Part of History of Design, as Conducted during Monsoon Semester 2015 at CEPT University, Faculty of Design

1. Prof. Amal Shah, Faculty of Design, CEPT University
HISTORY OF DESIGN
A J OU RNEY INTO T H E H ISTORY OF A RC H IT EC T U RE A ND INT ERIOR D ES IG N
Romanesque Architecture

2. Europe in 900

3. ROMANESQUE
Romanesque architecture
is an architectural style of
medieval Europe. (lasted
from the 5th to the 15th
century).
The word "Romanesque"
means "descended from
Roman" and was first used
in English to designate what
are now called Romance
languages.
The French term "romane"
was first used in the
architectural sense describe
what Gerville sees as
debased Roman
architecture.
Romanesque style was the
first style to spread across
the whole of Catholic Europe,
from Sicily to Scandinavia.Europe in 1190

4. Origin
Romanesque architecture was the first
distinctive style to spread across Europe
since the Roman Empire. With the decline of
Rome, Roman building methods survived to
an extent in Western Europe, where
successive Merovingian, Carolingian and
Ottonian architects continued to build large
stone buildings such as monastery churches
and palaces.
In the more northern countries Roman
building styles and techniques had never
been adopted except for official buildings,
while in Scandinavia they were unknown.
Although the round arch continued in use,
the engineering skills required to vault large
spaces and build large domes were lost.
There was a loss of stylistic continuity,
particularly apparent in the decline of the
formal vocabulary of the Classical Orders. In
Rome several great Constantinian basilicas
continued in use as an inspiration to later
builders.
Some traditions of Roman architecture also
survived in Byzantine architecture with the
6th-century octagonal Byzantine Basilica of
San Vitale in Ravenna being the inspiration
for the greatest building of the Dark Ages in
Europe.

5. Politics
At a time when the remaining
architectural structures of the Roman
Empire were falling into decay and much
of its learning and technology lost, the
building of masonry domes and the
carving of decorative architectural details
continued unabated, though greatly
evolved in style since the fall of Rome, in
the enduring Byzantine Empire.
Much of Europe was affected by
feudalism in which peasants held tenure
from local rulers over the land that they
farmed in exchange for military service.
The Crusades, 1095–1270, brought about
a very large movement of people and,
with them, ideas and trade skills,
particularly those involved in the building
of fortifications and the metal working
needed for the provision of arms, which
was also applied to the fitting and
decoration of buildings.
The continual movement of people,
rulers, nobles, bishops, abbots, craftsmen
and peasants, was an important factor in
creating a homogeneity in building
methods and a recognizable Romanesque
style, despite regional differences.

6. Religion
Monasticism
The system of monasticism in which the religious
become members of an order was established by the
monk Benedict in the 6th century.
The Benedictine monasteries spread from Italy
throughout Europe, being always by far the most
numerous in England. During the Crusades, the military
orders of the Knights Hospitaller and the Knights
Templar were founded.
The monasteries, which sometimes also functioned as
cathedrals were a major source of power in Europe.
Bishops and the abbots of important monasteries lived
and functioned like princes. The monasteries were the
major seats of learning of all sorts.
Pilgrimage and Crusades
One of the effects of the Crusades, which were intended
to wrest the Holy Places of Palestine from Islamic
control, was to excite a great deal of religious fervour,
which in turn inspired great building programs.
The Nobility of Europe, upon safe return, thanked God
by the building of a new church or the enhancement of
an old one. Likewise, those who did not return from the
Crusades could be suitably commemorated by their
family in a work of stone and mortar.
The Crusades resulted in the transfer of, among other
things, a great number of Holy Relics of saints and
apostles. Many churches had their own home grown
saint while others, most notably Santiago de
Compostela, claimed the remains and the patronage of
a powerful saint, became one of the most important
pilgrimage destinations in Europe.

7. ROMANESQUE
ART
Romanesque art is the art of
Europe from approximately
800 AD to the rise of the Gothic
style in the 13th century.
Romanesque art was also
greatly influenced by Byzantine
art, especially in painting, and
by the anti-classical energy of
the decoration of the Insular
art of the British Isles. From
these elements was forged a
highly innovative and coherent
style.

