The document provides an overview of Romanesque art and architecture between 1100-1200 CE in Europe. It discusses the rise of pilgrimages and large pilgrimage churches built across Europe during this period. Regional variations in architectural styles are seen between places like Germany, Italy, France, and England. Romanesque sculpture featured both architectural elements and free-standing works, often with religious narratives. Painting styles included frescoes and illuminated manuscripts, while other arts included tapestries like the Bayeux Tapestry.

1. 1 Gardner’s Art Through the Ages:The Western Perspective Chapter 12 The Age of Pilgrimages: Romanesque Art

2. 2 Europe About 1100

4. Examine the need for large scale pilgrimage churches, the growth of architecture and urban centers.

5. Understand the ‘millenial’ and apocalyptic mood of the Romanesque era and their impact on artistic themes.

6. Understand the role of relics and the artistic objects designed to contain relics.

7. Recognize differences and similarities in regional Romanesque architecture and artistic styles.

9. Examine the result of pilgrimages and the crusades in terms of architecture in Europe.

11. Identify architectural elements particularly those associated with the large pilgrimage and monastery churches.

16. 10 Figure 12-7 Model of the third abbey church (“Cluny III”), Cluny, France, 1088–1130. Musée du Farinier, Cluny, France.

17. 11 Figure 12-8 Interior of abbey church of Notre-Dame, Fontenay, France, 1139–1147.

20. 16 Figure 12-10 Aerial view of Sant’Ambrogio, Milan, Italy, late eleventh to early twelfth century.

21. 17 Figure 12-11 Interior of Sant’Ambrogio, Milan, Italy, late eleventh to early twelfth century.

22. 18 Figure 12-16 Plan (top) and lateral section (right) of Durham Cathedral, England (after Kenneth John Conant).

23. 19 Figure 12-15 Interior of Durham Cathedral, England, begun ca. 1093.

24. 20 Figure 12-17 Cathedral complex, Pisa, Italy; cathedral begun 1063; baptistery begun 1153; campanile begun 1174.

25. 21 Figure 12-18 Baptistery of San Giovanni, Florence, Italy, dedicated 1059.

26. 22 Figure 12-21 BERNARDUS GELDUINUS, Christ in Majesty, relief in the ambulatory of Saint-Sernin, Toulouse, France, ca. 1096. Marble, 4’ 2” high. BERNARDUS GELDUINUS, Christ in Majesty, relief in the ambulatory of Saint-Sernin, Toulouse, France, ca. 1096. Marble, 4’ 2” high.

27. 23 Figure 12-22 WILIGELMO, creation and temptation of Adam and Eve, frieze on the west facade, Modena Cathedral, Modena, Italy, ca. 1110. Marble, approx. 3’ high.

28. 24 Figure 12-23 South portal of Saint-Pierre, Moissac, France, ca. 1115–1135. Marble, approx. 16’ 6” wide at base.

30. Understand the role of relics and the artistic objects designed to contain relics.

33. 28 Figure 12-25 GISLEBERTUS, Last Judgment, west tympanum of Saint-Lazare, Autun, France, ca. 1120–1135. Marble, approx. 21’ wide at base.

34. 29 Figure 12-26 Ascension of Christ and Mission of the Apostles, tympanum of the center portal of the narthex of La Madeleine, Vézelay, France, 1120–1132.

35. 30 Figure 12-27 Portal on the west facade of Saint-Trophîme, Arles, France, mid twelfth century.

36. 31 Figure 12-28 BENEDETTO ANTELAMI, King David, statue in a niche on the west facade of Fidenza Cathedral, Fidenza, Italy, ca. 1180–1190. Marble, approx. life-size.

37. 32 Figure 12-29 RAINER OF HUY, Baptism of Christ, baptismal font from Notre-Dame-des-Fonts, Liège, Belgium, 1107–1118. Bronze, 2’ 1” high. Saint-Barthélémy, Liège.

40. Explore the continuing art of manuscript illumination.

43. 38 Figure 12-33 Entombment of Christ, fresco above the nave arcade, Sant’Angelo in Formis, near Capua, Italy, ca. 1085.

44. 39 Figure 12-34 Nave of the abbey church, Saint-Savin-sur-Gartempe, France. Painted barrel vault, ca. 1100.

48. 43 Figure 12-38 EADWINE THE SCRIBE(?), Eadwine the scribe at work, folio 283 verso of the Eadwine Psalter, ca. 1160–1170. Ink and tempera on vellum. Trinity College, Cambridge.

49. 44 Figure 12-40 Battle of Hastings, detail of the Bayeux Tapestry, from Bayeux Cathedral, Bayeux, France, ca. 1070–1080. Embroidered wool on linen, 1’ 8” high (entire length of fabric 229’ 8”). Centre Guillaume le Conquérant, Bayeux.

51. What factors sparked the increase in building of churches in Western Europe?

52. Why do you think there was such a strong positive reception of the concept of relics in Romanesque society??