section 2 benson Flashcards
The Gatehouse at the Monastery at Lorsch, late 8th c
Room above the upper passageway at the gatehouse of Lorsch
Christological activity, imitative of Christ’s Last Supper with his apostles
Charlemagne was imitating Constantine, the first Christian emperor; but he was also imitating Christ
Westwerk, imperial monastery church (Benedictine), Corvey, c873-85
complex architectural symbol
recalls the towers of a city gate or defensive fortress
westwerk at Corvey
westernmost space on central axis at the upper level was a chapel.
space below was also a chapel
flanking galleries also for musical purposes
symbolic, liturgical, musical and institutional functions.
Westwerk, imperial monastery church (Benedictine), Corvey, c873-85
The St. Gall plan for an ideal Benedictine Monastery, c819-26
st. Gall church
double ender basillica
cloister to south of nave
building never built
arrangement of parts too schematic to be a buildable plan
St. Gall ideal plan
had it be realized as working monastery
Source of the Lorsch Gatehouse?
- Roman triumphal arch (perhaps Arch of Constatine?)
- “Impure” Classical details (cf basilicas in Ravenna)
- Geometric decorative details and interest in color (cf Sutton Hoo burial treasure, monastic metalwork and MS illumination)
Source of the Westwork? carolingian buildings
- Roman city gates with flanking towers (Cf Porta Nigra, Trier)
- Early Christian basilica and its layered urban imagery
- Carolingian imperializing liturgies, true also for Lorsch
source of The “Double-ender” basilica
- Roman legal basilicas
- Early Christian basilicas
- Carolingian concept of “imitatio”
957, Archbishop Bruno of Cologne, brother of Emperor Otto the Great
Church of St. Pantaleon (870) in Cologne
View of the westwerk from the nave
view of the westwerk galleries
Church of St. Pantaleon (870) in Cologne.
The Benedictine Monastery Church of St. Michael, Hildesheim, Germany, 1001-1033
Bishop Bernwardus
German medievil monastery
double ender basillica
west choir is raised over a crypt
similar to St. Gall plan for an ideal Benedictine monastery
st. michaels, hildesheim
benedictine monastery
Exterior of the western choir and apse from ground level
St. Michael, Hildesheim, Germany, 1001-1033
View of the nave to the west choir during restoration activities
rhythmic alternation of piers and triple arcades on columns
St. Michael, Hildesheim
Gernrode [left] (built after 961) shows that the architects in Ottonian Germany were experimenting with the design of the nave arcade and clerestory wall.
At Gernrode, there are galleries above the arcade, a major innovation, and they are rhythmically aligned with the arcade.
The capitals are especially imaginative variations of Early Christian and Byzantine “basket” capitals, ultimately derived from Roman Corinthian models.
st. michaels
The iconography represents a series of correspondences that the Church saw between the Old and New Testaments
doors at st. michaels
Presentation of the infant Jesus in the Temple” show the extraordinarily high quality of the bronze casting technique
st. michaels
Nativity of Jesus with Joseph and Mary attended by another figure with the infant Jesus in swaddling on the roof of the stable
st. michaels
One of the best known scenes from the doors depicts God the Father accusing Adam and Eve of eating the forbidden fruit from the tree in the middle of the Garden of Eden
st. michaels
Romanesque Vaulting
11th and 13th centuries
1) barrel vault
2) groin vault
3) ribs in barrel
Landscape in the Pyrenees on the border between France and Spain
Monastery of St. Martin at Canigou (France), 1001-26
one of earliest examples of Romanesque
looked to earlier Romans for experimentation
view of the cloister (lower left image)
Monastery of St. Martin at Canigou (France), 1001-26
Upper Church with its barrel vaulted nave
Monastery of St. Martin at Canigou (France), 1001-26
San Pedro de Roda (Catalonia, Spain), c1035
nave of San Pedro de Roda is covered by a stone barrel vault that is reinforced by transverse arches
Columns (with capitals derived from the Corinthian order) are placed next to the pier
San Pedro de Roda
Tournus (France), St-Philibert, former Benedictine abbey, reconstructed after a fire: westwork 1002-28, nave 1066-1107
St. Michael Chapel at the upper level of the westwork is treated like a basilica with the nave (central aisle) covered by a barrel vault and the presence of clerestory windows
nave of St-Philibert reverses the arrangement in the ground floor of the westwork. The central aisle is covered by transverse barrel vaults carried on diaphragm arches
The diagram helps explain the vaulting at St-Philibert and also shows how the vaults are protected from weather by wood trusses covered with tile.
Conques, Ste-Foy, 1050-1120 (southern France)
The nave looking west and the northwest crossing pier at Ste-Foy
Reconstruction of the Benedictine Reform Monastery at Cluny (“Cluny III”) in Burgundy (1088-1130)
Cross-section of Cluny III showing the use of thinner vault shells, the pointed arch, and external buttresses that help stabilize the high vault while permitting larger clerestory windows to illuminate the interior.
