Romanesque (Part Eleven).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

A rare and remarkable survival, of "unforgettable beauty".

The very large Crucifixion window of Poitiers Cathedral, France.

Photo: 7 August 2009.

Source: Wikimedia Commons.

(Author: PMRMaeyaert.

(Wikimedia Commons)

Deutsch: Moissac, Kreuzgang der Abteil. 

English: Cloisters of Saint-Pierre Abbey, Moissac, France. 

The Abbey was a Benedictine and Cluniac Monastery, in Moissac, 

Tarn-et-Garonne, in South-Western France. A number of its Mediaeval 

buildings survive, including the Abbey Church, which has famous 

and important Romanesque sculpture around the entrance.

Date: 23 January 2007.

Source: Own photography by Membeth; originally from 

de.wikipedia; description page is/was here.

Author: Membeth.

(Wikimedia Commons)

It is a feature of Romanesque art, both in manuscript illumination and sculptural decoration, that figures are contorted to fit the space that they occupy. Among the many examples that exist, one of the finest is the figure of the Prophet Jeremiah, from the Pillar of the Portal of the Abbey of Saint-Pierre, Moissac, France, from about 1130. A significant motif of Romanesque design is the spiral, a form applied to both plant motifs and drapery in Romanesque sculpture. An outstanding example of its use in drapery is that of the central figure of Christ on the Outer Portal at La Madaleine, Vezelay.

Many of the smaller sculptural works, particularly Capitals, are Biblical in subject and include scenes of Creation and the Fall of Man, episodes from the life of Christ, and those Old Testament scenes that prefigure his Death and Resurrection, such as Jonah and the Whale and Daniel in the Lions' Den. Many Nativity scenes occur, the theme of the Three Kings being particularly popular. The Cloisters of Santo Domingo de Silos Abbey in Northern Spain, and Moissac, are fine examples, surviving complete.

The large wall surfaces and plain, curving, Vaults of the Romanesque period lent themselves to mural decoration. Unfortunately, many of these early wall paintings have been destroyed by damp, or the walls have been replastered and painted over. In most of Northern Europe, such pictures were systematically destroyed in bouts of Reformation iconoclasm. In other countries, they have suffered from war, neglect and changing fashion.

English: Stained Glass Window. North Transept, Strasbourg Cathedral, France. 

King David and King Solomon. 12th-Century.

Detail of a small panel, showing Kings David and Solomon, set in an architectonic frame from a large window at Strasbourg. Late-12th-Century. The alternation of red and blue is a typical device of simpler window designs. It is approximately 1/3 the height, and is much less complex in execution, than the Emperor series, of which Otto II is a part.

Français: Transept Nord, fenêtre de gauche. Rois David et Salomon (3e ou 4e quart XIIe).

Source: http://www.crdp-strasbourg.fr/data/albums/autres_vitraux/hr/image14.jpg.

Author: http://www.crdp-strasbourg.fr/data/albums/autres_vitraux/index.php?img=14&parent=20.

(Wikimedia Commons)

A classic scheme for the full painted decoration of a Church, derived from earlier examples often in mosaic, had, as its focal point in the Semi-Dome of the Apse, Christ in Majesty, or Christ the Redeemer, enthroned within a mandorla and framed by the four Winged Beasts, symbols of the Four Evangelists, comparing directly with examples from the gilt covers, or the illuminations, of Gospel Books of the period. 

If the Virgin Mary was the dedicatee of the Church, she might replace Christ, here. On the Apse walls, below, would be Saints and Apostles, perhaps including narrative scenes, for example of the Saint to whom the Church was dedicated. On the Sanctuary Arch, were figures of Apostles, Prophets, or the twenty-four "Elders of the Apocalypse", looking in towards a bust of Christ, or his symbol, the Lamb, at the top of the Arch. 

The North Wall of the Nave would contain narrative scenes from the Old Testament, and the South Wall, from the New Testament. On the rear West Wall, would be a Doom Painting, or Last Judgement, with an enthroned and judging Christ at the top.

Romanesque Stained-Glass depiction of Otto II, Holy Roman Emperor; 

Cathedral of Our Lady of Strasbourg, France. From a series of Emperors 

(12th- and 13th-Centuries). The panels are now set into 

Gothic Windows, Strasbourg Cathedral, France.

Photo: 4 June 2010.

Source: http://www.crdp-strasbourg.fr/data/albums/bas_cotes/img_hr/image05.jpg.

Author: http://www.crdp-strasbourg.fr/data/albums/bas_cotes/index.php?img=5&parent=20.

