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Romanesque
- 1. Romanesque Art Feudalism Urbanization and Christianity Agricultural economy Pilgrimages and Crusades -Barons (Nobles) -travel and trade -Vassals (Knights) -new middle class -Peasants/serfs (slaves) -growth of cities -influences of Muslims and Byzantines
- 2. THEME: Romanesque Stone masonry, new vaulting Church building techniques, “blocky” appearance • Build it (block by block) and they will come pilgrimages
- 4. interior of SaintEtienne Vignory, France ca. 1050-1057
- 5. Radiating chapels plan ofSaint Etienne Vignory, France ca. 1050-1057
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- 9. Plan of Saint-Sernin Toulouse,France ca. 1070-1120
- 10. Interior of SantaSabina, 422, Rome *compartments of space replaced long flat walls Interior of Saint-Sernin Toulouse, France ca. 1070-1120
- 11. Barrel Vaulted ceiling Tribune(second story gallery) Compound piers (engaged columns attached) Nave of Saint-Sernin Toulouse, France ca. 1070-1120
- 13. St. Catherine’s, Egypt,565 Bernardus Gelduinus Christ in Majesty relief in the ambulatory of Saint- Sernin Toulouse, France ca. 1096 marble 4 ft. 2 in. high
- 15. Interior of SpeyerCathedral Speyer,Germany begun 1030 nave vaults ca.1082-1106
- 16. Plan of SpeyerCathedral Speyer, Germany begun 1030
- 18. Aerial view ofSant’ Ambrogio Milan, Italy late eleventh to early twelfth century
- 19. Plan of Sant’Ambrogio Milan, Italy late eleventh to early twelfth century
- 20. Interior of Sant’Ambrogio Milan, Italy late eleventh to early twelfth century
- 22. West façade ofSaint-Etienne Caen, France begun 1067, ca. 1115-1120
- 23. Interior of Saint-Etienne(nave) Caen, France ca. 1115-1120
- 24. Interior of Saint-Etienne(elevation) Caen, France ca. 1115-1120
- 26. Interior of DurhamCathedral Durham, England begun ca. 1093
- 27. Interior of DurhamCathedral Durham, England begun ca. 1093
- 28. Plan & transversesection of Durham Cathedral Durham, England begun ca. 1093
- 29. Exterior of DurhamCathedral Durham, England begun ca. 1093
- 31. Pisa Cathedral complex Pisa,Italy cathedral begun 1063 baptistery begun 1153 campanile begun 1174
- 32. Pisa Cathedral campanile Pisa,Italy begun 1174
- 33. Interior of PisaCathedral Pisa, Italy cathedral begun 1063
- 35. West façade San Miniatoal Monte Florence, Italy 1062 and twelfth century
- 36. West façade San Miniatoal Monte Florence, Italy 1062 and twelfth century
- 37. Interior of SanMiniato al Monte Florence, Italy 1062 and twelfth century
- 38. Interior of SanMiniato al Monte Florence, Italy 1062 and twelfth century
- 40. Wiligelmo Creation of Adamand Eve, frieze on the west façade, Modena Cathedral Modena, Italy ca. 1110 marble approximately 3 ft. high
- 42. Tympanum of thesouth portal of Saint-Pierre Moissac, France marble ca. 1115-1135
- 44. Christ in Majesty withangels and the Twenty-Four Elders Tympanum of the south portal of Saint-Pierre Moissac, France marble ca. 1115-1135 approximately 16 ft. 6 in. wide at base
- 46. Christ in Majesty withangels and the Twenty-Four Elders Tympanum of the s. portal of Saint-Pierre Moissac, France marble ca. 1115-1135 approximately 16 ft. 6 in. wide at base
- 47. Lions and OldTestament prophet (Jeremiah or Isaiah?) From the trumeau of the south portal of Saint-Pierre Moissac, France ca. 1115-1130 marble approximately life-size
- 48. Cloister of Saint-Pierre Moissac,France ca. 1100-1115 marble piers approximately 6 ft. high
- 49. Cloister of Saint-Pierre Moissac,France ca. 1100-1115 marble piers approximately 6 ft. high
