OMANESQUE ARCHITECTU

IN EUROPE
I. GEOGRAPHICAL

• The decline of the Roman Empire, the Romanesque style grew

up in those countries of Western Europe which had been under
the Roman rule

• Geographical position determined many of the peculiarities of

the style of each country

• Apart from its Roman origin , the Romanesque style owed

something to Byzantine art, which carried westwards along the
great trade routes, by way of such centers as Venice, Ravenna,
and Marseilles, and thus exerted a formative influence on
Romanesque
II. GEOLOGICAL

• The use of local materials whether stone or brick,

marble or terra cotta, as well as of ready- made
columns and other features from old Roman
buildings, accounts for many of the varying
characteristics in each country over this wide area,
with its different geological formations
III. CLIMATIC

• Climatic conditions also contributed to differences of treatment

north and south of the Alps and the Pyrenees
• In duller climates of the north, window openings were enlarged
to admit sufficient light
• In south , windows were kept small to exclude the dazzling
sunshine
• The slope of the roof was also largely determined by climate
• Flat roofs of the south gave way to high pitched roofs in the
north to throw off rain and snow
 IV. RELIGIOUS
• Christianity, the chief source of education and culture, was
gradually extending throughout Northern Europe
• Erection of the church often resulted in the foundation of a city
• Religious enthusiasm and zeal found their material expression in
the magnificent cathedral churches and monastic buildings, which
were an even more characteristic outcome of this period than
were the castles of feudal chiefs
• Monastic system gave an impulse to civilization, promoted new
methods in agriculture, and exercised its influence on architecture
• Until the middle of the twelfth century, science, letters, arts, and
culture were the monopoly of the religious orders
• Schools attached to monasteries trained youths for the service of
religions
• Monks and their pupils were often the designers of cathedrals
• Up to the thirteenth century architecture was almost regarded as
sacred science
The chief Monastic Orders were as follows:

1. Benedictine Order ( Black Monks )

• Founded during the sixth century at Montecassino in South
Italy by S. Benedict of Nursia who decreed that all
architecture, painting and all branches of art were to be
taught
• All monasteries in England including those of Canterbury
and Westminster belong to this order

2. Cluniac Order
• Founded by Abbot Odo in 910 at Cluny, Burgundy
• Plan had double transepts, a feature adopted in many
English cathedrals
Saint Benedict of Nursia (c.
480–543). Detail from a fresco
by Fra Angelico (c. 1400–
1455) in the Friary of San
Marco Florence.
 3. Cistercian Order ( White Monks )

• Founded in 1098 at Citeaux Abbey by Robert of

Molesme, Stephen Harding, and Alberic of Cîteaux.
After 1134 all Cistercian churches were dedicated to
the virgin and had no separate Lady chapel
• The typical church was divided transversely into three
parts by screens, walls, or steps, and there were often
no aisles
• Transepts and eastern arm of the cross were short so
that the choir extended westward of the transept
• There was an absence of towers and painted glass
 4. Carthusian Order

• Founded by S. Bruno at the Grande Chartreuse near

Grenable in 1086
• Carthusian architecture is notably severe and
unadorned
• Two churches were provided, one for the monks and the
other for the people
• The typical feature was the great rectangular cloister
surrounded by an arcade on to which opened the
monks cells which were self contained and had their own
gardens
5. Secular Canons, serving principally cathedrals and collegiate
churches

The Orders of the Cannons Regular

6. Augustinian Cannons ( Black Cannons Regular )

• Established in about 1050

• Undertook both monastic and pastoral duties in houses often
sited in towns
• Differed a little bit from the Benedictine and was introduced
into England in AD 1185
 7. Premonstratensian Cannons ( White Cannons
Regular )

• Founded around 1100 by S. Norbert at Pre’montre in

Picardy

• 8. Gilbertine Cannons

• An exclusively English order founded in the twelfth

(12th) century by S. Gilbert of Sempringham
 Seal of the Master of the Order of
Shield of the Premonstratensians
Sempringham
 The Military Orders

9. Knights of Templars

• Founded in the 1119 to protect the Holy Places in

Palestine and to safeguard the pilgrim routes in
Jerusalem

10. Knights of Hospitallers

• Organized in about 1113 ( the Knights of S. John of

Jerusalem ) under the Augustinian rule
Seal of the Templars

Flag used by the Templars in battle.

