ROMANESQUE - GOTHIC

A R C H I T E C T U R E

THE END OF THIS LECTURE:

* THE CHARACTERISTIC * THE ARCHITECTURAL ELEMENTS * THE DIFFERENCES * COMPARISON

* SKETCH AND LABEL THE SPACES AND SPECIAL TERM

ROMANESQUE ARCHITECTURE

INTRODUCTION
After the fall of the Roman Empire in 470 AD, Europe was plunged into one long period of gloom. It was a sterile for architecture. But by the 10th century, the strengthening of the Christian church and a sharp increase in commerce produced a period of political and social stability throughout Europe. The architectural style that developed and prospered up to the 12th century is called Romanesque, meaning in the Roman manner. Mainly on the round arches of the Romans and the rib vault like dome. Christianity was gaining popularity and this resulted in - attention being given to church design especially provision for large crowd congregation. The introduction of the semi-circular walk space called the ambulatory.

Monasteries (Abbey or monastic churches) grew in importance as early as the 10th century.

INTRODUCTION
The term Romanesque ("Roman-like") was first used to designate a style of architecture that used Roman arches and had thick, heavy walls, based upon the basilica. The style is pervasive throughout Europe. Although there is no consensus for the beginning date of the style, with proposals ranging from the 6th to the 10th centuries, examples can be found across the continent, making Romanesque architecture the first pan-European architectural style.

Arch of Titus 81 AD

INTRODUCTION
Romanesque architecture semi-circular arches.
is an architectural style characterised by

Combining features of Western Roman and Byzantine buildings, Romanesque architecture

massive quality, its thick walls, round arches, sturdy piers, groin vaults, large towers and decorative arcading.
is known by its

clearly defined forms and they are frequently of very regular, symmetrical plan so that the overall appearance is one of simplicity when compared with the Gothic buildings that were to follow.
Each building has The style can be identified right across Europe, despite regional characteristics and different materials.

THE CHARACTERISTIC The general impression given by Romanesque architecture is one of massive solidity and strength. Romanesque architecture, in common with Byzantine architecture, relies upon its walls, or sections of walls called piers.

Walls The walls of Romanesque buildings are often of massive thickness with few and comparatively small openings. They are often double shells, filled with rubble

Piers In Romanesque architecture, piers were often employed to support arches. They were built of masonry and square or rectangular in section.

Columns Columns are an important structural feature of Romanesque architecture. Colonnades and attached shafts are also used structurally and for decoration.
Arches and openings Arches in Romanesque architecture are semicircular. The Triforium was made up of Blind arches (arches that are not transparent). Tower One favorite architectural features was the tower, some of these had no use but the Romanesque people liked them, so they used them in all their churches for appearance sakes. Vaults and roofs The majority of buildings have wooden roofs, generally of a simple truss, tie beam or king post form. In the case of trussed rafter roofs, they are sometimes lined with wooden ceilings in three sections. In churches, typically the aisles are vaulted, but the nave is roofed with timber.

Typical section & elevation of Romanesque Cathedral

TYPE OF VAULTS

Barrel vault The simplest type of vaulted roof is the barrel vault in which a single arched surface extends from wall to wall, the length of the space to be vaulted, for example, the nave of a church. However, the barrel vault generally required the support of solid walls, or walls in which the windows were very small. Groin vault Groin vaults occur in early Romanesque buildings for a wide nave. A groin vault is almost always square in plan and is constructed of two barrel vaults intersecting at right angles. Unlike a ribbed vault, the entire arch is a structural member. Ribbed vault In ribbed vaults, not only are there ribs spanning the vaulted area transversely, but each vaulted bay has diagonal ribs. In a ribbed vault, the ribs are the structural members, and the spaces between them can be filled with lighter, non-structural material. Pointed arched vault Late in the Romanesque period another solution came into use for regulating the height of diagonal and transverse ribs. This was to use arches of the same diameter for both horizontal and transverse ribs, causing the transverse ribs to meet at a point.

Buttresses Because of the massive nature of Romanesque walls, buttresses are not a highly significant feature, as they are in Gothic architecture. Romanesque buttresses are generally of flat square profile and do not project a great deal beyond the wall. In the case of aisled churches, barrel vaults, or half-barrel vaults over the aisles helped to buttress the nave, if it was vaulted.

Stained glass The oldest-known fragments of medieval pictorial stained glass appear to date from the 10th century. The earliest intact figures are five prophet windows at Augsburg, dating from the late 11th century. The figures, though stiff and formalised, demonstrate considerable proficiency in design, both pictorially and in the functional use of the glass, indicating that their maker was well accustomed to the medium.

