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Romanesque Period: Art and Architecture

ROMANESQUE PERIOD:Art and Architecture during the Age of Pilgrimages

Ca. 1050 – 1200

I. INTRODUCTION

A. Romanesque = Roman-likea. Use of barrel and groin vaults in churches reminded art

historians of Roman architectureB. Economic conditions

a. Trade increased and towns grew as a result Greater wealth

b. Breakdown of strict feudal system. Towns were granted charters that exempted them from

feudal obligations because they could generate wealth Usually located on rivers and were centers of commerce

C. Age of Pilgrimages

a. Europeans expected the world to end in 1000 CE and the Second Coming of Christ to judge humanity.

b. Rise in religious devotionc. Europeans went on pilgrimages to prove their devotion to

godd. Europeans visited pilgrimage churches that had significant

RELICSe. Prosperity triggered era of ecclesiastical (pertaining to

church, clergy or spiritual) building.f. Towns and churches got a lot of income from pilgrims

(religious tourism?) visiting relics and religious sites.g. Need inspirational architecture to match religious

inspiration. Timber roofs were a fire hazard Stone vaulted roofs matched majesty of God and relics Improved acoustics

D. Age of Crusadesa. 1095 Pope Urban II urged Christians to take back the Holy

Land from the infidels (Moslems)b. Between 1095 and 1190 European Christians launched 3

Crusades (taking of the cross): Mass armed pilgrimagesc. Mostly feudal French and Papacy joined in creating

Crusadesd. Crusaders were successful in capturing Jerusalem for a

number of years but were eventually driven out by Muslims.e. As a result of Crusades European towns were enriched and

started to create a power center to rival the feudal system.

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E. Relics and Reliquaries

a. Relic A personal memorial of a holy person Often relics were parts of a person such as hair, bones,

and fingernails

b. Reliquary Container for a relic which would be viewed by the

pilgrim

F. Top Pilgrimage Sites

a. Jerusalem Site of the Last Supper Site of the Crucifixion and Resurrection Church of the Holy Sepulcher

b. Rome Papal residence Old Saint Peter’s basilica

c. Canterbury Canterbury Cathedral St. Thomas Becket’s tomb

d. Santiago de Compostela in Spain Usually the last stop on the pilgrimage route Contained the relics of Saint James James was beheaded by Herod in 42 CE becoming the

first of Christ’s apostles to be martyred James’ remains were believed to have been

miraculously relocated from Judea to Spain

II. Overview: Four Different Regions of Romanesque Art

A. France and Northern Spaina. Churches built on or along pilgrimage routesb. Used Roman-like building technique of barrel and groin

vaults BUT used STONE INSTEAD OF CONCRETEc. Revival of monumental stone relief sculptured. Patrons were monkse. Bernard of Clairvaux condemned figurative art in churches

and religious books

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B. Holy Roman Empire: Germany and Northern Italya. Salanian Dynasty ruled what was left of HREb. Structurally innovative churches: Earliest use of groin vaults

in navesc. Excelled in metalwork

C. Italy South of Milana. Evident regional diversity: Roman and Early Christian

influence was strongestb. Wooden roofs of churches.c. Exteriors paneled in different colored marblesd. Campaniles (bell towers) were usually freestandinge. Baptisteries were freestanding central-plan buildings facing

cathedral (cathedral = church that is seat of bishop)

D. Normandy and Englanda. Vikings converted to Christianity in 10th C. and settled in

northern coast of France.b. In 1066 the Norman King, William the Conqueror,

conquered England. Bayeux Tapestry chronicles war: unique example of

contemporaneous historical narrative: Trajan’s column

c. New features to church design Rib groin vaults over three-story nave elevation

(arcade, tribune, clerestory) Quadrant arches in tribune to buttress vaults (evolved

into flying buttresses of Gothic style).

III. Romanesque Architecture

1: France and Northern Spain

A. Saint Etienne, Vignory, France, 1050 – 1057a. Second story not a tribune (gallery), just a screen with

alternating columns and piers.b. One of earliest examples of radiating chapels around

ambulatory.c. Some Romanesque churches were still built with timber

roofs.d. Early example of using stone sculpture on the exterior of the

church. THIS BECAME ONE OF ROMANESQUES DEFINING TRADEMANRKS.