 The Friars

11. Dominicans ( Preaching or Black Friars )

• Founded by S. Dominic about 1170 and came to England about AD
1217
• Fra Angelico was the best known member of this order which held
high place in Christian art

12. Franciscans ( Mendicant or Grey Friars )

• Founded by S. Francis of Assisi in AD 1209 and came to England in

AD 1224
• Roger Bacon was one of the most distinguished members of this
order, which was noted for intellectual attainments
Orden de Predicadores
Francis of Assisi, founder of the Order of
Friars Minor; oldest known portrait in
existence of the saint, dating back to
St. Francis's retreat to Subiaco (1223–
1224)
 13. Carmelites ( White Friars )

• Were expelled from Mt. Carmel by the Muslims in AD

1098 but only came to England in AD 1229

• 14. Austin Friars ( Hermits )

• 15. Friars of the Holy Trinity
• 16. The Crutched ( or Crouched ) Friars
• 16. Jesuits
Simple coat of arms of the Carmelite Pietro Novelli, Our Lady of Mount
Order Blazon: Argent a pile reversed Carmel and Carmelite saints (Simon
Bruntare three stars of David 2 and 1 Stock (c. 1165–1265) (standing),
counterchanged. Angelus of Jerusalem (1185–1220)
(kneeling), Mary Magdalene de Pazzi
(1566–1607), Teresa of Ávila (1515–82),
1641 (Museo Diocesano, Palermo).
 V. SOCIAL

• The introduction of the system of feudal tenure, or the holding of

land on condition of military service cause important changes in
the social and political organization of the states
• As civilization advanced the towns grew in importance but
constant warfare rendered the condition of the people unsettled
and craftsmanship was consequently at a low ebb
• Monastic system played an important part in the life of the people
of all countries especially in rural districts before the establishment
of hospitals and when learning even of medicine was
monopolized by the church
• Free masons by reason of privileges gradually acquired, did much
to facilitate the building of churches
 VI HISTORICAL

• The breakup of the Roman Empire in the West in AD 475 led

the rise of independent states and nations of Europe
• The election of the First Frankish King Charlemagne ( AD 799
) as Holy Roman Emperor marks the beginning of a new era
• From the fall of the Roman empire till the time of
Charlemagne few buildings had been erected but he
gathered artists and craftsmen around him, and before his
death ( AD 814 ) he had great measure, restored the arts
and civilization to western Europe
 ARCHITECTURAL CHARACTER

• The term Romanesque includes those

phases of European architecture which
were based on Roman art from the end of
the Roman empire in Ad 475 up to the
end of the twelfth century, when the
pointed arch was introduced
• The later Romanesque style of the tenth to
the twelfth centuries was remarkable for
the tentative use of the new constructive
principles
• This was the application of equilibrium to
construction in strong contrast to that of
inert stability as used by the Romans
• The general architectural character of the Romanesque
architecture is sober and dignified while picturesqueness
depends on the grouping of towers and the projection
of transepts and choir
• Roman cross vaults were used throughout Europe till the
beginning of the twelfth century, but they were heavy
and difficult to construct and were gradually
superseded by “rib and panel” vaulting
• Later on produced sexpartite and quadripartite vaulting
• The Roman basilica had been the model for Early Christian
churches, the plan of which was subject to new
development during this period
• The addition of transepts and the prolongation of the
sanctuary or chancel made the church a well defined
cross plan
• Transepts were generally the same breadth as the nave,
which was usually twice the width of the aisles
• Cloisters in connection with monastic
churches are often very elaborately treated
with twisted columns, curved capitals and
sculptured arches
• Towers were either square, octagonal, or
circular are the prominent features of
Romanesque architecture
• Roman methods of craftsmanship still
influenced constructive art in Europe but
technical skill in general was at a low ebb
• Walls were roughly built and were relieved externally by
buttresses formed as pilaster strips and connected at the top
by bonds of horizontal mouldings or by a series of semi circular
arches on corbels
• Attached columns, with rough capitals supporting semi
circular arches, formed wall arcading which was a frequent
decorative feature
• Arcades consisted of massive circular columns or piers which
supported semi circular arches
• Doors and window openings are very characteristic, with jams
or sides formed in series of receding moulded planes known as
“orders”
• A rose or wheel window was often placed over the
principal west door
• Glass does not appear to have come in general
use till the ninth century
• The general employment of vaulting in the eleventh
century especially over the side aisles may have
been due to the desire to fire proof the building
• The form of arch employed in vaulting was
semicircular but sometimes raised or stilted
• Romanesque architects began to use flying buttresses
under the aisle roof to counteract the trust of a vaulted
nave roof but it was left for Gothic architects to place
these flying buttresses outside the aisle roof and to weight
them with pinnacles
• Columns were either cylindrical or of stumpy proportions or
formed as massive piers and the shafts were treated with
flutings of vertical, spiral or trellis form or sometimes carved
with ornaments
• Variations of Corinthian or
Ionic capitals are used
and in later times in the
form of a cushioned (
cubiform ) shape with a
twisted shaft known as “
escallop “
• Other columns shafts
used were
a. Flutted b. Zigzag
c. Chevron d. Wreath
• Mouldings are
elaborately carved
• The base of the column is
generally an adaptation
of the old Attic form
• Ornaments were either
entered vegetable or
animal form and were
treated conventionally
• Carvings and sculpture
were often rough
• For interiors frescoes
were more usual than
mosaic
• Stained glass was as yet
little used
Map of Italy
 ARCHITECTURAL CHARACTER