(Wikimedia Commons)

English: Abbey of Saint Mary Magdalene, Vézelay, France (consecrated 1104), has clusters of vertical Shafts rising to support Transverse Arches and a Groin Vault. The dressed polychrome stonework has exquisitely-detailed Mouldings. The East End is Gothic.

Français: Nef de la Basilique de Vezelay.

Photo: 10 May 2007.

Source: Own work.

Author: Jean-Christophe BENOIST.

(Wikimedia Commons)

One of the most intact schemes to exist is that at Saint-Savin-sur-Gartempe in France. The long Barrel Vault of the Nave provides an excellent surface for fresco, and is decorated with scenes of the Old Testament, showing the Creation, the Fall of Man and other stories, including a lively depiction of Noah's Ark, complete with a fearsome figurehead and numerous windows. 

Another scene shows, with great vigour, the swamping of Pharaoh's army by the Red Sea. The scheme extends to other parts of the Church, with the Martyrdom of the local Saints shown in the Crypt, and Apocalypse in the Narthex, and Christ in Majesty. The range of colours employed is limited to light blue-green, yellow ochre, reddish brown and black. Similar paintings exist in Serbia, Spain, Germany, Italy and elsewhere in France.

The oldest-known fragments of Mediaeval 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.

Español: El Monasterio de Santo Domingo de Silos es una abadía benedictina 

ubicada en el municipio de Santo Domingo de Silos, en la provincia de Burgos.

English: The Cloisters, Santo Domingo de Silos Abbey. The Abbey is a Benedictine Monastery 

in the village of Santo Domingo de Silos, in the Southern part of Burgos Province, 

in Northern Spain. Its Cloister is a "Magnum Opus" of Romanesque art in Europe.

Deutsch: Kreuzgang - links eine der gedrehten Vierersäulen.

Photo: 25 July 2005.

Source: Own work.

Author: Juergen Kappenberg.

(Wikimedia Commons)

English: Cathedral of Saint Martin, Lucca, Tuscany, Italy. The West Façade. The Arcading on the facade of Lucca Cathedral, Tuscany, Italy, (1204) has many variations in its decorative 

details, both sculptural and in the inlaid polychrome marble.

Français: Cathédrale Saint-Martin, Lucques, Toscane, Italie. La façade ouest.

Photo: 29 September 2007.

Source: Wikimedia Commons.

Author: Tango7174.

(Wikimedia Commons)

Français: Cathédrale Notre-Dame de Chartres,

Eure-et-Loir, Centre, France. Vitraux du chœur.

English: Chartres Cathedral, France.

Stained-Glass Windows in the Choir.

Photo: 28 September 2008.

Source: Own work.

Author: Tango7174.

(Wikimedia Commons)

At Canterbury and Chartres Cathedrals, a number of panels of the 12th-Century have survived, including, at Canterbury, a figure of Adam, digging, and another of his son, Seth, from a series of Ancestors of Christ. Adam represents a highly naturalistic and lively portrayal, while, in the figure of Seth, the robes have been used to great decorative effect, similar to the best stone carving of the period.

Many of the magnificent Stained-Glass Windows of France, including the famous windows of Chartres, date from the 13th-Century. Far fewer large windows remain intact from the 12th-Century. One such is the Crucifixion Window at Poitiers Cathedral, a remarkable composition that rises through three stages, the lowest with a quatrefoil depicting the Martyrdom of Saint Peter, the largest central stage dominated by the Crucifixion, and the upper stage showing the Ascension of Christ in a mandorla. The figure of the crucified Christ is already showing the Gothic curve. The window is described by George Seddon as being of "unforgettable beauty".

PART TWELVE FOLLOWS.

Saint Cyprian, Martyr, And Saint Justina, Virgin And Martyr. Feast Day 26 September.

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Simple.
Red Vestments.

English: The Martyrdom of Cyprian and Justina.

Português: O martírio de Cipriano e Justina.

Date: Middle Ages.

Source: http://en.wikipedia.org/wiki/File:CyprianandJustina.jpg.

Author: Unknown.

(Wikimedia Commons)

Saints Cyprian and Justina are honoured in the Catholic Church, Eastern Orthodox Church and Oriental Orthodoxy, as Christians of Antioch, Pisidia, who, in 304 A.D., during the Persecution of Diocletian, suffered Martyrdom at Nicomedia (modern-day İzmit, Turkey. Not to be confused with Izmir), on 26 September, the date of their Feast.