8. Romanesque Architecture
Architecture of a Romanesque style also developed simultaneously in the north of Italy, parts of France and in the Iberian Peninsula in
the 10th century and prior to the later influence of the Abbey of Cluny. The style, sometimes called First Romanesque or Lombard
Romanesque, is characterised by thick walls, lack of sculpture and the presence of rhythmic ornamental arches known as a Lombard
band.
Buildings of every type were constructed in the Romanesque style, with evidence remaining of simple domestic buildings, elegant
town houses, grand palaces, commercial premises, civic buildings, castles, city walls, bridges, village churches, abbey
churches, abbey complexes and large cathedrals.
Saint Nicholas Rotunda in
Cieszyn, Poland
Romanesque house in Poreč,
Croatia
Abbey Church of St James,
Lebeny, Hungary
The Civic Hall in Massa
Marittima, Italy

9. Walls
The walls of Romanesque buildings are often of massive
thickness with few and comparatively small openings. They
are often double shells, filled with rubble. The building
material differs greatly across Europe, depending upon the local
stone and building traditions. In Italy, Poland, much of Germany
and parts of the Netherlands, brick is generally used. Other
areas saw extensive use of limestone, granite and flint. The
building stone was often used in comparatively small and
irregular pieces, bedded in thick mortar.
Architectural Elements
Buttresses
Romanesque buttresses are generally of flat square profile. In the case
of aisled churches, barrel vaults, or half-barrel vaults over the aisles
helped to buttress the nave, if it was vaulted. In the cases where half-
barrel vaults were used, they effectively became like flying buttresses.
Often aisles extended through two storeys, so as to better support
the weight of a vaulted nave. In the case of Durham Cathedral, flying
buttresses have been employed, but are hidden inside the triforium
gallery.

10. Characteristics
Walls and Buttresses
The general impression given by
Romanesque architecture, in
both Religious and secular
buildings, is one of massive
solidity and strength. In contrast
with both the preceding Roman
and later Gothic architecture,
Romanesque architecture, in
common with Byzantine
architecture, relies upon its
walls, or sections of walls called
piers.
Romanesque architecture is
often divided into two periods
known as the "First
Romanesque" style and the
"Romanesque" style. The First
Romanesque employed rubble
walls, smaller windows and
unvaulted roofs. A greater
refinement marks the Second
Romanesque, along with
increased use of the vault and
dressed stone.
Walls
The walls of Romanesque buildings are often of massive thickness with few and
comparatively small openings. They are often double shells, filled with rubble.

11. Characteristics
Buttresses
Because of the massive nature of
Romanesque walls, buttresses are not a
highly significant feature, as they are in
Gothic architecture. Romanesque
buttresses are generally of flat square
profile and do not project a great deal
beyond the wall. In the case of aisled
churches, barrel vaults, or half-barrel
vaults over the aisles helped to buttress the
nave, if it was vaulted.
In the cases where half-barrel vaults were
used, they effectively became like flying
buttresses. Often aisles extended through
two storeys, rather than the one usual in
Gothic architecture, so as to better support
the weight of a vaulted nave.

12. Abbaye Cerisy le Foret, Normandy, France, has a compact appearance
with aisles rising through two storeys buttressing the vault.
Castle Rising, England, shows flat buttresses and reinforcing at the
corners of the building typical in both castles and churches.
The monastery of
San Vittore alle
Chiuse, Genga, Italy,
of undressed stone,
has a typically
fortress-like
appearance with
small windows of
early Romanesque.

13. Arches and openings
The arches used in Romanesque
architecture are nearly always semi-
circular, for openings such as doors
and windows, for vaults and for
arcades.
Wide doorways are usually
surmounted by a semi-circular arch,
except where a door with a lintel is set
into a large arched recess and
surmounted by a semi-circular
"lunette" with decorative carving.
These doors sometimes have a carved
central jamb.
Narrow doors and small windows
might be surmounted by a solid stone
lintel. Larger openings are nearly
always arched. A characteristic feature
of Romanesque architecture, is the
pairing of two arched windows or
arcade openings, separated by a
pillar or colonette and often set
within a larger arch.
Ocular windows are common in Italy,
particularly in the facade gable and are
also seen in Germany. Later
Romanesque churches may have
wheel windows or rose windows with
plate tracery.
Worms Cathedral, Germany,
displays a great variety of
openings and arcades including
wheel and rose windows, many
small simple windows, galleries
and Lombard courses.

14. Arcades
An arcade is a row of arches,
supported on piers or columns.
They occur in the interior of large
churches, separating the nave
from the aisles, and in large
secular interiors spaces, such as
the great hall of a castle,
supporting the timbers of a roof
or upper floor. Arcades also occur
in cloisters and atriums,
enclosing an open space.

