1. Romanesque Art in Europe
“ Shortly after the year 1000, …the very world had shaken itself, and casting off her old garments was clothing herself everywhere in a white robe of churches.” Monk Ralph Glaber, 1050
What does “esque” mean when attached to a noun?

2. What was going on in Europe during this time
What was going on in Europe during this time? Increase in social, cultural and economic life, increasing prosperity of monasteries and pilgrimages, Between 1050 and 1350 ; France alone built eighty cathedrals, five hundred large churches, and tens of thousands of parish churches; Immense relief that the world had not ended at the
turn of the millennium; The resurgence of cities and trade; The emergence of Europe as we know it ;The strengthened authority of the Pope; The emergence of a middle class and merchant class; The evolution of the Romance languages; The peak of feudalism as a political system
What happened to the migrating peoples? Became Christian and attacks were abated.
What happened to the Eastern Orthodox Church? They remained split from Western or Roman and Byzantine or Orthodox, which became official in Their differences were never going to be resolved even in future attempts.
How did the Roman Catholic church continue? Consolidated religious and political power. England and France were united after the Battle of Hastings in 1066, Normans rid Italy and Sicily from Byzantine control and political stability advanced the economy.
Explain the pilgrims purpose? Monasteries housed the relics of saints, cult of relics became a major cultural factor influencing architecture. The onslaught of pilgrims and d devout Christians would visit and venerate the relics of saints and martyrs. They believed these relics had curative powers. The mass of traveler created standard routes from one monastery to another; These roads became trade/commercial zones taking money from the travelers for food and shelter
What are some known Romanesque traits? They needed to accommodate the hordes of pilgrims that were taking time away from the daily clergy duties. The solution was to create circular loop around the nave. On the east end they created a semi circular ambulatory (walk way around the perimeter) behind the altar and radiating chapels displaying relics of saints and martyrs. The ambulatory was linked to the aisles and the nave and transept, keeping the monks separated from the mass. The transept was moved toward the middle of the church to further create a stronger cruciform. Buildings both religious and political were strongholds, fortified with thick walls, small windows and modular, (made up of separate modules that can be rearranged, replaced, combined, or interchanged easily depending on the relics and burials) squarish bays and fat piers supporting round arches and barrel vaults; thick walls; to lessen the darkness the three story design evolved just to put clerestory windows on the third section.
Was Romanesque art and architecture the same all over Europe? No
Why did architecture vary so much? it varied greatly according to climate, tradition, available materials.

3. Reliquaries Reliquaries are the containers that store and display relics. Since the relics themselves were considered "more valuable than precious stones and more to be esteemed than gold," they were enshrined in vessels, or reliquaries, crafted of or covered by gold, silver, ivory, gems, and enamel. These precious objects were a major form of artistic production across Europe and Byzantium throughout the Middle Ages. Reliquaries could take the form of caskets (chasses) ( ) or even more complex containers in the form of parts of the body, usually mimicking the relic it enshrined ( ). Reliquaries were often covered with narrative scenes from the life of the saint whose remains were held within ( ; ). Reliquaries were also fashioned into full-body statues. Set on an altar and carried in procession, these highly decorated works of art made an indelible impression on the faithful. The distinction between the meaning of an image such as the Reliquary Statue of Sainte-Foy at Conques and pagan idols was clearly articulated by Bernard of Angers in the eleventh century: "It is not an impure idol that receives the worship of an oracle or of sacrifice, it is a pious memorial, before which the faithful heart feels more easily and more strongly touched by solemnity, and implores more fervently the powerful intercession of the saint for its sins."
Barbara Drake Boehm Department of Medieval Art and The Cloisters, The Metropolitan Museum of Art
Relics Christian belief in the power of relics, the physical remains of a holy site or holy person, or objects with which they had contact, is as old as the faith itself and developed alongside it. Relics were more than mementos. The New Testament refers to the healing power of objects that were touched by Christ or his apostles. The body of the saint provided a spiritual link between life and death, between man and God: "Because of the grace remaining in the martyr, they were an inestimable treasure for the holy congregation of the faithful." Fueled by the Christian belief in the afterlife and resurrection, in the power of the soul, and in the role of saints as advocates for humankind in heaven, the veneration of relics in the Middle Ages came to rival the sacraments in the daily life of the medieval church.
All relics bestowed honor and privileges upon the possessor, and monasteries and cathedrals sought to hold the most prestigious. Some relics were even stolen from one church, only to find a new home in another.
The holiest of relics were those associated with Christ and his mother. Because of the belief in the resurrection of Christ and the bodily assumption of the Virgin into heaven, physical relics of Christ and the Virgin were—with a few rare exceptions, like the baby teeth of Jesus or the Virgin's milk—usually objects that they touched in their lifetime, such as the wood from the True Cross (Reliquary of the True Cross (Staurotheke), ab) or pieces of the Virgin's veil. The most common relics are associated with the apostles and those local saints who worked miracles across Europe. All relics bestowed honor and privileges upon the possessor, and monasteries and cathedrals sought to hold the most prestigious. Some relics were even stolen from one church, only to find a new home in another. Source: Relics and Reliquaries in Medieval Christianity | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

