Romanesque Art. Victoria Charles

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      I. The Romanesque System of Architecture

      Widely spread all over Christian Europe, the Romanesque style was the first independent, self-contained and unified style. Architecture dominated Romanesque art, and all other artistic movements such as painting and sculpture, which often demonstrated dramatic motifs, were subordinated. The Romanesque style is predominantly a certain use of forms, which branches out into different peculiarities. Nonetheless, most Romanesque structures have certain essential features in common, according to which a system of Romanesque architecture can be established.

      Romanesque architecture can be divided into the Early, High and Late Romanesque periods, whereby the Pre- and Early Romanesque periods can also be subdivided according to dynasties; Merovingian (up to 750 A. D.), Carolingian (750–920 A. D.) under Charlemagne’s rule, and Ottonian (920–1024 A. D.). In the different European countries, different starting dates are used to mark the beginning of the Romanesque period. Thus, the Anglo-Saxon period in England ends in 1066 with the Battle of Hastings. In Germany, the Romanesque period begins with the end of the Ottonian dynasty (1024), and in France the first vaulted buildings (Saint-Michel-de-Cuxa in the Pyrenees and Saint-Philibert in Tournus) appeared.

      The only structures that can initially be considered, however, are exclusively ecclesiastical buildings, since the Early Romanesque style everywhere in Europe was developed mainly by young monastic communities, as was intellectual and spiritual life in general. They are thus, in their majority, ecclesiastical art. The more the riches of the church grew, the more magnificent the structures became. The ecclesiastical building’s basic form is the basilica with its often cross-shaped floor plan, whereby the choir and nave are located in the long arm, while the transept forms the short arm of the cross. The so-called overstorey or clerestorey windows are located in the nave above the side aisle roof.

      The westwork was considered a symbol of secular power. Thus, it was where the Emperor was seated during mass. The choir represented ecclesiastical power. Secular buildings – castles, fortresses, princely palaces, Pfalzen (secondary seats of power) and urban residences – are only preserved from the end of the Romanesque period and only in very scarce numbers. The massive, well-fortified and fortress-like walls (particularly in the westwork), the round arches on windows and doors, the small windows, and, though only in the later periods, the cushion-cap capitals on top of often delicate columns are typical of Romanesque architecture. The most important achievement of Romanesque architecture is, without doubt, the vault.

      The Early Romanesque period (from around 1024 until 1080) is characterised by flat, wooden coffered ceilings, which were in constant danger of fire. The walls made of smooth stone blocks were unadorned and more like those of a fortress than an ecclesiastical building. The first towers were attached to buildings often even their multiples. During the High Romanesque period (from around 1080 to 1190) groin vaults appeared as well as architectural ornamentation and free-standing figurative sculptures. The subsequent Late Romanesque period, which ended around 1235, preferred the variety of lavishly decorated structures and interiors. During the Late Romanesque period one can already find Gothic elements, such as pointed arches or ribbed vaults; the massive walls and small windows, however, remained. During this time, magnificent twin tower façades also appeared, as well as richly-formed crossing towers. The church of the Romanesque Middle Ages did not develop from the Carolingian central structures, but from the monastic churches, which had quickly become places of worship for the masses through the monks’ culture of pastoral activities of encouragement and conversion.

      The basilica form was also the foundation of the new system, but was often expanded and enriched by new forms. The old main elements – choir, nave and transept – were retained. The choir, however, was regularly enlarged by the insertion between the transept and the choir of a rectangular room, whose size corresponded largely to that of a square created by the intersection of the nave and transept, the crossing. In this manner, for example, a floor plan in the shape of the Latin cross, developed for the monastic plan of St. Gall, appeared, which replaced the T-shaped floor plan and remained authoritative throughout the Middle Ages. The enlarged choir, whose expansion had become necessary due to the constant growth of the clergy and was thus marked as a preferred place for them, was separated from the crossing by several steps. This raising of the choir above floor level was also done for another reason. The Romanesque period had adopted the idea of the crypt from the Carolingian basilica, and it is present in all but a few churches of the Early Romanesque period.

      Crypts were originally used to hold martyr relics, over top of whose resting places stone sarcophagi were erected. Later on, noblemen and other high-ranking individuals, such as founders and benefactors of churches, were also buried in crypts. Thus, for example, King Henry I of Saxony and his wife Mathilda have their final resting place in the crypt of the Stiftskirche (collegiate church) of Quedlinburg, which they had founded, in present-day Saxony-Anhalt. This crypt, which was later renovated, is one of Germany’s two oldest crypts, the other being St. Wiperti Church in Quedlinburg, which was also founded by Henry I and remained preserved in its original form. This quaint little town with a current population of nearly 25,000 used to be the capital of Germany at the time for more than 200 years, and is now part of UNESCO’s World Cultural Heritage.

      Relatively close in age is the crypt of the Stiftskirche (collegiate church) of Gernrode in the Harz region, built from 961, which retained its overall original character in all other parts also. From this structure, one can appreciate to what degree the spatial effect of the interior as well the monumentality of the exterior appearance of Romanesque architecture had already blossomed on German soil in the tenth century.

      South-East façade, St. Michael’s Abbey Church of Hildesheim, Hildesheim, 1010–1033.

      Western view, with atrium, and narthex, St. Michael’s Abbey Church of Hildesheim, Hildesheim, 1010–1033.

      1. Porch/atrium; 2. Narthex; 3. Western façade; 4. Tower crossing the West; 5. Western turrets; 6. Central nave; 7. Collaterals; 8. Tower crossing the East; 9. Western transept; 10. Turrets of the eastern transept

      Horizontal plan, St. Michael’s Abbey Church of Hildesheim, Hildesheim, 1010–1033.

      1. Porch/atrium; 2. Narthex; 3. Western façade; 4. Tower crossing the West; 5. Western turrets; 6. Central nave; 7. Collaterals; 8. Tower crossing the East; 9. Western transept; 10. Turrets of the eastern transept; 11. Apsidiole; 12. Chancel; 13. Apse

      During the early period of the Romanesque style, church interiors were less ornate than their exteriors. Thus, for example, the exterior façade of the church of Gernrode, the most imposing building in Saxony at the time, is only made up of pilasters bearing round arches. These round arches with their painted ornaments or diverse stone inlays did not only serve a decorative purpose, but they also contributed to the building’s structural stability. Two round towers with cone-shaped roofs frame the high-rising western façade, which is attached in its current form to an apse dating from the twelfth century. Initially, these towers were only used for the practical purpose of housing the bells and the stairs leading up to the bell cage, but they soon achieved artistic importance in church architecture. The master builder of the church in Gernrode was obviously very keen to connect the towers not only with the entire structure into a unified whole, but also to animate the massive walls with unique ornamentation. СКАЧАТЬ