The outline of the legend, or allegory, which is found with diffuse descriptions and dialogues in the "Symeon Metaphrastes" and was made the subject of a poem by Empress Aelia Eudocia, goes thus:

Cyprian was a pagan magician of Antioch, who had dealing with demons. By their aid, he sought to bring Saint Justina, a Christian Virgin, to ruin; but she foiled the threefold attacks of the devils by the Sign of the Cross. Brought to despair, Cyprian made the Sign of the Cross, and in this way was freed from the toils of Satan. He was received into the Church, was made pre-eminent by miraculous gifts, and became, in succession, Deacon, Priest, and, finally, Bishop, while Justina became the Head of a Convent.

English: 12th-Century Church of Saint Cyprian, Zamora, Spain.

Español: Iglesia de San Cipriano, en Zamora. Iglesia románica del siglo XII.

Photo: 3 August 2006.

Source: Own work.

Author: Hector Blanco de Frutos.

(Wikimedia Commons)

During the Diocletian Persecution, both were seized and taken to Damascus, where they were shockingly tortured. As their Faith never wavered, they were brought before Diocletian, at Nicomedia, where, at his command, they were beheaded on the bank of the River Gallus. The same fate befell a Christian, Theoctistus, who had come to Cyprian and had embraced him.

After the bodies of the Saints had lain unburied for six days, they were taken by Christian sailors to Rome, where they were interred on the estate of a noble Lady, named Rufina, and, later, were entombed in Constantine's Basilica.

The story, however, must have arisen as early as the 4th-Century, as it is mentioned both by Saint Gregory Nazianzen and Prudentius; both, nevertheless, have confounded Cyprian with Saint Cyprian of Carthage, a mistake often repeated.

English: Church of Saint Justina of Padua, 

located in the village of Feltre, Italy.

Italiano: Chiesa Santa Giustina.

Photo: 14 February 2008.

Source: Own work.

Author: Alaraf.

(Wikimedia Commons)

The attempt has been made to find, in Cyprian, a mystical prototype of the Faustian legend. The Spanish author, Pedro Calderón de la Barca, took the story as the basis of a drama, El mágico prodigioso. In 2005, American author, Tono Rondone, published a Novel, "The Martyrs", which is a continuation of this tradition (http://piscesbooks.com/themartyrs.html).

The legend is given in Greek and Latin in Acta SS. September, VII. Ancient Syriac and Ethiopic versions of it have been published.

There is even a book, "The Great Book of Saint Cyprian", full of Prayers and spells, which is widely sold in the Portuguese- and Spanish-speaking world. Similarly, Cyprianus is a popular name for a grimoire in Scandinavian folklore.

English: Church of Santa Giustina in Venice, 

facade, architect Baldassare Longhena.

Français: Église Santa Giustina à Venise, 

façade, architecte Baldassare Longhena.

Italiano: Chiesa di Santa Giustina Venezia, 

facciata, architetto Baldassare Longhena.

Photo: 15 May 2012.

Source: Own work.

Author: Didier Descouens.

(Wikimedia Commons)

Their Feast Day appeared in the Calendar of Roman Rite celebrations from the 13th-Century until 1969, when it was removed because of the lack of historical evidence of their existence. Their names were also removed from the subsequent (2001) revision of the Roman Martyrology, the official, but professedly incomplete, List of Saints recognised by the Roman Catholic Church. The Roman Martyrology, however, includes five Saints called Cyprian and two named Justina. Some Traditionalist Catholics continue to observe pre-1970 versions of the Roman Calendar.


The following Text is from The Saint Andrew Daily Missal.

"At Nicomedia," says the Roman Martyrology, "the birth in Heaven of the Holy Martyrs, Cyprian and Justina. This Virgin (Justina), after having endured many tortures under the Emperor, Diocletian, and the Judge, Eutholmus, converted to Christ Cyprian the Magician, who had tried to seduce her by his incantations.

Both were Martyred in 304 A.D. Their bodies, after having been exposed to wild beasts, were taken away during the night by Christian mariners, who carried them to Rome. Later, they were buried in the Basilica of Constantine (Saint John Lateran), near the Baptistry."

Mass: Salus Autem.

Saint Cyprian and the demon.

14th-Century manuscript of the Golden Legend.

Source: http://saints.bestlatin.net/gallery/justina_vignay.htm.

Description: Cyprian and Justina. Saint Cyprien et le démon. 

Sainte Justine et le démon. Cote : Français 245 , Fol. 109. 

Jacobus de Voragine, Legenda aurea (traduction de Jean de Vignay), 

France, Paris, XVe siècle, Jacques de Besançon.

(Wikimedia Commons)

The following Text is from The Liturgical Year,
by Abbot Guéranger, O.S.B.