4. Romanesque Architecture
Five centuries between the fall of Rome in 479 until the new millennium architecture came to a halt.
Roads, sanitation, water, and Roman laws disappeared
Every building was destroyed soon after its erection by the illiterate barbarian tribes
When the world did not end with the second coming and wars and destruction abated, building once again flourished with castles and churches in Europe
Massive walls for protection on both.
Romanesque: Medieval architects imitated and adopted Roman architecture with vaulting techniques and basilicas
First coherent style to appear after the dark ages between 500 and 800, 300 years of nothing.

5.
On the exterior vertical buttresses make the interior rhythm of the bays (a section of a wall or building between two vertical structures such as pillars or buttresses)
On the exterior and interior the expression of the bays creates an order and unity characteristic of Romanesque architecture;
What is the difference between an abbey, a cathedral, church, and a basilica, and chapel?
Abbey:
1. A monastery supervised by an abbot.
2. A convent supervised by an abbess.
3. A church that is or once was part of a monastery or convent
Cathedral: The principal church of a bishop's diocese, containing the bishop’s throne.
Church: A building for public, especially Christian worship.
Basilica: Roman Catholic Church A church that has been accorded certain privileges by the pope.
Chapel:
a. A place of worship that is smaller than and subordinate to a church.
b. A place of worship in an institution, such as a prison, college, or hospital.
c. A recess or room in a church set apart for special or small services.
d. A place of worship for those not belonging to an established church

6. Nave, Abbey Church of Ste.-Foy, Conques, France,
c. early11th Century, Patron Abbot Odolric
c. 1052, cloister began by Abbot Begon
What is Roman about this nave at Ste. Foy? Round arches, stone vaults, monumental scale, austere massive presence,
Ste.? Abbreviation for Woman Saint
Pilgrimage was James the Apostle. After preaching the gospel in Spain, he returned to Palestine, where he was beheaded and when his body was found they moved it to Santiago and built Ste. Foy (Saint Faith a third century virgin martyr.
What do you see? Clerestory windows, sturdy piers, thick walls, round arches, barrel vaults,
Who did this massive church accommodate? Pilgrims

7. Plan of Abbey Church of Saint-Foy
Nave
Aisle
Crossing
Choir
Transept
Chancel
Apse
Ambulatory
Radiating chapel
What is unique and new? Barrel vault is reinforced with transverse arches, thus the barrel vault can be lighter and the windows can be larger; Buttresses have bay windows as seen from the outside; bays create an order of unity , which is characteristic of Romanesque architecture; Stone vaulting also prevents fires, and is acoustically enhanced for the chanting monks..
Plan of Abbey Church of Saint-Foy

