Dictionary of Art and Artists



 

 


History of

Architecture and Sculpture

 
 

 

 
 

 
 

CONTENTS:

 
 

PART ONE
THE ANCIENT WORLD
PREHISTORIC ART
EGYPTIAN ART

ANCIENT NEAR EASTERN ART
AEGEAN ART
GREEK ART
ETRUSCAN ART
ROMAN ART
EARLY CHRISTIAN AND BYZANTINE ART

PART TWO
THE MIDDLE AGES
EARLY MEDIEVAL ART
ROMANESQUE ART
GOTHIC ART

PART THREE
THE RENAISSANCE THROUGH THE ROCOCO
LATE GOTHIC
THE EARLY RENAISSANCE IN ITALY
THE HIGH RENAISSANCE IN ITALY
MANNERISM AND OTHER TRENDS
THE RENAISSANCE IN THE NORTH
THE BAROQUE IN ITALY AND SPAIN
THE BAROQUE IN FLANDERS AND HOLLAND
THE BAROQUE
THE ROCOCO

PART FOUR
THE MODERN WORLD
NEOCLASSICISM AND ROMANTICISM
REALISM AND IMPRESSIONISM
POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU

PART FIVE
TWENTIETH-CENTURY
TWENTIETH-CENTURY SCULPTURE
TWENTIETH-CENTURY ARCHITECTURE


INDEX
FIGURES
 

 

 


CHAPTER TWO
 

ROMANESQUE ART
 

ARCHITECTURE-I
ARCHITECTURE-II
ARCHITECTURE-III
ARCHITECTURE-IV
SCULPTURE-I
SCULPTURE-II
METALWORK AND PAINTING-I
METALWORK AND PAINTING-II
METALWORK AND PAINTING-III
 
 

Looking back over the ground we have covered in this book so far, a thoughtful reader will be struck by the fact that almost all of our chapter headings and subheadings might serve equally well for a general history of civilization. Some are based on technology (for example, the Old Stone Age), others on geography, ethnology, religion.Whatever the source, they have been borrowed from other fields, even though in our context they also designate artistic styles. There are only two important exceptions to this rule: Archaic and Classical are primarily terms of style. They refer to qualities of form rather than to the setting in which these forms were created. Why don't we have more terms of this sort? We do, as we shall see—but only for the art of the past 900 years.

Those who first conceived the idea of viewing the history of art as an evolution of styles started out with the conviction that art in the ancient world developed toward a single climax: Greek art from the age of Pericles to that of Alexander the Great. This style they called Classical (that is, perfect). Everything that came before was labeled Archaic, to indicate that it was still old-fashioned and tradition-bound, not-yet-Classical but striving in the right direction, while the style of post-Classical times did not deserve a special term since it had no positive qualities of its own, being merely an echo or a decadence of Classical art.

The early historians of medieval art followed a similar pattern. To them, the great climax was the Gothic style, from the thirteenth century to the fifteenth. For whatever was not-yet-Gothic they adopted the label Romanesque. In doing so, they were thinking mainly of architecture. Pre-Gothic churches, they noted, were round-arched, solid, and heavy, as against the pointed arches and the soaring lightness of Gothic structures. It was rather like the ancient Roman style of building, and the term "Romanesque" was meant to convey just that. In this sense, all of medieval art before 1200 could be called Romanesque insofar as it shows any link with the Mediterranean tradition. Some scholars speak of medieval art before Charlemagne as pre-Romanesque, and of Carolingian and Ottoman as proto- or early Romanesque. They are right to the extent that Romanesque art proper—that is, medieval art from about 1050 to 1200—would be unthinkable without the contributions of these earlier styles. On the other hand, if we follow this practice we are likely to do less than justice to those qualities that make the art of the Dark Ages and of Carolingian and Ottonian times different from the Romanesque.

