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- Paliotto
- Artist: Master Wolvinius
- Era: Carolingian, early 9th century
- Location: Sant' Ambrogio, Milan
- Techniques:
- made of gold, silver, enamel, precious and semi-precious stones
- altar piece shaped like a tomb
- geometric sections to house scenes from the life of Christ, the twelve apostles, and the four evangelist
- Christ in center of cross
- evangelsits in arms of crossscenes on backside
- differences from Christ in Majesty with Four Evangelists and Scene form the Life of Christ
- - not as many jewels, smaller
- - focus on gold silver and enamel
- - more sections
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- Palatine Chapel of Charlemagne
- Era: Carolingian, 793-805
- Location: Aachen, Germany
- Techniques:
- octagon center with rounded walls
- apse is axially aligned to the narthex tightening the building - no apse like extensions from the building
- exterior
- - two cylindrical towers with spiral stairs
- - entrance has a large framing arch
- - behind that is a marble throne so that emperor could peer at altar
- interor
- - no built in seats
- - rounded Roman arch
- - two colored stone (prophyry marble) arches
- arches divided by piers not columns
- clear windows in dome, light hits gold tiled mosaics
- similar to Panthenon and San Vitale
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- Palatine Chapel of Charlemagne
- Era: Carolingian, 793-805
- Location: Aachen, Germany
- Techniques:
- octagon center with rounded walls
- apse is axially aligned to the narthex tightening the building - no apse like extensions from the building
- exterior
- - two cylindrical towers with spiral stairs
- - entrance has a large framing arch
- - behind that is a marble throne so that emperor could peer at altar
- interor
- - no built in seats
- - rounded Roman arch
- - two colored stone (prophyry marble) arches
- arches divided by piers not columns
- clear windows in dome, light hits gold tiled mosaics
- similar to Panthenon and San Vitale
-
- Palatine Chapel of Charlemagne
- Era: Carolingian, 793-805
- Location: Aachen, Germany
- Techniques:
- octagon center with rounded walls
- apse is axially aligned to the narthex tightening the building - no apse like extensions from the building
- exterior
- - two cylindrical towers with spiral stairs
- - entrance has a large framing arch
- - behind that is a marble throne so that emperor could peer at altar
- interor
- - no built in seats
- - rounded Roman arch
- - two colored stone (prophyry marble) arches
- arches divided by piers not columns
- clear windows in dome, light hits gold tiled mosaics
- similar to Panthenon and San Vitale
-
- Palatine Chapel of Charlemagne
- Era: Carolingian, 793-805
- Location: Aachen, Germany
- Techniques:
- octagon center with rounded walls
- apse is axially aligned to the narthex tightening the building - no apse like extensions from the building
- exterior
- - two cylindrical towers with spiral stairs
- - entrance has a large framing arch
- - behind that is a marble throne so that emperor could peer at altar
- interor
- - no built in seats
- - rounded Roman arch
- - two colored stone (prophyry marble) arches
- arches divided by piers not columns
- clear windows in dome, light hits gold tiled mosaics
- similar to Panthenon and San Vitale
-
- Plan of Monastery at St. Gall
- Era: Carolingian, 819
- Location: Switzerland
- Techniques:
- originally in red ink on parchement
- never built
- center is church
- colonaded courtyard on side, earthly paradise only for monks
- basilica plan with long sides for entrance
- towers on west with an additional apse
- black dots are columns
- 2.5 feet is one unit
- naves with is 40ft
- length of everything measured out precisely
- had a main and an alternative altar
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- Engraving of St. Riquier
- Era: Carolingian, 800
- Location: Centula, France
- Techniques:
- unique forum towers
- east-west orientation
- atrium on long side
- typical atrium, nave, aisle, and transept
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- St. Micheal
- Artist: Bishop Bernward
- Era: Ottonian, 1000
- Location: Hildesheim, Germany
- Techniques:
- double transept - 4 towers
- aisle separated from nave by rhythmic pattern of 1 pier, 2 columns
- module, is as big as a crossing square (where transept meets the nave)
- 2 crossing towers
- nave is 3 modules long
- flat ceiling
- nave arcades
- giant two-toned arch that leads into the crossing square
- open interior to have good view of apse
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- St. Micheal
- Artist: Bishop Bernward
- Era: Ottonian, 1000
- Location: Hildesheim, Germany
- Techniques:
- double transept - 4 towers
- aisle separated from nave by rhythmic pattern of 1 pier, 2 columns
- module, is as big as a crossing square (where transept meets the nave)
- 2 crossing towers