"Whosoever ye be, that are seduced by the mysteries of the demons, none of you can equal the zeal I once had for these false gods, nor my researches into their secrets, nor the vain power they had communicated to me, to me, Cyprian, who, from my infancy, was given up to the service of the dragon in the citadel of Minerva.

"Learn from me the deceitfulness of their illusions. A Virgin has proved to me that their power is but smoke. The king of the demons was arrested at the door of a mere child, and could not cross the threshold. He who promises so much is a liar.

"A woman makes sport of the boaster who vaunted he could shake Heaven and Earth. The roaring lion becomes a startled gnat, before the Christian Virgin, Justina." [Confessio Cypriani Antiocheni, i, 2.]

He who sought to ruin thee is now, O Virgin, thy trophy of victory; and for thee, O Cyprian, the path of crime turned aside into the way of Salvation. May you together triumph over Satan in this age, when spirit-dealing is seducing so many faltering, faithless, Souls.

Teach Christians, after your example, to arm themselves, against this and every other danger, with the Sign of the Cross; then will the enemy be forced to say again: "I saw a terrible sign and I trembled; I beheld the Sign of the Crucified, and my strength melted like wax." [Acta Cypriani et Justinae.]

Our Lady Of Ransom. Feast Day 24 September.

Text from The Saint Andrew Daily Missal,

unless otherwise stated.

Our Lady of Ransom.

Feast Day 24 September.

Greater-Double.

White Vestments.

Image: TRANSALPINE REDEMPTORISTS

The Web-Site of the Mercedarian Friars is at

http://orderofmercy.org/

The Blessed Virgin appeared in the 13th-Century to Saint Peter Nolasco (Feast Day 28 January), to Saint Raymund of Pennafort (Feast Day 23 January), and to James, King of Aragon, requesting them to found a religious institute with the object of delivering Christian captives from the barbarous Saracens (Collect), who then held a great part of Spain.

In consequence of this, on 10 August 1218, King James established the royal, military and religious Order of Our Lady of Ransom (Editor: The Mercedarians), and granted to its Members the privilege of bearing on their breasts his own Arms.

Most of them were knights, and while the Clerics recited Divine Office in the Commanderies, they guarded the coasts and delivered prisoners. This pious work spread everywhere and produced heroes of sanctity and men of incomparable charity and piety, who devoted themselves to the collection of alms for the ransom of Christians, and who often gave themselves up as prisoners to deliver captives.

This Feast, originally kept only by the Order, was extended to the whole Church by Pope Innocent XII in the 17th-Century.

Mass: Salve, Sancta Parens.

Royal, Celestial and Military Order of 

Our Lady of Mercy and the Redemption of Captives

Ordo Beatae Mariae 

de Mercede redemptionis captivorum

English: Arms of the Mercedarians.

Català: Escut de la Orde de la Mercè.

Español: Escudo de la Orden de la Merced.

Date: 6 April 2011.

Source: [1].

Author: Heralder.

(Wikimedia Commons)

The following is from Wikipedia - the free encyclopaedia.

The Feast of Our Lady of Ransom is a Roman Catholic Liturgical Marian Feast on 24 September, a Double Major Ranking of Liturgical Days in the Roman Rite, commemorating the foundation of the Mercedarians.

On 10 August 1223, the Mercedarian Order was legally constituted at Barcelona by King James of Aragon and was approved by Pope Gregory IX on 17 January 1235. The Mercedarians celebrated their institution on the Sunday nearest to 1 August (on which date, in the year 1233, The Blessed Virgin was believed to have shown Saint Peter Nolasco the White Habit of the Order), and this custom was approved by the Congregation of Rites on 4 April 1615 (Anal. Juris Pont., VII, 136). 

But the Calendar of the Spanish Mercedarians of 1644 has it on 1 August as a Double. Proper Lessons were approved on 30 April 1616. The Feast was granted to Spain (Sunday nearest to 1 August) on 15 February 1680; to France, 4 December 1690. On 22 February 1696, it was extended to the entire Latin Church, and the date changed to 24 September.

The Mercedarians keep this Feast as a Double of the First-Class, with a Vigil, Privileged Octave, and Proper Office, under the Title: "Solemnitas Descensionis B. Mariæ V. de Mercede".

Our Lady of Ransom is the Principal Patron of Barcelona; the Proper Office was extended to Barcelona (1868) and to all Spain (Double of the Second-Class, 1883).