Carolingian art, we will recall, was brought into being by Charlemagne and his circle, as part of a conscious revival policy, and even after his death, it remained strongly linked with his imperial court. Ottonian art, too, had this sponsorship, and a correspondingly narrow base. The Romanesque, in contrast, sprang up all over western Europe at about the same time. It consists of a large variety of regional styles, distinct yet closely related in many ways, and without a central source. In this respect, it resembles the art of the Dark Ages rather than the court styles that had preceded it, although it includes the Carolingian-Ottonian tradition along with a good many other, less clearly traceable ones, such as Late Classical, Early Christian, and Byzantine elements, some Islamic influence, and the Celtic-Germanic heritage.

What welded all these different components into a coherent style during the second half of the eleventh century was not any single force but a variety of factors that made for a new burgeoning of vitality throughout the West. The millennium came and went without the Apocalypse (described in the book of Revelation of St. John the Divine) that many had predicted. Christianity had at last triumphed everywhere in Europe. The Vikings, still largely pagan in the ninth and tenth centuries when their raids terrorized the British Isles and the Continent, had entered the Catholic fold, not only in Normandy but in Scandinavia as well. The Caliphate of Cordova had disintegrated in 1031 into many small Moslem states, opening the way for the reconquest of the Iberian Peninsula. And the Magyars had settled down in Hungary.

There was a growing spirit of religious enthusiasm, reflected in the greatly increased pilgrimage traffic to sacred sites and culminating, from 1095 on, in the crusades to liberate the Holy Land from Moslem rule. Equally important was the reopening of Mediterranean trade routes by the navies of Venice, Genoa, Amalfi, Pisa, and Rimini; the revival of trade and travel, which linked Europe commercially and culturally; and the consequent growth of urban life. During the turmoil of the early Middle Ages, the towns of the West Roman Empire had shrunk greatly in size. (The population of Rome, about one million in 300 A.D., fell to less than fifty thousand at one point.) Some cities were deserted altogether. From the eleventh century on, they began to regain their former importance. New towns sprang up everywhere, and a middle class of artisans and merchants established itself between the peasantry and the landed nobility as an important factor in medieval society.

In many respects, then, western Europe between 1050 and 1200 became a great deal more "Roman-esque' than it had been since the sixth century, recapturing some of the international trade patterns, the urban quality, and the military strength of ancient imperial times. The central political authority was lacking, to be sure. Even the empire of Otto I did not extend much farther west than modern Germany does. But the central spiritual authority of the pope took its place to some extent as a unifying force. The international army that responded to Urban II's call in 1095 for the First Crusade to liberate the Holy Land from Moslem rule was more powerful than anything a secular ruler could have raised for the purpose.



ARCHITECTURE

The most conspicuous difference between Romanesque architecture and that of the preceding centuries is the amazing increase in building activity. An eleventh-century monk, Raoul Glaber, summed it up well when he triumphantly exclaimed that the world was putting on a "white mantle of churches." These churches were not only more numerous than those of the early Middle Ages, they were also generally larger, more richly articulated, and more "Roman-looking." Their naves now had vaults instead of wooden roofs, and their exteriors, unlike those of Early Christian, Byzantine, Carolingian, and Ottonian churches, were decorated with both architectural ornament and sculpture. Geographically, Romanesque monuments of the first importance are distributed over an area that might well have represented the world—the Catholic world, that is—to Raoul Glaber: from northern Spain to the Rhine-land, from the Scottish-English border to central Italy. The richest crop, the greatest variety of regional types, and the most adventurous ideas are to be found in France. If we add to this group those destroyed or disfigured buildings whose original designs are known to us through archaeological research, we have a wealth of architectural invention unparalleled by any previous era.
 

 


The Romanesque Portal


One of the most significant and distinctive leatures of Romanesque art is the revival of monumental sculpture in stone. Because of the Second Commandment's prohibition of graven images, large-scale carved Old and New Testament figures (and later saints) were almost unknown in Christian art before the Romanesque period. But in the late
11th and early 12th centuries, rich ensembles of figural reliefs began to appear again. Freestanding statuary, however, still associated with pagan idol worship, remained very rare.

