AP ART HISTORY Mrs. Lawson
Chapter 15 – Romanesque Comparative Analysis Assignment Due Date:______
Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical and cultural information.
ARCHTECTURE ANALYSIS WORKSHEETPage 1 / / /
CRITERIA:
Title-
(Architect if Known) / Abbey Church of Sainte-Foy,
pg 510-516 / St. Sernin, Toulouse, France
pp. not in book / St. Etienne,
pg 530-532
Artistic Time Period / Date
Location / Relationship to site (geography, climate, geology, etc.) / France / France / c. 1080-1120 / Romanesque / Cluniac-Burgundian style / Toulouse, France / Style used in southern France / Pilgrimage site / France
Medium/Materials /
Construction / Building Techniques / Terms / Stone ceiling / semicircular barrel vault below a timber-roofed loft / built to accommodate large congregations on pilgrimages to visit relics = increased length of nave, doubling side aisles, building over inner aisle (tribunes) / support function from wall-vault system / no clerestory – would make support unstable
Function / Purpose / Symbolism / Iconography / Religious, Christian – pilgrimage to relic
Location / Site /Orientation / Form / Sculptural Decoration / Principles & Elements of Design-Scale/Size/Proportion
Space / Light
Relationship to site: geography, climate, etc. / Related to pilgrimage churches-not earliest example, but represents rational & refinement of ideas from Carolingian designs / change in nave = now longer & composed of many identical vertical volumes of space placed one behind the other= segmentation of interior space –gives visual geometric organization and unites inside to outside walls
Axis / Interior Organization / Plan / Large scale – geometric proportion based on crossing square / unity of interior & exterior / dark – small or no windows
Style / Characteristics-Commonalities / Patron / Architect / Influences / Key Concepts / Plan is regular & geometric / use of building module=crossing square-flanked by large piers & proportionate heavy arches / nave bay measures exactly 1 ½ - each square = 1 ¼ of the crossing square / interior reflects geometric plan = articulated by ½-columns rise from corners of bay to vault & continued across nave as transverse arches
Relationship to cultural belief system (Religious)
Ritual / Christian Church doctrine / Performed religious ceremonies / housed sacred relics / sheltered visitors / belief=honor in battle by power of religious faith / Monasticism=seclusion from the world & means of education / orders= Cluniac & Cistercian / Crusades-establish Church as leader of people
Historical / Social / Political - Power/Authority / Europe begins to emerge / feudal political entities / economic system based on land tenure= Lord, paid for land through service, society strict order of classes- Lord to serf / Crusades reopen commerce with trading centers in the Near East
Other relevant structures and/or criteria / St. James (Santiago) at Compostela in Spain / most famous shrine in the West / dangerous travel / duty & hope of salvation /
Durham Cathedral
ARCHTECTURE ANALYSIS WORKSHEET
Page 2 / / /
CRITERIA:
Title-
(Architect if Known) / Speyer Cathedral,
pg 535-537 / Cathedral complex, Pisa,
pg 539-543 / Church of Sant’ Amborgio,
pg 539-543
Artistic Time Period / Date
Location / Relationship to site (geography, climate, geology, etc.) / Germany / Italy /
Italy
Medium/Materials /Construction / Building Techniques / Terms
Function / Purpose / Symbolism / Iconography
Location / Site /Orientation / Form / Sculptural Decoration / Principles & Elements of Design-Scale/Size/Proportion
Space / Light
Relationship to site: geography, climate, etc.