B. Sainte-Foy at Conques, France; completed ca. 1120: A Case Study of a Romanesque Pilgrimage Church

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a. Overview

CRUCIFORM (shape of a cross) floor plan Long nave – central hall Transept – cross arm placed perpendicular to the nave

CHOIR – special section for clergy to sit, located just past the transept

Large APSE – semicircular area projecting from the nave

The church has a stone roof

Early Christian and Early Medieval basilicas had wooden roofs

New stone roofs lessened the risk of fire and improved the acoustics

The roof is supported by BARREL VAULTS

BELFRY – a bell tower, rises above the roof at a point called the CROSSING – where the nave and the transept intersect, BELFRY was added during the Gothic period

No clerestory in Ste.-Foy. Light only from aisle windows (and octagonal tower on belfry-not part of original plan).

Small windows and a heavy appearance, stoutly built

b. Floor plan

Had to accommodate large numbers of pilgrims without interrupting the daily services of the clergy

AMBULATORY

Semicircular passageway around the apse Permitted lay people (non-clergy) visiting the church

to circulate freely while leaving the monks undisturbed access to the main altar in the choir

Ambulatory contained RADIATING CHAPEL – small semicircular niches in which the RELIQUARIES were displayed

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C. Saint Sernin, Toulouse, France, ca. 1070 - 1120 – Case Study #2 in a Romanesque pilgrimage church

a. Who is Saint Sernin? Saint Saturninus – first bishop of Toulouse. Saint Sernin

(French) was martyred in the middle of the 3rd century. Aerial view of Saint-Sernin (Gardner’s 17-4) How long is Saint-Sernin’s nave – 380 feet long, 105 feet

wide Huge to accommodate crowds of pilgrims.

b. A fine example of a Romanesque pilgrimage church

Cruciform shape Stone roof Large choir and apse Ambulatory with 5 radiating chapels Barrel vaulted nave

c. Geometrically precise modular plan

Take a careful look at the plan of Saint-Sernin in Gardner’s (17-5)

The CROSSING SQUARE served as the basic module or mathematical unit for the entire church.

Each nave BAY – a three-dimensional module of the church is half the size of the crossing square

Each side aisle BAY – is one fourth the size of the crossing square. The side aisles contain groin vaults

Stone barrel vaults, different from Saint Etienne’s (Vignory) timber roof.

d. Inside Saint-Sernin

Nave contains BARREL VAULT with TRANVERSE ARCHES – round arches which separate the nave bays

A GALLERY or TRIBUNE over the inner aisle flanking the nave (Look halfway up the nave wall)

A NAVE ARCADE – a line of arches that separates the nave from the side aisles

The nave arcade also contains COMPOUND PIERS – piers (rectangular supports) that have engaged columns

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or pilasters (like an engaged column but with a rectangular cross-section) attached to them. The engaged columns of the compound piers extend all the way up to the springing (the lowest stone of the arch) and continue to the TRANSVERSE ARCHES

D. Model of the third abbey church of Cluny, France – “Cluny III”a. Home of Cluniac monks who followed the Benedictine Ruleb. Largest church in Europe until the construction of New Saint

Peter’s c. 500 foot long nave and 100 feet high (50 per cent greater than

the dimensions of Saint-Sernin)d. Visions of grandeur. Need a place worthy enough for angels

to live there.e. Largely destroyed today – reconstructed on paper and in

models

2: Holy Roman Empire: Germany and Northern Italy

A. Interior of Speyer Cathedral, Speyer, Germany, begun 1030, nave vaults ca. 1082 – 1105

a. Originally a timber roofb. One of the first groin vaulted navesc. Alternate support system in nave continues to vaultsd. Striving for height