Although sculpture in a variety of materials adorned different areas of Romanesque churches, it was most often found in the grand stone portals through which the faithful had to pass. Sculpture had been employed in church doorways before. For example, carved wooden doors greeted Early Christian worshipers as they entered Santa Sabina in Rome. And Ottonian bronze doors decorated with Old and New Testament scenes marked the entrance to Saint Michael's at Hildesheim. But these were exceptions. And in the Romanesque era (and during the Gothic period that followed), sculpture usually appeared in the area around, rather than on, the doors.

Our drawing shows the parts of church portals that Romanesque sculptors regularly decorated with figural reliefs:

Tympanum, the prominent semicircular lunette above the doorway proper, comparable in importance to the triangular pediment of a Greco-Roman temple

Vonssoirs
, the wedge-shaped blocks that together
form the archivolts of the arch framing the tympanum

Lintel, the horizontal beam above the doorway

Trumeau, the center post supporting the lintel in the middle of the doorway

Jambs, the side posts of the doorway

 

 

 

 


Southwestern France


ST.-SERNIN, TOULOUSE.



400. St.-Sernin, Toulouse, ń.
1080-1120


We begin our survey of Romanesque churches with St.-Sernin, in the southern French town of Toulouse (figs. 400-403), one of a group of great churches of the "pilgrimage type," so called because they were built along the roads leading to the pilgrimage center of Santiago de Compostela in northwestern Spain. The plan immediately strikes us as much more complex and more fully integrated than those of earlier structures such as St.-Riquier, or St. Michael's at Hildesheim (see figs. 381 and 393). It is an emphatic Latin cross, with the center of gravity at the eastern end. Clearly this church was not designed to serve only a monastic community but, like Old St. Peter's in Rome (fig. 300), to accommodate large crowds of lay worshipers in its long nave and transept.

The nave is flanked by two aisles on either side. The inner aisle continues around the arms of the transept and the apse, thus forming a complete ambulatory circuit anchored to the two towers of the west facade. The ambulatory, we will recall, had developed as a feature of the crypts of earlier churches such as St. Michael's. Now it has emerged above ground, where it is linked with the aisles of nave and transept and enriched with apsidal chapels that seem to radiate from the apse and continue along the eastern face of the transept. (Apse, ambulatory, and radiating chapels form a unit known as the pilgrimage choir.) The plan also shows that the aisles of St.-Sernin are groin-vaulted throughout. In conjunction with the features already noted, this imposes a high degree of regularity upon the entire design. The aisles are made up of square bays, which serve as a basic module for the other dimensions, so that the nave and transept bays equal two such units, the crossing and the facade towers four units. The spiritual harmony conveyed by the repetition of these units is perhaps the most striking achievement of the pilgrimage church.



St.-Sernin, Toulouse, ń.
1080-1120


On the exterior, this rich articulation is further enhanced by the different roof levels that set off the nave and transept against the inner and outer aisles, the apse, the ambulatory, and the radiating chapels. This is enhanced by the buttresses, which reinforce the walls between the windows, to contain the outward thrust of the vaults. The windows and portals are further emphasized by decorative framing. The great crossing tower was completed in Gothic times and is taller than originally intended. The two facade towers, unfortunately, have never been finished and remain stumps.

As we enter the nave, we are impressed with its tall proportions, the elaboration of the nave walls, and the dim, indirect lighting, all of which create a sensation very different from the ample and serene interior of St. Michael's, with its simple and clearly separated blocks of space (see figs. 394 and 395). If the nave walls of St. Michael's look Early Christian (see fig. 302), those of St.-Sernin seem more akin to structures such as the Colosseum (see fig. 248). The syntax of ancient Roman architecture—vaults, arches, engaged columns, and pilasters firmly knit together into a coherent order—has indeed been recaptured here to a remarkable degree. Yet the forces whose interaction is expressed in the nave of St.-Sernin are no longer the physical, muscular forces of Graeco-Roman architecture but spiritual forces of the kind we have seen governing the human body in Carolingian and Ottonian miniatures.