8. Early Christian and Carolingian wooden truss roofs gave way to Roman vaults and arches
Which one is the…
longitudinal barrel vault : A barrel (or tunnel) vault which follows the main longitudinal direction of the nave. Usually when a vault is referred to simply as a barrel (or tunnel) vault, it may be assumed to be a longitudinal barrel vault.
groin vault: A vault produced by the intersection at right angles of two barrel (tunnel) vaults. Sometimes the arches of groin vaults may be pointed instead of round.
barrel vault or tunnel vault: The simplest form of a vault, consisting of a continuous surface of semicircular or pointed sections. It resembles a barrel or tunnel which has been cut in half lengthwise

9. Pentecost, the Peoples of the Earth and Saint John the Baptist,
Abbey Church of la Madeleine, Vézelay, France,
What makes this sculpture a last Judgment? Hands outstretched, nimbus, mandorla, surrounded by
How is Christ presented? On an axis, enthroned in a mandorla, arms outstretched, hierarchical scale, angularity of his legs, swirling drapery, high and low relief, nimbus, Tympanum- ( lunette above the door)architecture a recess, especially the recessed space between the top of a door or window and the arch above it, or between the cornices forming a classical triangular gable pediment.
Commissioned by the Abbot of Conques.

10. Eight archivolts (arches of decorative and narrative motifs that enframe the tympanum, show the apostles preaching the gospel and healing spiritual and physical ailments. The outer archivolts symbolize the zodiac representations of labors of the twelve months demonstrate Christ’s is the lord of time and everything in world.
Laborers and pilgrims appear in the lintel
races of paint show how color played an important role for the total effect.
On the sides of the doors (jamb)s- and the central post (trumeau) are sculpted figures of saints and prophets. The trumeau literally and symbolically support Christ.
Sculptures taught church doctrine for all peoples.

11. What is Romanesque about this portal?

12. trumeau : Vertical architectural member between the leaves of a doorway. Trumeaus were often highly decorated.

13. jamb: A vertical element of a doorway or window frame

14. jamb figures : Statues carved on the jambs of a doorway or window
jamb figures : Statues carved on the jambs of a doorway or window. Jamb statues were often human figures- either religious figures or secular or ecclesiastical leaders

15. trumeau figure : Statue decorating a trumeau
trumeau figure : Statue decorating a trumeau. Usually this was a human figure, very often a religious personage.

16. Cloister pier with relief of Abbot Durand,
Saint-Pierre Moissac,

17. Last Judgment, Cathedral of Saint-Lazare, Autun, 1130-1145
Explain everything you see here:
tympanum,
Round arch of the Romans,
Christ, nimbus
Christ is enthroned in a halo held by angels.
Each of the sides is split into two registers with the architrave underneath.
The upper one shows the enthroned Virgin Mary and two apostles as observers of the judgment.
In the lower register, to the right of Christ, eight apostles stand, facing the enthroned figure in the manner of petitioners.
St Peter with the keys is guarding the entrance to heavenly Jerusalem, which is represented as an arcaded structure, and into which the resurrected are laboriously trying to squeeze with the assistance of an angel.
On the opposite side, in one of the most graphic scenes in Romanesque sculpture, the Weighing of the Souls is taking place between the Archangel Michael and the Devil, behind them stands Luxuria with snakes at her breasts.
Behind Michael's back, facing Christ, is the twelfth apostle, who is opening the Book of Life that is being weighed for the Judge.
The architrave depicts the resurrected being separated into the Redeemed and the Damned by an angel in the centre.
The procession of the Elect on the left, which includes two pilgrims, contrasts with the army of the Damned on the right.
This frightened crowd is apprehensively and fearfully moving towards the spot where the poor sinners are grasped by the hand of the Devil and pulled into a dreadful Hell. The medallions on the outer archivolts, with the labors of the months and signs of the Zodiac are a reference to the larger cosmic context of the Last Judgment.
The tympanum in Autun is especially vivid due to the elongation of the figures which, depending on the proportions, almost revokes their corporeality (relating to or involving the physical body rather than the mind or spirit)
Added to this is a sense of drama in the contrast of Good and Evil, for instance in the Weighing of the Souls, which could scarcely be more graphic.
And strategically located right in the middle of the Last Judgment, in the area at the bottom of the mandorla where it touches the architrave, at the feet of Christ and yet above the angel separating the Elect and the Damned,
the sculptor inscribed his signature: GISLEBERTUS HOCFECIT - "Gislebertus made this.“
Placed here right in the visual centre of the tympanum, his signatures elevates him - and his exceptional work into a divine sphere.

