SLIDE 1 - Aegean Map

Romanesque Page 1

Romanesque means “in the Roman manner” Applies to 11th & 12th century style in Europe. Pilgrimage churches to accommodate those who wanted to travel to see relics of saints Solid masonry walls Rounded arches Masonry vaults like Roman buildings, often ribbed vaults. Radiating chapels to fit more people in Feudalism & Crusades – Christians had previously been on the defense against Muslim invaders Now became the aggressor, attacking and re-claiming Christian territory. Church and state were allied, Christian rulers helped to assure the spread of Christianity throughout Europe Supported monks and church leaders, who were often their relatives, with Gave them grants of land. The church, in return, gave rulers social & spiritual support and supplied them with educated officials. Secular & religious authority were very tightly entwined.

SLIDE – Model of Abbey of Cluny III. Burgundy, France. 1088 - 1130. 2th century was a time of great building in Europe. Community rivalries to see who would worship in the finest building. The basic form of Romanesque churches was inspired by early Christian basilica designs. Romanesque builders made some key structural differences and advances. Stone masonry vaulting replaced wood roofs Better fire protection, and gave better acoustics. They added ribs to barrel and groin vaults. Used masonry buttresses to reinforce walls at crucial points. Ambulatories (walkways) were added around the apse to reach radiating chapels

Added towers over the crossing (where nave crosses transept) and often over the west end (entrance) – signifies a gateway to paradise. Towers were especially common along Pilgrim routes. This church was a reformed Benedictine monastery. Had independent status - answered directly to the Pope in Rome, Not the local bishop & feudal lord. Had lots of freedom - allowed Cluny to become very influential & prosperous. By 2nd half of 11th century it housed 300 monks. At the height of its power, 1450 other monasteries answered to Cluny’s administration. Was the largest church in Europe when it was completed in 1130. Had towering barrel vaulting, 100 feet high and nearly 500 ft long from end to end. This enhanced the sound of the monks’ chants. Romanesque Page 2

SLIDE - Nave, Abbey Church of Notre-Dame, Fontenay. 1139 - 1147. This is a Cistercian church. Cistercians were a religious order devoted to austere (extremely simple) spirituality. Their emphasis was on strict mental & physical discipline. Very different from the Benedictine monks, Who held land, educated & housed travelers, helped to care for this sick… Cistercians stressed a very simple monastic life. Simple Latin-Cross plan. Long nave with rectangular chapels in square ended transept arms. Shallow choir with straight end wall (not rounded apse). The Cistercians relied on harmonious proportions & fine stonework to achieve beauty. No elaborate surface decoration is used – reflects their ideals of simplicity. Only an altar and candles adorn the church. Simple, beautiful windows in the back wall. They used pointed rib vaults over the nave. Ribs are curved & projecting stone lines for structural support. Pointed vaults are more structurally stable than rounded ones Direct weight down to the floor instead of out to the walls Can support more weight. They also tend to focus your eyes up, centering gaze & thoughts on heaven. Their simple architecture spread - influential to the Gothic period later on.

SLIDE - Nave, Church of Sant’Ambrogio. Milan. In Northern Italy. Named for Saint Ambrose – Milan’s 1st Bishop. One of the fathers of the Christian Church in the 4th century (died 397). Romanesque architecture has an austere dignity – Harmonious proportions & restrained use of decorative motifs Based on the architectural forms themselves. The church was begun in 1080, but after an earthquake they did the vaulting Rebuilt with the more technologically advanced 4-part rib vaulting. On the exterior, it uses corbels (brackets) and buttresses for support. Builders took care to ensure its stability – it has a wider nave than Cluny III (built roughly at the same time), The nave is only 60 feet (about half as high as Cluny). There are windows only in the outer walls, there is no clerestory. Romanesque Page 3 SLIDE – Eterior - Church of St. Etienne. Caen, France. Exterior. Begun 1064. Normandy region - this church location was originally a monastery site. Founded by William, Duke of Normandy. (We’ll hear more about him later) Survived through WWII, and their western towers still dominate the skyline today. Soaring height - was a one of the goals of Norman architects. Loved towers & verticality. Following the tradition of the Carolignians - like Charlemagne’s palace chapel Located at each window level - emphasize the 3 stories. This design is a precursor to Gothic Cathedrals.