B. Saint’ Ambrogio, Milan, Italy, Late 11th to early 12th centurya. Charlemagne conquered Lombardy (now in Italy) so it was

part of HRE.b. German and Italian cross-fertilizationc. Prototype for Speyer Cathedral?d. Has atrium, from Early Christian traditione. Two story narthex pierced by arches on both levelsf. Two bell towers, shorter from 10th C., taller from 12th C.g. East end has octagonal tower reminiscent of Ottonian

crossing towers (dome of heaven)h. Nave and two aisles but no transept, no clerestoryi. Ribs on groin vaults (vs. transverse vaults)j. Not aspiring to soaring heights

1. Even though in the HRE, ITALIAN ARCHITECTS DID NOT ACCEPT VERTICALITY OF NORTHERN ARCHITECTURE: ROOTS IN EARLY CHRISTIAN STYLE

3: Italy

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A. The Romanesque Cathedral Complex at Pisa

1. Introduction

a. Fleet from the Republic of Pisa defeats a Muslim naval force in 1062.

b. To celebrate their victory, the Pisans used the booty taken from the enemy boats to start a fund for a new cathedral.

c. In 1153, Pisa celebrated another victory at sea by starting construction of a baptistery opposite the cathedral façade.

2. The Cathedral Complex

a. The Baptistery Place where infants and converts were initiated

into the Christian community. Look closely at the exterior design of the

Baptistery. Is it all the same style? The lower portion of the building has rounded

arches, small windows with rounded arch shape, and engaged columns. It is ROMANESQUE.

The upper portion contains tracery (decorative stonework) and pinnacles (pointed stone decorations). The upper portion is GOTHIC.

b. The Cathedral Very large with a nave and four side aisles. Note the transept. Also note how the exterior arcaded galleries match

the Leaning Tower of Pisa.

c. The Leaning Tower The “Leaning Tower” is actually a CAMPANILE

or bell tower. The “Leaning Tower” is 180 feet high and contains

294 steps. Unfortunately, the tower was built on a sandy base

of water soaked clay. The Tower at one point leaned 21 feet from its true

perpendicular! Extraordinary measures have been taken to

prevent the tower from falling. For example, tons of lead have been poured around the base to stabilize the area.

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In 1990, the government suspended visits inside the tower. But visits have resumed.

What famous scientist dropped weights from the top of the tower? __________________

B. Baptistery of San Giovanni, Florence, Italy, dedicated in 1059a. Place where infants and converts were initiated into the

Christian community. Important gathering place for religious and civic functions and very important structures in community.

b. Simple and serene, recalls ancient Roman architecture1. Diocletian’s mausoleum2. Santa Costanza3. San Vitale4. Charlemagne’s Palatine Chapel

c. Tuscan Romanesque marble patterns descendents of Roman wall designs. (First Style)

C. Interior of San Miniatio al Monte, Florence, Italy, ca. 1062 – 1090a. Timber Roofb. Diaphragm Arch: breaks nave into sections and

provides a fire break.

4. Normandy and England

A. Introductiona. Vikings Christianized in 10th C.b. Active warriors and able craftsmen and administrators in

N. Europe and Sicily (see William II, page 332)

B. Saint-Etienne, Caen, France, begun 1067a. Begun by William the Conqueror and was buried there as well.b. Rooted in Carolingian and Ottonian westworksc. Tripartite conception throughout: Top of spires was a gothic

addition.d. Original designed for wood roof: Alternating support

structure was repurposed to support stone groin vaults – ribbed transverse and diagonal vaults.

e. Sexpartite vault height allowed for a clerestoryf. Light, airy quality

C. Durham Cathedral, Durham, England, begun ca. 1093a. Designed as a vaulted church from beginningb. Seven-part nave vault covers two bays

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c. Rational structure enforced by very different alternating support structures (columns vs. compound piers).

d. Long, slender proportionse. Earliest known ribbed groin vault over a three-story spacef. Rib vaults slightly arched (future Gothic featue)g. Tribune had quadrant arches to buttress the nave (future

Gothic feature).

IV. ROMANESQUE SCULPTURE

A. Introduction

a. A HALLMARK OF THE ROMANESQUE PERIOD WAS THE RETURN OF SCULPTURE ON THE EXTERIOR OF THE BUILDING, WHICH HAD NOT BEEN SEEN SINCE ROMAN TIMES. MOST OF THE SCULPTURE WAS IN LOW OR HIGH RELIEF, NOT IN THE ROUND.

