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unless otherwise stated.
English: The Old Cathedral, Salamanca, Spain.
Español: Las cubiertas de la Catedral Vieja, la famosa
Torre del Gallo y parte del exterior de la
Nave de la Epístola de la Catedral Nueva.
Photo: March 2011.
Source: Own work.
Author: José Luis Filpo Cabana.
(Wikimedia Commons)
The "Westwork" of Maria Laach Abbey, Germany, 12th-Century, (Porch, 1225), is typical of Germany, a form that dates to Carolingian architecture, with grouped Towers of different Plans,
and both "Candle-Snuffer" and "Rhenish Helm" Spires.
Maria Laach Abbey (in German: Abtei Maria Laach. In Latin: Abbatia Maria Lacensis or Abbatia Maria ad Lacum) is a Benedictine Abbey situated on the South-Western shore of the Laacher See (Lake Laach), near Andernach, in the Eifel region of the Rhineland-Palatinate, in Germany.
It is a member of the Beuronese Congregation, within the Benedictine Confederation. The Abbey was known for nearly 770 years as "Abtei Laach" ("Abbatia Lacensis" or "Laach Abbey", meaning the "Lake Abbey") until 1862, when the Jesuits added the name "Maria".
Photo: 10 November 2006.
Source: Own work.
Permission: Attribution ShareAlike 2.5.
Author: Nikanos.
(Wikimedia Commons)
In England, for large Abbeys and Cathedrals, three Towers were favoured, with the Central Tower being the tallest. This was often not achieved, through the slow process of the building stages, and in many cases the upper parts of the Tower were not completed until centuries later, as at Durham Cathedral and Lincoln Cathedral.
Large Norman Towers exist at the Cathedrals of Durham, Exeter, Southwell, Norwich and Tewkesbury Abbey. Such Towers were often topped during the Late-Mediaeval period, with a Gothic Spire of wooden construction covered with lead, copper or shingles. In the case of Norwich Cathedral, the huge, ornate, 12th-Century Crossing Tower received a 15th-Century masonry Spire, rising to a height of 320 feet and remaining to this day.
In Italy, Towers are almost always free standing and the position is often dictated by the landform of the site, rather than aesthetics. This is the case in nearly all Italian Churches, both large and small, except in Sicily, where a number of Churches were founded by the Norman rulers and are more French in appearance.
In Italy, Towers are almost always free standing and the position is often dictated by the landform of the site, rather than aesthetics. This is the case in nearly all Italian Churches, both large and small, except in Sicily, where a number of Churches were founded by the Norman rulers and are more French in appearance.
The Leaning Tower of Pisa, with its encircling Arcades,
is the best known (and most richly decorated)
of the many Circular Towers found in Italy.
Photo: 8 August 2005.
Source: Photography of Johann H. ADdicks.
Author: edited by Johann H. Addicks.
(Wikimedia Commons)
As a general rule, large Romanesque Towers are square, with corner Buttresses of low profile, rising without diminishing through the various stages. Towers are usually marked into clearly defined stages by Horizontal Courses. As the Towers rise, the number and size of openings increases, as can be seen on the right Tower of The Transept of Tournai Cathedral, where two narrow slits, in the fourth level from the top, becomes a single window, then two windows, then three windows at the uppermost level. This sort of arrangement is particularly noticeable on the Towers of Italian Churches, which are usually built of brick and may have no other ornament. Two fine examples occur at Lucca, at the Church of San Frediano, and at the Duomo. It is also seen in Spain.
In Italy, there are a number of large free-standing Towers that are circular, the most famous of these being the Leaning Tower of Pisa. In other countries where circular towers occur, such as Germany, they are usually paired and often flank an Apse. Circular Towers are uncommon in England, but occur throughout the Early-Mediaeval period in Ireland.
Polygonal Towers were often used on The Crossings, and occur in France, Germany, Italy and Spain, such as that of the Old Cathedral, Salamanca, which is covered by a Dome supported on a Ribbed Vault.
The most massive Romanesque Crossing Tower is that at
Tewkesbury Abbey, in England, where large Crossing Towers are characteristic.
Tewkesbury Abbey was founded in 1087; however, building of the present structure (seen here) did not start until 1102. Built to house Benedictine Monks, the Abbey was consecrated in 1121.
Photo: 14 July 2011.
Source: Own work.
Permission: Outside of Wikimedia Foundation projects, Attribution is to be made to:
W. Lloyd MacKenzie, via Flickr @ http://www.flickr.com/photos/saffron_blaze/
Author: Saffron Blaze.
(Image: Wikipedia)
Romanesque doorways have a character form, with the Jambs having a series of Receding Planes, into each of which is set a Circular Shaft, all surmounted by a continuous Abacus. The Semi-Circular Arch, which rises from the Abacus, has the same Seried Planes and Circular Mouldings as the Jambs. There are, typically, four Planes, containing three Shafts, but there may be as many as twelve Shafts, symbolic of the Apostles.
The opening of the Portal may be Arched, or may be set with a Lintel supporting a Tympanum, generally carved, but, in Italy, sometimes decorated with mosaic or fresco. A carved Tympanum generally constitutes the major sculptural work of a Romanesque Church. The subject of the carving, on a major Portal, may be Christ in Majesty or the Last Judgement. Lateral doors may include other subjects, such as the Birth of Christ. The Portal may be protected by a Porch, with simple Open Porches being typical of Italy, and more elaborate structures typical of France and Spain.