St. Etienne, Caen. Interior. The nave walls are a 3-part elevation Exceptionally wide arches in the nave arcade, repeated in the gallery above. In the clerestory, there’s a narrow arcade in front of the windows, creating a passageway. Engaged columns alternate with engaged columns backed by pilasters, Emphasizes the height and creates a pattern of heavy/light down the nave. It originally had a timber roof, which was replaced by masonry in 1120 (more Gothic)

SLIDE - Nave of Durham Cathedral. England. 1093 The church was built just south of Durham castle in England. One of the most important medieval churches. Has been in continuous use, so it has been altered a few times. Ambitious in scale and decoration Enormous compound piers alternate with large, fat columns - line the nave arcade. The columns are carved with chevrons and diamond patterns. All of this was painted at one time. Above the massive walls were ribbed vaults - which were a new system. Regular ribbed vaults visually separate the space, But pairs of criss-cross ribs, it unified the interior. Romanesque Page 4

SLIDE - Cathedral Complex at Pisa. Tuscany, Italy. Cathedral begun 1063, baptistery in 1153, and campanile (leaning tower) in 1174. The spirit of Rome reappeared in the Romanesque architecture at Pisa, Never completely died out in Rome & other areas of Italy. Pisa was a great marine power, and Competed with the Muslims for control of trade in the Mediterranean. Defeated Muslims in battle in 1063, the Pisa began to build a majestic new cathedral dedicated to the Virgin Mary. The complex includes: 1. The cathedral 2. A freestanding bell tower (campanile) - the Leaning Tower of Pisa 3. A baptistery (a place for performing baptisms) 4. A walled burial ground. Cathedral is an adapted cruciform basilica plan, with: Long nave, double side aisles, a clerestory, & a rounded apse Transepts (arms), and a dome at the crossing. An Islamic bronze griffin topped the dome until 1828. The tower was designed by Bonanno Pisano (?). It began to lean almost immediately while it was still under construction It was built on inadequate foundations. The tower is 180 feet high, and today the top is 21 feet off perpendicular. (5 - 6 degree tilt) It has tier upon tier of marble arcades – (6 stories worth) Echoed in the other buildings at the site. Shows a reuse of Classical themes & the character of Italian Romanesque art. Italians were very conscious of their Roman past. Romanesque Page 5 SLIDE - Wiligelmus - Creation & Temptation of Adam & Eve. Frieze on west façade, Modena Cathedral. Italy. 1110. Marble. Approx. 3’ tall. These horizontal reliefs are among the earliest narrative portal sculpture in Italy Show the spirit of ancient Rome. This frieze resembles ancient sarcophagi, which Wiligelmus had most likely seen. Carved with scenes from the Old Testament Book of Genesis Includes events from the creation to the flood. Here we see the creation & fall of Adam & Eve. On the far L is ½ length god framed by a halo of light - held by 2 angels. In the next scene, God brings Adam to life, then Eve from Adam’s side. On the R, Adam & Eve cover their genitals in shame as they Greedily eat the fruit from the forbidden tree. A serpent twists and winds around the tree. Low relief carving, but was done so skillfully that it looks very 3D. Background looks like a church arcade & gives the stories a setting, like a stage. The characters aren’t graceful, but they have a sense of personality, and Give emotional depth to the narrative. Wiliglmus’s style & influence can be found in sculpture all over Europe He focused on the human beings – their stories & beliefs Not just the saints or God or Christ. Romanesque Page 6