Sicily, which had suffered so much from the Saracens, took up the old date of the Feast (Sunday nearest to 1 August) by permission of the Congregation of Rites, since 31 August 1805 (Double Major), Apparition of Our Lady to Saint Peter Nolasco in the Choir of Barcelona, on the Sunday after 24 September.

In England, the Devotion to Our Lady of Ransom was revived in modern times to obtain the rescue of England as Our Lady's Dowry.

Romanesque (Part Ten).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Canterbury Cathedral, England.

West Front, Nave and Central Tower.

This Cathedral retains its fine Romanesque Crypt (see, below).

Photo: September 2005.

Source: Picture taken and post-processed by Hans Musil.

Author: Hans Musil.

(Wikimedia Commons)

The Romanesque Crypt 

of Canterbury Cathedral.

Photo: 29 October 2003.

Source: Flickr.

Author: Saxon Moseley from UK.

Reviewer: Andre Engels.

(Wikimedia Commons)

Among the structures associated with Church buildings are Crypts, Porches, Chapter Houses, Cloisters and Baptisteries.

Crypts are often present as an underlying structure to a substantial Church, and are generally a completely discrete space, but, occasionally, as in some Italian Churches, may be a sunken space under a raised Chancel and open, via steps, to the body of the Nave. Romanesque Crypts have survived in many instances, such as Canterbury Cathedral, when the Church itself has been rebuilt.

The usual construction of a Romanesque Crypt is with many short, stout Columns, carrying Groin Vaults, as at Worcester Cathedral.

English: Parma Cathedral, Italy.

Italiano: Parma - Abside del Duomo.

Photo: August 2011.

Source: Own work.

Author: Geobia.

(Wikimedia Commons)

English: The Baptistry, Parma Cathedral.

Italiano: Baptisterium in Parma auf der 

Piazza Battistero. Il Battistero di Parma.

Photo: 21 May 2005.

Source: Own work. Self-photographed 

(Original text: “selbst fotografiert (www.schaefer-bonk.de)”).

Author: Philip Schäfer.

(Wikimedia Commons)

Porches sometimes occur as part of the original design of a facade. This is very much the case in Italy, where they are usually only one Bay-deep and are supported on two Columns, often resting on couchant lions, as at Saint Zeno, Verona. Elsewhere, Porches of various dates have been added to the facade, or side entrance, of existent Churches and may be quite a substantial structure, with several Bays of Vaulting, supported on an open, or partially open, Acade, and forming a sort of Narthex, as at the Church of Saint Maria, Laach Abbey, Germany. In Spain, Romanesque Churches often have large lateral Porches, like Loggias.

Chapter Houses often occur adjacent to Monastic or Cathedral Churches. Few have survived intact from the Romanesque period. Early-Romanesque Chapter Houses were rectangular in shape, with the larger ones sometimes having Groin, or Ribbed, Vaults, supported on Columns. Later-Romanesque Chapter Houses sometimes had an Apsidal Eastern End. The Chapter House at Durham Cathedral is a wide space with a Ribbed Vault, restored, as originally constructed, in 1130. The circular Chapter House at Worcester Cathedral, built by Bishop Wulfstan (1062–95), was the first circular Chapter House in Europe and was much imitated in England.

English: The Baptistery of San Giovanni, 

Florence Cathedral, Italy.

Deutsch: Beschreibung: Baptisterium (Florenz).

Photo: 9 September 2004.

Source: Own work.

Author: Christopher Kaetz

(Wikimedia Commons)

Cloisters are generally part of any Monastic complex and also occur at Cathedral and Collegiate Churches. They were essential to the communal way of life, a place for both working, during daylight hours, and relaxing, during inclement weather. They usually abut the Church building and are enclosed with windowless walls on the outside and an open Arcade on the inside, looking over a Courtyard or "Cloister Garth". They may be Vaulted or have timber roofs. The Arcades are often richly decorated and are home to some of the most fanciful carved Capitals of the Romanesque period, with those of Santo Domingo de Silos, in Spain, and the Abbey of Saint Pierre Moissac, being examples. Many Romanesque Cloisters have survived in Spain, France, Italy and Germany, along with some of their associated buildings.

Baptisteries often occur in Italy as a free-standing structure, associated with a Cathedral. They are generally octagonal, or circular, and Domed. The Interior may be Arcaded on several levels, as at Pisa Cathedral. Other notable Romanesque Baptisteries are that at Parma Cathedral, remarkable for its galleried exterior, and the polychrome Baptistery of San Giovanni, of Florence Cathedral, with Vault Mosaics of the 13th-Century, including Christ in Majesty, possibly the work of the almost legendary Coppo di Marcovaldo.

The Crypt, 

Worcester Cathedral, England.