ROMANESQUE ARCHITECTURE:
Thick heavy walls support stone roofs. Blocky, earthbound appearance

Simple geometric masses

The exterior reflects the interior structure and organization. Interiors tend to be dark because the massive walls dictate small windows. Over time, a growing sophistication in the understanding of how to use vaulting to span the large spaces led to the use of groin vaults and rib vaults.

San Sernin, Toulouse

THE GREAT AGE OF MONASTERIES

Monasteries housed the relics of saints, and during the Romanesque period the cult of relics became a major cultural factor influencing architecture. Devout Christians would undertake long pilgrimages in order to visit and venerate the relics of saints and martyrs. People traveled widely to visit sites and see relics because they believed them to have curative powers. The large numbers of travelers created standard routes from one monastery to another: Pilgrimage Roads became routes of trade/commerce as well as travel.

Nave of St. Savin. Poitou, France c. 1100

PILGRIMAGE ROUTES TO SANTIAGO DE COMPOSTELLA

THE PLAN OF A ROMANESQUE CATHEDRAL

The Romanesque builders adopted the Basilica

plan of

the early Christian

style but they made some changes to it because a congregational church did not fit the needs of masses for the Abbey churches.

BASILICA IN EARLY CHRISTIAN

Narthex

BASILICA IN EARLY CHRISTIAN

The nave of the church was filled with worshippers only on special holidays when pilgrims came to honour the relics, but where else the Monks said their devotion continuously day and night. The introduction of the secondary apses. Because of the need for every monks to say prayers every day, a small altar was inadequate. Therefore secondary apse with altar began to appear in the Romanesque churches. The addition were located on either side of the main apse. Examples; (1) Cefalu Cathedral, Italy (2) St. Nicola Church, Bari, Italy Church building becomes more massive in scale.

Plan

Secondary apse with altar

Cefalu Cathedral, Italy

(1) Cefalu Cathedral, Sicily, Italy ( 1160-1170 AD )

The church maintains it symmetrical form with an axis that starts from two points namely the main entrance and the main apse. The secondary apse containing the altars are placed beside the main apse. It is differentiated from the main apse by its volume. The main apse has a larger scale of volume.

Ariel view

Secondary apse with altar

(1) Cefalu Cathedral, Sicily, Italy ( 1160-1170 AD )

Facade

The massive towers serves as points in space, in dictating the main entrance faade. The decoration is minimal, very solid external planes with minimal voids for openings. The natural material of bricks is used. The main entry is welcomed by series of lines in the form of arches that frames the entry porch.

(1) Cefalu Cathedral, Sicily, Italy ( 1160-1170 AD )

INTERIOR
The Cathedral of Cefalu' is not, as with other Sicilian churches, a combination of a longitudinal and centralized floor plan. It is a linear, axial Romanesque basilica with a transept, partly vaulted. The axis aligns with the main circulation direct to the main apse. Lines as columns separates the main hall nave and the overflow area. Openings are located above eye level to allow lights to float in to the space. Decorations are in colourful mosaic with Jesus, angels and winged animals. Gold is the main colour to show exclusivity of the chuch

Perspective at Main Hall Nave

Byzantine Mosaic style-detail

2) ST. NICOLA, BARI, ITALY (1089 AD)

The interior consists of lines of columns and curvilinears of vaults. The result is a repetitive 3D planes that creates like a series of clouds adding visual richness to the space

The main church was built in ten years, but it wasn't until the middle of the 12th century that the imposing and majestic San Nicola was completed. It is a particularly fine example of Romanesque architecture and served as a prototype for many other churches and cathedrals. It still has secondary apses but the main entrance is not welcoming as it does not have any point of reference of different hierarchy. The front facade is flat, mainly solid with very minimal openings.

Rear Elevation

A prominent feature of many Romanesque churches is the addition of multiple chapels "radiating chapels". Stone barrel vaults require massive support because they create a lateral thrust requiring heavy, buttressed walls.

THE PLAN OF A ROMANESQUE CATHEDRAL

The side aisles form a continuous circuit around the transept nave and transept. The ambulatory aisle enclosed the choirthe area east of the transept- was separated by a screen to give privacy to monks during the mass or other services. The side aisles allow visitors to walk back to view the relics without disturbing anything going on in the nave or choir areas.
TRANSEPT

In some church, the main apse were enlarged into a semi-circular form to make rooms behind the high altar for semicircular arrangement of tiny chapels called Apsidal Chapel or Chevet
Since the Eastern end (Apse) was expanded, there was space for the Ambulatory : An area to walk inside the Altar

Norman columns in the ambulatory of St Bartholomew's (1123), London. Floor plan of the Abbey Church of St. Foy, demonstrating the layout of a Romanesque pilgrimage church: radiating chapels in the east end and an ambulatory to accommodate the flow of pilgrims

EXAMPLE OF ROMANESQUE CHURCH:

SAINTE-FOY

Conques, France, c. 1050-1120

SAINTE-FOY CATHEDRAL

Sainte-Foy is one of the earliest surviving examples of a Romanesque pilgrimage church: a church designed specifically to accommodate visiting pilgrims. Sainte Foy, to whom the church is dedicated, was martyred as a child in 303 CE. The church was built above the site of her tomb, and it holds relics associated with her.

