OF S. GALLEN

In modern Switzerland
A typical Benedictine monastery of the period
Design by Eginhart Charlemagnes royal architect
A double apse church with cloisters, abbot lodging, school, refectory, dormitory, guest house, dispensary,
infirmaries, granaries, bake house, orchard and cemetery

3. CHURCH OF THE APOSTLES, COLOGNE

One of the series of trefoil churches in Cologne


Plan forms a broad nave, aisles half its width, western transepts, and a triapsal choir
A low octagonal tower gives dignity to the effective external grouping
The entrance is by a northern porch and there is no great portal as in France
The west end being occupied by a tower, flanked by stair turrets, crowned by a typical Rhenish roof

4. WORMS CATHEDRAL

Apsidal at both ends


With eastern and western octagons while one vaulting bay of the nave corresponds with the two of the
aisles
Twin circular towers containing stairs flanked the eastern and western apses
The crossing of the nave and transepts is covered with a low octagonal tower crowned by a pointed roof
Entrance are in the aisles, a positioned favored in Germany and England

5. GENRODE ABBEY

Probably the earliest Romanesque church with apse at both ends

6. LUBECK CATHEDRAL

An example of brick architecture in North Germany


Gothic choir and aisles were added in 1335 thus converting it into a hall church

7. Maria Laach, Abbey

A Benedictine church
Built chiefly of local lava and the exterior is a fine grouping of six towers, double transepts and east and
west apse
The plan differs from other churches because on either side of the western apse which is used as tomb
house, are entrances from the cloistered atrium

ROMANSEQUE ARCHITECTUREIN SPAIN, PORUGAL AND HOLY LAND


( 9TH to 13 th Century )

ARCHITECTURAL CHARACTER

A. SPAIN AND PORTUGAL


Early Spanish Romanesque is greatly influence by Visigothic and Moorish art
o The use of horseshoe arch
o The use of decorative devices such as cable mouldings, and sone Syrian motifs ( rosettes,
circumscribed stars )
o Churches built for Christian communities under Moslem control were principally upon mosque
tradition
o Church plan includes both basilican and Greek cross forms
o Chapels attached to the eastern arm of the church as prosthesis or diaconicon
Early Spanish Romanesque churches have naves and aisles were covered with continuous barrel vault
Most monastic buildings have square bell towers
French ideas were introduce in 1050 which led to the rise of Franco Spanish Romanesque
The first appearance of mature and seemly vaulted Romanesque Spanish church architecture appeared in
Leon after the middle of the 11th century
o Church general form was aisled
o Barrel vaulted nave
o Barrel or groined aisle vaults
o No clear story or a very low one
Twelfth century churches in Castile and Leon include several examples without aisles, but with a central
cupola supported upon squinches or upon pendentives
In general matured Romanesque architecture in Spain and Portugal is characterized by the ff:
- Both cathedrals and large abbey churches were product of many accretions of different periods,
particularly flanking chapels in later styles
- Most churches are built of stone. In areas where brick is used, the bricks are similar to Roman bricks
- Exterior of brick churches are decorated with tiers of shallow blind arcading and square topped niches
- Small churches abound across the area, usually having an aisles nave and projecting apse and a bell
turret on one gable
- Larger c churches often have a wide turret extending across the upper faade with a gallery of
openings holding bells
- Larger monastic churches often have short transept and three eastern apses, the larger off the nave
and a smaller flanking apse off each transept
- Lateral arcaded porches are a distinctive regional characteristic of small chapels
- Larger churches sometimes have a similar narthex at the west as at S. Maria, Ripoll
- Portal are typically deep set, round topped and with many mouldings as at La Seu Vella, Lleida
- Portals that are set with in porches may be surrounded by rich figurative carvings as at the Cathedral of
Santiago de Compostela
- Free standing towers with increasing openings in each stage like those of Italy occur with small
churches
- Small churches are sometimes barrel vaulted and are roofed with stone slabs lying directly on the vault
- Wider spaces have timber roofs of low profile, as timber was scarce
- Larger churches of such as the Cathedral of Santiago de Compostela, have barrel vaults, sometimes
with transverse arches marking the bays
- Abbey churches of later French foundation have ribbed vaults
- Larger monastic churches and cathedrals have nave and aisles and follow French plans, including
chevets as at Avila
- The crossing of a large church sometimes has an octagonal tower or dome supported on squinches as
at S. Maria Ripoll and the Cathedral of S. Maria d Urgell
- Externally, many large churches are fortresslike such as Lisbon Cathedral and the Old Cathedral of
Coimbra in Portugal
- Rose window with pierced tracery similar to those that occur in Pre-Romanesque churches of Oviedo
are a feature in some facade
-
B. HOLY LAND

