Research Work No.

1
Romanesque Architecture

Subject:
History of Architecture 2

Submitted by:
Aragon, Enrich Louella
Belican, Jureiz B.
Bustamante, Jan Kyle
Maningas, Kc Anne
Romanban, Vien Genesis
Ticdao, Rochelle Jade

Instructor:
Ar. Julius Christopher Tamoria
Introduction to Romanesque Architecture

Background and History of Romanesque

The term "Romanesque," referring to "in the manner of the Romans," originally used in
the early nineteenth century. Today, it refers to the period of European art from the second half of the
eleventh century to the twelfth (with the possible exception for the region around Paris, where the
Gothic style evolved in the mid-twelfth century). In other areas, such as central Italy, the
Romanesque continued to exist into the twelfth century. The Romanesque is the first worldwide style
in Western Europe since antiquity, spanning the Mediterranean and as far north as Scandinavia.

Romanesque architecture is an architectural style that was widely popular in Europe from the
mid-11th century until the introduction of Gothic architecture. It was a product of the tremendous
development of monasticism in the tenth and eleventh centuries, combining Roman, Carolingian and
Ottonian, Byzantine, and native Germanic traditions. Larger churches were required to accommodate
the many monks and priests, as well as pilgrims who came to see saints' relics. Masonry vaulting
began to replace timber construction in order to increase fire resistance.

Prominent Architectural Characters

This period places a premium on the relationship between art and architecture, particularly
church architecture. For example, wall-paintings can follow the curvature of a church, as seen in the
apse wall-painting from the church of Sant Climent in Taüll (also known as Saint Clement), and
architectural sculpture was the most important art form to emerge during this time period, with
sculpture used to decorate stone churches.

Numerous sculptors may have started out as stone masons, and there is a remarkable
consistency between construction and sculpture in churches at this time. The tympanum (the lunette-
shaped space above the entrance to a church) and the historiated capital (a capital with a narrative
element, generally a Bible incident or a saint's biography) were the two most prominent sculptural
styles to emerge at this time. One of the most famous tympanums is located on the west door of
Autun Cathedral and depicts the Last Judgment, which is suitable for this area of the church.
One of the most distinguishing characteristics of Romanesque
architecture is the use of rounded arches, especially in windows,
entrances, and arcades. This is a direct influence of ancient
Roman architecture, hence the term "Romanesque."

Romanesque buildings are

distinguished by their huge, thick stone walls.
These walls were required to support the
massive stone roofs and barrel vaults. This
trait lends Romanesque churches and castles a
fortress-like look. Churches and cathedrals
were frequently built with large stone roofs or
vaults. The thick walls were required to
support the enormous weight of these stone
ceilings, especially in the absence of
advanced flying buttresses used in later
Gothic
architecture. The walls provided the necessary
load-bearing structure, allowing for the use of
large barrel and groin vaults in the interior spaces.
This meant that walls had to be robust and
unbroken over long distances in order to handle
the loads from above.

Romanesque architecture focuses on symmetry and basic geometric forms. Romanesque buildings' exteriors
are often separated into distinct, rectangular pieces, resulting in a balanced and harmonious appearance. The
floor plans of Romanesque churches often follow the shape of a Latin cross, with a long nave, a transept,
and an apse at the eastern end. This layout became a standard in church design during this period.
Maria Laach
Abbey
(Glees, Germany)
 Maria Laach Abbey
Maria Laach's building is Romanesque in style, with its enormous construction, thick walls, rounded arches,
and symmetrical form. The church has six towers, a massive westwork, and a finely adorned cloister, all of which are
typical of Romanesque architecture. Heinrich II, Count Palatine of the Rhine (d.1095), and his wife Adelheid (1100)
built the Abbey of Maria Laach in 1093. They gave what would have gone toward a dowry on the foundation of a
monastery across the lake from their castle because they were unable to conceive. According to the founding
document:

The founding monks came from the monastery of St. Maximin near Trier, and the Archbishop of Trier
approved and oversaw the foundation. Constructed on the western bank of the lake presently recognized a s the
Laacher See, the abbey was named Abbatia ad Lacum, or "Lake Abbey." The word "Laach" is from the old high
German word which means lake. To build the monastery, Heinrich hired laborers from Lombardy. By late 1093, the
church had already been laid with its foundations, and when Heinrich died in 1095, the crypt and the first ten feet of
walls were finished. Building stopped in 1100 after the death of Countess Adelheid. The early 19th century saw an
alarming and sudden decline in the lake's level, which resulted in substantial damage to the church roofs and vaults.
Three significant restoration projects were undertaken: the first in the 1830s addressed structural issues and involved
removing the upper level of the paradise; the second took place in the 1880s and included repairs following a
devastating fire in the southern round in 1885.

