The Romanesque: The Style in its Social Context. Architecture in the Middle Ages (400-1400) Late...
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![Page 1: The Romanesque: The Style in its Social Context. Architecture in the Middle Ages (400-1400) Late Antique or Early Christian Carolingian 780-900 Romanesque.](https://reader030.fdocuments.net/reader030/viewer/2022032612/56649efe5503460f94c12227/html5/thumbnails/1.jpg)
The Romanesque: The Style in its Social Context
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Architecture in the Middle Ages (400-1400)
Late Antique or
Early Christian Carolingian
780-900Romanesque
1000-1200Gothic
1200-1400
Byzantine Islam
c. 1400Italian
Renaissance begins
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Muslim Empire in 750 Carolingian Empire in 814
I. Historical lead up to the Romanesque period (AD 1000-1250)
Carolingian palace chapel, Aachen, Germany, 792-805
Great Mosque at Cordoba, Spain
784
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In the Carolingian period (780-900): Western European monasteries given definitive form
I.
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Scale and plan of Carolingian basilicas (compared to Early Christian predecessors)
I.
Carolingian Carolingian
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Carolingian basilicas: vertical emphasis
I.
Carolingian Corvey abbey church, 873-85, Germany Carolingian Abbey church of St. Boniface at Fulda, Germany, 790-819
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9th- 10th cen. Viking, Magyar, and Saracen invasions
1.2.
City walls, Avila, Spain, b. 1090
a wood keep
earth and wood fortification
I. A. The Carolingian empire and its restoration of monumental architecture was promising, but why didn’t it last?
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residences of the feudal elite
great hall 2nd & 3rd floors
I. B. When did the fortunes of Europe become more conducive to architectural innovation?
ecclesiastical architecture merchants’ townhouses
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Ste.-Foy at Conques
I. B. return of cut stone masonry
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Ste.-Foy at Conques, France (abbey church), 1030-1120
Speyer Cathedral, Speyer, Germany1030-1106
II. Romanesque Style or Design Mode: Context for its visual and spatial sophistication
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Pisa Cathedral
Durham Cathedral
Speyer Cathedral
Ste.-Foy
Romanesque architecture (11th cen. - mid 13th cen.): the first European architectureII.
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II. A. Religious context: Medieval Christian pilgrimage and the cult of relics
Reliquary of St. Faith
“Relics mattered more basically than any other fixture of daily existence” (Kostof 301).
4.
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The “pilgrimage church” type
II. A.
Pilgrimage road to Santiago de Compostela
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II. A.
Abbey of Ste.-Foy at Conques
remains of Ste. Foy’s cloister
cloister
church
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Ste.-Foy
tribune gallery
tribune gallery
II. A. 1. New parts of Christian basilicas due to new program requirements (accommodating pilgrims) starting in the 11th century.
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Ste.-Foy – two views of the south gallery
II. A. 1.
looking east
looking west
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Ste.-Foy
II. A. 1.
ambulatory with radiating chapels
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II. A. 1.
Speyer Cathedral
crypt
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II. B. Competitive aesthetic architectural discourse in c. A.D. 1000
Ste.-Foy Speyer Cathedral
Raoul Glaber’s (monk and historian) commentary: “Just before the third year of the millennium, throughout th ewhole world, but most especially in Italy and Gaul, men began to reconstruct churches, although for the most part the existing ones were properly built and not in the least unworthy. But it seemed as though each Christian community were aiming to surpass all others in the splendor of construction. It was as if the whole world were shaking itself free, shrugging off the burden of the past, and cladding itself everywhere in a white mantle of churches” (Kostof 299).
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III. The Romanesque exterior: aesthetics of less-Roman, future-oriented form begins in the 11C A. Components of a changed overall appearance from outside
Speyer CathedralSte.-Foy
Early Christian basilicas Romanesque basilicas in northern Europe
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Speyer Cathedral
Ste.-Foy
III. A. 1. What happened to the Christian church façade in the Romanesque period?
St. Peter’s (recon.)
Early Christian facademodest basilica silhouette
Santa Sabina
Romanesque facades in northern Europe
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Speyer CathedralSte.-Foy
III. A. 2. What are some features of the complex massing at the apse end (east) and sometimes the west end as well?
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Speyer Cathedral
Ste.-Foy
III. A. 3. How is the crossing expressed on the exterior?
crossing tower crossing towerdouble transept: two crossing towers
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III. B. Specific qualities of the exterior wall 1. wall subdivided, often hierarchically, into bays
Ste.-Foy Speyer Cathedral
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Romanesque Ste.-Foy
III. B. 2. Thick skin of the architectural wall worked out in planes and layers
Romanesque Speyer CathedralEarly Christian S. Sabina in Rome
single plane separatesinterior space from exterior
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III. B.
Speyer Cathedral
corbel tables(horizontal)Lombard
bands(vertical)
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III. B. 2. a. engaged shafts
Ste.-Foy
engaged shafts
Engaged shafts not guidedby laws of classical proportions.
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III. B. 2. b. blind arcades
Speyer CathedralSte.-Foy
blind arcade
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III. B. 2. c. arcaded galleries (dwarf galleries)
Speyer Cathedral
dwarf gallery
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III. C. Thickness of Romanesque windows and portals: an impression created by recessed archivolts and multiple jambs
Early Christian S. Sabina Romanesque Speyer Cathedral
wall thickness registered in recessed archivolts
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archivolt – one of a series of concentric arched mouldings
III. C. wall thickness registered in
recessed archivolts
Ste.-Foy
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archivolt – one of a series of concentric arched mouldings
III. C.
Ste.-Foy - archivolts
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Romanesque portal sculpture: Ste.-Foy’s Last Judgment scene
III. C.