The exterior decor of Early Christian and early Medieval (Carolingian and Ottonian) churches was relatively simple. See the westwork of a Carolingian basilica in Gardner’s Fig. 16-20.

b. Large sculptures in the round (ex. Archbishop Gero’s Crucifix – G-441) were rare; churches did not want to have anything that could perceived as idols. Small sculptures and reliquaries were acceptable.

Virgin and Child (Morgan Madonna), Auvergne, France, second half of 12th century – IN THE MET!

o Note the strict frontality of presentation. It is similar to Byzantine Theotokos and Child icons.

o These sculptures were common in the Middle Ages. Jesus held a bible in his left hand and blessed people with his right (both hands are missing).

o Jesus “is the embodiment of the divine wisdom contained in the Holy Scriptures. His mother, seated on a wooden chair, is in turn the Throne of Wisdom because her lap is the Christ Child’s throne.”

o ETS strikes again ! – Identify the art-historical period of the sculpture. What key characteristics support your placement of the work in the period you have identified?

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Mother and Child sit rigidly upright Strictly frontal Emotionless Less remote than Byzantine art because of

Intimate scale Gesture of benediction (blessing) Original bright coloring of

garments Soft modeling of Virgin’s face

Head reliquary of Saint Alexander from Stavelot Abbey, Belgium, 1145.

o Commissioned by a Bishop Wibald for private devotional purposes

o Stylistic diversity of Romanesque art Idealized portrait of Pope Alexander II

(compare to images of Augustus or Constantine

Box, which is supported by four bronze dragons (popular in Romanesque decoration), contains his relics

Beaten (repousse) silver with bronze gilding

Typical use of costly materials Byzantine style enamels on box

Rainer of Huy, baptismal font, baptism of Christ, 1118, Bronze, Liege, Belgium

o Oxen equated with 12 apostleso Classical spirit and style

Softly rounded figures Idealized faces and bodies Clinging drapery (to show bodies) ¾ view from rear Some figures, including Christ, are naked

Nudity rare in Medieval art: usually just Adam and Eve and they are usually shown trying to cover their nakedness. Opposite of the high value classicism places on the beauty of the human body. Medieval mind believes the body is a temporary container for the soul that opens the gate for sin. Body mortification.

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V. Exterior Sculpture

A. Back to exterior stone sculpture - Why did exterior stone sculpture reemerge during the 11th century?

a. During the Early Middle Ages, most of the people who went to churches were literate members of the clergy.

b. During the Romanesque period, sculpture was a DIDACTIC (teaching) tool used to teach the illiterate masses important biblical stories.

c. Priests and patrons wanted to beautify the house of the

Lord with stone sculptures of biblical characters, Christian symbols, and other exterior ornamentation.

d. Stone was the most durable medium for these images

e. Stone indicates greater wealth of the times

f. Beautify the house of God - create “a paradise of pleasures.”

Bernardus Gelduinus, Christ in Majesty, relief in ambulatory of Saint-Sernin, Toulouse, France, ca. 1096 The sculptor signed his work BERNARDUS GISLEBERTUS Unusual for artists to sign their work in this age Possibly to advertise his work Possibly as a request to his spectators to pray for his salvation

on Judgment Day Christ blessing and book open to “peace be unto you.” Christ in mandorla Surrounded by signs of 4 evangelists (tetramorphs) Style of Carolingian or Ottonian book cover

WILIGELMO’S frieze on the west façade of Modena Cathedral, Italy

o This work is part of a LINTELo It resembles Late Roman and Early Christian

sarcophagi with its architectural backdropo One of the first fully developed narrative friezes in

Romanesque art

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o God shown in a mandorlao God creating Adam, God creating Eve, the Original Sino WILIGELMO signed it with the inscription “Among

sculptors, your work shines forth, Wiligelmo.”