Note the Groin Vaults.

Photo: 23 February 2011.

Source: Own work.

Author: TheElfFromAbove.

(Wikimedia Commons)

Arcading is the single most significant decorative feature of Romanesque architecture. It occurs in a variety of forms, from the Lombard band, that is a row of small Arches that appear to support a roofline or course, to shallow Blind Arcading, that is often a feature of English architecture, and is seen in great variety at Ely Cathedral, to the open Dwarf Gallery, first used at Speyer Cathedral, and widely adopted in Italy, as seen on both Pisa Cathedral and its famous Leaning Tower. Arcades could be used to great effect, both externally and internally, as exemplified by the Church of Santa Maria della Pieve, in Arezzo, Italy.

English: Lombard band in the Basilica di Santa Giulia, Northern Italy.

Italiano: Basilica di Santa Giulia, abside superstite, nel comune di Bonate Sotto.

Photo: 2 April 2006.

Source: Own work.

Author: Giorces.

(Wikimedia Commons)

A Lombard band is a decorative Blind Arcade, usually exterior, often used during the Romanesque and Gothic periods of architecture. Lombard bands are believed to have been first used during the First Romanesque period of the Early-11th-Century. At that time, they were the most common architectural decorative motif for facades in Lombardy, Aragon and Catalonia. Arches of Early-Christian buildings of Ravenna, such as the Mausoleum of Galla Placidia, have been 

suggested as the origin of Lombard bands.

The Romanesque period produced a profusion of sculptural ornamentation. This most frequently took a purely geometric form and was particularly applied to Mouldings, both straight courses and the Curved Mouldings of Arches. In La Madeleine, Vezelay, France, for example, the polychrome Ribs of the Vault are all edged with narrow filets of pierced stone. Similar decoration occurs around the Arches of the Nave and along the horizontal course separating Arcade and Clerestory. Combined with the pierced carving of the Capitals, this gives a delicacy and refinement to the Interior.

In England, such decoration could be discrete, as at Hereford and Peterborough Cathedrals, or have a sense of massive energy, as at Durham, where the Diagonal Ribs of the Vaults are all outlined with Chevrons, the Mouldings of the Nave Arcade are carved with several layers of the same and the huge Columns are deeply incised with a variety of geometric patterns, creating an impression of directional movement. These features combine to create one of the richest and most dynamic Interiors of the Romanesque period.

Polychrome Blind Arcading of the Apse 

of Monreale Cathedral, Sicily, Italy (1174-82). 

The decoration indicates Islamic influence in both the motifs 

and the fact that all the Arches, including those 

of the windows, are pointed.

Photo: August 2004.

Source: Own work.

Author: Bernhard J. Scheuvens aka Bjs/.

(Wikimedia Commons)

Although much sculptural ornament was sometimes applied to the Interiors of Churches, the focus of such decoration was generally the West Front, and, in particular, the Portals. Chevrons and other geometric ornaments, referred to by 19th-Century writers as "barbaric ornament", are most frequently found on the Mouldings of the central door. 

Stylised foliage often appears, sometimes deeply carved and curling outward, after the manner of the acanthus leaves on Corinthian Capitals, but also carved in shallow relief and spiral patterns, imitating the intricacies of manuscript illuminations. In general, the style of ornament was more classical in Italy, such as that seen around the door of San Giusto in Lucca, and more "barbaric" in England, Germany and Scandinavia, such as that seen at Lincoln and Speyer Cathedrals. France produced a great range of ornament, with particularly fine interwoven and spiralling vines in the "manuscript" style occurring at Saint-Sernin, Toulouse.

Français: Aiguilhe (Haute-Loire - France), porche polychrome sculpté 

de la chapelle Saint-Michel d'Aiguilhe (XIe siècle).

English: Aiguilhe (Haute-Loire - France), carved polychrome 

Porch of the Saint-Michel-D'aiguilhe Chapel (11th-Century).

Photo: 22 June 2003.

Source: Own work.

Author: Jean-Pol GRANDMONT.

(Wikimedia Commons)

Français: Aiguilhe (Haute-Loire - France), la chapelle Saint-Michel (XIe siècle).

English: Aiguilhe (Haute-Loire - France), the Chapel of Saint Michel (11th-Century).

Español: Aiguilhe (Alto Loira - Francia), la capilla di San Michele (siglo XI).

Italiano: Aiguilhe (Alto Loira - Francia), la capella di San Michele (XI secolo).

Português: Aiguilhe (Haute-Loire - França), a capela de São Miguel (Século XI).