18. "Weighing the Souls of the Damned"
Tympanum Romanesque Sculptures of Gislebertus
Cathedrale St-Lazare, Autun, Saone-et-Loire

19. Mont. Saint Michel, Normandy, France, 1024-1084
Motto of the monks:
“Ora et Labora”
Mont. Saint Michel, Normandy, France,
What do you see? Benedictine (a member of a Christian order of monks and nuns founded by St. Benedict of Nursia, wrote the rule of Monasteries, one of three patron saints of Europe). Monastery on an island off of Normandy, spires, fortress, inaccessible in high tide, good thing for a life of asceticism (austerity and self-denial, especially as a principled way of life)
wooden gabled roof dangerous due to fire hazards
Motto of the monks, “Ora et labora” prayers and work.

20. Nave of Mont Saint Michel: Three layer walls: Ground floor
Tribune gallery
Clerestory windows
What do you see in all these levels: Corinthian columns, round arches, gables roof, piers, lunettes, pillars
Why is this considered a hallmark of Romanesque architecture? Horizontal zones, strong vertical lines of half columns dividing the nave into regular bays, thick walls, three levels for clerestory windows and light; tribune, (second story gallery),

21. Cathedral of Pisa and campanile, 1063-1350.
Campanile, bell tower, usually separate from the church. The campaniles towered over every city and rang out its supremacy, and the local word for chauvinism, campanilism derives from campanile.
Italians never completely embraced Romanesque architecture
Italian version was a hybrid of European and classical forms
Styles varied from one city to another
Each city state added its local, which they believed proved their superiority over one another.
In 1870 Italy finally united and

22. The Rib vault is an English innovation
The Vikings or Norsemen, later called the Normans settled in France and accepted Christianity. They invaded England at Hasings under Willaim the conqueror andd added England to France in 1066.
Until 1200 Norman rulers built castles and churches across England and Wales. This design is often called Norman after Williams the Conqueror’s legacy
England was full of limestone, granite and sandstone. They built Canterbury Cathedral; Lincoln, Rochester, Winchester, Durham, Norwich and Ely.
They were cruciform; long narrow naves; twin towers; a tower over the crossing; large triforiums (an upper gallery over side aisles, above the tribune); massive cylindrical or clustered piers supported the roof and features incised geometric ornaments on columns and capitals.
Durham Cathedral housed the remains of St. Cuthbert and the Venerable Bede ( a historian who died in 735); Durham cathedral was a Benedictine monastery; 470 foot long nave; huge composite piers; engaged colonnettes that alternate with massive cylindrical piers; carved zigzag and lozenge (diamond shape design) patterned; column; painted red, blue, and gold; light emerged from clerestory windows and side galleries; rib vaults were used for the first time; they strengthened the lines of the groin vaults; coupled with pointed arches in the vaults, more efficiently carried the weight of the roof than just the thick walls; aesthetically the stone rib vaults bind the interior together in a web on linear patterns and give it a strong vertical thrust, which were often used in the emerging Gothic church.

23. Bayeux Tapestry, http://www.youtube.com/watch?v=LtGoBZ4D4_E
Interesting Information about the History of the Bayeux Tapestry The Bayeux Tapestry consists of a series of seventy-two scenes, or pictures, done about the time of  the accession of William the Conqueror to the throne of England. The Bayeux Tapestry was probably intended to decorate the cathedral of Bayeux, in Normandy, France, where it was originally placed. Some have supposed it to be the work of the wife of William the Conqueror, Queen Matilda.
The entire length is two hundred and fourteen feet and the width about twenty inches.
It represents events in English history from the end of King Edward the Confessor's reign to the Battle of Hastings. As a guide to a knowledge of the armor, weapons, and costume of the period, it is of very great value. The tapestry is preserved at Bayeux in France.