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Romanesque: Towns, Cathedrals and Monasteries
Originated by art theorists in the Nineteenth Century, the term ""Romanesque"" refers to a school of religious architecture and design from the early medieval period. As with all terms that attempt to summarise an epoch, ""Romanesque"" artificially constructs the notion of one unified style, but as this book makes clear, the Romanesque tendency consisted of many different, eclectic characteristics. The investigation back through time leads us across the ancient pilgrim routes of the Pyrenees, and then into a vast range of devotional structures -churches, tombs, monuments, cathedrals and basilicas. Each one carries its own regional imprint and spiritual iconography. Containing rigorously detailed and comprehensive insights into all aspects of Romanesque symbolism and ritual, this book includes analysis of liturgical equipment, and explores the significance of many features of the buildings. A fascinating, mystical quest that forms the second volume in this acclaimed series on Medieval architecture.
237 pages, Hardcover
First published November 1, 1998
36 people want to read
About the author
Xavier Barral i Altet
103 books3 followersXavier Barral i Altet (Barcelona, 1947) és un historiador de l'art català.
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March 2, 2023
Architecture, as part of the universe, is a lasting manifestation of the divine project. The artist who builds it and the Christians who enter it can perceive in the fabric of the building an analogue of the harmony of a world governed by God and of the eternal life that awaits them.
Our understanding of Romanesque architecture dates from the mid 19th century, when the term was invented to define the period of medieval architecture preceding the Gothic; since the style was thought to derive from Roman architecture, it was called "Romanesque". In religious architecture, Romanesque art is characterized by the sculpture with which interiors and exteriors were decorated, especially in the 12th century. Religious sculpture constituted an offering to God, and in it we discover the perfect expression of the doctrines, aspirations and purpose of Romanesque art.
Many changes occurred around the first millennium. Among these was the emergence of a new style of architecture, the pre-Romanesque, which prepared the transition between Carolingian and Romanesque architecture. Since civic art is known to us only through archaeology, religious architecture affords the finest examples of the monumental art of this period. Numerous donations combined with the religious ardour of the builders to clothe the West in new churches. They were erected to replace those that had been destroyed during the barbarian invasions of the Roman Empire and later of northern and western Europe, and they were built in stone rather than wood. Their greater size was commensurate with the increasing numbers of Christians and the increasing size of monastic communities. They constituted a rich display of architectural novelty intended to impress the people, honour the divine and offer a shelter worthy of the precious relics that they housed.
The cloister was for the exclusive use of the religious community and constituted a center of monastic life. It was a place of meditation and relaxation, and a passage leading to the various buildings used everyday by the monks. A cloister for spiritual restoration.
Churches are oriented towards the east, whence the sun rises, because the sun of justice is venerated in the east, and in the east, too, is paradise, our home according to Honorius. The material church rests on stone foundations, just as the Church rests on the rock of Christ. It rises towards heaven in the form of its four walls, while the Church grows through the virtues of the Four Gospels. The house of prayer built in solid stone symbolizes the strength created by the faith and works of the Church. Stones bonded by mortar are the faithful bonded by love. The sanctuary symbolizes the primitive Church while the nave represents those who serve God in active life.
The transparent windows, which exclude the storm but allow in the light, are doctors who fight heresies and spread the light of the Church's teachings. The glass of the windows through which the rays of light pass are the thoughts of the doctors, who perceive divine matters as if through a glass.
The columns that support the house of God symbolize the bishops, on whom the structure of the Church rests, thanks to their upright lives. The beams that ensure the stability of the building are the powerful of this world who offer their protection to the Church. The tiles of the roof, which prevent rain entering the building, are the soldiers who protect the Church against pagans and enemies.
The paintings decorating the ceiling and the walls provide examples for the just, and represent the customary decoration of the zchurch. The paintings are executed to be read by the lay person, to decorate the building and to commemorate our predecessors in life.
The pavement underfoot is the people thanks to whose work the Church is sustained. The crypts are those who cultivate the inner life. The altar on which the sacrifice is offered is Christ.
1) Sant Vicenc, Cardona
2) Saint Philibert, Tournus
3) Sainte Madeleine, Vezelay
4) Saint Georges, Saint Martin de Boscherville
5) Evora Cathedral, Portugal
6) Ely Cathedral
Our understanding of Romanesque architecture dates from the mid 19th century, when the term was invented to define the period of medieval architecture preceding the Gothic; since the style was thought to derive from Roman architecture, it was called "Romanesque". In religious architecture, Romanesque art is characterized by the sculpture with which interiors and exteriors were decorated, especially in the 12th century. Religious sculpture constituted an offering to God, and in it we discover the perfect expression of the doctrines, aspirations and purpose of Romanesque art.
Many changes occurred around the first millennium. Among these was the emergence of a new style of architecture, the pre-Romanesque, which prepared the transition between Carolingian and Romanesque architecture. Since civic art is known to us only through archaeology, religious architecture affords the finest examples of the monumental art of this period. Numerous donations combined with the religious ardour of the builders to clothe the West in new churches. They were erected to replace those that had been destroyed during the barbarian invasions of the Roman Empire and later of northern and western Europe, and they were built in stone rather than wood. Their greater size was commensurate with the increasing numbers of Christians and the increasing size of monastic communities. They constituted a rich display of architectural novelty intended to impress the people, honour the divine and offer a shelter worthy of the precious relics that they housed.
The cloister was for the exclusive use of the religious community and constituted a center of monastic life. It was a place of meditation and relaxation, and a passage leading to the various buildings used everyday by the monks. A cloister for spiritual restoration.
Churches are oriented towards the east, whence the sun rises, because the sun of justice is venerated in the east, and in the east, too, is paradise, our home according to Honorius. The material church rests on stone foundations, just as the Church rests on the rock of Christ. It rises towards heaven in the form of its four walls, while the Church grows through the virtues of the Four Gospels. The house of prayer built in solid stone symbolizes the strength created by the faith and works of the Church. Stones bonded by mortar are the faithful bonded by love. The sanctuary symbolizes the primitive Church while the nave represents those who serve God in active life.
The transparent windows, which exclude the storm but allow in the light, are doctors who fight heresies and spread the light of the Church's teachings. The glass of the windows through which the rays of light pass are the thoughts of the doctors, who perceive divine matters as if through a glass.
The columns that support the house of God symbolize the bishops, on whom the structure of the Church rests, thanks to their upright lives. The beams that ensure the stability of the building are the powerful of this world who offer their protection to the Church. The tiles of the roof, which prevent rain entering the building, are the soldiers who protect the Church against pagans and enemies.
The paintings decorating the ceiling and the walls provide examples for the just, and represent the customary decoration of the zchurch. The paintings are executed to be read by the lay person, to decorate the building and to commemorate our predecessors in life.
The pavement underfoot is the people thanks to whose work the Church is sustained. The crypts are those who cultivate the inner life. The altar on which the sacrifice is offered is Christ.
1) Sant Vicenc, Cardona
2) Saint Philibert, Tournus
3) Sainte Madeleine, Vezelay
4) Saint Georges, Saint Martin de Boscherville
5) Evora Cathedral, Portugal
6) Ely Cathedral
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