5.01 Introduction to Romanesque Architecture
The term Romanesque means "Romanlike" and was initially used to describe the European architecture of the eleventh and twelfth centuries (later it would be used to identify all of the history and culture of the period). As we shall see, the major architectural works of the Romanesque period indeed borrowed heavily from Roman construction techniques, namely in barrel and groin vaults on rounded arches.
The Romanesque period was also witness to great city growth, waves of Christian
pilgrimages (to
see religious relics), the Crusades
and continued marauding invasions. Consequently, the period saw a rise in monumental
churches, which were large enough to accommodate the increasing numbers of worshippers
and solid enough to withstand the assaults (and flames!) of invaders.
The Romanesque Church
Before we study any particular structure, let us look at some specific characteristics of Romanesque churches:
basilica plan with transept
increased nave length
extended or double side aisles
apse with ambulatory
radiating chapels
upper level galleries, also called tribunes
barrel vaulting
and later groin
vaulting
compound piers
segmented (as opposed to continuous, unified) interior space
Again, keep in mind that Romanesque architects had to make many modifications
of Early Christian church plans in order to oblige the large numbers of congregants
and to ensure the building's longevity. Certainly, extended naves, extended
or double side aisles, ambulatories, radiating chapels and tribunes could accommodate
large numbers of pilgrims, while the barrel vaulting and compound piers made
for a sturdy and nearly fireproof structure.
Let us now take a look at these elements in an actual Romanesque church, starting
with the
plan (notice the length of the nave and the size of the multiple side aisles),
followed by the nave (note especially the compound piers) and finally the ambulatory
with radiating chapels.
Saint-Sernin, Toulouse, France
The earliest, truly Romanesque structures are found on the pilgrimage routes in France. One such work is Saint-Sernin at Toulouse. This church was begun in 1070 and was completed sometime around 1120.
Saint-Semin features an elongated nave, transept, apse, ambulatory and radiating chapels which give the church the shape of a Latin cross (yet another reason for the lengthy nave).
The interior view (right) shows a rhythmic, geometric organization of space with the repeating units of barrel vaults above and compound piers below (in architecture, each of these "units" is known as a bay.)
This "segmented space" is strikingly different from the timber-roofed,
flat walled, uninterrupted space of Early Christian basilicas (cf. Sant'Apollinare
Nuovo in Lesson 4.04),
and
is a certain mark of a Romanesque church.
Saint-Sernin at Toulouse (ca. 1070-1120) by AICT
Cluny III, Cluny, Germany
The church of Hugh of Semur at Cluny, Germany, begun in 1088 and known as Cluny III by art historians, was an even more magnificent work than Saint-Sernin (and nearly twice the size). In fact, it was, at one time, the largest church in Europe. Unfortunately, it was dismantled in the nineteenth century, so its building stones could be used elsewhere. It is still, however, an important work in the history of architecture because of its novel and influential design.
Like Saint-Sernin, Cluny III had five aisles, radiating chapels and barrel
vaults, but its nave
elevation1 had three stories instead of two as well as slightly pointed
nave arches, both of which become standards for northern churches in the years
that followed.
1When we speak of nave elevation, we are referring to the division of horizontal
space in the nave wall. In Saint-Sernin, we have two stories: the arcade (lower)
and the tribune (upper). Yet, with Cluny III we have an elevation defined by
an arcade, a tribune and a clerestory.
Speyer Cathedral, Speyer, Germany
Another challenge for Romanesque architects was lighting. Clerestory windows were difficult to construct with a barrel vaulting system, so the Romanesque builders turned to the groin vault, which is a more efficient (2) support system. Since the walls of groin-vaulted structures did not have to bear the full weight of the vaulting system, architects were able to pierce the walls with clerestory windows, and the problem of light was solved.
An early Romanesque structure with groin vaulting is the Speyer
Cathedral in Germany. The work was begun in 1030, but the groin vaulting
was not added until renovations were started in 1080 (replacing the old timber
roof). Notice the light afforded by the large clerestory windows as well as
the characteristic crown of the groin vault.
(2)By "more efficient" we mean that groin vaulting puts less outward
pressure on the walls below. The weight of barrel vaulting "pushes"
down on the walls below, creating an outward force on the walls. If the walls,
which are supporting the barrel vaulting, are not thick and strong (or weakened
by the piercing of large windows), they will collapse (due to the outward pressure)
and the barrel vaulting will fall to the floor. The weight of groin vaulting,
on the other hand, is placed on piers (rather than the walls), thus allowing
the walls to be pierced by windows.
Sant'Ambrogio, Milan, Italy
Another interesting study is Sant'Ambrogio in Milan, Italy (ca. late 11C), which
shows the continued innovation in vaulting. First, we see that the main vaults
are higher (in fact almost domelike) than the transverse
arches, further accentuating the interior spatial rhythm. Secondly (and
more importantly), we see that the compound piers also continue into the vaults
which create supporting arches, or ribs, running along the groin. This support
system is known as rib vaulting and is characteristic of Late Romanesque and
Gothic (the next period) architecture.
You may have also noticed that this structure does not have the soaring heights
as do the other northern churches that we have studied. Sant'Ambrogio's nave
is broader than its northern counterparts. Both are related to the fact that
Italian architects never strayed too far from the Early Christian basilican
design. Be sure to make a note of these facts, as they are excellent means by
which to distinguish Italian Late Romanesque and Gothic churches from their
northern equivalents.
Sant'Ambrogio (ca. late 11C), photo of museum display by SR
Click on the earth icon to your left for a map containing the place names cited in our study of Romanesque art. Be sure to add it to your notebook!
Slides to Memorize:
Saint-Sernin at Toulouse, exterior and nave (ca. late
11C)
Sant'Ambrogio, nave (ca. late 11C)
Terms to Memorize:
radiating chapels
tribunes
barrel vaulting
groin vaulting
compound piers
Latin cross
bay
nave elevation
transverse arch
rib vaulting