Magnificent military architecture resulted from the necessity of security both against internal revolt and
external threat
Most Romanesque structures in Holy land were military buildings, castles and fortifications
Hospice buildings in Palestine usually included a fortified church
Castles of the Crusaders were of three kinds, each having a specific function, which depended on
geographical situation

a. Pilgrim forts

Sited and designed to secure the routes from coastal ports to Jerusalem, principally by way of Joppa ( Tel
Aviv ) and Ascalon
They were generally designed on a Byzantine pattern derived from the Ancient Roman castrum or legionary
fort
Installation include a thin curtain wall with rectangular corner towers of small projection, a large fosse or
ditch, and an outer earth rampart
These forts were of no very great strength, and relied upon relatively plentiful man power

b. Coastal fortification

Were fortified to secure the sea links with the West


They took the form either of a bastide town a civil settlement under the protection of a castle ( which had
contact directly with the countryside as at Giblet ), or with only the sea, as at Sidon, which could be isolated
by a cut sea dyke) or of coastal castle with no dependent township like Chastel Pelerin

c. Strategic Inland Castle

The principal function of these great castles were :


1. to protect the coast road as in case of Margat, above Baniyas in Syria
2. to safeguard mountain passes ,as Safita and the Krak of the Knights, which commanded the Homs Gap
3. to secure the river valley routes as in the case of Beaufort
4. to provide visual command of the approach routes across the eastern frontier, as in Subeibe, on the
slopes of Mt. Hermon

EXAMPLES

1. Old Cathedral of Santiago de Compostela

A pilgrimage center of importance, is similar to many respects to the church of S. Sernin, Toulouse
Was unequalled in magnificence and maturity in Spain in its time
The tomb of S. James, son of Zebedee, was recognized in 1813
The plan is cruciform, aisled , with galleries which run continuously around the building
The only church in Spain with ambulatory and radiating chapels
The high vault is a barrel with transverse arches and the aisle vaults are groined
The galleries are covered with a half barrel opposing the high vault
The interior survives largely unaltered, except for the loss of the twelfth century coro at the east end of the
nave
Externally , the east end is largely concealed and the only original faade is that of the south transept

2. S. Juan de Baos de Cerrato

Is the royal finest surviving Visigothic church


Planned in three aisled basilica with a four bay nave
Originally with a transept with eastern chapels at the outer ends
The nave arcade has horseshoe arches springing from varied Corinthian columns
Arched window openings are small with horseshoe heads

3. S. Julian de los Prados ( Santullano ) , near Oviedo

Is among the best preserved of the early Asturian churches


Somewhat restored not long before the Spanish civil war
Has a typical basilican form with a wide transverse bay forming a kind of transept, outer lateral chapels, a
square sanctuary with flanking chapels
Only the eastern chapels are vaulted
Timber ceilings elsewhere include some original decorated beams

4. S. Maria de Naranco

Was built by Ramiro I next to his palace near Oviedo


Ably represents the structural advances in church architecture of the Visigothic kingdom of Asturia
Has a long rectangular nave with open tribunes at both ends, over a crypt
The building is likely to have been intended principally to provide for sacred royal ceremonial
No clear indication of its having had any kind of sanctuary

5. S.Miguel de Escalada, near Leon

Is the finest and the largest of the Mozarabic churches


Founded by Cordoban refugees and relies upon some of the craft tradition of the mosque of Cordoba
Basilican plan with a nave of five bays, and fine horseshoe arcades on antique columns
The three eastern apses are of horseshoe form in plan, with lobbed domical vaults
The high timber ceiling is later in date and decorated in Mudejar manner

6. S. Maria, Ripoll

Is the finest of the eleventh century Early Romanesque churches


Has a double aisled basilican nave of seven bays
Outer arcades alternate to produce double bays in the outer aisles in Lombardic manner
The bold transept is modeled on the basilican church bema and there are seven eastern apses