St-Savin sur Gartempe, choir 1060-75, nave 1095-1115
The barrel vault of the nave is covered with murals which date from the 11th century and are in a remarkably good state of preservation today
St-Savin sur Gartempe, choir 1060-75, nave 1095-1115
The Imperial Cathedral Basilica of Speyer, 1030-1106
German Romanesqe
not entirely completed
burial church for a long line of emperors and kings
represents imperial power
Germany
The enlarged and reinforced vaulting of the crypt after 1082
speyer
A heavy pilaster and a large respond were added to every other pier in order to carry the groin vaults above the nave. This created an alternating support system.
The Imperial Cathedral Basilica of Speyer, 1030-1106
The eastern apse and flankings towers. The entire cathedral is built of red sandstone.
basilica at speyer
The exterior of Speyer employs “Lombard arcades” and a lombardesque gallery just below the roofline on the apse and the north and south flanks.
Cathedral of St. Marin and St. Stephen, Mainz (Germany), North flank, c1037-1130
The red sandstone and the general style stand under the influence of the larger imperial cathedral at Speyer. The stereometric volumes descend from the Ottonian period (cf. St Pantaleon, Cologne; St Michael’s, Hildesheim); and the detailing comes from Lombardy
Cathedral of St. Marin and St. Stephen, Mainz (Germany),
The Plan of the Cathedral of Mainz is based on precedents set at Speyer as well as during the Carolingian and Ottonian periods
double-ender with principle end at west
Mainz cathedral nave, view to the West Choir
crossing tower and lantern
north elevation of nave of mainz
clerestory derives from speyer
wood vaulting added as moderization of interior
The Benedictine Abbey of Maria Laach, Rhineland, Germany, 1093-1177
gift of heinrich II and wife adelheid
similar double ender in carolingian and bendeictine traditions
has westwork and atrium court
Benedictine Abbey of Maria Laach, Rhineland, Germany, 1093-1177
Maria Laach
West end of Maria Laach with entry to atrium court and westwork
Florence, San Miniato al Monte, 1062-1090
romanesque in italy
derives form from early christian basilicas in ravenna
traced back to roman and early christian architecture
three aisled basillica with an apsidal termination
san miniato al monte
The organization of the arcade and wall elevation is based on independently conceived elements: arcades in triplets, geometric patterning on the wall surface in marble revêtement, clerestory windows in groups of five, and groups of four truss supports arranged between diaphragm arch
san miniate al monte
The Cathedral of Pisa, 1063ff
location of the Baptistry, the Campanile (“Leaning Tower”) and the Cathedral of Pisa
Piazza del Duomo
The façade is characterized by open arcades carried on slender colonnettes. At the ground level, the exterior uses blind arcades and elegant polychrome marble revêtement
Catherdral of Pisa 1063
- The transepts are separated from the crossing by the continuation of the nave arcades and galleries so that the transepts function almost like separate smaller basilicas
- Cathedral of Pisa, 1063
composite capital from the nave archade
pisa cathedral
Milan, Abbey Church of Sant’ Ambrogio 1080-1128
atrium court is based on atrium court in san pietro en vatico in rome
no transcept at sant’ ambrogio
church has cross rib vaulting
The ciborium (open architectural canopy) over the “Golden Altar of Sant’ Ambrogio”
The Basilica of St. Mark (1063ff
Basillica of St. Mark
byzatine work
related to hagia sophia
related to san vitale in ravena
San Marco is also the place where the horses pulling the quadriga driven by the Charioteer of Delphi now reside.
st. marks
The actual subject of the mosaic is the procession on the occasion of the translation of the relics of St. Mark into the new 11th-century basilica. His relics are in a tomb beneath the high altar.
st. mark’s
The central portal contains a mosaic from the 18th or 19th century but the columns below the mosaic are authentically medieval.
colored marble
st. marks
The south side of the exterior at the southwest corner is covered in rich marble revêtement and decorated with a variety of ornamental motifs.
saint marks
byzantine style
baptistry is not a detached building, located on south side of the narthex
adapted to the liturgy and usages of the western church which differed markedly from the Orthodox church.
The structure of the domes is brick, some of which is exposed. The brick shells are covered with taller wooden cupolas, sheathed in lead
st. marks
Interior of the nave, crossing and choir looking from west to east.
basillica at saint marks
mosaic decorations on domes and walls are byzantine
gold mosaic field creates light filled environment of continually shifting points and areas of luminosity
A rood screen between the congregational space and the choir replaces the visually impenetrable iconostasis found in Byzantine churches
st marks
Pala d’Oro (lit. “gold palette”). It is the retable of the high altar. It is covered in gold enamel images surrounded by gold filigree and studded with precious and semi-precious jewels and other ornaments.
saint marks
In 957, Archbishop Bruno of Cologne, brother of Emperor Otto the Great, founded a Benedictine abbey next to the Church of St. Pantaleon (870) in Cologne
Plan and model of the Palace complex at Aachen, designed by Odo of Metz and built 790s-814
Comparison of the plans of San Vitale in Ravenna and the Palatine Chapel in Aachen
octagon shape
central octagonal space surrounded by ambulatory
Each also has a sanctuary that extends one bay of the octagonal on a longitudinal axis, although the sanctuary in Aachen is not as large as that in Ravenna
Aachen, designed by Odo of Metz and built 790s-814
Plan and model of the Palace complex at Aachen, designed by Odo of Metz and built 790s-814
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Aachen, designed by Odo of Metz and built 790s-814