Compare to other churches, SainteFoy, is much shorter in proportion. It does have radiating chapels and a circumambulatory aisle: key characteristics of pilgrimage churches.

Another view of the apse, transept and bell-tower. This is a nice illustration of the massive quality of Romanesque buildings.

SAINTE-FOYS NAVE
In this view of the nave, looking towards the altar, you can see how dark the interior seems. Notice the windows around the base of the bell-tower near the upper-left of the image. Gregorian Chant: Introit: Puer natus est nobis

ST. ETIENNE CATHEDRAL

Caen (Normandy) 1067 1120 CE. St. Etienne is a good example of the Norman style of Romanesque architecture. The style developed during the rule of William the Conqueror. He's buried here at St. Etienne. Buttresses divide the facade into three bays: a tripartite facade; there are also three horizontal divisions. (The spires were both added during the Gothic period.) St. Etienne is seen as a precursor of the Gothic style of church architecture that emerged in 1140 with the re-building of St. Denis in Paris. Website: St. Etienne

ST. ETIENNES VAULTING SYSTEM

Ribbed groin vaults (or just rib vaults) replace barrel vaults and allow the addition of clerestory windows. Rib vaults are groin vaults reinforced with extra stone ribbing. These vaults at St. Etienne are some of the earliest ribbed vaults. They are supported by large complex piers covered with pilasters and engaged columns.

ST. ETIENNES NAVE

The floor plan reflects a regular system of square modules. The ribbed vaults may be described as sexpartite because there are six elements to each rib vault.

St. Etienne A view of the apse and towers of the east end.

DIAGRAM OF A ROMANESQUE PORTAL

Major figurative decoration occurs particularly around the portals of cathedrals and churches, ornamenting the tympanum, lintels, jambs and central posts.

TYMPANUM OF SAINTE-FOY

ROMANESQUE SCULPTURE
Large scale stone sculpture was revived during the Romanesque period. For a long time there had been no large scale sculptures produced after the fall of the western the Roman Empire. (No idols!) Romanesque sculpture shows little consideration of earlier (Greek and Roman) styles. Portals of churches were covered with sculpture for pilgrims to study while they waited to enter, so most early Romanesque sculpture is architectural, not freestanding. Tympanum scenes are typically of the enthroned Christ and the Apocalypse or the Last Judgment. Early Romanesque sculpture shows little integration with it's architectural setting. Sculptors had no experience with large scale sculpture, so they are conservative.

Apostle St. Sernin 1090

GOTHIC ARCHITECTURE

CHARACTERISTICS OF GOTHIC ARCHITECTURE

GOTHIC ARCHITECTURE WAS A TYPICAL OF BUILDING THAT EVOLVED IN EUROPE FROM ABOUT MID 12TH. CENTURY (1150 AD) UNTIL THE BEGINNING OF THE RENAISSANCE WHICH STARTED IN ITALY IN THE EARLY 15TH. CENTURY

(1) Sexpartite Vault

A vault where each bay is divided into parts by intersection of 2 diagonal ribs, in one transverse rib. This is a 6 ribbed vault The weight of the vault became less of a problem and stone Nob (Boss) formed where the ribs met suggesting a new kind of ceiling decoration.

(2) The ribbed vault and flying buttress

By substituting groined vaults with ribbed vaults, it was possible to increase the height and span of the church. Gothic vaulting soon began to rise in height and the builders placed flying buttress on the outside to push against the points of trust of the vault. Pointed arch and flying buttresses are two key features of Gothic arch although it is not original. Pointed arch is found in Islamic Architecture and flying buttresses is also a feature of Romanesque. The repetition of flying buttresses gives the impression of lightness and height, with tall slender columns framing large tall windows. The exterior is full of ornaments again to express slender and vertical lines.

CONSTRUCTION OF A GOTHIC CATHEDRAL

CONSTRUCTION OF A GOTHIC CATHEDRAL

(3)The rose window is magnified and becomes a decorative and illuminating feature for the facade and interior.

(4) Sculptures
The facade of the Gothic cathedral had elaborate carvings giving depth to the otherwise flat faade of the earlier churches design. It is possible to find as many as 700 individual figures carved on the facade of some of the cathedral. Due to this, Gothic cathedral have been called the Bible in Stone and glass because Bible stories were carved on these cathedrals walls for people to see and read.