7. La Lugareja, Arevalo

Is the finest example of Mudejar work in brick


A Cistercian church
Has many Lombardic devices
Has a bold central tower enclosing a lantern cupola on pendentives

8. S. Tirso, Sahagun

One of the earliest brick Mudejar churches


Has much of the eleventh century character of Catalan Romanesque
Moorish influence includes the horseshoe headed blind arcading to the apses, set in rectangular panels

9. S. Martin de Formista

The only complete example of the Spanish pilgrimage style, with a four bay nave, shallow transept, and
three parallel apse

10. Chateau de Mer, Sidon

In Lebanon
Is the best surviving example of a coastal Crusader castle
Separated from its\dependent township by a sea dyke crossed only by a later causeway
Capable of independent defense after the town had been invested
Still posses substantial remains of a two storey keep, imposing land gate with decoratively carved box
machicolations, large storage and domestic building within the ward

11. Giblet

On the site of the Phoenician port of Byblos


Extensively refortified during the twelfth century
Ancient defenses were rebuilt as a new curtain wall with square towers and a substantial two storey keep

12. Chastel Plrin ( Pilgrims Castle ), Atlit


Was built by the Templars with the help of the Teutonic knights and of the many pilgrims to whom it derives
its name
Castle now in ruins, but plan is clearly discernable
Stands upon a peninsula commanding the approach to one of the principal passes between the coast and
the Palestinian interior

13. Saone

At the north end of the Gebel Alawi


Was built on a site previously fortified by the Greeks\in Byzantine fashion
With a thin outer curtain wall punctuated with shallow rectangular towers, and a keep commanding the
most vulnerable part of the curtain

14. Krak of the Knights

Described by T. E. Lawrence as the best preserved and wholly most admirable castle in the world
Is the eastern most of a chain of five castles sited so as to secure the Homs Gap
The plan is completely concentric, having two lines of defense, the inner ramparts lying close to the outer
and continuously dominating them

TERMINOLOGIES
1. Diaconicon the vestry or sacristy in the early Christian churches
2. Prothesis the part of the church where credence table stands
3. Hospice house of shelter for travelers
4. Mudejar a Spanish Christian architecture in purely Moslem style
5. Mozarabic a style evolved by Christians under Moorish influence in Spain from late 9th to 11th century

ROMANESQUE ARCHITECTURE IN BRITISH ISLES AND SCANDINAVIA


( 1ST to12TH CENTURY )

A. BRITISH ISLES

1. Anglo Saxon Period

Domestic building was probably largely dependent upon the use of timber
The masonry of church building from about the middle of the seventh century show signs of dependence on
timber prototypes
o Long and short work in quoins
o Pilaster strips derived from liesenen
o Triangular headed openings
o Blind arcading
o Turned balusters
o Midwall shafts
Central and western axial towers were occasionally terminated in a form of short hipped spire springing from
each apex of the four gables on the tower faces
2. Norman Period

Churches have very long naves due to influence coming from Cluny as at Norwich ( 14 bays ), S. Albans
( 13 bays ) and Winchester ( 12 bays )
Chancels of cathedrals and abbey churches are also very long
Double eastern transept plan as at Canterbury
Features imported form Normandy are the typical Benedictine plan having three apses as at Durham and
Peterborough
One apse transept survived at Norwich, two at Gloucester and four in the eastern apses at Canterbury
The multiplicity of apsidal chapels in monastic churches was necessitated by the growing demand for
facilities for the individual offices of a Benedictine community
Both secular and monastery churches have central lantern tower over the crossing as S. Alban and Norwich
The earliest Anglo Norman groin vaults are those over irregular crypt spaces ant Winchester and Gloucester
The earliest great church designed initially and entirely with a rib vaulting system was Durham Cathedral
Nearly every large Norman church has a later Gothic high vault except at Peterborough and Ely cathedral
which have retained trussed wooden ceiling
Mouldings generally are enriched by conventional carving with increased vigor through late 11th and 12th
centuries
Doors and windows have jambs in square recesses or orders enclosing nook shafts
Side porches are common and are often the usually mode of entrance, the western portals only being
opened for major festivals
Blind arcading is used as a major decorative feature
Windows are small and internal jambs are deeply splayed
Piers are short and massive and either cylindrical or polygonal
Compound piers with rectangular recesses containing shafts as at Peterborough and Durham were often
used alternately with cylindrical piers
Shape of the pier was influenced by the vaulting shafts which they supported
Capitals are usually cubiform, or cushion type sometimes carved and scalloped the tympana over many
doorways as at Ely are sculptured with effective though rough representation of scriptural subject