- 51. Abbey of Notre-Dame Fontenay,Burgundy, France 1139-47
- 52. Abbey of Notre-Dame Fontenay,Burgundy, France 1139-47
- 54. Gislebertus Last Judgment (plastercast) West tympanum of Saint-Lazare Autun, France ca. 1120-1135 marble approximately 21’ wide at base
- 55. Gislebertus Last Judgment (plastercast) West tympanum of Saint-Lazare Autun, France ca. 1120-1135 marble approximately 21’ wide at base
- 58. Ascension of Christand Mission of the Apostles Tympanum of the center portal of the narthex of La Madeleine Vézelay, France 1120-1132
- 59. Ascension of Christand Mission of the Apostles Tympanum of the center portal of the narthex of La Madeleine Vézelay, France 1120-1132
- 62. Portal on thewest façade of Saint-Trophime Arles, France second third of the twelfth century
- 63. Portal on thewest façade of Saint-Trophime Arles, France second third of the twelfth century
- 65. Benedetto Antelami, King David onthe west façade of Fidenza Cathedral Fidenza, Italy ca. 1180-1190 marble approximately life-size
- 67. Virgin and Child( Morgan Madonna) from Auvergne, France second half of twelfth century painted wood 2 ft. 7 in. high
- 68. Virgin and Child( Morgan Madonna) from Auvergne, France second half of twelfth century painted wood 2 ft. 7 in. high
- 70. Head Reliquary ofSaint Alexander from Stavelot Abbey, Belgium 1145 silver repoussé, gilt bronze, gems, enamel 17 1/2 in. high
- 72. Christ in Majesty apsefresco from Santa María de Muir near Lérida, Spain mid-twelfth century fresco 22 x 24 ft.
- 74. The Vision ofHildegard of Bingen Detail of facsimile of a lost folio in the Scivias by Hildegard of Bingen from Trier or Bingen, Germany ca. 1050-1079
- 76. Initial R withknight fighting dragon from the Moralia in Job from Cîteaux, France ca. 1115-1125 ink and tempera on vellum 13 3/4 x 9 1/4 in.
- 78. Master Hugo Moses Expoundingthe Law folio 94 recto of the Bury Bible from Bury Saint Edmunds, England ca. 1135 ink and tempera on vellum 20 x 14 in.
- 80. 12 Scenes fromthe Christmas Story MS 37472 folio 1 recto from Canterbury, England ca. 1140 ink and tempera on vellum 40.5 x 30 cm
- 81. 12 Scenes fromthe Christmas Story (detail) MS 37472 folio 1 recto from Canterbury, England ca. 1140 ink and tempera on vellum 40.5 x 30 cm
- 82. 12 Scenes fromthe Christmas Story (detail) MS 37472 folio 1 recto from Canterbury, England ca. 1140 ink and tempera on vellum 40.5 x 30 cm
- 83. Cat, Mouse andWeasel Bestiary, MS 11283, folio 15, (detail) from England ca. 1170 ink and tempera on vellum 30 x 180 cm
- 85. Mouth of Hell WinchesterPsalter from Winchester, England ca. 1150 ink and tempera on vellum 12 3/4 x 9 1/8 in.
- 87. Eadwine the Scribe(?) Eadwinethe Scribe at work folio 283 verso of the Eadwine Psalter ca. 1160-1170 ink and tempera on vellum
- 89. Funeral of Edwardthe Confessor procession to Westminster Abbey detail of the Bayeux Tapestry From Bayeux Cathedral, Bayeux, France ca. 1070-1080 embroidered wool on linen 229 ft. 8 in. overall
- 90. Battle of Hastings detailof the Bayeux Tapestry From Bayeux Cathedral, Bayeux, France ca. 1070-1080 embroidered wool on linen 229 ft. 8 in. overall
- 94. Christ in Majesty(Maiestas Domini) with apostles Saint-Genis-des-Fontaines, France 1019-1020
- 96. Rainer of Huy Baptismof Christ Baptismal font from Notre-Dame-des-Fonts Liege, Belgium 1107-1118 bronze 2 ft. 1 in. high
- 98. Entombment of Christ frescoabove the nave arcade, Sant’Angelo in Formis Near Capua, Italy ca. 1085 fresco
- 99. The Tree ofJesse Explanatio in Isaiam from Cîteaux, France ca. 1125 ink and tempera on vellum 15 x 9 in.