15. Arcades

16. Columns
Columns are an important structural feature of Romanesque architecture. Monolithic columns cut from a single piece
of stone were frequently used in Italy, as they had been in Roman and Early Christian architecture. Types of columns
such as Drum columns (Solid cylinders) , Hollow core columns (Filled with a rubble core), Salvaged
columns, and Pilasters (embedded into the wall) were used.
St Michael's, Hildesheim,
shows two columns set
between the piers.
Mainz Cathedral, Germany,
has rectangular piers.
Malmesbury Abbey, England,
has hollow core columns,
probably filled with rubble.
The cathedral of Santiago de
Compostela, Spain, has large
drum columns with attached
shafts supporting a barrel vault.

17. Capitals
The foliate Corinthian style provided the inspiration
for many Romanesque capitals, and the accuracy
with which they were carved depended very much
on the availability of original models. The Corinthian
capital is essentially round at the bottom where it
sits on a circular column and square at the top,
where it supports the wall or arch. This form of
capital was maintained in the general proportions
and outline of the Romanesque capital. The capitals,
while retaining the form of a square top and a round
bottom, were often compressed into little more than
a bulging cushion-shape.

18. Vaults and roofs
The majority of
buildings have
wooden roofs,
generally of a
simple truss, tie
beam or king post
form. In the case
of trussed rafter
roofs, they are
sometimes lined
with wooden
ceilings in three
sections

19. Barrel vault
A barrel vault, also known as a tunnel vault or
a wagon vault, is an architectural element
formed by the extrusion of a single curve along
a given distance. The curves are typically
circular in shape, lending a semi-cylindrical
appearance to the total design. The barrel
vault is the simplest form of a vault.
Groin Vault
A groin vault or groined vault (also sometimes
known as a double barrel vault or cross vault)
is produced by the intersection at right angles
of two barrel vaults. The word "groin" refers to
the edge between the intersecting vaults.
Sometimes the arches of groin vaults are
pointed instead of round. In comparison with a
barrel vault, a groin vault provides good
economies of material and labour. The thrust
is concentrated along the groins or arises (the
four diagonal edges formed along the points
where the barrel vaults intersect), so the vault
need only be abutted at its four corners.

20. Vaults and roofs
Vaults of stone or brick took on several different forms and showed marked development during the
period, evolving into the pointed ribbed arch characteristic of Gothic architecture. Types of Vaults such as
Barrel vault, Groin vault, Ribbed vault, and Pointed arched vault
The painted barrel vault at the
Abbey Church of Saint-Savin-sur-
Gartempe is supported on tall
marbled columns.
The Church of St Philibert,
Tournus, has a series of
transverse barrel vaults
supported on arches.
The aisle of the Abbey
Church at Mozac has a
groin vault supported on
transverse arches.
The aisles at Peterborough
Cathedral have quadripartite
ribbed vaults.

21. Architecture and
Interior Spaces
Plans
Abbey and cathedral churches
generally follow the Latin Cross
plan. In England, the extension
eastward may be long, while in
Italy it is often short or non-
existent, the church being of T
plan, sometimes with apses on
the transept ends as well as to
the east.
In Germany, Romanesque
churches are often of distinctive
form, having apses at both east
and west ends, the main
entrance being central to one
side. It is probable that this form
came about to accommodate a
baptistery at the west end.

23. Architecture and
Interior Space
making elements
The East End
The eastern end of a
Romanesque church is
almost always semi-circular,
with either a high chancel
surrounded by an
ambulatory as in France, or
a square end from which an
apse projects as in Germany
and Italy.
Where square ends exist in
English churches, they are
probably influenced by
Anglo Saxon churches.
Peterborough and Norwich
Cathedrals have retained
round east ends in the
French style.

26. West End/Façade
Romanesque church facades, generally to
the west end of the building, are usually
symmetrical, have a large central portal
made significant by its mouldings or porch,
and an arrangement of arched-topped
windows.
Smaller churches often have a single tower
that is usually placed to the western end in
France or England, either centrally or to one
side, while larger churches and cathedrals
often have two.
Towers were an important feature of
Romanesque churches and a great number
of them are still standing. They take a
variety of forms: square, circular and
octagonal, and are positioned differently in
relation to the church building in different
countries.
In northern France, two large towers, such
as those at Caen, were to become an integral
part of the facade of any large abbey or
cathedral. In central and southern France
this is more variable and large churches may
have one tower or a central tower. Large
churches of Spain and Portugal usually have
two towers.