401. Plan of St.-Sernin (after Conant)

402. Axonometric projection of nave, St.-Sernin (after Choisy)
 


403. Interior, St.-Sernin


The half-columns running the entire height of the nave wall would appear just as unnaturally drawn-out to an ancient Roman beholder as the arm of Christ in figure 398. They seem to be driven upward by some tremendous, unseen pressure, hastening to meet the transverse arches that subdivide the barrel vault of the nave. Their insistently repeated rhythm propels us toward the eastern end of the church, with its light-filled apse and ambulatory (now obscured by a huge altar of later date). In thus describing our experience we do not, of course, mean to suggest that the architect consciously set out to achieve this effect. Beauty and engineering were inseparable. Vaulting the nave to eliminate the fire hazard of a wooden roof was not only a practical aim; it provided a challenge to make the House of the Lord grander and more impressive. Since a vault becomes more difficult to sustain the farther it is from the ground, every resource had to be strained to make the nave as tall as possible. However, the clerestory was sacrificed for safety's sake. Instead, galleries are built over the inner aisles to abut the lateral pressure of the nave vault in the hope that enough light would filter through them into the central space. St.-Sernin serves to remind us that architecture, like politics, is "the art of the possible," and that its success, here as elsewhere, is measured by the degree to which the architect has explored the limits of what seemed possible under those particular circumstances, structurally and aesthetically.




ST.-PIERRE, MOISSAC.



The Abbaye St-Pierre de Moissac

The Abbaye St-Pierre de Moissac was founded in the mid 600s.
In 1048 Moissac became affiliated with Cluny.
Today the two glories of the Abbey are its cloisters, which are said to be the oldest surviving cloisters with narrative capitals (though Santo Domingo de Silos might dispute this), and the sculptures of the portal (and particularly the trumeau - central door pillar) of the abbey church.
46 of the 76 cloister capitals illustrate themes from the scriptures or the lives of saints.
The cloister gallery roofing was rebuilt in the late 1200s and again in the 1900s, but the original capitals and columns remained in place. The cloister also contains reliefs of Abbot Durand de Bredons, evangelists and disciples. The cloister is run as a separate state museum .The church is still used as a Roman Catholic parish.
The cloisters, having survived Simon de Montfort in 1212 and the English, Hugenots, Revolutionaries and other nasties since then, nearly got destroyed by the great railway craze of the mid 1800s.




Burgundy and Western France



AUTUN CATHEDRAL.



Autun Cathedral (Cathedrale Saint-Lazare d'Autun)

The builders of St.-Sernin would have been the first to admit that their answer to the problem of the nave vault was not a final one, impressive though it is in its own terms. The architects of Burgundy arrived at a more elegant solution, as evidenced by the Cathedral of Autun (fig. 404), where the galleries are replaced by a blind arcade (called a triforium, since it often has three openings per bay) and a clerestory. What made this three-story elevation possible was the use of the pointed arch for the nave vault. The pointed arch probably reached France from Islamic architecture, where it had been employed for some time (compare figs. 354 and 357). (For reasons of harmony, it also appears in the nave arcade, where it is not needed for additional support.) By eliminating the part of the round arch that responds the most to the pull of gravity, the two halves of a pointed arch brace each other. The pointed arch thus exerts less outward pressure than the semicircular arch, so that not only can it be made as steep as possible, the walls can be perforated. The potentialities of the engineering advances that grew out of this discovery were to make possible the soaring churches of the Gothic period (see, for example, figs. 454, 457, and 458). Like St.-Sernin, Autun comes close to straining the limits of the possible. The upper part of the nave wall shows a slight but perceptible outward lean under the pressure of the vault, a warning against any further attempts to increase the height of the clerestory or to enlarge the windows.