Editor's Notes
- #2 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #4 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #5 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #6 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #7 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #8 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #9 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #10 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Saint-Sernin ’ s plan resembles those of the churches of Saint James and Saint Martin. The builders provided additional space for curious pilgrims, worshipers, and liturgical processions alike. They increased the length of the nave, doubled the side aisles, attached a series of radiating chapels.
- #11 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. To protect the church from fire the builders placed a semicircular stone barrel vault below the timber-roofed loft. The geometric floor plan is reflected in the nave walls. The engaged columns rise from the bottom of the compound peirs to the vaults springing and continue across the nave as transverse arches.
- #12 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. To protect the church from fire the builders placed a semicircular stone barrel vault below the timber-roofed loft. The geometric floor plan is reflected in the nave walls. The engaged columns rise from the bottom of the compound peirs to the vaults springing and continue across the nave as transverse arches.
- #13 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #14 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. We illustrate in the centerpiece of the group, the figure of Christ in Majesty. Christ sits in a mandorla, his right hand raised in blessing, his left hand resting on an open book inscribed with the words of Pax vobis. Above are the eagle of Saint John and the angel of Saint Matthew. Below are the ox of Saint Luke and the lion of Saint Mark.
- #15 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #16 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Speyer Cathedral in the German Rhineland is an early example of groin vaults used over a nave. The church was begun in 1030 and was the burial place of the Holy Roman Emperors. Speyer was also the seat of the powerful local bishop.
- #17 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Speyer Cathedral is a timber-roofed structure. The nave is 45 ft wide and crowns of the vaults are 170 ft high. The builders used crossing, covered by an octagonal dome, as the module for the arrangement of the buildings east end.
- #18 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #19 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Of the façade bell towers the shorter one dates back to the tenth century while the taller north campanile is a twelfth century addition. The main vaults are slightly domical, rising higher than the transverse arches. The emphatic alternate support system perfectly reflects the plans geometric regularity.
- #20 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sant ’ Ambrogio is three aisled and without transept. Each bay consists of full square in the nave flanked by two small squares in each aisle, all covered with groin vaults. An octagonal dome covers the last bay, its windows providing the major light source for the otherwise rather dark interior.
- #21 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. This church erected in honor of Saint Ambrose, Milans first bishop. It has an atrium in the early Christian tradition. A two-story narthex pierced by arches on both levels, two bell towers joined to the building, and over towers of German churches.
- #22 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #23 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. This church was begun by William of Normandy in 1067 and must have advanced rapidly, as he was buried there in 1087. Saint-Etiennes west façade is a striking design rooted in the tradition of Carolingian and Ottonian westworks , but it displays the increased rationalism of Romanesque architecture. The three story elevation, with its large arched openings, provides more light into the interior.
- #24 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The diagonal and transverse ribs compose a structural skeleton that partially supports the still fairly massive paneling between them. These vaults rise high enough to provide room for an efficient clerestory. The original design called for a wooden roof until the groin vaults were introduced.
- #25 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The diagonal and transverse ribs compose a structural skeleton that partially supports the still fairly massive paneling between them. These vaults rise high enough to provide room for an efficient clerestory. The original design called for a wooden roof until the groin vaults were introduced.
- #26 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #27 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. In architecture, it signaled the importation of French Romanesque building and design methods. It was begun around 1093, in the generation following the Norman conquest, and is the centerpiece of a monastery, cathedral, and fortified-castle complex on the Scottish frontier. The church ’ s vaulted interior which predates that of the remodeled Saint-Etienne at Caen, retains its original severe Romanesque appearance.
- #28 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. In architecture, it signaled the importation of French Romanesque building and design methods. It was begun around 1093, in the generation following the Norman conquest, and is the centerpiece of a monastery, cathedral, and fortified-castle complex on the Scottish frontier. The church ’ s vaulted interior which predates that of the remodeled Saint-Etienne at Caen, retains its original severe Romanesque appearance.
- #29 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Durham Cathedral ’ s plan is typically English with its long, slender proportions. Our longitudinal section reveals that simple quadrant arches were used in place of groin vaults in the tribune. The structural descendants of the Durham quadrant arches are the flying buttresses that epitomize the mature Gothic solution to church construction “ The Gothic Cathedral ” .