Nederlands: Aiguilhe (Haute-Loire - Frankrijk), de kapel van Sint-Michiel (XIde eeuw).

Photo: 22 June 2003.

Source: Own work.

Author: Jean-Pol GRANDMONT.

(Wikimedia Commons)

Saint-Michel d'Aiguilhe is a Chapel in Aiguilhe, near Le Puy-en-Velay, France, built in 962 A.D., 

on a volcanic formation 85 metres (279 ft) high. The Chapel is reached by 268 steps 

carved into the rock. It was built to celebrate the return from the 

pilgrimage to the Cathedral of Santiago de Compostela, in Galicia, in North-Western Spain. 

In 1429, the mother of Joan of Arc, Isabelle Romée, was said to have come to the site to pray.

With the fall of the Roman Empire, the tradition of carving large works in stone, and sculpting figures in bronze, died out. The best-known surviving large sculptural work, of Proto-Romanesque Europe, is the life-size wooden Crucifix, commissioned by Archbishop Gero of Cologne, in about 960 A.D. - 965 A.D.

During the 11th- and 12th-Centuries, figurative sculpture flourished in a distinctly Romanesque style that can be recognised across Europe, although the most spectacular sculptural projects are concentrated in South-Western France, Northern Spain and Italy.

English: The Portal of Saint-Pierre, Moissac, France.

Français: Portal da Abadia Saint-Pierre de Moissac.

Source: File:Abadia de Saint-Pierre de Moissac - Portalada sud.JPG.

Author: Original file by Josep Renalias.

(Wikimedia Commons)

The Portal of Saint-Pierre, Moissac, France, has unusual features, including the Frieze of Roundels on the Lintel, the scalloped Jambs and figures of Prophets on the Central Jamb.

Major figurative decoration occurs particularly around the Portals of Cathedrals and Churches, ornamenting the Tympanum, Lintels, Jambs and Central Posts. The Tympanum is typically decorated with the imagery of Christ in Majesty, with the symbols of the Four Evangelists, drawn directly from the gilt covers of Mediaeval Gospel Books. 

This style of doorway occurs in many places and continued into the Gothic period. A rare survival in England is that of the "Prior's Door" at Ely Cathedral. In France, many have survived, with impressive examples at the Abbey of Saint-Pierre, Moissac, the Abbey of Sainte-Marie, Souillac, and Abbey of la Madaleine, Vézelay – all Daughter Houses of Cluny, with extensive other sculpture remaining in Cloisters and other buildings. 

Nearby, Autun Cathedral has a Last Judgement of great rarity, in that it has uniquely been signed by its creator, Gislebertus (who was perhaps the patron, rather than the sculptor). The same artist is thought to have worked at la Madaleine Vezelay, which uniquely has two elaborately-carved Tympanum, the early inner one representing the Last Judgement, and that on the outer Portal of the Narthex, representing Jesus sending forth the Apostles to preach to the nations.

PART ELEVEN FOLLOWS.

The Venerable Bede (672 A.D. - 735 A.D.) Lauds The Musical Director And The Choir At Our Lady Of The Rosary, Blackfen.

Text and Illustrations from Wikipedia - the free encyclopaedia,

unless otherwise stated.

Saint Bede translating the

Gospel of John on his deathbed.

Date: 1902.

Source: http://www.bible-researcher.com/bede.jpg.

Author: James Doyle Penrose.

(Wikimedia Commons)

The following is taken from the Blog, ENLARGING THE HEART

From that time also, they began, in all the Churches of the English, to learn Church music, which till then had been only known in Kent.

The Venerable Bede (672/4-735): Ecclesiastical History of England, 4, 1-2.

Saint Januarias And His Companions. Martyrs. Feast Day 19 September.

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Martyrdom of Saint Januarius.

Date: Circa 1727 (19 September 2006 (original upload date)).

Source: Transferred from en.wikipedia; transferred to Commons by User:Darwinius using CommonsHelper.(Original text : Bishop's Library, Vác, Hungary).

Permission: PD-US; PD-ART.

Author: Girolamo Pesce. Original uploader was Noroton at en.wikipedia.

(Wikimedia Commons)

Januarius, Bishop of Naples, is a Martyr Saint of the Roman Catholic and the Eastern Orthodox Churches. While no contemporary sources on his life are preserved, later sources and legends claim that he died during the Diocletianic Persecution, which ended with Diocletian's retirement in 305 A.D.

Januarius is the Patron Saint of Naples, Italy, where the Faithful gather, three times a year, in Naples Cathedral, to witness the liquefaction of what is claimed to be a sample of his blood kept in a sealed glass ampoule.