Axis / Interior Organization / Plan
Style / Characteristics-Commonalities / Patron / Architect / Influences / Key Concepts
Relationship to cultural belief system (Religious)
Ritual
Historical / Social / Political - Power/Authority
Other relevant structures and/or criteria
SCULPTURE ANALYSIS WORKSHEET
Page 3 / / /
CRITERIA:
(Artist if Known)
Title: / Church of Saint-Pierre, pg 516-521 / Cathedral of Saint Lazare, pg 520-521 / Reliquary Statue of St. Foy, 508-
Artistic Time Period / Date /
Orig. Location / Relationship to site /
France
/ France /France
Medium/MaterialsType / Method / Technique / Process
Function / Purpose / Patron / Audience
Subject / Content / Meaning / Symbolism / Iconography / Narrative
Pictorial Space / Composition / Principles & Elements Scale / Size / Proportion / movement-gesture / positive-negative space
Expressive Qualities / Figural Representation / stance-presentation / anatomical detail / correctness / expression /
Form-organic/geometric
Context:
Social
Political
Economic
Power & Authority
Cultural belief system (Religious)
Artistic / Stylistic
Characteristics / Commonalities
Other relevant artworks & criteria
PAINTING & OTHER ARTWORK ANALYSIS WORKSHEET
Page 4 / / / /
CRITERIA:
(Artist if Known)
Title: / Christ in Majesty, apse Church of San Clemente, pgs 524-527 / Hellmouth, Winchester Psalter,
Pgs 532-533 / The Bayeux Tapestry,
pg 534-536 / Page with initial Q, Augsburg psalter pgs 538-539
Artistic Time Period / Date /
Orig. Location / Relationship to site /
Spain
/Britain
/Britain
/Germany
Medium / Materials / Method /Technique / Wall Painting / Book Illustration / Tapestry / Book Illustration
Function / Purpose
Patron / Audience
Subject / Content / Meaning / Symbolism / Iconography / Narrative
Artistic Importance / Influence:
Pictorial Space / Composition / Formal Qualities: Scale / Size / Proportion /
Emphasis / Balance / Volume / Mass / Depth / Color / Movement-gesture / positive-negative space
Expressive Qualities / Figural Representation / stance-presentation / anatomical detail / correctness / expression /
Form-
Relationship to Cultural belief System (Religious)
Relationship to Context:
Social
Political
Economic
Power & Authority
Other artworks from the period & relevant criteria /
Hildegard’s Vision,
France & Spain ______
Germany & Britain ______
Italy______
NAME: ______
CHAPTER 15
ROMANESQUE ART
ANALYSIS PACKET
DIRECTIONS: Use attached worksheets to record information from reading homework assignments. On the reading due date, turn in each assigned analysis worksheet to Mrs. Lawson for a Reading-check grade. Add information from class discussion to the returned worksheets. Upon completion of chapter, place analysis packet into the turn-in drawer for a completed-packet grade.
Architecture Architectural & Relief Sculpture
Sculpture-in-the-Round Painting
ROMANESQUE ART
AP Exam Strategy
Romanesque art & architecture encompass 3-7% of the points on the AP Art History exam. Multiple-choice questions often ask about the reason for the rise of church building during the Romanesque period. Questions also refer to specific features of Romanesque churches, such as ambulatory, parts of the nave elevation, vaulting techniques, and the crossing square. Images of Romanesque church interiors have been included, and students were expected to identify the architecture style being shown. Besides the architecture of the period, Romanesque sculpture is an area from which question have been drawn.
Romanesque (&Gothic) Art named after art historical styles
-name invented in 1871 – means Roman-like
-to describe the “primitive Gothic” style of architecture
-NAME applied to all arts of the period-even though the art reflects influences from many sources =>
Byzantine, Islamic, early medieval Europe, & Roman art
Characteristics => in the “Roman style” - stone architecture with:
-solid masonry walls
-rounded arches
-masonry vaults
-stone relief sculpture
Historical / Social Background General
11th & 12th (1000’s &1100’s) centuries:
-Feudalism - Western Europe divided into territories ruled by powerful families
-new classes of aristocrats, vassals, given fiefdoms (parcels of land) in return for loyalty and military service
-power not concentrated in kingship, but distributed amongdukes/counts/etc
-Rise of towns (cities emerged) => dominated by burghers involved in manufacturing & international banking (middle class)
-After many conflicts & movement of peoples, Europe emerged in the 11th century (1000’s) as the countries we know today
-Monasticism & feudalism major institutions of the age
RELIGION
-Roman Catholic Church consolidates
=>Crusades/pilgrimages/monumental churches & sculpture
-Change from military power based on infantry to power based on heavily armed Christian mounted soldiers
Crusades:
-Origin partly in Spain==> Moors (Moslems) conquered Spanish in 8th century CE =>Christians want to re-conquer ==>sets precedent for “holy war” against Moslems
-Church wants to control Holy Land
-Desire for plunder
-Indulgence for sins
-First Crusade 1095 CE: maybe 5000 people
-Set up principalities in Syria & Palestine
-eventually capture Jerusalem / massacre the Jewish & Moslem inhabitants of the city
-Doesn’t foster greater understanding ==>leads to trade & cultural relations between Islamic and Christian worlds
AGE OF PILGRIMAGES:
A major event failed to occur at the end of the first millennium: the Apocalypse. Many Christians believed that at or around 1000, the world would end and Christ would return to judge humanity. When the Apocalypse did not happen, there was a surge of relief and thanksgiving among Christians. Christians became more devout in their beliefs. Many expressed their devotion by joining the Crusades or by making pilgrimages to holy sites. European knights, urged on by religious leaders, faith, and/or mercenary reasons, engaged in a quest to win control of the Holy Land from the Muslims. However, the majority of European Christians lacked the military training necessary to join the Crusades and turned to pilgrimages as the way to show their piety. The 11th century is referred to as the Age of Pilgrimages. Across Europe, a few major pilgrimages routes sprang up along which travelers could visit the relics (holy items) of famous holy figures & martyrs.