PLANS
Maria Laach Abbey's floor plan is characteristic of
Romanesque basilicas, with an emphasis on symmetry
and simplicity. This plan follows the functional and
symbolic design of Romanesque architecture,
emphasizing order, stability, and a clear separation of
sacred space.
ELEVATION
Maria Laach Abbey's elevation is a magnificent
example of Romanesque design, with symmetry,
enormous walls, and decorative elements. The
abbey church's elevation features a perfect blend of
Romanesque architectural elements. The elevation
of Maria Laach Abbey demonstrates the
Romanesque emphasis on stability, simplicity, and
distinct geometric forms. The abbey's characteristic,
ageless appearance comes from its balance of
vertical and horizontal features, as well as the use of
arches and small windows. The west façade of the
abbey, known as the westwork, is particularly
impressive. It features two large, square towers
flanking the central entrance. These towers rise
above the main structure, creating a fortress-like
appearance, which is a hallmark of Romanesque
architecture.

PERSPECTIVES

WALLS
Due to the walls being thick, the windows are small and narrow, enabling only a limited amount of
light to enter the inside. These windows are often rounded at the top, in keeping with the Romanesque focus
on rounded arches, and are situated deep into the solid walls. The thickness and plainness of the walls give
the abbey a defensive, fortress-like appearance,
which is not only symbolic of the Church's strength
but also practical, given the turbulent times during
which it was built.

OPENINGS

features open arches, and small Romanesque windows high in the nave
and in the two side aisles.

ROOFS
The abbey has steeply pitched roofs, which are
typical of Romanesque design and help drain
rain and snow well in the region's environment.
These roofs are generally composed of stone
tiles, which provide both weight and durability.

COLUMNS
Slender columns

The underground crypt with the Romanesque columns is adorned with sunflowers and a cross.
 MOULDINGS
In the entry hall we find this interesting capital. Two boys are fighting.
And to the right of them there is a devil writing down our sins and
freeing us from them before entering the church.

ORNAMENTS
Green Men, carved capital, south door of Maria Laach Abbey, Germany
 Durham
Cathedral
(Durham, UK)
 Durham Cathedral
Durham Cathedral was built in the late 11th and early 12th centuries to house the relics of St
Cuthbert (evangelizer of Northumbria) and the Venerable Bede. It attests to the importance of the early
Benedictine monastic community and is the largest and finest example of Norman architecture in England.
The innovative audacity of its vaulting foreshadowed Gothic architecture. Behind the cathedral stands the
castle, an ancient Norman fortress which was the residence of the prince-bishops of Durham.

The Castle was the stronghold and residence of the Prince-Bishops of Durham, who were given virtual
autonomy in return for protecting the northern boundaries of England, and thus held both religious and
secular power.

Within the Castle precinct are later buildings of the Durham Palatinate, reflecting the Prince-Bishops’
civic responsibilities and privileges. These include the Bishop’s Court (now a library), almshouses, and
schools. Palace Green, a large open space connecting the various buildings of the site, once provided the
Prince Bishops with a venue for processions and gatherings befitting their status, and is now still a forum for
public events.

The Cathedral and Castle are located on a peninsula formed by a bend in the River Wear with steep
river banks constituting a natural line of defence. These were essential both for the community of St.
Cuthbert, who came to Durham in the tenth century in search of a safe base (having suffered periodic Viking
raids over the course of several centuries), and for the Prince-Bishops of Durham, protectors of the turbulent
English frontier.