Saint Januarius is famous for the Miracle of the annual liquefaction of his blood, which, according to legend, was saved by a woman, called Eusebia, just after the Saint's death. Thousands of people assemble to witness this event in Naples Cathedral, three times a year: On 19 September (Saint Januarius Day, to commemorate his Martyrdom); on 16 December (to celebrate his Patronage of, both, Naples and of the Archdiocese); and on the Saturday before the first Sunday of May (to Commemorate the reunification of his Relics).

English: The miraculous liquefaction of the blood of Saint Januarius.

Italiano: Napoli. Il cardinale Crescenzio Sepe durante il rito 

dello scioglimento del sangue di San Gennaro.

Photo: 22 September 2009.

Source: Flickr: Napoli. Il sangue è vivo.

Author: Paola Magni.

(Wikimedia Commons)

Little is known of the life of Januarius, and what follows is mostly derived from Later-Christian sources, such as the Acta Bononensia (BHL 4132, not earlier than 6th-Century) and the Acta Vaticana (BHL 4115, 9th-Century), and from later-developing folk tradition. Now we know that he was born in Benevento. 

The earliest extant mention of him is contained in a 432 A.D., Letter, by Uranius, Bishop of Nola, on the death of his mentor, Saint Paulinus of Nola, where it is stated that the ghosts of Januarius and Saint Martin appeared to Paulinus, three days before the latter's death in 431 A.D. 

About Januarius, the account says only that he was "Bishop, as well as Martyr, an illustrious Member of the Neapolitan Church". The Acta Bononensia says that: "At Pozzuoli, in Campania, [is honoured the memory] of the Holy Martyrs, Januarius, Bishop of Beneventum, Festus, his Deacon, and Desiderius, Lector, together with Sossius, Deacon of the Church of Misenum, Proculus, Deacon of Pozzuoli, Eutyches, and Acutius, who, after chains and imprisonment, were beheaded under the Emperor Diocletian".

English: The Chapel of Saint Januarius, Naples Cathedral, Italy.

Italiano: Parte dell'interno della Reale Cappella del Tesoro 

di San Gennaro, Napoli. A destra la tela del Domenichino 

del 1640 raffigurante la Decapitazione di San Gennaro.

Photo: 26 March 2008.

Source: Own work.

Author: Baku.

(Wikimedia Commons)

Saint Januarius' Feast Day is celebrated on 19 September in the Calendar of the Catholic Church. In the Eastern Church, it is celebrated on 21 April. The city of Naples has more than fifty official Patron Saints, although its principal Patron Saint is Saint Januarius.

For the Italian population of Little Italy, Manhattan, and other New Yorkers, the Feast of San Gennaro is a highlight of the year, when the Saint's polychrome statue is carried through the streets and a blocks-long street fair ensues.

Most Precious Blood Church, 

on Mulberry Street, in Manhattan's Little Italy, 

United States, during the Feast of San Gennaro.

Featuring a Shrine to San Gennaro, on the left.

Photo: 19 September 2006.

Source: Own work.

Author: Nightscream.

Image: Wikipedia.

Little Italy, in Manhattan, United States, on 9 July, 2006. 

One hour after Italy won the 2006 World Cup in Berlin,Germany.

Date: 20 November 2006 (original upload date).

Source: Transferred from en.wikipedia; 

transfer was stated to be made by User:מתניה.

Permission: CC-BY-SA-3.0-MIGRATED; 

Released under the GNU Free Documentation License.

Author: Original uploader was Alextrevelian 006 at en.wikipedia.

In Support Of Fr. Ray Blake.

Fr. Ray Blake.

Further to the vicious campaign against Fr. Ray Blake, launched by The Argus, and their silly, so-called journalist, Bill Gardner, Zephyrinus thought this comment, by Captain Mainwaring, was particularly apt for "Our Bill".

Available on YouTube

at

http://youtu.be/Z9t_KDGqOmE.

Romanesque (Part Nine).

Text and Illustrations from Wikipedia - the free encyclopaedia,
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.

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)

Smaller Churches sometimes had Bell-Gables, instead of Towers, a feature which, according to some authors, is characteristic of the simplicity of much architecture in the Romanesque style.

Romanesque Churches generally have a single Portal, centrally placed on the West Front, the focus of decoration for the facade of the building. Some Churches, such as Saint-Étienne, Caen (11th-Century), and Pisa Cathedral (Late-12th-Century), had three Western Portals, in the manner of Early Christian Basilicas. Many Churches, both large and small, had lateral entrances that were commonly used by worshippers.

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.

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.