Benedetto Antelami, King David, statue in a niche on the west façade of Fidenza Cathedral, Fidenza, Italy, ca. 1180 – 1190, life-size

o Monumentalo Rooted in Greco-Roman arto Displays scroll (of psalms?)o Looks confined in nicheo Does not have weight shift of Greco-Roman

figurationo But does look off, not frontalo Freestanding figures in niches taken up in early

Renaissance

B. The PORTAL was a major location for sculpture which was part of: Tympanum Lintel Trumeau Jambs Archivolts

C. Portal – doorway to a church including the architectural composition surrounding it

D. Importance – it made the first impression on visitors to the church

E. Parts of a Romanesque portal (17-10)

TYMPANUM – prominent semicircular lunette above the doorway, comparable to the PEDIMENT of a Greco-Roman temple

VOUSSOIRS – wedge-shaped blocks that together form the ARCHIVOLTS

ARCHIVOLTS – bands of arches over the tympanum LINTEL – the horizontal beam above the doorway TRUMEAU – the center post supporting the lintel in the middle of

the doorway JAMBS – the side posts of the doorway

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Lions and Old Testament prophet (Jeremiah or Isaiah?) trumeau of the south portal of Saint-Pierre, Moissac, France, ca. 1115 – 1130

o Displays scroll recounting his visiono Animated figure (diagonal lines) held in check by static

constraints of architecture creates dynamic tensiono On truneau below Last Judgment: Usual to pair Old

Testament figures with (under) New Testament figures.o Six roaring interlaced lions on the outer face of the

trumeau – lions were symbolic protectors

F. Controversy from Bernard of Clairvaux, leading Romanesque period theologian: Grandiose architecture and grotesque relief sculpture are OK for the masses. But monks don’t need grotesque reliefs while contemplating God. They are a distraction. Why do you think he felt this way?

a. Interior of the abbey church of Notre-Dame, Fontenay, France, 1139 – 1147

Cistercian order of monks were great builders but made their buildings devoid of ornament: capitals plain; single story nave with no clerestory

Austerity reflects rejection of worldly extravagance: emphasized labor, poverty, and prayer.

The Last Judgment was a popular theme for tympanum relief sculptures. Why?

G. Tympanum at Sainte-Foy, Conques, Francea. TYMPANUM

The Last Judgment See web page

http://www.paradoxplace.com/Photo%20Pages/France/West/Conques_&_%20River_Lot/Conques/Conques_Tympanum.htm

H. Saint Pierre at Moissac (Gardner’s 17-1)

a. TYMPANUMa. An apocalyptic (end of the world) scene from the

book of Revelation in the Bible.b. The enthroned Christ is at the centerc. Four Evangelists surround Christ

Winged lion – Mark

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Eagle – John Winged man – Matthew Winged ox – Luke Collectively these four symbols of the

evangelists are known as the TETRAMORPHS

d. Two Attendants

On each side of Christ, an attendant holds a scroll to record human deeds for judgment.

e. Twenty-four Elders depicted in the archivolts

Famous holy figures from the Bible who accompany Christ as kings of this world

Make music in His praise

b. Cloister, Saint-Pierre, Moissac, France, Early 12th century Enriched by pilgrims and benefactors: commissioned

elaborate reliefs for church and cloister (enclosed garden with columned walkway surrounding it). Cloister was for meditation – a taste of paradise.

Controversy from Bernard of Clairvaux, leading Romanesque theologian: Grandiose architecture and grotesque relief sculpture are OK for the masses. But monks don’t need grotesque reliefs while contemplating God. They are a distraction. Why do you think he felt this way?

a. CLOISTER comes from the Latin word claustrum, an enclosed space from where we get the word __________________

b. Cloisters were places for monks to pray, read scripture, and meditate

c. Garden in the center of the cloister, a timber roofed walkway for the cloister

d. Sculptures of biblical figures on the capitals of the columns alternating with mythical creatures such as griffins, basilisks, and gargoyles.