- nave is 3 modules long
- flat ceiling
- nave arcades
- giant two-toned arch that leads into the crossing square
- open interior to have good view of apse
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- St. Micheal
- Artist: Bishop Bernward
- Era: Ottonian, 1000
- Location: Hildesheim, Germany
- Techniques:
- double transept - 4 towers
- aisle separated from nave by rhythmic pattern of 1 pier, 2 columns
- module, is as big as a crossing square (where transept meets the nave)
- 2 crossing towers
- nave is 3 modules long
- flat ceiling
- nave arcades
- giant two-toned arch that leads into the crossing square
- open interior to have good view of apse
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- Doors of St. Micheal
- Artist: Bishop Bernward
- Era: Ottonian, 1015
- Location: Hildesheim, Germany
- Techniques:
- made of bronze
- 16ft 6 inches
- lost wax casting process
- single cast
- only monks could pass through the doors
- left door highlights scenes from the Book of Genesis (birth of Adam to murder of Adam and Eve's son)
- right door has scenes from the life of Christ (annunciation to the ressurection)
- tell the story of original sin and the ultimate redemption
- simplicity and strong emotional impact
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- Saint Étienne, Vignroy
- Era: Romanesque, 1050-1057
- Location: France
- Techniques:
- wooden interior roof
- 2nd story screen-like wall with alternating piers and column
- that open onto tall flanking aisle - tribune
- heavy block piers
- east end has an ambulatory around the choir
- 3 semicircular chapels that open onto apse, radiating chapels, where they housed the relics
- stone sculpture on exterior
- relief decoration on capitals on 2nd level
- organic designs
- giant stone arch in nave
- small clerestory windows
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- Saint Sernin
- Era: Romanesque, 1080-1120
- Location: Toulousse, France
- Techniques:
- two towers never finished
- Gothic floor plan that resembles the Latin cross
- heavy block appearance of simple front facade
- 5 aisle church, two on each side of nave
- pilrgimage church - wider and longer for more pilgrims - most Romanesque churches were pilgrimage churches - increase length of nave and increase number of side aisle
- focus on ambularoty and radiating chapels
- 5 radiating chapels around ambulatory 4 more on transept- larger piers and thick walls
- module system or square schematism model
- bay is a section of nave - 2 bays is one crossing square
- bay is a rectangle
- tribune over inner aisles
- aisles were overflow sections, obscure view of altar
- each aisle has an X which denotes a groin vaulted ceiling
- groin vaults in tribunes too - helps with pressure from giant nave - buttressing for the barrel vault of the nave
- ribs in barrel vault of nave
- engaged columns that lead from ribs to floor
- heavy and dark structure - no clerestory windows
- galleries had windows in outer aisle only
- piers mark the corner of each bay - embellished with engaged half columns
- each groin vault in aisle is seperated by a ribbed barrel vault
- double lines indicate a rib on the plan
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- Saint Sernin
- Era: Romanesque, 1080-1120
- Location: Toulousse, France
- Techniques:
- two towers never finishe
- Gothic floor plan that resembles the Latin cross
- heavy block appearance of simple front facade
- 5 aisle church, two on each side of nave
- pilrgimage church - wider and longer for more pilgrims - most Romanesque churches were pilgrimage churches - increase length of nave and increase number of side aisle
- focus on ambularoty and radiating chapels
- 5 radiating chapels around ambulatory 4 more on transept- larger piers and thick walls
- module system or square schematism model
- bay is a section of nave - 2 bays is one crossing square
- bay is a rectangle
- tribune over inner aisle
- aisles were overflow sections, obscure view of altar
- each aisle has an X which denotes a groin vaulted ceiling
- groin vaults in tribunes too - helps with pressure from giant nave - buttressing for the barrel vault of the nave
- ribs in barrel vault of nave
- engaged columns that lead from ribs to floor
- heavy and dark structure - no clerestory windows
- galleries had windows in outer aisle only
- piers mark the corner of each bay - embellished with engaged half columns
- each groin vault in aisle is seperated by a ribbed barrel vault
- double lines indicate a rib on the plan
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- Speyer Cathedral
- Era: Romanesque, 1030
- Location: Speyer, Germany
- Techniques:
- groin vaults over nave - typically Gothic
- burial place of holy roman emperors and seat of powerful local bishop
- wooden roof originally
- 2 colored stone on ceiling - ribs are darker
- towers at both ends
- entrance is opposite apse
- windows between groins
- no gallery