SLIDE - South Portal, St. Pierre. Moissac, Toulouse, France. 1115-1135 Most Romanesque churches have a wide variety of sculpture & painting. Carved portals (grand entrances) were a significant innovation in Romanesque art. Large sculptures like this hadn’t been done since the end of the Roman Empire. Romanesque portals like this combine: Biblical narratives, legends, folklore, history and Christian symbology. This church, the Priory Church of St. Pierre, was a major pilgrimage stop for travelers. There is a large amount of carving on this portal, and it is of very high quality. Covers the tympanum, archivolts, lintel, doorjambs, & trumeau. All this was originally painted; there are traces of the paint still on it. The subject is “Christ in Majesty” - dominates the huge tympanum. Images of the second coming of Christ & also Old Testament prophecies. Christ is HUGE - awe-inspiring like Pantokrator. He stares down at viewers as he blesses & points to the book. He is enclosed by a circle of light & halo around his head. The 4 evangelists Matthew, Mark, Luke, & John frame Christ in. Each holds a scroll of book to represent his gospel. 2 elongated angels at either side. 2 wavy bands at his feel & behind his throne separate the space into 3 registers. In them, 24 elders sit with “gold crowns on their heads” (probably gilded) Sit in various poses. The elders are Kings & prophets of the Old testament, Ancestors of Christ, according to the Medieval view. Each holds either a harp or gold bowl of incense. There is a distinct hierarchy. Christ is biggest, in center, Then the evangelists & angels, Then the elders which are only 1/3 Christ’s size. This whole thing is carved from 28 blocks – small figures fit 1 or 2 in a block. Below, beasts’ tongues form rosettes on the lintel - an Islamic influence. This was completed shortly after the 1st Crusade Europe’s encounter with Islamic art and architecture of the Holy Land. Warriors brought eastern Islamic ideas & influence home. Animals climb the piers on either side of the doors.

SLIDE - Lions & Prophet Jeremiah, from Priory Church of St. Pierre. Pairs of lions cross in X patterns, with rosettes between the lions. Tall, thin prophet Jeremiah, his legs crossed, twisted. This was completed shortly after the 1st Crusade Europe’s encounter with Islamic art and architecture of the Holy Land. Warriors brought eastern Islamic ideas & influence home. Romanesque Page 7

SLIDE - West Portal, St. Lazare. Atun, Burgundy, France. A different style in Burgundy - thinner, taller figures than St. Pierre, more stylized. The figures are also arranged more haphazardly than at Moissac, Not in 3 organized bands. Figures are stretched, bent at sharp angles, powerfully expressive. They convey the terrifying urgency of the moment. The Last Judgment Christ dominates the image - appears detached. He is judging the cowering, naked human souls at his feet, and The damned writhe in torment on the right, saved souls enjoy bliss on the left. The figures at the bottom are pilgrims to Jerusalem - A pair of pincer-like hands scoops up a soul at the bottom right. Above that is a scene similar to Egyptian books of the dead. Archangel Michael weighs souls on a scale of good & evil. Screaming demons try to cheat by pushing down souls, Grabbing them, yanking the scales to favor evil. A long inscription in the band below Christ’s feet identifies the work by Gislebertus.

SLIDE - Virgin & Child. Auvergne, France. 1150 - 1200. Oak. 31” tall. Began to see small-scales images of saints & holy family placed on the altars in churches. “The Throne of Wisdom” - seated Virgin Mary holding the Christ-child on her lap Or the Throne of Solomon Old Testament king & symbol of wisdom. Mary is the throne of wisdom because her lap is Jesus’ throne The figures are very rigid, and very regal. Mary supports Jesus with both hands. Jesus looks like a miniature adult. His hands have been broken off, but he held a bible in his left hand Right hand was raised in blessing. These wooden figures were a specialty of the Auvergne region of France Exported to many places throughout Europe. Romanesque Page 8

SLIDE - Christ in Majesty. Apse painting, Lerida, Spain. Mid 12th century. Many of these were painted in isolated Spanish monasteries They survived well because of their isolation. Most were removed to museums for safety and preservation. This one was painted by an unnamed artist known only as “the San Clemente Master”. It is now in a Barcelona museum Magnificent and expressive, with elongated oval faces, large staring eyes, long noses. The figures are placed against flat colored bands, with heavy outlining. Frontal, symmetrical, geometric proportions used by the Byzantines. Romanesque version of the Byzantine depiction of Christ as Pantokrator. Shows Christ as the ruler & judge of the world. Definite Byzantine (and perhaps Arabic) influence. 3 tones of shading - light, middle, dark.