- #30 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. In architecture, it signaled the importation of French Romanesque building and design methods. It was begun around 1093, in the generation following the Norman conquest, and is the centerpiece of a monastery, cathedral, and fortified-castle complex on the Scottish frontier. The church ’ s vaulted interior which predates that of the remodeled Saint-Etienne at Caen, retains its original severe Romanesque appearance.
- #31 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #32 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The cathedral, its freestanding bell tower, and the baptistery, where infants and converts were initiated into the Christian community, present a rare opportunity to study a coherent group of three Romanesque buildings. Construction of Pisa Cathedral began first-in 1063, the same year work began on saints Mark ’ s in Venice. The cathedral is large, five aisled, and one of the most impressive and majestic of all Romanesque churches.
- #33 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The cathedral, its freestanding bell tower, and the baptistery, where infants and converts were initiated into the Christian community, present a rare opportunity to study a coherent group of three Romanesque buildings. Construction of Pisa Cathedral began first-in 1063, the same year work began on saints Mark ’ s in Venice. The cathedral is large, five aisled, and one of the most impressive and majestic of all Romanesque churches.
- #34 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The interior also at first suggests the basilica, with its timber rather than vaulted ceiling and nave arcade of reused Roman columns in unbroken procession. Above the colonnade is a continuous horizontal molding, on which the gallery arcades rest. The striped walls of alternating dark green and cream-colored marble provide a luxurious polychromy that became a hallmark of Tuscan Romanesque and Gothic buildings.
- #35 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #36 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. It sits, as its name implies, on a hillside overlooking the Arno River and the heart of the Florence. The body of the church was completed by 1090, the gable-crowned façade during the twelfth and early thirteenth centuries. Even more than Pisa Cathedral, the structure recalls the Early Christian basilica in plan and elevation, although its elaborate geometric incrustation makes for a rich ornamental effects foreign to the earlier buildings.
- #37 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. It sits, as its name implies, on a hillside overlooking the Arno River and the heart of the Florence. The body of the church was completed by 1090, the gable-crowned façade during the twelfth and early thirteenth centuries. Even more than Pisa Cathedral, the structure recalls the Early Christian basilica in plan and elevation, although its elaborate geometric incrustation makes for a rich ornamental effects foreign to the earlier buildings.
- #38 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Though at first glance, the lowest level much resembles the patterning of Florence ’ s baptistery, the arcades and panels do not reflect the buildings structure. The façade ’ s upper levels, of much later date than the lowest level are filled capriciously with geometrical shapes that have a purely, ornamental function. The nave is divided into three equal compartments by diaphragm arches. The arches rise from compound piers and brace the rather high, thin walls. They also provide firebreaks beneath the wooden roof and compartmentalize the basilican interior in the manner so popular with most Romansque builders.
- #39 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Though at first glance, the lowest level much resembles the patterning of Florence ’ s baptistery, the arcades and panels do not reflect the buildings structure. The façade ’ s upper levels, of much later date than the lowest level are filled capriciously with geometrical shapes that have a purely, ornamental function. The nave is divided into three equal compartments by diaphragm arches. The arches rise from compound piers and brace the rather high, thin walls. They also provide firebreaks beneath the wooden roof and compartmentalize the basilican interior in the manner so popular with most Romansque builders.
- #40 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #41 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The segment shown illustrates the creation and temptation of Adam and Eve the theme employed almost exactly a century earlier on Bishop Bernward ’ s bronze doors to Saint Michael ’ s at Hildesheim. Christ is at the far left, framed by a mandorla held up by angels-a variation on both the motifs and the themes of the lintel at Saint Genis-des-Fontaines and the relief's of Saint-Sernin. The creation of Adam, then Eve, and the serpent ’ s temptation of Eve are to the right.
- #42 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #43 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The vast tympanum that crowns the south portal of Saint Pierre depicts the second Coming of Christ as King and Judge of the world in its last days, a theme already alluded to at Saint Genis-des-Fontaines. As befits his majesty, the enthroned Christ is at the center, reflecting a compositional rule followed since Early Christian times. The signs of the Four Evangelists flank him.
- #44 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. On the trumeau ’ s right face is a prophet identified by some as Jeremiah, by ithers as Isaiah. Whoever the prophet is, he displays the scroll where his prophetic version is written. His position below the apparition of Christ as the apocalyptic Judge is yet another instance of the pairing of Old and New Testment themes.
