roman romantique

The present appearance is largely due to restorer Paul Abadie, mid-19th Century, The general impression given by Romanesque architecture, in both ecclesiastical and secular buildings, is one of massive solidity and strength.

[1][24] Abbey and cathedral churches generally follow the Latin Cross plan.

One of the most notable surviving fortifications is that of the city of Carcassonne.

The most simple form that this takes is to have a column between each adjoining pier. The monastery of San Vittore alle Chiuse, Genga, Italy, of undressed stone, has a typically fortress-like appearance with small windows of early Romanesque. The smaller churches and abbeys continued to be constructed in a more provincial Romanesque manner, the date only being registered by the pointed window openings.[26].

This was achieved most simply by cutting a rectangular block and taking the four lower corners off at an angle so that the block was square at the top, but octagonal at the bottom, as can be seen at St. Michael's Hildesheim.

The facade here, richly decorated with architectonic and sculptural forms, has much in common with that at Empoli in that it screens the form of the building behind it. Smooth ashlar masonry was not a distinguishing feature of the style, particularly in the earlier part of the period, but occurred chiefly where easily worked limestone was available.[26].

On the apse walls below would be saints and apostles, perhaps including narrative scenes, for example of the saint to whom the church was dedicated. Major figurative decoration occurs particularly around the portals of cathedrals and churches, ornamenting the tympanum, lintels, jambs and central posts. The style also lent itself to the building of cloth mills, steelworks and powerstations. The Natural History Museum, London, designed by Alfred Waterhouse, 1879, on the other hand, is a Romanesque revival building that makes full use of the decorative potential of Romanesque arcading and architectural sculpture. These include the Abbaye-Saint-Denis, Speyer Cathedral and Westminster Abbey (where little of the Norman church now remains). These features combine to create one of the richest and most dynamic interiors of the Romanesque period. The Basilica of Saint-Trophime, Arles, France, has an elaborate sculptural scheme which includes Christ in Majesty, a frieze extending over the lintel and a gallery of sculptured figures.

This is also common in Germany, where the apses were sometimes framed with circular towers and the crossing surmounted by an octagonal tower as at Worms Cathedral. Ely Cathedral was never vaulted and retains a wooden ceiling over the nave. In Rome several great Constantinian basilicas continued in use as an inspiration to later builders. [36] The common decorative feature is arcading.[1].

Stylized foliage often appears, sometimes deeply carved and curling outward after the manner of the acanthus leaves on Corinthian capitals, but also carved in shallow relief and spiral patterns, imitating the intricacies of manuscript illuminations. Crypts are often present as an underlying structure to a substantial church, and are generally a completely discrete space, but occasionally, as in some Italian churches, may be a sunken space under a raised chancel and open, via steps, to the body of the nave. The western end having two round towers flanking a tall central tower was unique in Britain. Saturday 9:30-4. In the cases where half-barrel vaults were used, they effectively became like flying buttresses. East end is Gothic. The groin-vaulted crypt of Worcester Cathedral, The chapter house of Santa María de la Oliva, Carcastillo, Spain, The lateral porch of the Church of San Estebán, Segovia, Arcading is the single most significant decorative feature of Romanesque architecture. Despite the fact that English cathedrals were built or rebuilt in many stages, substantial areas of Norman building can be seen in many of them, particularly in the nave arcades. France produced a great range of ornament, with particularly fine interwoven and spiralling vines in the "manuscript" style occurring at Saint-Sernin, Toulouse.[13][24][26]. In the case of Winchester Cathedral, the Gothic arches were literally carved out of the existent Norman piers. Many cathedrals owe their foundation to this date, with others beginning as abbey churches, and later becoming cathedrals. [30] Called a tiburio, this tower-like structure often has a blind arcade near the roof. The range of colours employed is limited to light blue-green, yellow ochre, reddish brown and black. [11] Of these types of buildings, domestic and commercial buildings are the most rare, with only a handful of survivors in the United Kingdom, several clusters in France, isolated buildings across Europe and by far the largest number, often unidentified and altered over the centuries, in Italy. On each of the routes abbeys such as those at Moissac, Toulouse, Roncesvalles, Conques, Limoges and Burgos catered for the flow of people and grew wealthy from the passing trade.

It occurs in a variety of forms, from the Lombard band, which is a row of small arches that appear to support a roofline or course, to shallow blind arcading that is often a feature of English architecture and is seen in great variety at Ely Cathedral, to the open dwarf gallery, first used at Speyer Cathedral and widely adopted in Italy as seen on both Pisa Cathedral and its famous Leaning Tower. The Cathedral of Santa Maria d'Urgell, Catalonia, has an apsidal east end projecting at a lower level to the choir and decorated with an arcade below the roofline. Many Nativity scenes occur, the theme of the Three Kings being particularly popular.

The dressed polychrome stonework has exquisitely detailed mouldings. Polychrome blind arcading of the apse of Monreale Cathedral, Sicily (1174–82) The decoration indicates Islamic influence in both the motifs and the fact that all the arches, including those of the windows, are pointed.

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