B. SCANDINAVIA

Romanesque architecture did not appear in Scandinavia until British and Continental European influence
upon church building became effective toward the middle of the 17th century
The smaller 12th century churches are frequently based upon two cell plan similar to those of both Celtic and
Gallic origin in England
Twelfth century cathedral churches have more mature Romanesque character
The wooden stave churches of Norway represent a type that was once common across Northern Europe,
but elsewhere have been destroyed or replaced
Denmark has seven rotunda churches, which have a circular nave, divided internally and have projecting
chancel and apse as at Nylars
Chancels and apse are constructed as small intersecting circles as at Osterlars church
Bulky west towers with stepped gables are typical of Denmark
In Denmark, the west tower may extend across the whole width of the church forming a westwerk as at Aa
church
Small stone churches in Norway and Sweden have a short wide nave, square chancel, an apse and a
western tower with pyramidal shingled spire as at Hove church
Large central towers occur in Norway as at Old Aker Church
Free standing bell towers are found, often with half timbered upper section
Openings are generally small and simple
Many doors have carved tympanum as at Vestervig Church
Most churches have timber roofed naves, but ribbed vaulting over smaller spaces such as the chancel is
common
Arcades may be of simple rectangular piers as at Ribe, Denmark
Fully developed Romanesque arcades of three stages occur in churches built under English or german
influence as at Nidaros Cathedral
Large churches may have paired towers at the western end as at Mariakirken, Bergen

EXAMPLES

A. BRITISH ISLES

Three types of Cathedral in England and Wales


1. Cathedral of Old Foundation
- were served by secular clergy and not affected by the reforms of Henry VIII

a. York h. Hereford
b. Litchfield i. London
c. Wells j. Llandaff
d. Exeter k. Bangor
e. Salisbury l. S. David
f. Chichester m. S. Asaph
g. Lincoln

2. Cathedral of Monastic Foundation


- originally served by regular clergy or monks
- were reconstituted at the Dissolution of the Monasteries as chapters of secular canons
a. Canterbury h. Carlisle
b. Durham i. Peterborough
c. Rochester j. Gloucester
d. Worchester k. Chester
e. Winchester l. Oxford
f. Norwich m. Bristol
g. Ely

3. Cathedral of New Foundation


- are those to which bishop have been more recently appointed

a. Ripon h. Chelmsford
b. Southwell i. Southwark
c. New Castles j. S. Albans
d. Wakefield k. S. Edmonds
e. Manchester l. Coventry
f. Birmingham m. Liverpool
g. Truro n. Guilford
B. SCANDINAVIA

1. Sancta Maria Minor, Lund

Now in Sweden
Is probably the earliest example of the timber stave churches
Of the simplest type, it is nearly basilican in plan form, having two cells with outer palisade walls constructed
of halved and splined logs

2. Holtalen Church

Now preserved in the Folk Museum at Trondheim


Is the most typical of the numerous and persistent type of small church
Of the late eleventh century, it has a two cell plan and stout timber columns at the corners framed into sills

3. Borgund Church

The most celebrated stave church in Scandinavia


Illustrates the full development of the structural design of the stave church
The chancel has an eastern apse of later date and the upper gables are embellished with carved dragons
heads
Internal decoration is limited to carved heads as capitals to the main columns and foliated carvings of the
bracing timber above the level of the aisled wall

4. Lund Cathedral

Then in Denmark, now in Sweden


Was built after 1103 to an enlarged design of Donatus, probably a Lombard architect
The plan is organized on a double bay system possibly modeled upon that of Speyer Cathedral
Incorporates a western tribune and towers begun about 1150
The arcaded eastern apse is strongly Lombardic and probably earlier than comparable Rhineland examples
of the same influence
Richly decorated capitals, arches and tympana reflect a continuing Nordic tradition

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