27. Towers were an important feature of Romanesque churches. They take a variety of forms: square, circular and octagonal, and are
positioned differently in relation to the church building in different countries. 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.
•Number: 5
•Height: 83 metres (272 ft)

28. Portals
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.
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. 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.

30. Interiors
The structure of large churches
differed regionally and developed
across the centuries.
The use of piers of rectangular plan
to support arcades was common, 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.
A number of 11th-century churches
have naves distinguished by huge
circular columns with no clerestory.
In England stout columns of large
diameter supported decorated
arches, gallery and clerestory. 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, St
Etienne, Caen, and Peterborough
Cathedral.
St Gertrude, Nivelles, has a nave and aisles divided by
piers supporting a clerestorey. The nave is divided by
transverse arches. The interior would have been
plastered and painted.
San Miniato al Monte, Florence, (1013–1090) has
basilical form, open timber roof and decoration of
polychrome marble and mosaic. The decoration
continued harmoniously until the apsidal mosaic of
1260.

31. The Church of St Philibert, Tournus, has tall
circular piers supporting the arcade and is roofed
with a series of barrel vaults supported on
arches. Small clerestory windows light the vault.
The nave of Peterborough Cathedral in
three stages of arcade, gallery &
clerestory, typical of Norman abbey
churches. The rare wooden ceiling
retains its original decoration
Abbey of St Mary Magdalene, Vézelay, has
clusters of vertical shafts rising to
support transverse arches and a groin
vault. The dressed polychrome
stonework has exquisitely detailed
mouldings.

32. Embellishments
The structure of large churches
differed regionally and developed
across the centuries.
The use of piers of rectangular
plan to support arcades was
common, 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.
A number of 11th-century
churches have naves
distinguished by huge circular
columns with no clerestory.
In England stout columns of large
diameter supported decorated
arches, gallery and clerestory. 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, St Etienne,
Caen, and Peterborough
Cathedral.

33. The atrium and arcaded narthex of
Sant'Ambrogio, Milan, Italy, is a
harmonious composition of similar arches.
The facade of Notre Dame du Puy, le Puy
en Velay, France, has a more complex
arrangement of diversified arches:
Doors of varying widths, blind arcading,
windows and open arcades.
Pisa Cathedral, Italy. The entire building is
faced with marble striped in white and
grey. On the facade this pattern is overlaid
with architectonic decoration of blind
arcading below tiers of dwarf galleries.

34. Apse of Sant Climent de Taüll, a Catalan fresco
by the Master of Taüll, now in Museu Nacional
d'Art de Catalunya.
The Three Magi from the St. Albans
Psalter, English, 12th century.
The "Morgan Leaf", detached from
the Winchester Bible of 1160−75.
Scenes from the life of David.
WALL MURALS
The large wall surfaces and plain, curving vaults of the Romanesque period lent themselves to mural decoration. Many of these early wall
paintings have been destroyed by damp or the walls have been replastered and painted over. In England, France and the Netherlands such
pictures were systematically destroyed or whitewashed in bouts of Reformation iconoclasm.

35. METALWORK
Precious objects had a very high status in the period, probably much more so than paintings. Metalwork, including
decoration in enamel, became very sophisticated. Large reliquaries and altar frontals were built around a wooden frame,
but smaller caskets were all metal and enamel.
Stavelot Triptych, Mosan, Belgium, c. 1156–58. 48×66
cm with wings open.
The bronze Gloucester
candlestick, 12th century

37. Stained glass, the Prophet
Daniel from Augsburg
Cathedral, late 11th century.
Detail showing
use of applied
paint and silver
stain
Detail of the Jesse Tree panel
from York Minster
Detail of a panel from Chartres Cathedral

38. SCULPTURES
With the fall of the Roman Empire, the
tradition of carving large works in
stone and sculpting figures in bronze
died out, as it effectively did (for
religious reasons) in the Byzantine
world. Some life-size sculpture was
evidently done in stucco or plaster.
These were later set up on a beam
below the chancel arch, known in
English as a rood, from the twelfth
century accompanied by figures of the
Virgin Mary and John the Evangelist to
the sides. During the 11th and 12th
centuries, figurative sculpture
strongly revived, and architectural
reliefs are a hallmark of the later
Romanesque period.
Pórtico da Gloria, Santiago Cathedral. The
colouring once common to much
Romanesque sculpture has been preserved.