EVOLUTION OF GOTHIC
1000 AD churches were built from stone and reflected Roman influences. Romanesque architecture looked like fortresses with thick walls and towers Barely any light came through because the windows were only tiny slits in the walls, for fear of weakening the supports.

1140 AD a new abbey church with an abundance of true light was planned.

The transition to Gothic architecture began. It encourages the eyes to lift up to the heavens with its lofty ceilings and enormous windows that allow true light to pass into the structure.

Nave elevations of four French Gothic cathedrals at the same scale (a) Laon, (b) Paris, (c) Chartres, (d) Amiens.

80'

107' Early Gothic

118'

144' High Gothic

GOTHIC CHARACTERISTICS
Buildings that seem to reach unachievable heights. Doorways and windows have pointed arches. With buttresses supporting the outside walls, these structures could be built higher, leaving space for huge stained glass windows. These windows, along with sculptures and carvings inside the churches, often told biblical stories, serving to educate the illiterate people of medieval Europe.

TYPES OF GOTHIC CATHEDRALS

FRENCH GOTHIC

Bourges Cathedral (1192)

Begun by Bishop Henry de Sully (1190).

The upper church is also double-aisled in plan, with 5 small radiating chapels opening off the outer ambulatory.
The main space is continuous with no transepts. The main elevation is of 3-storeys height It used the sexpartite vault 38m (125) high.

FLOOR PLAN

EXTERIOR VIEW

EXTERIOR SIDE VIEW

INTERIOR VIEW

ENGLISH GOTHIC
It can be divided into 3 stages of development. Early English (1189-1307) - Features: Pointed arches - Faade Designs more simple - Slender columns compared to massive Romanesques - Projecting Buttress were introduced Example: Salisbury Cathedral

This is the only English Gothic Cathedral to be built largely in a single operation and therefore a single style. It was begun in 1220 and in 1288 was largely completed.
The tower and spire came a little bit later.

 The internal storeys clearly separated into strong horizontal bands; extensive used of purple marble to create a strongly colored schemes. It is built on the traditional English cruciform plan, with a central tower and spire over the crossing that is the tallest in England 124 high. Inside, nave and choir are finely vaulted and the usual 3 storey division of ground floor arcade, triforium and clerestory.

FLOOR PLAN

EXTERIOR - FACADE

EXTERIOR SIDE VIEW

INTERIOR VIEW

 (B) Decorated Period (1307-1377) - Windows increased in size - The form looks broader and more massive Example: Exeter Cathedral (1280-1369)

EXTERIOR - FACADE

EXTERIOR SIDE VIEW

INTERIOR VIEW

GERMAN GOTHIC
It reached a high development in the Cathedral of Cologne(1257). This cathedral is the largest of North European churches. It has double aisle on both sides. Its internal height is about 157 and its utmost impressive features is its massive western tower with spires to total height of 150m. General features of German Gothic: - Arches were mostly in brick - There was a natural preference for heavy forms

Example Cologne Cathedral

EXTERIOR - FACADE

INTERIOR VIEW

GOTHIC IN HOLLAND (FLEMISH GOTHIC)

The best example of gothic in Holland is the Cathedral of Antwerp (1352).
It is a building with no great height but a great width.

The tall nave is flanked by a monumental North-western tower 400 high.

It is a form that is asymmetrical due to the singular tower. This is a unique feature of Flemish Gothic.

EXTERIOR - FACEDE

INTERIOR VIEW

VAULT

COMPARISON: ROMANESQUE & GOTHIC

Romanesque

Ground Plan

Gothic

St. Sernin, Toulouse 10801120

Notre Dame, Paris 1163-1250

West Facade
Romanesque Gothic

St. Etienne, Caen 1068-1120

Notre Dame, Paris 1163-1250

East End
Romanesque Gothic

Speyer, Germany 1082-1106

Notre Dame, Paris 1163-1250

Romanesque
Notre Dame de Garde, Poitiers 1125-1150

Exterior

Gothic
Notre Dame, Paris 1163-1250

Main Portal Tympanum

Romanesque
St. Lazare, Autun c. 1130

Gothic Notre Dame, Paris 1163-1250

Romanesque

Jamb Sculpture
Gothic

Notre Dame, Paris 1163-1250 St. Pierre, Moissac 1115-1135

Sculptural Detail: Demons & Gargoyles

Romanesque Gothic

St. Lazare, Autun 1100-1130

Notre Dame, Paris 11631250

Nave Elevation
Romanesque

Gothic

St. Sernin, Toulouse, 1080-1120

Notre Dame, Paris 1163-1250

Vaulting
Romanesque

Gothic

St. Etienne, Caen 1068-1120

Amiens Cathedral, 1220-1250

Vaulting
Romanesque

Gothic

St. Etienne, Caen 1068-1120

Amiens Cathedral, 1220-1250

COMPARISON OF ROMANESQUE & GOTHIC

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