- #45 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The vast tympanum that crowns the south portal of Saint Pierre depicts the second Coming of Christ as King and Judge of the world in its last days, a theme already alluded to at Saint Genis-des-Fontaines. As befits his majesty, the enthroned Christ is at the center, reflecting a compositional rule followed since Early Christian times. The signs of the Four Evangelists flank him.
- #46 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The vast tympanum that crowns the south portal of Saint Pierre depicts the second Coming of Christ as King and Judge of the world in its last days, a theme already alluded to at Saint Genis-des-Fontaines. As befits his majesty, the enthroned Christ is at the center, reflecting a compositional rule followed since Early Christian times. The signs of the Four Evangelists flank him.
- #47 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The vast tympanum that crowns the south portal of Saint Pierre depicts the second Coming of Christ as King and Judge of the world in its last days, a theme already alluded to at Saint Genis-des-Fontaines. As befits his majesty, the enthroned Christ is at the center, reflecting a compositional rule followed since Early Christian times. The signs of the Four Evangelists flank him.
- #48 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. On the trumeau ’ s right face is a prophet identified by some as Jeremiah, by ithers as Isaiah. Whoever the prophet is, he displays the scroll where his prophetic version is written. His position below the apparition of Christ as the apocalyptic Judge is yet another instance of the pairing of Old and New Testment themes.
- #49 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The church ’ s cloister was decorated for the monks alone to see the medieval church cloister expresses the seclusion of the spiritual life, the vita contemplativa. It provided the monks with a foretaste of Paradise. At Moissac a timber-roofed walkway supported by piers and columns surrounds the cloister garth on four sides.
- #50 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The church ’ s cloister was decorated for the monks alone to see the medieval church cloister expresses the seclusion of the spiritual life, the vita contemplativa. It provided the monks with a foretaste of Paradise. At Moissac a timber-roofed walkway supported by piers and columns surrounds the cloister garth on four sides.
- #51 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #52 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The church ’ s cloister was decorated for the monks alone to see the medieval church cloister expresses the seclusion of the spiritual life, the vita contemplativa. It provided the monks with a foretaste of Paradise. At Moissac a timber-roofed walkway supported by piers and columns surrounds the cloister garth on four sides.
- #53 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The church ’ s cloister was decorated for the monks alone to see the medieval church cloister expresses the seclusion of the spiritual life, the vita contemplativa. It provided the monks with a foretaste of Paradise. At Moissac a timber-roofed walkway supported by piers and columns surrounds the cloister garth on four sides.
- #54 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #55 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The Cluniac bishop Etienne de Bage had the cathedral built, and it was consecrated in 1132. At Autun, the Judgment is in progress, announced by four trumpet-blowing angels. In the typanum ’ s center, far large than any other figure, is Christ, enthroned in a mandorla angel support, dispassionately presiding over the separation of the Blessed from the Damned. At the far left, an obliging angel boosts one of the Blessed into the heavenly city.
- #56 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The Cluniac bishop Etienne de Bage had the cathedral built, and it was consecrated in 1132. At Autun, the Judgment is in progress, announced by four trumpet-blowing angels. In the typanum ’ s center, far large than any other figure, is Christ, enthroned in a mandorla angel support, dispassionately presiding over the separation of the Blessed from the Damned. At the far left, an obliging angel boosts one of the Blessed into the heavenly city.
- #57 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The Cluniac bishop Etienne de Bage had the cathedral built, and it was consecrated in 1132. At Autun, the Judgment is in progress, announced by four trumpet-blowing angels. In the typanum ’ s center, far large than any other figure, is Christ, enthroned in a mandorla angel support, dispassionately presiding over the separation of the Blessed from the Damned. At the far left, an obliging angel boosts one of the Blessed into the heavenly city.
- #58 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #59 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Another large tympanum, this one at the church of La Madeleine at Vezelay, not far from Autun, Christ foretold that the Twelve Apostles would receive the power of the Holy Spirit and became the witness of the truth of the Gospels throughout the world. The light rays emanating from Christ ’ s hands represent the instilling of the Holy Spirit in the apostles at the Pentecost.