39. The tympanum of Vézelay Abbey, Burgundy, France, 1130s.
The central portion of the Vézelay tympanum continues this process of politicizing religion. The central tympanum shows a benevolent
Christ conveying his message to the Apostles, who flank him on either side. This Christ is distinct in Romanesque architecture. He is a
stark contrast to the angry Christ of the St. Pierre de Moissac tympanum. The Moissac Christ is a forbidding figure that sits upon the
throne of judgment. It is another example of the typical Romanesque Christ. His face is without caring or emotion. He holds the scrolls
containing the deeds of mankind, and he stands ready to execute punishment on the damned.

40. Life-size wooden Crucifix commissioned
by Archbishop Gero of Cologne in about
960–65, apparently the prototype of
what became a popular form.
The Virgin and Child in Majesty and the
Adoration of the Magi, Val d'Aran,
Catalonia, c. 1100
This capital of Christ washing the feet of his
Apostles has strong narrative qualities in
the interaction of the figures.
One of the most significant motifs of Romanesque
design, occurring in both figurative and non-
figurative sculpture is the spiral. One of the sources
may be Ionic capitals. Scrolling vines were a
common motif of both Byzantine and Roman
design, and may be seen in mosaic on the vaults of
the 4th century Church of Santa Costanza, Rome.
Manuscripts and architectural carvings of the 12th
century have very similar scrolling vine motifs.

41. St Albans Cathedral
formally known as the Cathedral and Abbey Church of St Alban, is a
Church of England cathedral church within St Albans, England. At 84
metres (276 ft), its nave is the longest of any cathedral in England. St
Albans Cathedral England, demonstrates the typical alterations made to
the fabric of many Romanesque buildings in different styles and
materials
The nave. The north wall (left) features a mix of Norman arches dating back to
1077 and arches in the Early English style of 1200.

42. The choir
(on the left)
The Wallingford Screen of c. 1480—the statues are
Victorian replacements (1884–89) of the originals,
destroyed in the Dissolution of the Monasteries,
when the screen itself was also damaged.Statues of
St Alban and St Amphibalus stand on either side of
the altar.

43. Worms Cathedral,
Germany
Germany is one of the
cradles of Romanesque
architecture, which
developed from the 8th C to
12th C; offers resemblance to
the style of Lombardy.
The city of Worms is one of
the oldest cities in Germany,
where Celtic and Roman
have lived on the banks of
the Rhine, as was also the
centre of power since the
late fifteenth century.
The plant of basilica, has
three naves and a transept
at the centre of which stands
a tower with a large dome.
After the transept is the
chorus, so that ends with a
square apse flanked by two
semi-circular towers.
The nave is 57 m long and
11 m wide, and is organized
into four sections covered by
cross vaults.

44. It is a basilica with four
round towers, two large
domes, and a choir at each
end. The interior is built in
red sandstone. Today, the
Wormser Dom is a Catholic
parish church, honoured
with the title of "Minor
Basilica".
Only the ground plan and
the lower part of the
western towers belong to
the original building
consecrated in 1110. The
remainder was mostly
finished by 1181, but the
west choir and the vaulting
were built in the 13th
century, the elaborate south
portal was added in the
14th century, and the
central dome has been
rebuilt.
The cathedral is 110 m long, and 27 m wide. The
transepts, near the west end, extend to 36 m (inner
measurements). The height in the nave is 26 m and
the interior of the domes are 40 m.

45. The Leaning Tower of Pisa or simply the Tower of Pisa (Torre di Pisa) is the
campanile, or freestanding bell tower, of the cathedral of the Italian city of Pisa,
known worldwide for its unintended tilt.
The height of the tower is 55.86 metres from the ground on the low side and 56.67
metres on the high side. The width of the walls at the base is 2.44 m. Its weight is
estimated at 14,500 metric tons. The tower has 296 or 294 steps; the seventh floor
has two fewer steps on the north-facing staircase. Prior to restoration work
performed between 1990 and 2001, the tower leaned at an angle of 5.5 degrees,
but the tower now leans at about 3.99 degrees.

47. Maria Laach Abbey,
Germany
Maria Laach Abbey is a
Benedictine abbey.
The abbey structure dates
from between 1093 and
1177, with a paradisium
added around 1225 and is
considered a prime
example of Romanesque
architecture of the Staufen
period. Despite its long
construction time the well-
preserved basilica with its
six towers is considered to
be one of the most
beautiful Romanesque
buildings in Germany.

50. • Cloister
• Tympanum
• Narthex
• Ambulatory
• Trumeau
• Clerestory
• Types of Christian buildings