A. CENTRAL ITALY

• The basilican type of church was closely adhered during this

period
• Naves were divided from the aisles by antique columns
• Italians were slow to adopt a new system of construction and
preferred to concentrate on beauty and delicacy of ornamental
detail
• Architectural character was much governed by classic tradition
• The most pronounced features of the façades were the
“ornamental arcades”
ORNAMENTAL ARCADE

BLIND OR WALL ARCADE

• Battlemented parapets primarily designed for defense was used
as purely decorative feature
• Used marble facing for walls
• Churches are covered with timber roofs ornamented with bright
coloring
• Campanili or bell towers which seem to have originated in the
sixth century, for carrying the bells which summoned the
Christian to prayer now became an integral part of the church
group
• Arcades were universal, doors and windows are small and
unimportant
• Mouldings were roughly imitations of old classic mouldings
BATTLEMENTED PARAPET
Campanili or bell towers
 B. NORTH ITALY

• The most important development took place in Lombardy

• The principal innovation was the development of the ribbed vault
which brought about the adoption of many new constructive
features
• Churches are basilican type, but the naves as well as sides aisles are
vaulted and have external roofs
• Aisles are often two storeys in height while thick walls between the
side chapels act as buttress to resist the pressure of the vault
• The flat severe entrance façades stretch across the whole church
thus masking externally the division of nave and aisles
• There is often central “projecting porch” with columns standing on
the backs of crouching lions
• Rose window light the nave area
• The gable is outlined with raking arcades which had
originated in the eaves arcades round the apses
• The general character became less refined owing to
the increased use of stones and bricks instead of
marbles
• Ornaments shows a departure from Classic precedents
and portrays with an element of the grotesque
• The Comacine masters, a privileged guild of architects
and sculptors originating in Como, carried out church
building and characteristic decorations during the
eleventh century not only in the North but also in other
parts of Italy
 ROSE WINDOWS

WHEEL WINDOWS
 C. SOUTH ITALY AND SICILY

• Architectural character is greatly influenced by Byzantine,

Moslem and Norman rule
• Byzantine influence is evident in the mosaic decoration and
predominates the plans of many buildings
• Moslem influence is especially seen in the application of
coloured marbles and in the use of stilted pointed arches
• Norman character is displayed in the planning and
construction of cathedrals which are cruciform in plan and
decorated with mosaics and has nave arcade of stilted pointed
arches
• Low lanterns at crossing of the nave and
transept are marked features
• Lateral walls are occasionally decorated
with flat pilaster strips connected horizontally
by small arches springing from the corbels
• Domes rather than vault s were adopted
• Timber roofs are the rule in Sicily under the
Islamic influence and have stalactite
ceilings, rich in design and colour
• Mouldings are specially characterized by grace
of contour and intricacy of carving
• Elaborately modeled bronze doors are
characteristic externally
• Coloured mosaic add to the beauty of the
interiors
• Colour in spreading masses of geometrical
design was the predominant note of internal
decoration
EXAMPLES OF ROMANESQUE BUILDINGS
 1. PISA CATHEDRAL
(Cattedrale Metropolitana Primaziale di Santa Maria Assunta; Duomo di Pisa)

• One of the finest under Romanesque period and has

a strong marked individuality
• It resembles other early basilican churches in plan:
with long rows of columns connected by arches,
double aisles, and nave which has the usual timber
roof
• The exterior has bands of red and white marble
• The ground storey is faced with wall arcading
Detail of the facade of the cathedral
The cathedral, with the Leaning Tower of Pisa.
The Pisa Baptistery with the Cathedral and Leaning Tower of Pisa
• The entrance façade is thrown into relief by tiers of
open arcades which rise one above the other right
unto the gable end
• The transept with an apse at each end were an
advance on the simple basilican plan
• The elliptical dome over the crossing or the intersection
of nave and transepts
• Concentrates on delicacy of its ornamental feature
rather than on any new structural development
 2. PISA CAMPANILLE