Pilgrims believed that relics contained miraculous powers, similar to the way many Byzantine Christians venerated icons. Relics consisted of bones, hair, teeth, fingernails, cloth, as well as splinter & nails from the True Cross of Christ’s crucifixion. Pilgrims were eager to view, pray near, and touch (if possible) these relics, which were in the possession of various churches. The churches commissioned artists to create beautiful reliquaries of precious metals & jewels to contain the relics & positioned them in places of honor.
During the Age of Pilgrimages, communities began to build more churches and remodel pre-existing ones to accommodate the flocks of pilgrims. Influenced by the remnants of Roman architecture that were scattered throughout Europe, architects designed churches that incorporated barrel & groin vaults, round arches, columns & piers, and exterior decorative sculptures. The basilica was used as the model, continuing the legacy of Carolingian & Ottonian architects.
It was not until the nineteenth century that art historians began to refer to the architecture of the 11 &12th centuries as Romanesque (Roman-like) period because the architecture resembled Roman architecture. One major difference in style is that the Romanesque builders did not use concrete, a building material that was essential to Roman construction. Instead, Romanesque builders relied on cut stone & mortar. Another difference is the intent of the architects. Roman builders were placing the stamp of Roman authority throughout the empire, while Romanesque builders were building for the glory of God.
A major event failed to occur at the end of the first millennium: the Apocalypse. Many Christians believed that at or around 1000, the world would end
Pilgrimage =
give up comfortable life, safety, worldly goods, to visit sacred spots
-act of penance: can be imposed by bishop to atone for some great sin
-symbolic act: act out the movement to the Promised Land, to God’s kingdom
-pleasure: by 11th century world somewhat safe; groups of friends could travel and see the wonders of the world outside their village
Destinations:
1.Jerusalem
2.Rome: tombs of St. Peter, St. James
3.Santiago de Compostela, Spain
-Major churches along pilgrimage routes
-Towns on the route compete for travelers and tourism
-Stopped at churches to visit relics: piece of the True Cross, bones of saints, etc.
Millennialism:
-Pilgrim phenomenon thought to originate around the year 1000
-Millennial fever strikes Europe: think that the Last Judgment will come and be followed by the Second Coming of Christ, a new heaven on earth
-rebuilding of church basilicas, monasteries etc. occurred
-however, major changes in architecture, etc. don’t occur until end of 11th century (1200’s)
Art & Architecture have similar characteristics with regional elements
ARCHITECTURE (general)
Romanesque architecture solved many structural problems & led to new aesthetic in the Gothic Period
Purpose: Religious (overshadowed secular building) / attempted to solve problems such as
1. Size- larger churches were needed to handle the growing congregations & increasing number of pilgrims
2. Fire- stone vaulting eliminated flammable wooden ceilings in most areas
3. Light- clerestory lighting brightened churches interiors
4. Traffic- ambulatories improved circulation patterns
5. Aesthetics- pleasing appearances – refinement of design/function
DESIGN (general)
Most styles resembled each other in following elements:
-modified basilican plan
-massive & blockish forms
-geometric units
-square schematism
-arch & vault construction
-towers
-galleries
-clerestory windows
(General characteristic applied to most (not all) churches)
•Exteriors reflected interior arrangement of space through placement of buttresses, windows, & exterior articulation / Exterior articulation includes:
-corbel tables
-blind arcades
-colonettes
-pilaster strips
•Structural support provided by:
1. Arches
- Barrel vaults
- Groin vaults (without ribs)
•Towers emphasize vertical aspects of churches (Heaven)
•Interiors proportioned according to square schematism / divided into repeated modules (bays) emphasized by:
1. Compound piers = piers with clusters of engaged columns or colonettes attached
2. Alternating support systems
3. Transverse, longitudinal, & diagonal arches
•Galleries built over aisles to increase usable floor space
•Clerestory windows pierced upper nave walls to admit light
MEDIA & TECHNIQUES (general)
1.Cut stone & brick used for foundations, walls & vaulted ceilings
2.Timber still used in some regions (Italy) for ceilings & roofs
3.Arch construction, with regional variations, dominant method – mortar held stones together
4.Concrete not used
