The term Romanesque is a term created by art historians to describe this new medieval art that appeared to resemble the Roman art and architecture of the past, or Roman-like, literally.[1] This period defines not only art forms, but also the architecture and the culture of the time; more specifically from about 1050 to 1200.[2] Beginning at the dawn of the new millennium (1000 CE) there was a massive influx of pilgrims and worshippers to the holy establishments, as the end of the first millennium gave rise to fears that the world might end, not unlike some of the groups that claimed the same thing at the beginning of the 21st century. The increase in traffic and revenue these establishments saw acted as a major catalyst towards the development of the unique architecture and art of the Romanesque period. This study will focus on some of the key features of the time period and some of its origins.
Anyone who has studied medieval art forms would note that the distinctions between art and architectural forms throughout time are very rarely immediate and instantaneous affairs. Rather, they tend to overlap and gradually evolve into their own styles; such is the case with the Romanesque style. It is clear, however, that by 1100 CE this new form began to diverge from its predecessors. Edward Bell notes in his entry in The Archaeological Review that, “Starting from one or two common types [ideas] were developed with more or less rapidity under special circumstances into forms of great diversity…] [3] These special circumstances he is referring to are the previously noted economic and conceptual catalysts brought about by the new millennium. The principle features of the Romanesque period are “barrel and groin vaults based on the round arch”.[4] These features are unique to the Romanesque period; they differ from the timber-based vaults of the past, and from the pointed-arches[1] and flamboyant style of the later Gothic.
[1] The pointed arches, sometimes called ogival arches or rib vaults, of the Gothic period are very different from the previous styles and were first used in Sasanian (Persian) architecture. These arches allowed Gothic architects to make the crowns of all the vaults approximately equivalent heights, irrelevant of the space they were attempting to vault. Note the differences between FIG. 1-1 the Hagia Eirene’s (532 CE) large Eastern Orthodox vault, with FIG. 1-2 Notre-Dame de Paris’ (1163-1345 CE)Gothic rib vault.
1- 1 Hagia Eirene’s large vault(532 CE) [Left]
1- 2 Notre-Dame de Paris’ large rib vault (1163 CE) [Right]
However, as noted, regional differences in the Romanesque style were so significant that even well into the art period, some of the builders continued to use the Ottonian style timber-roofs. One such example is the church Saint-Étienne in Vignory, France (1050-1057 CE). [5] This church is a key example of the melding styles previously mentioned. While timber-roofs were still being used, towards the 12-13th centuries stone vaulting was becoming the most popular choice for several reasons. One reason was the costly destruction of these buildings due to fire, as the primary source of interior illumination was candles and lamps. The most significant of these to burn down was Canterbury Cathedral in 1174; Only 44 years after being dedicated. Constructions such as these were very costly to not only the church, but to the whole city, as they were often the ones who paid for them. Their solution resulted in the proliferation of the stone vault in most cathedral’s constructions. Additionally, the presence of stone vaulting had a large impact on the way a cathedral was perceived, allowing for a new aesthetic that found favor in much of Europe. Some of the most famous ones are, Saint-Vicenç, Cardona (ca. 1060), Saint-Philibert, Tournus (ca. 1060), Saint James, Santiago de Compostela (ca. 1075), and Saint-Sernin Toulouse, (ca. 1070).[6]
Another distinctive feature of the Romanesque period is
the renewed appearance of stone sculpture. Prior to 1000 CE, large-scale
sculpting of stone was almost nonexistent between the fall of the Roman Empire
and the High Middle Ages.[7] Yet saw an immense revival
in great form during the Romanesque with a brilliant example at Moissac (ca.
1120-1130), representing the Apocalyptic vision.[8] This revival in stone
sculpture was a way for architects and artists to depict scenes to the vast majority
of the population who, at the time, could not read. Many biblical stories and
people are seen on many cathedral door jambs, entryways, and even in the
widespread use of stained-glass mosaics.[9]
The Romanesque period not last long and was quickly superseded
by the more extreme styles of the Gothic period. Nonetheless, it was vital in
transitioning Western Europe from the Ottonian and Carolingian styles of the
Early Medieval period, to the Gothic and flamboyant period of the High Middle
Ages. These styles were the high point in a period often called the Dark Ages
but were critical contributors to the economic and social developments that
later led to the Renaissance.
Notes
Notes
[1] Fred S. Kleiner, Gardner’s Art Through the Ages A Global History Volume I, 16th ed. (Boston, MA: Cengage Learning, 2018) p. 348
[2] Ibid.
[3] Bell, Edward. “ON THE DISTINCTION BETWEEN ROMANESQUE AND GOTHIC.” The Archaeological Review 2, no. 4 (1888): 237-51. www.jstor.org/stable/44245200. p. 239
[4] Fred S. Kleiner, Gardner’s Art Through the Ages A Global History Volume I, 16th ed. (Boston, MA: Cengage Learning, 2018) p. 348
[5] Ibid. p. 351
[6] Ibid. p. 354
[6] Fred S. Kleiner, Gardner’s Art Through the Ages A Global History Volume I, 16th ed. (Boston, MA: Cengage Learning, 2018) p. 355
7 Ibid. p. 355
8 Kemp, Martin J. and et al. “Western Christian.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 15 Feb. (retrieved December 4, 2019).
Bibliography
Kleiner, Fred. Gardner’s Art Through the Ages A Global History Volume I, 16th ed. (Boston, MA: Cengage Learning, 2018)
Bell, Edward. “ON THE DISTINCTION BETWEEN ROMANESQUE AND GOTHIC.” The Archaeological Review 2, no. 4 (1888): 237-51. www.jstor.org/stable/44245200.
User: Zmorgan. “Rib Vault.” Wikipedia, Wikimedia Foundation, 28 Nov. 2019, en.wikipedia.org/wiki/Rib_vault#/media/File:Ceiling,_Notre_Dame,_Paris,_ZM.JPG. Photo is public domain courtesy of the user Zmorgan.
User: Gryffindor. “Byzantine Architecture.” Wikipedia, Wikimedia Foundation, 26 Nov. 2019, en.wikipedia.org/wiki/Byzantine_architecture#/media/File:Hagia_Eirene_Constantinople_2007.jpg.
Merriam-Webster, Romanesque, Merriam-Webster, www.merriam-webster.com/dictionary/Romanesque.
Kemp, Martin J. and et al. “Western Christian.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 15 Feb. (retrieved December 4, 2019). https://www.britannica.com/art/Western-sculpture/Western-Christian#ref30376