The Mouldings of the Arched Central West Door, of Lincoln Cathedral, are decorated by
Chevrons, and other formal and figurative ornament, typical of English Norman.
The "Gallery of Kings" above the portal is Gothic.
Photo: 15 May 2007.
Source: PICT4104.JPG.
Author: Matt Gibson from Bristol, United Kingdom.
(Wikimedia Commons)
The Porta Platerias, Cathedral of Santiago de Compostela, Spain,
by Master Esteban, has two wide openings with Tympanums supported on brackets.
The sculptured Frieze, above, is protected by an Eave, on Corbels.
Català: Façana de les Platerías a la catedral de
Santiago de Compostela. Romànica (1103-1117).
Photo: 2010.
Source: Own work.
Author: Amadalvarez.
(Wikimedia Commons)
The structure of large Churches differed regionally and developed across the centuries. The use of Piers, of Rectangular Plan, to support Arcades, was common, as at Mainz Cathedral and Saint Gertrude Nivelle, and remained usual in smaller Churches across Europe, with the Arcades often taking the form of openings through the surface of a wall.
In Italy, where there was a strong tradition of using marble Columns, complete with Capital, Base and Abacus, this remained prevalent, often reusing existent ancient Columns, as at San Miniato al Monte. A number of 11th-Century Churches have Naves distinguished by huge circular Columns, with no Clerestory, or a very small one, as at Saint Philibert, Tournus.
In England, stout Columns, of large diameter, supported Decorated Arches, Gallery and Clerestory, as at the Nave of Malmesbury Abbey. By the Early-12th-Century, composite Piers had evolved, in which the attached Shafts swept upward to a Ribbed Vault, or were continued into the Mouldings of the Arcade, as at Vézelay Abbey, Saint Etienne, Caen, and Peterborough Cathedral.
The Church of Saint Gertrude, Nivelles, Belgium
(consecrated 1046), has a Nave and Aisles divided by Piers
supporting a Clerestory The Nave is divided by Transverse Arches.
The Interior would have been plastered and painted.
Français: Nivelles (Belgique), nef de la collégiale Sainte-Gertrude (XI/XIIIe siècle).
English: Nivelles (Belgium), St. Gertrude Collegiate church nave (XI/XIIIth centuries).
Nederlands: Nijvel (België), schip van de Sint-Gertrudis Collegialekerk (XI/XIIIde eeuwen).
Walon: Nivèle (Bèljike), nèf dol coléjiale Sint Djèrtrûde (XI/XIIIin.me sièkes).
Photo: 12 October 2005.
Source: Own work.
Author: Jean-Pol GRANDMONT.
(Wikimedia Commons)
The nature of the internal roofing varied greatly, from open timber roofs, and wooden ceilings of different types, which remained common in smaller Churches, to simple Barrel Vaults and Groin Vaults and, increasingly, to the use of Ribbed Vaults in the Late-11th- and 12th-Centuries, which were to become a common feature of larger Abbey Churches and Cathedrals.
A number of Romanesque Churches are roofed with a series of Domes. At Fontevrault Abbey, the Nave is covered by four Domes, while at the Church of Saint Front, Perigueux, the Church is of Greek Cross Plan, with a central Dome surrounded by four smaller Domes over the Nave, Chancel and The Transepts.
Internal decoration varied across Europe. Where wide expanses of wall existed, they were often plastered and painted. Wooden ceilings and timber beams were decorated. In Italy, walls were sometimes faced with polychrome marble. Where buildings were constructed of stone that was suitable for carving, many decorative details occur, including ornate Capitals and Mouldings.
Internal decoration varied across Europe. Where wide expanses of wall existed, they were often plastered and painted. Wooden ceilings and timber beams were decorated. In Italy, walls were sometimes faced with polychrome marble. Where buildings were constructed of stone that was suitable for carving, many decorative details occur, including ornate Capitals and Mouldings.
The Nave of Peterborough Cathedral (1118 - 1193)
in three Stages of Arcade, Gallery and Clerestory,
typical of Norman Abbey Churches.
The rare wooden ceiling retains its original decoration (circa 1230).
Gothic Arches beneath the Tower (circa 1350).
Photo: 23 July 2008.
Source: Peterborough Cathedral.
Author: Steve Cadman from London, U.K.
(Wikimedia Commons)
The Apsidal East End was often a focus of decoration, with both architectonic forms, such as Arcading, and pictorial features, such as carved figures, murals and, occasionally, mosaics. Stained Glass came into increasing use from the 11th-Century. In many Churches, the Eastern End has been rebuilt in a later style. Of England's Norman Cathedrals, no Eastern End remains unchanged.
In France, the Eastern terminals of the important Abbeys of Caen, Vézelay and, most significantly, the Basilica of Saint Denis, were completely rebuilt in the Gothic style.
In Germany, major reconstructions of the 19th-Century sought to return many Romanesque buildings to their original form. Examples of simple Romanesque Apses can be seen in the images of Saint Gertrude, Nivelles, Belgium; Saint Philibert, Tournus, and San Miniato al Monte.
PART TEN FOLLOWS.
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