404. Nave wall. Autun Cathedral. ń.
1120-32




HALL CHURCHES.


St.-Savin-sur-Gartempe
405. Choir (ń. 1060-75) and nave (1095-1115), St.-Savin-sur-Gartempe


A third alternative, with virtues of its own, appears in the west of France, in such churches as that of St.-Savin-sur-Gartempe (fig. 405). The nave vault here lacks the reinforcing arches, since it was meant to offer a continuous surface for murals (see fig. 436 for this cycle, the finest of its kind). Its great weight rests directly on the nave arcade, which is supported by a majestic set of columns. Yet the nave is fairly well lit, for the two aisles are carried almost to the same height, making it a "hall church," and their outer walls have generously sized windows. At the eastern end of the nave, there is a pilgrimage choir (happily unobstructed in this case) beyond the crossing tower.

The nave and aisles of hall churches are covered by a single roof, as at St.-Savin. The west facade, too, tends to be low and wide, and may become a richly sculptured screen. Notre -Dame-la-Grande at Poitiers (fig. 406), due west from St.-Savin, is particularly noteworthy in this respect. The sculptural program spread out over this entire area is a visual exposition of Christian doctrine that is a feast for the eyes as well as the mind. Below the elaborately bordered arcades housing large seated or standing figures, a wide band of relief stretches across the facade. Essential to the rich sculptural effect is the doorway, which is deeply recessed and framed by a series of arches resting on stumpy columns. Taller bundles of columns enhance the turrets; their conical helmets nearly match the height of the gable in the center, which rises above the actual height of the roof behind it.


Notre-Dame-la-Grande, Poitiers. Early 12th century
406.
West facade, Notre-Dame-la-Grande, Poitiers



West facade, Notre-Dame-la-Grande, Poitiers



West facade, Notre-Dame-la-Grande, Poitiers


 

STE.-MADELEINE, VEZELAY.



Church of Ste-Marie-Madeleine

The Benedictine abbey church of Ste-Marie-Madeleine (or Basilica of St. Mary Magdalene), with its complicated program of imagery in sculpted capitals and portals, is one of the outstanding masterpieces of Burgundian Romanesque art and architecture, though much of its exterior sculpture was defaced during the French Revolution. The church and hill at Vézelay were added to the UNESCO list of World Heritage Sites in 1979.
 

The Benedictine abbey of Vézelay was founded, as many abbeys were, on land that had been a late Roman villa, of Vercellus (Vercelle becoming Vézelay). The villa had passed into the hands of the Carolingians and devolved to a Carolingian count, Girart, of Roussillon. The two convents he founded there were looted and dispersed by Moorish raiding parties in the 8th century, and a hilltop convent was burnt by Norman raiders. In the 9th century, the abbey was refounded under the guidance of Badilo, who became an affiliate of the reformed Benedictine order of Cluny. Vézelay also stood at the beginning of one of the four major routes through France for pilgrims going to Santiago de Compostela in Galicia, in the north-western corner of Spain.

About 1050 the monks of Vézelay began to claim to hold the relics of Mary Magdalene, brought, they related, from the Holy Land either by their 9th-century founder-saint, Badilo, or by envoys despatched by him. A little later a monk of Vézelay declared that he had detected in a crypt at St-Maximin in Provence, carved on an empty sarcophagus, a representation of the Unction at Bethany, when Jesus' head was anointed by Mary of Bethany, assumed in the Middle Ages to be Mary Magdalene. The monks of Vézelay pronounced it to be Mary Magdalene's tomb, from which her relics had been translated to their abbey. Freed captives then brought their chains as votive objects to the abbey, and it was the newly-elected Abbot Geoffroy in 1037 who had the ironwork melted down and reforged as wrought iron railings surrounding the Magdelen's altar. Thus the erection of one of the finest examples of Romanesque architecture which followed was made possible by pilgrims to the declared relics and these tactile examples demonstrating the efficacy of prayers. Mary Magdalene is the prototype of the penitent, and Vézelay has remained an important place of pilgrimage for the Catholic faithful, though the actual relics were torched by Huguenots in the 16th century.

