Romanesque Art & Architecture
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The term "Romanesque" was first used by nineteenth-century art historians to describe the church architecture of the eleventh and twelfth centuries. The word means "'in the manner of the Romans'" and referred to elements in the churches such as arched entrances, "pilasters, freestanding columns, and sculptural friezes" that reminded historians of classical Roman architecture.1 The term was retained, though it is considered somewhat inaccurate since many other styles contributed to the architecture of the period. The term has also been expanded to include the other arts. Architecture, as the dominant art of the period, "determined the form of sculpture, painting, and the cloister crafts" such as manuscript painting and work in precious metals.2 Much of the art of the period was either produced or sponsored by the orders of monks who directed the spiritual life of their time. The art sponsored by the monastic orders was intended as an aid to devotion and a medium for lessons regarding morals and doctrine. Beginning in the late tenth century, the monastic orders also assumed much of the responsibility for organizing and aiding religious pilgrims. Major pilgrimage routes crossed France on the way to the shrine of Santiago de Compostela in northern Spain. The various orders built numerous churches along the way. In these churches, both style and subject were heavily influenced by the fact that their audience consisted of pious travelers.
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grand routes of communication", the routes served to carry artists and styles from one end to the other fairly rapidly.10 The five churches of the major shrines were built in the new style -- sometimes known as the "Pilgrimage Style."11 Of these five, Compostela, Ste. Foi at Conques, and St. Sernin at Toulouse are the only ones remaining in their Romanesque form. What is remarkable about them is the unity of style they display -- both architecturally and in terms of their sculptural programs. Stokstad speculates that since all of them were under construction at the same time, "masons could have traveled from one to another."12 This group of major churches demonstrates the Romanesque's transcendence of regional boundaries and shows the effect the pilgrim visitors had on the construction and design of the buildings.
The design of these churches was determined by the necessity of serving thousands of pilgrims each year, The churches were constructed to admit the maximum number of worshippers and they featured: wide transepts; a broad nave with side aisles; an ambulatory with adjoining chapels; an open wall in the ambulatory which allowed the pilgrims to see the sanctuary; and a broad, second story gallery that could hold a c
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Some common words found in the essay are:
Sernin Toulouse, , Book Revelations, Benedictines Cluny, Foi Conques19, University Press, Vezelay Autun, France Europe, Aymery Picaud, St James', romanesque art, art york, art period, pilgrims compostela, architectural sculpture, sculptural programs, macmillan publishing 1975, tenth century, harry abrams, abrams perspectives, lovers medieval journey, perspectives 1995, carolingian romanesque architecture, journey york macmillan, medieval journey york,
Approximate Word count = 2228
Approximate Pages = 9 (250 words per page)
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