The towering Gothic cathedrals and the classical Roman architectural legacy are united by the unique Romanesque architectural style that arose in Europe in the eleventh and twelfth centuries. Romanesque architecture, distinguished by its colossal character, thick walls, round arches, strong piers, enormous towers, and ornate arcades, represents the resurgence of monumental structures during the Middle Ages. This architectural style created a unique synthesis that set the foundation for developing European architecture in the High Middle Ages, drawing extensively on Roman construction techniques and features from Byzantine and Islamic architecture.
The 19th-century name “Romanesque” emphasises the persistence and modification of Roman architectural ideas. It captures the political and cultural climate of the time when the necessity for religious buildings and fortifications balanced with the changing social and spiritual climate of mediaeval Europe. The primary examples of Romanesque architecture are churches and monasteries, intended to serve as fortifications, communal hubs, and symbols of the Church’s expanding power in addition to being places of worship.
Romanesque architecture is distinguished by its focus on earthiness and sturdiness. Structures with solid stone walls and tiny windows that produce eerie, dark interiors are known for their weight and sturdiness. More extensive and robust constructions were made possible using barrel and groyne vaults, replacing the previous timber roofs. Both ornamental and valuable towers break up the skyline, lending an air of grandeur and caution.
Romanesque architecture relies heavily on ornamentation, albeit in a more restrained manner than other architectural movements. Portals, capitals, and tympanums are decorated with carvings of biblical themes, mythological creatures, and complex patterns that serve as educational resources for a predominantly illiterate populace. The religious fervour of the time and the need to graphically communicate spiritual themes are reflected in these artistic components. Regional differences in Romanesque architecture throughout Europe attest to its universal appeal. Diverse style interpretations were achieved using local materials, customs, and cultural influences while preserving essential qualities. Romanesque architecture exhibits remarkable versatility and durability, as shown in England’s robust, austere churches, the highly embellished basilicas of Italy, and the finely sculpted façade of French cathedrals.
Aesthetics of Romanesque Architecture
‘Romanesque architecture has yet to be appreciated as much as it deserves in studying art history. This realization came from my first direct experience with Romanesque churches in Auvergne, France. I had taken many art history classes with my aesthetics, art education, and studio art courses, but my conceptual picture of the Romanesque was not positive. I remembered it as the building style that looked “heavy” outside, “dark” inside and studded with “frightening” sculptures. However, my direct experience with these churches told me a different story: formal harmony, stylistic richness, and ingenuity in design solutions. As a researcher in art education, I became intrigued by this discrepancy between my conceptual knowledge and my direct experience of architectural history, writes Nanyoung Kim.
More importantly, in terms of notoriety, Gothic and Renaissance architecture outshines Romanesque architecture. Because of its relatively low engineering achievement, Gothic architecture overshadows it. Because the Renaissance adopted the architectural idioms of ancient Rome, a formal elemental similarity casts a shadow over the Romanesque. Still, in theory and practice, the latter is more visible. Romanesque thought and practice have not left a trace.
On the other hand, Vitruvius’s architectural theory was purposefully and strictly followed by Renaissance architects. Throughout Western architectural history, architecture’s resilient and adaptable Renaissance ideology was repeatedly resurrected in slightly modified forms as neoclassicism. Its physical manifestations can still be found in our surroundings in the shape of monuments, government buildings, and other traditional corporate structures like banks.
‘The theory of beauty Romanesque builders relied on was the classical notion of beauty based on the interplay of forms derived from ancient Greek philosophy. Even though Roman engineering techniques were mostly forgotten after the fall of Rome, it is generally acknowledged that this classical notion of beauty survived through the Middle Ages and remained a tacit knowledge of Romanesque patrons and builders. Therefore, we have every reason to believe that Romanesque architects indeed paid great attention to how forms are related to each other when they designed their edifices, writes Nanyoung Kim.
We are not overpowered by the Romanesque church’s many architectural elements, even if they might occasionally be incredibly numerous. The entire composition appears remarkably cohesive because so many visual components are repeated. The semicircular arch is the most prominent of those components. The arch was a gift from the Roman era to the Romanesque builders. An arch has two benefits in terms of engineering and practicality. One is the ability to construct an opening in the post-and-lintel system using more readily available and less expensive materials than single stones. Each tiny wedge-shaped cut stone or brick’s compression to the other laterally forms an arch. The second benefit is that the arch can create a massive opening by rerouting the wall above the arch’s downward weight.
‘What if we compare Romanesque articulation with the early Christian basilica, as it is more legitimate than comparing it with a Gothic church? The longitudinal interior demarcation punctuated by columns was indeed structural rather than aesthetic: it is necessary for any building to have a support system placed at a regular distance to distribute compressive stress evenly. The early basilica had this same system. Can we still praise articulation as a Romanesque virtue? We can. Romanesque interiors and exteriors exceed the early Christian church in visual clarity. Often, different types of piers alternate through bays; the bays are then accentuated by transverse arches and other spaces, such as the transept, and more prominent piers or diaphragm arches demarcate the crossing. If we consider the articulation of elevation of the wall, Romanesque churches are indeed superior to early Christian basilicas. In Romanesque times, we find approximately four ways of horizontally articulating the wall space from single- to four-tier construction. However, one-, two-, and three-tier systems are most frequently chosen. I will only address two- and three-tier systems here, according to Nanyoung Kim.
The Byzantine basilican plan of Constantine’s day eventually gave way to the art of the Asian regions inside the Empire of Eastern Europe. After several hesitant attempts, the timber roof was replaced with a stone or brick structure. This led to the discovery of pendentive architecture and the magnificent dome of S. Sophia in Constantinople. New styles of ornamentation were embraced. Sculpture was restricted to friezes, capitals, and purely architectural elements and assigned secondary roles. Painting and, most importantly, beautiful marble linings and mosaics gave the walls a unique beauty.
The history of Romanesque architecture was in- TWO influenced by two opposite principles; on the one hand, ancient Roman example held the artists fast-bound, as esque far as it could, to precedent; on the other, the necessities and possibilities of the time drove them into novel experiments, and made an ever-widening breach between their work and their models. Roman tradition was most potent in Italy, as Roman art was natural. Roman art was the one that Charlemagne’s Renaissance attempted to revive esque in Gaul and Austrasia. To build in the manner of the Romans was the ambition of our Saxon forefathers. The Roman round arch gave way to the pointed-only under the stress of construction difficulties, and the builders loved it best and used it in decorative features even where they had to give it up in the main fabric.
Conclusion
The combination of durability and spiritual desire in Romanesque architecture is a witness to the spirit of mediaeval Europe. Its helpful features, such as barrel vaults and massive walls, gave it a sense of earthy firmness and divine permanence. Romanesque buildings, from opulent cathedrals to modest village churches, never cease to astound and inspire respect for their inventive architecture and timeless beauty, constantly reminding them of a rich cultural legacy that has changed the landscapes of Europe and beyond.