- #60 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Another large tympanum, this one at the church of La Madeleine at Vezelay, not far from Autun, Christ foretold that the Twelve Apostles would receive the power of the Holy Spirit and became the witness of the truth of the Gospels throughout the world. The light rays emanating from Christ ’ s hands represent the instilling of the Holy Spirit in the apostles at the Pentecost.
- #61 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Another large tympanum, this one at the church of La Madeleine at Vezelay, not far from Autun, Christ foretold that the Twelve Apostles would receive the power of the Holy Spirit and became the witness of the truth of the Gospels throughout the world. The light rays emanating from Christ ’ s hands represent the instilling of the Holy Spirit in the apostles at the Pentecost.
- #62 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #63 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. For the church ’ s western entrance, a projecting portal resembling a Roman arch was “ attached ” to the building ’ s otherwise simple façade. Strictly Christian and thematically related to other Romanesque portals already examined here. The tympanum shows Christ surrounded by the signs of the Four Evangelists.
- #64 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. For the church ’ s western entrance, a projecting portal resembling a Roman arch was “ attached ” to the building ’ s otherwise simple façade. Strictly Christian and thematically related to other Romanesque portals already examined here. The tympanum shows Christ surrounded by the signs of the Four Evagelists.
- #65 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #66 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The sculptor BENEDETTO ANTELAMI was active in the last quarter of the twelfth century. Several relief's by his hand exist, including Parma Cathedral ’ s pulpit and the portals of that city ’ s baptistery. His elbows are kept close to his body, and his stance is stiff, lacking any hint of the contrapposto that is classical statuary ’ s hallmark. Yet the sculptors conception of this prophet is undeniably rooted in Greco-Roman art.
- #67 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #68 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. A wooden statuette depicting the Virgin Mary with Christ Child in her lap. The Morgan Madonna so named because it once belonged to the financer and prolific collector J.Pierpont Morgan. The type-known as the Throne of Wisdom, seldes sapientiae-is a western European freestanding version of the Byzantine Theotokos theme popular in icons and mosaics.
- #69 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. A wooden statuette depicting the Virgin Mary with Christ Child in her lap. The Morgan Madonna so named because it once belonged to the financer and prolific collector J.Pierpont Morgan. The type-known as the Throne of Wisdom, seldes sapientiae-is a western European freestanding version of the Byzantine Theotokos theme popular in icons and mosaics.
- #70 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #71 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. A wooden statuette depicting the Virgin Mary with Christ Child in her lap. The Morgan Madonna so named because it once belonged to the financer and prolific collector J.Pierpont Morgan. The type-known as the Throne of Wisdom, seldes sapientiae-is a western European freestanding version of the Byzantine Theotokos theme popular in icons and mosaics.
- #72 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #73 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. A wooden statuette depicting the Virgin Mary with Christ Child in her lap. The Morgan Madonna so named because it once belonged to the financer and prolific collector J.Pierpont Morgan. The type-known as the Throne of Wisdom, seldes sapientiae-is a western European freestanding version of the Byzantine Theotokos theme popular in icons and mosaics.
- #74 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #75 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #76 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #77 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #78 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #79 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #80 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #81 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #82 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #83 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #84 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #85 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #86 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #87 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #88 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #89 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #90 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #91 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #92 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #93 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #94 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #95 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Dated 1019-1020 by inscription, the lintel depicts Christ enthroned in a lobed mandorla supported by angels and flanked by apostles. To the left and right of Christ are inscribed the first and last letters of the Greek alphabet, a reference to his role as Last Judge: “ I am the Alpha and the Omega, the first and the Last, the Beginning and the End ” . The Saint-Genis lintel is the earliest of many relief's on Romanesque church facades depicting or alluding to Judgment Day and the separation of those who will be saved from those who will be damned.
- #96 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #97 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. RAINER OF HUY, a bronze worker from the Meuse River valley in Belgium, an area renowned for its metalwork. In 1118 her masterfully cast in a single piece the baptismal font for Norte-Dame-des-Fonts in Liege. The bronze basin rests on the foreparts of twelve oxen, a reference to King Solomon ’ s temple. The Old Testament story was thought to prefigure Christ ’ s baptism which is the central scene on Rainer ’ s font.
- #98 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #99 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
- #100 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.