The site is significant because of the exceptional architecture demonstrating architectural innovation
and the visual drama of the Cathedral and Castle on the peninsula, and for the associations with notions of
romantic beauty in tangible form. The physical expression of the spiritual and secular powers of the
medieval Bishops’ Palatinate is shown by the defended complex and by the importance of its archaeological
remains, which are directly related to its history and continuity of use over the past 1000 years. The relics
and material culture of three saints, (Cuthbert, Bede, and Oswald) buried at the site and, in particular, the
cultural and religious traditions and historical memories associated with the relics of St Cuthbert and the
Venerable Bede, demonstrate the continuity of use and ownership over the past millennium as a place of
religious worship, learning, and residence in tangible form. The property demonstrates its role as a political
statement of Norman power imposed on a subjugated nation and as one of the country's most powerful
symbols of the Norman Conquest of Britain.

PLANS
The building takes
the form of a Latin cross,
centered on the four great
piers of the crossing. The
choir extended four bays to
the east and originally
terminated with a short bay
which led into a
semicircular apse (some remains of which were recovered in nineteenth-century excavations).

The aisles also terminated in

apses and these were encased with
rectangular outer walls. The transepts,
which extend north and south for four
bays, are furnished with an aisle on the
eastern side. Stair turrets project at the
north-west and south-west angles. The
aisled nave is eight bays long, and
terminates at the west in two towers.
Throughout the building there is an
alternating system of major and minor piers.

ELEVATIONS
ELEVATIONS

PERSPECTIVE
 WALLS
The Durham Cathedral is considered the earliest
example of the use of ribbed vaults; which was an important
constructive achievement at the time. This new type of vault
is formed by the intersection of two or more rounded vaults,
and it was reinforced with ribs in the joints.

One of the most

remarkable features in the
Cathedral, and perfectly
unique in the history of
ancient Architecture, was the
construction of the vaulting of
the Nave and South Transept
by Prior Thomas Melsonby, in
the Norman style, between
1233 and 1244, at a period when that known as early English had
completely superseded it.

OPENINGS
The doorways are ten in
number, and there are eight others which
have been blocked up at various times,
but some of the latter were only
entrances to attached buildings.

Originally glazed in the 15th century by

Richard Pickering, the present glass
dates from the late nineteenth century, and depicts Christ surrounded by the apostles, in turn surrounded by
the 24 elders from Revelation.

ROOFINGS
The roofs of the Transepts remain nearly in the state
left by the original builders, but the South alone has its
lead covering the Nave, Choir, and North Transept
having been stripped, and slate substituted, about fifty
years back. The roof of the Nave is modern, and of
considerably lower pitch than its predecessor (nearly ten
feet), for the height of the former was that of the gable
between the Western Towers, shewn in section It was
lighted by long windows in the gable, and five windows in the arcade below but all the latter have been
blocked up, and the upper reduced (internally) in
height to bring the openings within the present roof.

COLUMNS
One of the most distinctive features inside Durham
Cathedral is the carved spiral columns. These columns
are one of the components of the cathedral intended as
an architectural reference to Old St. Peter's Basilica in
Rome, the original physical Christian Church.

MOULDINGS
 ORNAMENTS
Engaged Shafts

These are employed around the compound piers, where each shaft is carefully
related to the superstructure above—to individual arch mouldings, ribs etc. This
is a more developed version of the system already used in Normandy (Caen,
Lessay) and England (Winchester transepts). Engaged shafts are also employed
at gallery level to accentuate and enrich the gallery openings.

Soffit rolls

The 'soffit roll' was destined to play an

important part in English medieval architecture
and its origin is therefore a matter of interest.
Rolls were carved on the underside of the
arches in the crypt of the cathedral at Auxerre
c. 1030, and in the nave of Bernay in
Normandy (c. 1030–40), though some
historians have claimed that the immediate
background for Durham was Anglo-Saxon,
rather than French, even suggesting that the use
of soffit rolls was a deliberate genuflection to
the Anglo-Saxon past.

Chevron Ornament
Durham is regarded as one of the first English buildings to exploit chevron
ornament, where it was introduced in the nave, perhaps about 1110. However,
there is some evidence to show that chevron was already being used at the end
of the eleventh century, so that Durham is unlikely to be a pioneer in this
regard. It should also be remembered that sculptured chevron was almost
certainly preceded by painted chevron. Once introduced at Durham, however,
chevron was employed with relish in the remaining parts of the building, no
doubt adding considerably to the costs.
Cattedrale di
Pisa
(Pisa, Province of Pisa, Italy)
Cattedrale di Pisa
A medieval Catholic Cathedral dedicated to the Assumption of the Virgin Mary, in the Piazza dei

Miracoli in Pisa, Italy, the oldest of the three structures in the plaza followed by the Pisa Baptistry and

the Campanile known as the Leaning Tower of Pisa. The cathedral is a notable example of Romanesque

Architecture, in particular the style known as Pisan Romanesque. Consecrated in 1118, it is the seat of

the Archbishop of Pisa. Construction began in 1063 and was completed in 1092. Additional enlargements

and a new facade were built in the 12th century and the roof was replaced after damage from a fire in 1595.