To accommodate the influx of pilgrims a new abbey church was begun, dedicated on April 21, 1104, but the expense of building so increased the tax burden in the abbey's lands that the peasants rose up and killed the abbot. The crush of pilgrims was such that an extended narthex (an enclosed porch) was built, inaugurated by Pope Innocent II in 1132 to help accommodate the pilgrim throng.

Saint Bernard of Clairvaux preached there in favor of a second crusade at Easter 1146, in front of King Louis VII. Richard I of England and Philip II of France met there and spent three months at the Abbey in 1190 before leaving for the Third Crusade. Thomas Becket in exile, chose Vézelay for his Whitsunday sermon in 1166, announcing the excommunication of the main supporters of his English King, Henry II, and threatening the King with excommunication too. The nave, which had burnt once, with great loss of life, burned again in 1165, after which it was rebuilt in its present form.


Church of Ste-Marie-Madeleine, interior
 

Vézelay was a plum. Its litigious monastic community was prepared to defend its liberties and privileges against all comers: the bishops of Autun, who challenged its claims to exemption; the counts of Nevers, who claimed jurisdiction in their court and rights of hospitality at Vézelay; the abbey of Cluny, which had reformed its rule and sought to maintain control of the abbot within its hierarchy; the townsmen of Vézelay, who demanded a modicum of communal self-government.

The start of the decline of Vézelay coincided with the well-publicized discovery in 1279 of the body of Mary Magdalene at Saint-Maximin-la-Sainte-Baume in Provence, given regal patronage by Charles II, the Angevine king of Sicily. When Charles erected a Dominican convent at La Sainte-Baume, the shrine was marvelously found intact, even with an explanatory inscription stating why the relics had been hidden. The local Dominican monks soon compiled an account of miracles that these relics had wrought. This discovery seriously undermined Vézelay's position as the main shrine of Magdalen in Europe.

After the Revolution, Vézelay stood in danger of collapse. In 1834 the newly-appointed French inspector of historical monuments, Prosper Mérimée (more familiar as the author of Carmen), warned that it was about to collapse, and on his recommendation the young architect Eugène Viollet-le-Duc was appointed to supervise a massive and successful restoration, undertaken in several stages between 1840 and 1861, during which his team replaced a great deal of the weathered and vandalized sculpture. The flying buttresses that support the nave are his.

Since 1920 it has carried the title basilica.





UZES CATHEDRAL.



Uzès Cathedral (Cathédrale Saint-Théodorit d'Uzès) is a former Roman Catholic cathedral, now a parish church, in Uzès, France, dedicated to Saint Theodoritus.

It was formerly the seat of the Bishops of Uzès, until the diocese was abolished under the Concordat of 1801 and its territory passed to the Diocese of Avignon. In 1877 the territory of the former diocese of Uzès was removed from that of Avignon and added to the Diocese of Nîmes, now the Diocese of Nîmes, Uzès and Alès.

The present building, which was gutted during the French Revolution, and after repair and with the addition of a 19th century Neo-classical façade is now used as a parish church, dates from the 17th century, and was a rebuild of the previous cathedral, which was destroyed during the French Wars of Religion. That cathedral in its turn had been built to replace a still earlier one which had been destroyed in the 12th century during the Albigensian Crusade. The campanile, the well-known Tour Fenestrelle, is the only part to survive from the medieval structure, although it was previously taller by two storeys.
 


Uzes Cathedral (Cathedrale Saint-Theodorit d'Uzes), France

 
 

Discuss Art

Please note: site admin does not answer any questions. This is our readers discussion only.

 
| privacy