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Romanesque Architecture and Its Artistry in Central Europe, 900-1300

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Romanesque Architecture and Its Artistry in Central Europe, 900-1300 Romanesque Architecture and its Artistry in Central Europe, 900-1300 Romanesque Architecture and its Artistry in Central Europe, 900-1300: A Descriptive, Illustrated Analysis of the Style as it Pertains to Castle and Church Architecture By Herbert Schutz Romanesque Architecture and its Artistry in Central Europe, 900-1300: A Descriptive, Illustrated Analysis of the Style as it Pertains to Castle and Church Architecture, by Herbert Schutz This book first published 2011 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2011 by Herbert Schutz All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-2658-8, ISBN (13): 978-1-4438-2658-7 To Barbara TABLE OF CONTENTS List of Illustrations ..................................................................................... ix List of Maps........................................................................................... xxxv Acknowledgements ............................................................................. xxxvii Introduction ................................................................................................. 1 Chapter One................................................................................................. 7 Romanesque Architecture: A Descriptive Analysis of the Style Fortresses of Man: Palaces and Castles a. Palaces b. Castles Chapter Two .............................................................................................. 97 Sermons in Stone: Ornamentation on the Exterior of Cathedrals, Basilicas and Parish Churches a. The architectural heritage b. Towers and facades – medieval skylines c. Ornamental friezes on apses and naves d. Ornamented portals e. Ornamented colonnades Chapter Three .......................................................................................... 277 Sermons in Stone: Ornamentation in the Interior of Churches a. Columns and capitals b. Reliefs c. Screens d. Stone fonts e. Interior Statuary f. Crypts Chapter Four............................................................................................ 345 Wall Painting Chapter Five ............................................................................................ 367 Stained Glass viii Table of Contents Chapter Six .............................................................................................. 381 Basilicas: The Mighty Fortresses of God as Monumental Representations of the Imperium Christianum Conclusion............................................................................................... 433 Notes........................................................................................................ 441 Bibliography............................................................................................ 453 Index........................................................................................................ 459 LIST OF ILLUSTRATIONS Colour Plates Chapter One Plate 1.1 Burg Rodenegg, Tyrol. Iwein, with the lion painted on his shield. Detail of the battle scene between Iwein and Askalon from Hartmann von Aue's Iwein . Iwein and Askalon approach. (Photo courtesy of Prof. Volker Schupp, Freiburg). Plate 1.2 Burg Rodenegg, Tyrol. Iwein and Askalon approach preceding the battle. Scene from Hartmann von Aue's Iwein . (Photo courtesy of Prof. Volker Schupp, Freiburg). Plate 1.3 Burg Rodenegg, Tyrol. Battle scenes between Iwein and Askalon from Hartmann von Aue's Iwein . Iwein splits Askalon's helmet. (Photo courtesy of Prof. Volker Schupp, Freiburg). Plate 1.4 Burg Rodenegg, Tyrol. Lunete hands Iwein the disguising ring. Scene from Hartmann von Aue's Iwein . (Photo courtesy of Prof. Volker Schupp, Freiburg). Chapter Two Plate 2.1 Sélestat. Entrance through the narthex with painted tympanum. Plate 2.2 Freiberg, Saxony. Golden Portal. Main entrance to the church dedicated to the Virgin Mary. Plate 2.3 Freiburg cathedral, entrance hall, south western corner with the statue of St. Margaret of Antioch. (Courtesy Mr. D. Wittke, Freiburg) Plate 2.4 Freiburg cathedral, entrance hall, south western corner with the statue St. Catherine of Alexandria. (Courtesy Mr. D. Wittke, Freiburg) Plate 2.5 Freiburg cathedral, Voluptas. (Courtesy Mr. D. Wittke, Freiburg) Plate.2.6 Freiburg cathedral, tympanum. Christ seated in