Located in: Piazza del Duomo

Architect: Tino di Camaino

Style: Pisan Romanesque

Italian: Duomo di Pisa

PLAN
The original building plan was a
Greek cross with a grand cupola
at the crossing, but today the
plan is a Latin cross with a
central nave flanked by two side
aisles on each side, with the
apse and transepts having three
naves.

The Cathedral is about one

hundred meters long and 54
meters high.
The Leaning Tower of Pisa is a
campanile or freestanding bell
tower located behind the Pisa cathedral, and is worldwide known for its
unintended tilt. The height of the tower is 55.86 mt (183.27 ft) from the ground
on the low side and 56.67 mt (185.93 ft) on the high side.
Length: Approximately 100 meters (328 feet)

 Width: Around 72 meters (236 feet)

 Height of the Nave: About 32 meters (105 feet)

 Height of the Central Dome: Roughly 48 meters (157 feet)

OPENINGS:
The cathedral was heavily damaged by a fire in 1595. The heavy

bronze doors of the façade were newly designed, executed and

completed in 1602 by sculptors from the circle of Giambologna on

the expense of Ferdinando I de' Medici, the Grand Duke of Tuscany.

At the top there is a Madonna and Child and, in the angles, the four

evangelists. The tomb of Buscheto is found to the left of the north

door of the façade.

Door of St. Ranier

Contrary to what might be thought, from the beginning the

faithful entered the cathedral through the Gate of Saint Rainerius,

found in the south transept of the same name, which faces the bell

tower. For townsfolk approaching by via Santa Maria it was the

shortest way to enter the cathedral. The door wings were cast about

1180 by Bonanno Pisano, and it is the only door not destroyed in

1595. The 24 bronze reliefs show stories of the New Testament.

This bronze portal is one of the first produced in Italy during the

Middle Ages, and is a forerunner of the bronze doors created

by Andrea Pisano for the Baptistery in Florence (1329–1336).

 COLUMNS:
The columns between the naves have beautiful

monolithic shafts of polished granite, with ancient capitals

and Attic bases, all of them uniform and perhaps taken

from some ancient Roman building from Sicily or Tuscany

that were disassembled in order to embellish the new

cathedral. These columns support large arches above which

the upper gallery runs along the lateral naves and that is

completely decorated with bands of white and green marble

forming a natural polychromy. The double aisles separated from

the nave by colossal Corinthian columns.

ROOFING:

The cathedral’s roof, with its intricate wooden coffered

ceiling, was constructed in the 17th century. This grand ceiling

replaced the original exposed trusses after a devastating fire.

Architecturally, the roof of Pisa Cathedral is significant for

its contribution to the Romanesque style, known as Pisan

Romanesque. The cathedral’s roof, with its golden decoration,

complements the rich mosaics and the Byzantine-inspired dome,

creating a cohesive and harmonious aesthetic. The Pisa Cathedral’s roof is a symbol of the city’s wealth,

artistic heritage, and architectural innovation.

WALLS:
The walls of Pisa are among the most ancient in

Italy to be almost entirely intact. Construction work on

the first lot began in 1154 in the area that currently hosts

Piazza dei Miracoli: the site was not chosen by chance;

the walls were intended to protect not only the Cathedral

and the future Baptistery, but the most vulnerable point

from a military point of view, namely the bridge over the

Auser to the northwest of the city.

This first segment of the wall, erected north of the city from 1155 to 1161, was built of gray

limestone, called marmble of San Giuliano, while for the walls erected at a later time, at the end of 1346, the

pink grey stone of Asciano.

After years of restoration, it is now possible to walk over these striking walls, walking along a three-

kilometer-long path, on the way you can see towers and ramparts and walk over the four main city gates:

Porta Nuova in Piazza dei Miracoli, Porta a Lucca, Porta San Zeno and Porta Calcesana.

