Romanesque Renaissance


Book Description

In the renaissance also architecture from c. 800–1200 was regarded as a useful source of inspiration for contemporary building, sometimes by misinterpreting these medieval architecture as roman structures, sometimes because that era was also regarded as a glorious ‘ancient’ past.




Byzantine and Romanesque Architecture


Book Description

BYZANTINE AND ROMANESQUE ARCHITECTURE by THOMAS GRAHAM JACKSON. Contents include: VOL. II CHAP. PAGE XVIII German Romanesque r XIX French Romanesque. Aquitaine and Poitou . . 28 XX French Romanesque. Provence 62 XXI French Romanesque. Toulouse 82 XXII French Romanesque. Burgundy 90 XXIII French Romanesque. Auvergne 127 XXIV French Romanesque. Normandy .... 147 XXV French Romanesque. The Isle of France . . . 159 XXVI English Romanesque before the Norman conquest . 173 XXVII English Romanesque after the Norman conquest . 205 XXVIII English Romanesque after the Norman conquest ( cont.} 235 XXIX Conclusion 257 Chronological tables of architectural examples . . 269 Index 278 ERRATUM p. 83, line i. For i2th read nth. CHAPTER XVIII GERMAN ROMANESQUE THE history of Romanesque architecture in Germany begins with Charlemagne. We find no buildings in that country older than his time except those which the ance Romans had left behind them. Charlemagne however was a great builder. Eginhardt his secretary and bio grapher says he repaired the churches throughout his dominions, but he gives no details. A book de aedificiis in the 8th century would have been very interesting, but Eginhardt was no Procopius, nor was Charlemagne a Justinian. Two buildings however, we are modestly told, seem not unworthy of mention, the Mx-ia basilica of the most holy mother of God, constructed with ape e wondrous workmanship at Aquisgranum, and a bridge over the Rhine at Moguntiacum 1 This bridge at Mainz was only of wood, perhaps of boats, but the basilica at AIX-LA-CHAPELLE was a great work considering its age and situation. It was destined by Charlemagne to be also his tomb house, and here he was in fact afterwards buried; seated on his throne, imperially robed, and with his sceptre in his hand and a copy of the gospels on his knee, as he was found when the tomb was opened in 1165. The splendour of this church, says Eginhardt, was the ex pression of his Christian devotion. He adorned it with 1 Eginhardt, Vita Caroli Magni, cap. xvii. j. A. II. r Aix-la-Cbapelle Imitation ofS. Vitale 2 GERMAN ROMANESQUE [ en, xvm gold and silver, and lights, and with doors and screens of solid bronze. Hither he would come to the service morning and evening and even by night as long as his health permitted 1 . The building ( Fig. 63) was something of an exotic in the kingdom of the Austrasian Franks in the 8th century, AIX-JLA-CHAPOLE. original j& faru Fig. 63. and no one who has seen it and also the church at Ravenna from which it is supposed to have been imitated, can doubt its foreign origin. Eginhardt tells us that Charlemagne imported columns and marbles for the work from Ravenna and Rome 2, and he is supposed to have stripped and ruined the splendid palace of Theodoric at the former city which has now practically disappeared. But besides materials there can be little doubt he also 1 Eginhardt, Vita Caroli Magni DEGREES cap. xxvi. 2 Ad cujus structuram, cum columnas et marmora aliunde habere non posset, Roma atque Ravenna devehenda curavit Eginhardt, cap. xxvi. Plate LXXXII AIX-LA-CHAPELLE CH. xvin] GERMAN ROMANESQUE 3 imported from Italy his architect and his principal Aix-ia builders. The resemblance to S. Vitale is very strong, Chapelle and yet there is sufficient difference to show that the builders were men of originality, able to think for them selves, not tied to a simple imitation of their model, and there could have been no such men in Austrasia then. Both churches have a dome over an octagon, a surround-The plan ing aisle in two storeys, though a women's gallery was not required by the Latin use, two staircases by which to m










Eastern Medieval Architecture


Book Description

The rich and diverse architectural traditions of the Eastern Mediterranean and adjacent regions are the subject of this book. Representing the visual residues of a "forgotten" Middle Ages, the social and cultural developments of the Byzantine Empire, the Caucasus, the Balkans, Russia, and the Middle East parallel the more familiar architecture of Western Europe. The book offers an expansive view of the architectural developments of the Byzantine Empire and areas under its cultural influence, as well as the intellectual currents that lie behind their creation. The book alternates chapters that address chronological or regionally-based developments with thematic studies that focus on the larger cultural concerns, as they are expressed in architectural form.




Romanesque Art


Book Description

What is Romanesque? The art and culture of Europe between 1050 and 1200 have traditionally been viewed as meager and impoverished. Now a new book takes a fresh look at this period and reveals a world of unexpected beauty. Accomplished, ornate sculpture, intricate goldwork and enamel, brilliant manuscript illumination, dazzling mosaic and glass characterize the art of the so-called "Dark Ages." Andreas Petzold examines medieval European art in the broader context of its relationship to the art of Byzantium and Islam, tracing the influences among these cultures through trade and the Crusades. He views Romanesque art in terms of the social structures that organized the medieval world -- church, princely court, peasant society -- discovering on the way the important role of women as artists and patrons, the complex relationships among religious and secular institutions, and the ways that sculpture, architecture, painting, and other art forms developed in style and technique to express a world no longer Classical but not yet Gothic. Petzold reveals a culture that is rich and varied, sophisticated and refined. Splendid illustrations of architecture, metal-work, stained glass, painting, and textiles reveal that the art of Romanesque Europe is anything but dark. Book jacket.







The Oxford Handbook of Byzantine Art and Architecture


Book Description

Byzantine art has been an underappreciated field, often treated as an adjunct to the arts of the medieval West, if considered at all. In illustrating the richness and diversity of art in the Byzantine world, this handbook will help establish the subject as a distinct field worthy of serious inquiry. Essays consider Byzantine art as art made in the eastern Mediterranean world, including the Balkans, Russia, the Near East and north Africa, between the years 330 and 1453. Much of this art was made for religious purposes, created to enhance and beautify the Orthodox liturgy and worship space, as well as to serve in a royal or domestic context. Discussions in this volume will consider both aspects of this artistic creation, across a wide swath of geography and a long span of time. The volume marries older, object-based considerations of themes and monuments which form the backbone of art history, to considerations drawing on many different methodologies-sociology, semiotics, anthropology, archaeology, reception theory, deconstruction theory, and so on-in an up-to-date synthesis of scholarship on Byzantine art and architecture. The Oxford Handbook of Byzantine Art and Architecture is a comprehensive overview of a particularly rich field of study, offering a window into the world of this fascinating and beautiful period of art.




Early Christian & Byzantine Art


Book Description

An authoritative account of early Christian and Byzantine art.




Romanesque Architecture


Book Description