A. TYMPANUM at La Madeleine, Vezelay (The Mission of the Apostles)

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a. Biblical text – “And ye shall be witnesses unto me both in Jerusalem, and in all Judea, and in Samaria, and unto the uttermost parts of the earth.”

b. Christ on a throne

e. Christ is surrounded by a MANDORLA – oval of light

f. Christ is the messenger of the Fatherg. Gift of the Holy Spirit – symbolized by the rays

of light that shoot from his open hands

c. The Apostles

h. Hold the Gospel booksi. Receive their spiritual assignment to preach the

Gospel to all nations

d. The world’s heathens

j. the objects of the apostle’s missionk. appear on the lintel below and in 8

compartments around the tympanuml. The portrayals of yet-to-be converted include the

legendary giant-eared Panotii of India, Pygmies from Africa (who require ladders to mount horses) and a host of others

e. Key Points to Remember

Facades of Romanesque churches are distinguished from the facades of Early Christian and Medieval churches because of the use of exterior stone sculpture

The use of stone sculpture to decorate building exteriors had not been seen since the Late Roman Empire

Notice that the figures in the tympanum have agitated poses, elongated proportions, and abrupt angular forms. The figures are NOT NATURALISTIC. The large central figure is Christ.

The subject of the tympanum is related to La Madaleine at Vezelay’s role in the history of the Crusades – it was used as a launching point for one of the Crusades

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B. TYMPANUM OF SAINT-LAZARE, Autun, France (Gardner 17-12)

f. A Last Judgment scene – Last judgment scenes were popular for the tympanums of Romanesque churches

Christ is surrounded by a mandorla He separates the good from the bad. The good people go

to Christ’s right hand and the bad people go to Christ’s left hand.

Souls progress along the lintel from left to right where hands take the souls up to be weighed on the scales.

An angel and demon operate the scales To Christ’s right, famous saints and holy figures greet

the good people To Christ’s left, demons torture the sinners

g. Inscription – “May this terror terrify those whom earthly error binds, for the horror of these images here in this manner truly depicts what will be.”

VI. NORMANDY AND ENGLAND

A. Introduction

a. Look at the region of France labeled Normandy on the map on 448.

b. Note that both England and Normandy are colored green. Is this coincidence?

B. Normandy

a. It all starts with the Vikings. Since the Vikings were from the north they were often called “Northmen.”

b. Many Vikings settled along the northern coast of what is today France. So many, that the region was called Normandy or the land of the Northmen or Normans.

c. In 911, the Norman leader Rollo swore and oath of loyalty to the French king.

d. In 1066, the leader of Normandy was Duke William. And now the story becomes complicated.

C. Three leaders but only one crown

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a. Edward the Confessor – King of England. Died on January 5, 1066. But Edward was childless. So who would be his successor?

b. William of Normandy – Duke of Normandy who was related to Edward. Edward the Confessor was pro-Norman and named William his successor.

c. Harold Goldwinson (Harold II) – a powerful Saxon earl. His sister was Edward’s wife! Edward sent Harold of Normandy to swear an oath of fealty or loyalty to William. He did. But when Edward died Harold broke his oath and was crowned King of England. Needless to say, Duke William was furious!

D. The Norman Invasion of England, 1066.

a. William prepares to invade England.b. The Battle of Hastings: October 14, 1066c. William wins and is now William the Conqueror, Duke of

Normandy and King of England.

E. The Bayeaux Tapestry (GARDNER 17-35)

a. How to commemorate this epic story? The Romans would have created a triumphal arch or better yet a column like Trajan’s Column.

b. Normans lack the artistic talent to create a monumental column but William’s half-brother BISHOP ODO came up with an original idea!

c. A TAPESTRY!

First, it is not really a tapestry. It is an embroidered fabric made of wool sewn on linen.

It’s really amazing – 230 feet long and 20 inches high. It provides a splendid example of a NARRATIVE -

artwork that tells a story. THE BAYEAUX TAPESTRY tells the Norman’s version of what happened.

d. Gardner’s – Top picture – Edward’s funeral procession Note the hand of God pointing the way to the newly

built Westminster Abbey. William was crowned King of England inside

Westminster Abbey on Christmas Day, 1066. Every

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English monarch since William has been crowned in Westminster Abbey.