ORNAMENTS:
Ornamental bands and plant motifs alternate in the façade decorations.

On the facade spread imposing three portals, surmounted by lunettes

embellished with mosaics attributed to Giuseppe Modena Da Lucca.

 The mosaics represent respectively: The Assumption of the Virgin, Saint Reparata, John the Baptist.

The making of the bronze portals saw the presence of numerous craftsmen of all the most famous is surely

that of Giambologna.

The chandelier of the Pisa Cathedral hangs from under the dome on a 49-

meter suspension. All tourist groups are told about the bronze chandelier, which is

located in the Italian city of Pisa, the first discovery of Galileo is associated with it.

The air currents under the dome swayed the chandelier. In 1583, 19-year-old

Galileo Galilei was at a bishop’s service, and drew attention to the fluctuations of this

chandelier. Genius pays attention to everything in which ordinary people do not see

anything special, although they have seen it a thousand times. Galileo uses the beats

of his pulse as a clock and notices that the time of one oscillation of the chandelier

remains unchanged, although the amplitude of the oscillations becomes smaller.

Observing the swing of a chandelier, Galileo discovered the law of isochronism of pendulum

oscillations. So, the story of one chandelier, which was observed by a genius, gave life to pendulum clocks.

Now Galileo’s “lamp” is motionless. Over the centuries, many things become immobile.

The statue of Saint Peter Enthroned, sometimes attributed to Arnolfo di

Cambio, though some scholars date it to the 5th century. The statue is in St. Peter’s

Basilica in the Vatican City, set against the north east pier of the dome at the end of

the central nave. One foot of the statue is largely worn away by pilgrims kissing or

touching it for centuries.

Statue of Charles I of Anjou by Arnolfo di Cambio (ca. 1277) carved in

marble (Hall of the Middle Ages, Capitoline Museums, Rome).

 Statue of Pope Bonifacius VIII by Arnolfo di Cambio, ca. 1298 (Museo dell’Opera del Duomo,

Florence).

Detail of the tomb/monument of Riccardo Cardinal Annibaldi, at the

Archbasilica of San Giovanni in Laterano (Rome), ca. 1276. This was the first major

work of Arnolfo di Cambio in Rome.

MOULDINGS:
Inside the Duomo is the famous Pergamum by Giovanni Pisano.

Made in the early XIV century, the Pergamo is one of the masterpieces of

Italian Gothic sculpture. The Pergamo is a raised structure with a

balustrade, decorated with sculptures and reliefs representing biblical

scenes and allegories. The structure survived the fire of 1595 and was

dismantled and later restored and restored.

The work is a complex and vast narrative cycle telling the Life of Christ, carved in the numerous

forms surrounding the sculpture. The work has a polygonal structure similar to the shape and structure of

that found inside the Baptistery.

You can enter Pisa Cathedral as you come from Bell Tower through the door of Saint

Rainerius. A beautiful old door, it is decorated with 24 bronze relief sculptures showing

stories of the New Testament. It is the only door not destroyed by the fire of 1595.

Opposite the main entrance to the Pisa Cathedral is Porta di San Ranieri. This bronze

St. Ranieri’s Gate was cast around 1180 by Bonanno Piscano. It is the only one of four
doors that survived a devastating fire to the Duomo in 1595. It has bas-relief engravings of the life of Christ

and the Virgin Mary.

Arguably the most impressive art in the cathedral of Pisa is

the pulpit made by Giovanni Pisano (1302-10). He clearly took

inspiration from a similar pulpit in the nearby baptistery made

earlier by his father Nicola.

The marble reliefs of the right wall of the facade of the Orvieto

Cathedral (Orvieto, Italy). Lorenzo Maitani (ca. 1275–1330) was primarily

responsible for the construction and decoration of the facade with the aid of his

collaborators. The Gothic facade of the Orvieto Cathedral is considered as one

of the great masterpieces of the art of the Late Middle Ages. The bas-reliefs on

the piers depict biblical stories from the Old and New Testament. Depicted

above are the reliefs with scenes of the Last Judgment and the Book of Revelation.

References:
Maria Laach
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ma_sr_discuss_dc_articul.html
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History
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%20Norman%20architecture%20in%20England.
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%20example%20of%20the,with%20ribs%20in%20the%20joints.
Window
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