- alternate wall support system - ribs occur at every other column
- creates rhythm with alternating support system and two toned stone
- 107ft vaulted ceiling-
- nave is 45ft wide
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- Speyer Cathedal
- Era: Romanesque, 1030
- Location: Speyer, Germany
- Techniques:
- groin vaults over nave - typically Gothic
- burial place of holy roman emperors and seat of powerful local bishop
- wooden roof originally
- 2 colored stone on ceiling - ribs are darker
- towers at both ends
- entrance is opposite apse
- windows between groins
- no gallery
- alternate wall support system - ribs occur at every other column
- creates rhythm with alternating support system and two toned stone
- 107ft vaulted ceiling
- nave is 45ft wide
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- Sant' Ambrogio
- Era: Romanesque, 11th-12th century
- Location: Milan, Italy
- Techniques:
- atrium in early Christian tradition
- two story narhex
- two adjoined bell towers
- east end - crossing tower was octagonal in shape and shorter
- no transept
- groin vaults around atrium
- 3 aisle church
- 3 large bays
- ribbed, groin vaulted ceiling
- 2 small squares in aisle to one large square in nave
- groin vaults in aisle
- Interior
- - simple ornamentation
- - vaults are slightly domes
- - vaults are higher that the arch into the nave
- - alternating support system
- - play of color with the use of bricks
- - large rounded arches
- - geometric regularity
- - bundled columns
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- Sant' Ambrogio
- Era: Romanesque, 11th-12th century
- Location: Milan, Italy
- Techniques:
- atrium in early Christian tradition
- two story narhex
- two adjoined bell towers
- east end - crossing tower was octagonal in shape and shorter
- no transept
- groin vaults around atrium
- 3 aisle church
- 3 large bays
- ribbed groin vaulted ceiling
- 2 small squares in aisle to one large square in nave
- groin vaults in aisle
- Interior
- - simple ornamentation
- - vaults are slightly domes
- - vaults are higher that the arch into the nave
- - alternating support system
- - play of color with the use of bricks
- - large rounded arches
- - geometric regularity
- - bundled columns
-
- Sant' Ambrogio
- Era: Romanesque, 11th-12th century
- Location: Milan, Italy
- Techniques:
- atrium in early Christian tradition
- two story narhex
- two adjoined bell towers
- east end - crossing tower was octagonal in shape and shorter
- no transept
- groin vaults around atrium
- 3 aisle church
- 3 large bays
- ribbed groin vaulted ceiling
- 2 small squares in aisle to one large square in nave
- groin vaults in aisle
- Interior
- - simple ornamentation
- - vaults are slightly domes
- - vaults are higher that the arch into the nave
- - alternating support system
- - play of color with the use of bricks
- - large rounded arches
- - geometric regularity
- - bundled columns
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- Saint Étienne, Caen
- Era: Romanesque, 1067
- Location: France
- Techniques:
- Vikings - called Normans in France - started tradition of symbolism of holy trinity in architecture
- Exterior
- - divided into 3 vertical registers that represent the holy trinity - seperated by 4 large butresses
- - 3 registers horizontally, 3 windows in grouping, 3 portals - tower windows get larger as they go up the tower - optical illusion to make the towers seem taller
- - 3 registers of windows in eeach tower
- 3 ailse church
- 2 aisle in one bay
- alternating support system
- sexpartite vaults - 6 part bay - rib in middle of groin - compresses the ceiling - walls go taller and can be closer
- X of groin is also ribbed
- compound piers - engaged half columns
- reduction in wall mass due to more arches
- clerestory windows
- 3 part elevation with nave, tribune, and clerestory windows
- columns separate clerestory windows
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- Saint Étienne, Caen
- Era: Romanesque, 1067
- Location: France
- Techniques:
- Vikings - called Normans in France - started tradition of symbolism of holy trinity in architecture
- Exterior
- - divided into 3 vertical registers that represent the holy trinity - seperated by 4 large butresses
- - 3 registers horizontally, 3 windows in grouping, 3 portals - tower windows get larger as they go up the tower - optical illusion to make the towers seem taller
- - 3 registers of windows in eeach tower
- 3 ailse church
- 2 aisle in one bay
- alternating support system
- sexpartite vaults - 6 part bay - rib in middle of groin - compresses the ceiling - walls go taller and can be closer
- X of groin is also ribbed
- compound piers - engaged half columns
- reduction in wall mass due to more arches
- clerestory windows
- 3 part elevation with nave, tribune, and clerestory windows
- columns separate clerestory windows
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