Note fantastic creatures framing the narrative.

e. Gardner’s Bottom picture – Detail from the Battle of Hastings

The Norman Cavalry cuts down the English foot soldiers.

Note the bodies along the bottom border The figures are flat and not rendered with classical

three-dimensional volume.

f. You can see the whole Bayeaux Tapestry online, in sequential segments.

Roman # 5 Romanesque Pictorial Art

1. Roman tradition of pictorial arts were never lost as it was with large or architectural sculpture. The pictorial arts were preserved throughout the Early Medieval period in the production of ILLUMINATED MANUSCRIPTS.

2. Initial R with knight fighting dragons, Moralia in Job, from Citreaux, France, ca. 1115 – 1125

a. Citreaux was an abbey with a major Romanesque scriptoria; Cistercian order. Made before Bernard’s ban (opposed carvings of monsters and knights. Prohibited full-page decorations – even initial pages had to be one color only and non-figurative).

b. Ornamented initials date to Hiberno-Saxon periodc. From a manuscript by Saint Gregoryd. Reliable picture of baron’s costumee. Cavalier, elegant, no armor, unperturbed by lunging dragonf. Knight standing on his page(?) who also helps him kill the dragon.

3. Nave and painted nave vault of the abbey church, Saint-Savin-sur-Gartempe, France, ca. 1100

a. Fresco did not die in early medieval Europeb. Not a true fresco – muralc. No parallel in Carolingian or Ottonian artd. Had extra light from very tall aisles and windows (hall church).e. Subjects of mural from Pentateuch (Old Testament, 5 Books of

Moses).f. New Testament themes in ambulatory, transept, and chapels.

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g. Elongated, agitated style has similarities to southern French portals and Moralia in Job.

4. Christ in Majesty, apse, Santa Maria de Mur, near Lerida, Spain, mid-12th century, fresco

a. Northern Spain was the way to Saint James at Satiago de Compostelab. More Romanesque frescoes than anywhere else.c. Byzantine formality, symmetry, frontalityd. Artist rejected mosaic for frescoe. Iconography in line with French & Spanish tympana design

(mandorla, tetramorphs). f. Apocalypse intrigued Romanesque thought.g. Seven lamps symbols for seven communities St. John addressed his

revelation (of the Apocalypse).h. Drapery both tubular (volume) and abstract graphic (2D) design.

5. Hildegard receives her visions. Detail of facsimile (copy) of Scivas by Hildegard of Bingen, Germany, ca. 1150 – 1179

a. Women had influenceb. Hildegard of Bingen (1098 – 1179)

i. Aristocratii. Sent to monastery as a girl

iii. Had visions as a girl1. Image is of visions entering her mind as five tongues of

flame.iv. Became a nunv. Visions became accepted by church fathers

vi. Became counselor to kings, popes, etc.vii. Wrote 2 scientific treaties

viii. Wrote music (still performed today)ix. Became abbess of a convent in Bingen

6. Master Hugo, Moses expounding the Law, the Bury Bible, from Bury Saint Edmunds, England, ca. 1135

a. Master Hugo, rare Romanesque lay (not clerical) artist.b. Lived by commissions from monasteries (not subject to Cistercian ban

on luxury)c. Lent prestige to the monasteryd. Work signed, rare but increasing trend away from anonymitye. Top: Moses and Aaron proclaiming law to Israelites

i. Moses had horns: mistranslation of “rays of light”f. Bottom: Moses pointing out clean/unclean animals – kosher lawsg. Dignified presentation: Figures not contorted with movement like

much of Romanesque painting.h. Hugo conceived of drapery and body as the same thing: both have

volumetric definition and graphic patterning

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i. Fits space within frame well

7. Eadwine the Scribe, Eadwine the scribe at work, from Eadwine Psalter, ca. 1160 – 1170

a. Painted by Eadwine the Scribeb. Drapery softer than Bury Bible.c. Abstraction starts toward naturalistic representationd. Probably a generic portrait

i. Likens himself to evangelist writing Gospele. Called himself “prince of scribes” in the inner framef. Work existed for its own and God’s sake

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