SLIDE - Nave, Abbey Church of St. Savin-sur-Gartempe. France. 1100. Painting started to replace mosaic decoration in churches, Mainly because there were a greater number of churches being built Had to use less expensive materials & techniques. The painters were inspired by local models available to them. (some had Byzantine, or Carolingian, or even early Christian art to look at.) This church is a beautiful example - columns are painted to resemble marble. The tunnel-like barrel vault above the nave is painted with Old Testament scenes Inspired in part by illuminated manuscripts – can the influence. These are NOT fresco, but the artists did moisten the walls before they painted on it Helped some of the pigment soak into the plaster. This also makes the paintings more permanent and leaves a softer, powdery color. NEXT SLIDE This is a depiction of the Tower of Babel from the ceiling – God punished the prideful people who tried to build a tower to heaven Scattering them & making their languages different & unintelligible to each other. The tower looks Medieval –showing a legendary event in a contemporary setting. Workers build the tower. The giant, Nimrod, right, hands over the blocks. At L, God confronts the people, stepping away as he chastises them. The scene is dramatic, with large figures, strong outlines Simple modeling of the figures. This helps it remain easy to see in dim light from below. Romanesque Page 9

SLIDE - Vision of Hildegard. Liber Scivias, by Hildegard of Bingen. Trier, Germany. 1050 - 1179. (Copy, original lost in WWII) Carolingian & Ottonian manuscript traditions continue during the Romanesque period. This is the opening page from “Liber Scivias” – Translated as “know the ways of the light”. Hildegard was unusual - she transcended barriers that limited most Medieval women. Born into an aristocratic German family, entered the convent as a child. She developed into a scholar, then leader of her convent. Eventually founded a new convent. She had what she thought were divine visions since she was a child When in her 40’s, she began to record them with the help of a monk. She also wrote on medicine & natural science Was a major intellectual figure of her time. This opening page shows her receiving a flash of divine insight Represented by flames that reach down to her head. She records the visions on a tablet The scribe (Monk Volmar) waits off the side.

SLIDE - Page with Hellmouth, Winchester Psalter. England. 1150. Ink & tempera on vellum. 13” x 9”. Handout page 541. Illustrated Psalters were very characteristic of Romanesque Illumination. This Psalter written in Latin & Norman French A masterpiece of English Romanesque art. Made in an Anglo-Saxon scriptorium in Winchester. Shows the gaping jaws of hell, a traditional Anglo-Saxon subject. Vivid description of the terrors & torments of hell The clergy would often use to enliven their sermons. At the top reads, “Here is hell and the angels who are locking the doors.” The ornamental frame around the image is the door to hell. An angel at the left turns the key to the door in the keyhole The damned have been crammed into the mouth of hell – which is a double-headed monster. Sharp beaked birds and dragons sprout from its mane. Hairy, horned demons torment the lost souls tumbling within the mouth. There are kings, queens, and monks inside too - proof that everyone’s soul is vulnerable. Romanesque Page 10 SLIDE - Bayeux Tapestry. Bayeux, Normandy, France. 1070 - 1080. Embroidered wool on linen. 20 inches tall, 230 feet long. This is THE best-known work of Norman art. *Handout page 543 and 544. It is a narrative wall hanging that documents the Norman conquest of England in 1066. Commissioned by Odo, the half-brother of William, Duke of Normandy (AKA William the Conqueror). It is a major political document Shows how William the Conqueror defeated the English King Harold. When King Edward of England died – (AKA Edward the Confessor) William thought HE should get the throne Instead the crown went to Harold - William feel betrayed. The Normans were descendants of Vikings, so - They hopped in their ships, crossed the English Channel Crushed Harold’s military. The Bayeux Tapestry: celebrates William’s victory Validates his claim to the English throne Promotes Odo’s interests as a powerful leader himself. It is actually embroidery, not a tapestry. Done in 8 colors of thread Stitched on 8 long pieces of undyed linen Sewed together to make one LONG narrative. Scribes probably made the drawings for the work, but it was embroidered by women. A treasury of information - shows everything about Norman & Anglo-Saxon life. Technology, farming, warfare, to table manners. It is laid out in 3 registers. The middle (big) one is the main narrative with Latin inscriptions. The top & bottom registers are smaller, secondary subjects and decorative motifs. We see Harold’s coronation (name over his head), Which was spoiled by Hailey’s comet (very bright at that time) Was taken as a sign of trouble, Vision of boats coming to attack. Normans coming across the sea in boats, with their horses. See them ready for battle, then the battle itself, then William’s victory celebration feast.