judgment, Crucifixion with the separation of saints from sinners, opening of the graves, Nativity and Captivity of Christ, suicide of Judas. Plate 2.7 Schwarzrheindorf. Carved capital from the dwarf gallery. Chapter Three Plate 3.1 Hildesheim, St. Godehard. A capital of the choir with its 19th century coloration. Plate 3.2 Halberstadt, choir screen with fading coloration of the Apostle Phillip. Plate 3.3 Naumburg cathedral, eastern rood screen with painted, arcaded frieze. (Courtesy Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg: Fotograf: Matthias Rutkowski). x List of Illustrations Plate 3.4 Naumburg cathedral, western rood screen with scenes of the Passion. (Courtesy, Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg: Fotograf: Matthias Rutkowski) Plate 3.5 Naumburg cathedral, John of the crucifixion group from the western rood screen.(Courtesy, Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg: Fotograf: Matthias Rutkowski) Plate 3.6 Naumburg cathedral, Mary of the crucifixion group from the western rood screen. (Courtesy, Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg: Fotograf: Matthias Rutkowski). Plate 3.7 Naumburg cathedral, detail of the passion scene, southern frieze of the western rood screen. (Courtesy, Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg: Fotograf: Matthias Rutkowski). Plate 3.8 Naumburg cathedral, polychrome founder figures on opposite walls, Uta and Eckehard. (Courtesy, Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg: Fotograf: Matthias Rutkowski) Plate 3.9 Naumburg cathedral, Hermann and Reglindis. (Courtesy, Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg: Fotograf: Matthias Rutkowski) Plate 3.10 Naumburg cathedral, the countess Gerburg. (Courtesy, Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg: Fotograf: Matthias Rutkowski) Plate 3.11 Naumburg cathedral, count Dietmar. (Courtesy, Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg: Fotograf: Matthias Rutkowski) Chapter Four Plate 4.1 Reichenau, St. George, Oberzell. Painted wall panels of the interior, flanking the apse. Plate 4.2 Reichenau, St. George, Oberzell. Painted wall panels of the nave. Plate 4.3 Reichenau, St. George, Oberzell. North wall, Christ performs healing miracles. Plate 4.4 Reichenau, St. George, Oberzell. North wall, Christ calms the storm. Plate 4.5 Reichenau, St. George, Oberzell. South wall, Christ performs healing miracles. Plate 4.6 Reichenau, St. George, Oberzell. South wall, Christ raises Lazarus from the dead. Plate 4.7 Reichenau, St. George, Oberzell. Christ enters a room. Plate 4.8 Fulda, St. Andreas, ceiling and wall paintings in the crypt. Photo with the permission of the restorer, Christine Kenner. Plate 4.9 Kloster Gröningen, Benedictine monastery church. Interior with polychrome stucco figures on the choir loft. Copy. Romanesque Architecture and its Artistry in Central Europe xi Plates 4.10a,b,c,d Kloster Gröningen, painted capitals with antithetical bird and stylized animal motifs. Plate 4.11 Walderbach, Cistercian monastery church, painted ribs of the vault. Plate 4.12 Müstair, convent church dedicated to John the Baptist. Mural depicting the martyrdom of the apostles Peter and Paul. (Courtesy Stiftung Pro Kloster St. Johann in Müstair, Switzerland). Plate 4.13 Müstair, the martyrdom of St. Stephen. (Courtesy Stiftung Pro Kloster St. Johann in Müstair, Switzerland). Plate 4.14 Müstair, The removal of St. Stephen's body on a stretcher, towards the open sarcophagus.(Courtesy, Stiftung Pro Kloster St. Johann in Müstair, Switzerland). Plate 4.15 Hildesheim, St. Michael's. Painted wooden ceiling. (Courtesy, Jens Kotlenga, St. Michaelsgemeinde, Hildesheim). Plate 4.16 Hildesheim, St. Michael's. Detailed sections of the painted ceiling: Adam and Eve. Reclining Jesse. (Courtesy, Jens Kotlenga, St. Michaels- gemeinde, Hildesheim). Plate 4.17 Hildesheim, St. Michael's. A modern replacement image of Christ enthroned in Majesty. (Courtesy, Jens Kotlenga, St. Michaelsgemeinde, Hildesheim). Plate 4.18 Braunschweig cathedral. The painted vaults of choir, crossing and southern transept. (Courtesy Kunstverlag-Peda.de). Plate 4.19 Braunschweig cathedral. Apse with enthroned Christ in the mandorla flanked by the Tetramorphs. Fresco-secco, Johannes Wale (Gallicus),1240-50. (Courtesy Kunstverlag-Peda.de). Plate 4.20 Braunschweig cathedral. Detail of the choir vault. The Root of Jesse. (Courtesy Foto Marburg). Plate 4.21 Braunschweig cathedral, choir walls with bands of narrative
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