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section 2 benson Flashcards

1
Q
A

The Gatehouse at the Monastery at Lorsch, late 8th c

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2
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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

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3
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Westwerk, imperial monastery church (Benedictine), Corvey, c873-85

complex architectural symbol

recalls the towers of a city gate or defensive fortress

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4
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westwerk at Corvey

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5
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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

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6
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The St. Gall plan for an ideal Benedictine Monastery, c819-26

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7
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st. Gall church

double ender basillica

cloister to south of nave

building never built

arrangement of parts too schematic to be a buildable plan

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8
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A

St. Gall ideal plan

had it be realized as working monastery

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9
Q

Source of the Lorsch Gatehouse?

A
  1. Roman triumphal arch (perhaps Arch of Constatine?)
  2. “Impure” Classical details (cf basilicas in Ravenna)
  3. Geometric decorative details and interest in color (cf Sutton Hoo burial treasure, monastic metalwork and MS illumination)
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10
Q

Source of the Westwork? carolingian buildings

A
  1. Roman city gates with flanking towers (Cf Porta Nigra, Trier)
  2. Early Christian basilica and its layered urban imagery
  3. Carolingian imperializing liturgies, true also for Lorsch
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11
Q

source of The “Double-ender” basilica

A
  1. Roman legal basilicas
  2. Early Christian basilicas
  3. Carolingian concept of “imitatio”
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12
Q
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957, Archbishop Bruno of Cologne, brother of Emperor Otto the Great

Church of St. Pantaleon (870) in Cologne

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13
Q

View of the westwerk from the nave

A

view of the westwerk galleries

Church of St. Pantaleon (870) in Cologne.

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14
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The Benedictine Monastery Church of St. Michael, Hildesheim, Germany, 1001-1033

Bishop Bernwardus

German medievil monastery

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15
Q
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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

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16
Q
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Exterior of the western choir and apse from ground level

St. Michael, Hildesheim, Germany, 1001-1033

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17
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View of the nave to the west choir during restoration activities

rhythmic alternation of piers and triple arcades on columns

St. Michael, Hildesheim

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18
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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.

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19
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The capitals are especially imaginative variations of Early Christian and Byzantine “basket” capitals, ultimately derived from Roman Corinthian models.

st. michaels

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20
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The iconography represents a series of correspondences that the Church saw between the Old and New Testaments

doors at st. michaels

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21
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Presentation of the infant Jesus in the Temple” show the extraordinarily high quality of the bronze casting technique

st. michaels

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22
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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

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23
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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

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24
Q
A

Romanesque Vaulting

11th and 13th centuries

1) barrel vault
2) groin vault
3) ribs in barrel

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25
Landscape in the Pyrenees on the border between France and Spain
26
Monastery of St. Martin at Canigou (France), 1001-26 one of earliest examples of Romanesque looked to earlier Romans for experimentation
27
view of the cloister (lower left image) Monastery of St. Martin at Canigou (France), 1001-26
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Upper Church with its barrel vaulted nave Monastery of St. Martin at Canigou (France), 1001-26
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San Pedro de Roda (Catalonia, Spain), c1035
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nave of San Pedro de Roda is covered by a stone barrel vault that is reinforced by transverse arches
31
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Columns (with capitals derived from the Corinthian order) are placed next to the pier San Pedro de Roda
33
Tournus (France), St-Philibert, former Benedictine abbey, reconstructed after a fire: westwork 1002-28, nave 1066-1107
34
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
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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
36
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.
37
Conques, Ste-Foy, 1050-1120 (southern France)
38
The nave looking west and the northwest crossing pier at Ste-Foy
39
Reconstruction of the Benedictine Reform Monastery at Cluny (“Cluny III”) in Burgundy (1088-1130)
40
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.
41
St-Savin sur Gartempe, choir 1060-75, nave 1095-1115
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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
43
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
44
The enlarged and reinforced vaulting of the crypt after 1082 speyer
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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
46
The eastern apse and flankings towers. The entire cathedral is built of red sandstone. basilica at speyer
47
The exterior of Speyer employs “Lombard arcades” and a lombardesque gallery just below the roofline on the apse and the north and south flanks.
48
Cathedral of St. Marin and St. Stephen, Mainz (Germany), North flank, c1037-1130
49
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),
50
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
51
Mainz cathedral nave, view to the West Choir crossing tower and lantern
52
north elevation of nave of mainz clerestory derives from speyer wood vaulting added as moderization of interior
53
The Benedictine Abbey of Maria Laach, Rhineland, Germany, 1093-1177 gift of heinrich II and wife adelheid
54
similar double ender in carolingian and bendeictine traditions has westwork and atrium court Benedictine Abbey of Maria Laach, Rhineland, Germany, 1093-1177
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Maria Laach
56
West end of Maria Laach with entry to atrium court and westwork
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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
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three aisled basillica with an apsidal termination san miniato al monte
59
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
60
The Cathedral of Pisa, 1063ff location of the Baptistry, the Campanile (“Leaning Tower”) and the Cathedral of Pisa Piazza del Duomo
61
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
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* 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
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composite capital from the nave archade pisa cathedral
64
Milan, Abbey Church of Sant' Ambrogio 1080-1128 atrium court is based on atrium court in san pietro en vatico in rome
65
no transcept at sant' ambrogio church has cross rib vaulting
66
The ciborium (open architectural canopy) over the “Golden Altar of Sant’ Ambrogio”
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The Basilica of St. Mark (1063ff
69
Basillica of St. Mark byzatine work related to hagia sophia related to san vitale in ravena
70
San Marco is also the place where the horses pulling the quadriga driven by the Charioteer of Delphi now reside. st. marks
71
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
72
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
73
The south side of the exterior at the southwest corner is covered in rich marble revêtement and decorated with a variety of ornamental motifs.
74
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.
75
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
76
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
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A rood screen between the congregational space and the choir replaces the visually impenetrable iconostasis found in Byzantine churches st marks
78
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
79
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
80
Plan and model of the Palace complex at Aachen, designed by Odo of Metz and built 790s-814
81
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
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Aachen, designed by Odo of Metz and built 790s-814
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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

Bob's FINAL (2 decks)

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