• It is a circular tower
• 16.00 m in diameter rising in eight storeys
of encircling arcades
• The upper part of the tower now
overhangs its base more than 4.20 meters
and it has a very unstable appearance
• The belfry was not added until 1350
 3. PISA BAPTISTERY

• Was designed by Dioti Salvi

• On a circular plan with central space or
nave 18.30 m in diameter
• Separated by tower piers and eight
columns from the surrounding two
storeyed aisle which makes the building
nearly 39.30 meters in diameter
 Externally it is surrounded on the lower storey by
half columns, connected by semi circular arches
under one of which is the door
• The structure is crowned by hemispherical roof,
through which penetrates a truncated cone
capped by a small dome covering the central
space
• If there were a lower internal cupola, it would
resemble the constructive scheme of S. Paul’s,
London
• This baptistery bears remarkable similarity to the
Church of S. Donato at Zara, Dalmatia
PISA BAPTISTERY
 4. S. ANTONINO, PIACENZA

• Rebuilt on the site of an earlier cathedral

• Noted for its later Gothic church , Il
Paradiso
 5. S. AMBROGIO, MILAN
Basilica romana minore collegiata abbaziale prepositurale di Sant'Ambrogio

• Founded by the great S. Ambrose in the fourth century

• partly rebuilt with dome and vault in the twelfth century
• Here S. Augustine was baptized, emperor Theodosius was
excommunicated and Lombard kings and Germanic emperors
were crowned
• The plan includes the only existing atrium among Lombard
churches, a narthex flanked by towers, vaulted nave and aisles
with an octagon over the crossing, triforium gallery, raised choir
over the crypt and an apse
• The interior is severely plain and impressive
 6. S. MICHELE, PAVIA

• Is a notable instance of a treatment which is in advance on the

divisions marked only by piers
• The church is cruciform in plan with well defined transepts and a
raised choir under which is a vaulted crypt
• The side aisles which are two storeys in height are also vaulted in
square compartments
• The flat façade shows little play of light and shade with its three
simple recessed portals and four vertical pilaster strips from ground
to gable, almost akin to buttress
• The wide spreading gable stretches across nave ad aisles and is
emphasized by a characteristic raking arcaded gallery
 7. S. ZENO, MAGIORRE

• Has a simple façade which is stern in simplicity

• The fine projecting porch has two free standing columns which
rest on the backs of the crouching beast and support a semi
circular vault
• Above is the great wheel window which lights the nave and is
one of the earliest in Italy
• The interior has arcade of compound piers with uncarved
capitals and the nave shaft is carried up as if to support the vault
S. ZENO, MAGGIORE
• Has no triforium but with clerestory
• The choir 2.10 meters above the nave has a high pointed
fourteenth century vault and an apse and beneath is the
crypt, in seven aisles, with the shrine of S. Zeno
• The campanile is detached as usual in Italy has no
buttresses is made of alternate courses of marble and
bricks
• The sturdy tower formerly belonged to a residence of the
German Emperors and is finished with Ghibelline
battlements
 8. ASTI BAPTISTERY and PHARMA
BAPTISTERY

• Are octagonal and modeled on that of Constantine, Rome

•
ASTI BAPTISTERY
PHARMA BAPTISTERY
9. HOUSE OF RIENZI, ROME
• Sometimes known as the “Casa di
Crescencio” is an instance of the
degraded civic architecture of the period
• Said to be the only private house in Rome
older than the fifteenth century
 10. MONREALE CATHEDRAL

• Stands on the heights southwest of Palermo

• Is the most splendid of all monuments erected under
Norman rule in Sicily
• The plan is a combination of an Early Christian basilican
church in its western part and quasi Byzantine in its eastern
part
• The nave columns have capitals of Byzantine form with
dosseret block encrusted with mosaic to support pointed
arches
• Walls are covered with mosaics in gold and colour
representing scenes from biblical history with a figure of
Christ in the apse
• The interior is solemn and grand, an effect produced by
the severity of the design, enhanced by the coloured
decoration
• The low, oblong central lantern and the antique bronze
doors add to the beauty and distinction o this famous
church
• The cloisters, the only remaining portion of the Benedictine
monastery are the finest of the style
11. CAPELLA PALATINA, PALERMO

• The chapel in the Royal palace

• Served as the model for Monreal
cathedral
CAPELLA PALATINA, PALERMO
 12. LA ZISA, PALERMO

• Is a three storeyed Norman castle with

battlemented parapet
• Shows the influence of Saracenic art
• The vestibule is rich in marble columns and
coloured tiles
• Stalactite vaults over the alcoves recall the
glories o the Alhambra, Granada