5.Technology developed through trial & error (basics of ancient Roman architectural design not known)
REGIONAL CHARACTERISTICS OF ARCHITECTURE
PILGRIMAGE Style / southern France & northern Spain – en route to Compostela, Spain
1. Large projecting transept
2. Double aisles
3. Ambulatory with radiating chapels - so that monks could be undisturbed as pilgrims visited relics
4. Round, barrel-vaulted nave with transverse arches, groin vaults over aisles
5. No clerestory, light from windows in walls
6. No alternating support system
7. Very high octagonal crossing tower
BURGUNDIAN STYLE
1.Pilgrimage plan of ambulatory & chapels
2.Two transepts = radiating chapels
3.Pointed barrel vaults- pointed transverse arches-groin vaults over side aisles
4.Clerestory lighting
5.No alternating support system
6.No gallery
7.Two crossing towers- two transept towers- façade towers
HALL STYLE (western & central France) – preaching, rather than pilgrimage emphasized
1.No transepts
2.No clerestory
3.Aisles nearly the same height as the nave
4.Colorfully painted interiors
5.Richly sculptured exteriors
ANGLO-NORMAN STYLE – Normandy, northern France, England
Most progressive – close to Gothic style
1.3-part (tripartite) division of façade – both horizontal & vertical
2.Twin towers flanking façade
3.Ribbed groin vaulting
4.Transverse arches pointed (Durham) or depressed (St. Etienne, Caen)
5.6-part (Caen) & 7-part (Durham) vaults
6.More delicate interior walls = forerunner of the Gothic “skeletal” structures
RHINELAND STYLE – west-central Germany
1.Apse at each end (Carolingian influence)
2.No principal western entrance – small doors at side
3.Multi-stage towers decorated with blind arcades
4.Octagonal dome over crossing
5.Groin vaults (without ribs)
6.Large clerestory
7.Austere interior décor
AQUITANIAN (southern France, Italy) – greatly influenced by Byzantine architecture
1.Roofed with multiple domes
2.Greek cross plan sometimes used
3.No aisles
LOMBARD STYLE (northern Italy)
1.Atrium (Early Christian influence) in front
2.Octagonal dome over last bay – no transept
3.No clerestory
4.Multi-stage towers influenced Rhineland style
5.Ribbed groin vaults – date unknown
TUSCAN Style – (central Italy, Sicily) – most similar to Roman & Early Christian styles
1.Nave arcades with classical columns
2.Open timber roofs
3.Diaphragm arches, rounded or pointed
4.Rich encrustation of two-tone marble on exteriors & interiors = emphasis on pattern (than structure)
5.Large projecting transept
ROMANESQUE CHURCH SCULPTURE (general)
Romanesque=> marks the revival of monumental sculpture
-forms in relief
-related to church architecture / decoration
Entrance Portals
-splays- angled section flanking doors
-door jambs-along side doors
-trumeau- posts between double doors
-lintels- horizontal beams over doors
-tympanum- semicircular spaces bordered by archivolts & lintels, especially above the center doors of west facades
-Interiors
-capitals, piers, walls, & cloisters
PURPOSE & SUBJECT MATTER (general)
Various religious stories, themes, & symbols represented in effort to
instruct & entertain
Particular subjects represented on specific parts of the church:
Tympanum =
-The Last Judgment – with symbols of Evangelists
-The mission of the Apostles – relating to Crusades
-Visions from Revelations
Trumeaux, jambs, splays = Christ, Apostles, Saints
Capitals =
-Decorative plants & animals
-Historiated (or figured) – narrative scenes from the bible / could be seen easily –columns relatively short
Wall reliefs = Christ, Saints, Bible scenes (Descent from the Cross)
MEDIA & TECHNIQUES (general)
•Cut stone, usually limestone or sandstone
•Intense colors & cold added to many pieces of sculpture
•Some geographic regions used strong undercutting = produced figures almost fully round – other regions forms were flattened
•Bronze used for religious & secular sculpture in Germany
LOCATION, SIZE, SCALE
•Stone sculpture produced primarily in France & parts of Italy / Some examples in Spain / sculpture in England less quality
•Germany/Belgium = high quality metalwork
•Size = varied according to function – 10” to 10’ / much stone sculpture was monumental in size, but miniature in scale because of crowded compositions & detailed linear style
SCULPTURE DESIGN (general)
1.Sources included manuscript illumination & metal work rather than nature
2.Compartmentalized forms
3.Hierarchic scale used in tympanum sculpture
4.Expressionism & emotional impact of figures & scenes emphasized not scientific observation of reality
5.Some decorative influences from Islamic ornamental work
6.Elongated figures, serpentine hair, & flattened figures- from Carolingian & Ottonian manuscript influences
7.More rounded forms & classical proportions found in Southern France & Italy = reflect classical influences