Know your sacred art terms: What is "Romanesque"?

Those BIG THICC round Norman arches

Romanesque art: not messing about

I was scrolling idly around Pinterest yesterday looking for medieval manuscript miniatures, and thinking about what I was going to do for my next large-scale drawing, and came across this: one of my favourite things, the Nazareth Crusader Capitals…

These beautifully carved, swirling and lively figures almost dancing around these stone capitals were created to adorn the Crusaders’ Basilica of the Annunciation in Nazareth. Only five survive, carved in the late 12th century in local white limestone, and are regarded as one of the greatest treasures of Romanesque art.

We’ll get back to these…

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And I remembered that I’ve been meaning for some time to do a post on Romanesque art in general.

Part 1: Architecture - “THICC” and built to last

You might have heard the term Romanesque in passing. Academic art historians tend to give it pretty short shrift: it’s mostly relegated to one of their dismissive categories, a “transitional period,” between Byzantine and Gothic. Romanesque - a term coined by 19th century French art historians¹ is so called because, especially in architecture, it was a conscious revival of some old Roman Imperial ideas, particularly round arches, barrel vaults and monumental stone construction.

It emerged in the late 10th century and lasted until the 12th century. The conquest of Anglo-Saxon England by William Duke of Normandy was the start of an architectural flowering of English Romanesque that would come to be known as Norman.

St. John the Baptist (Anglican) parish church, Chester, UK. Formerly the cathedral of the Catholic diocese of Lichfield from 1075 to 1095. It was built to replace the 7th century Anglo-Saxon church that stood on the spot. Norman architecture (many times restored) showing in its immensely thick walls and columns, rounded arches and imposing stone work. The photo doesn’t do it justice; the columns are so enormous it would take 6 people holding hands to circle one. Walking into this church feels like stepping back in time.

When William overthrew the Saxon kingdoms and duchies of the island, he wanted everyone to know he was there to stay. He set about a brutal programme of subjugation of his newly conquered people, including building a large number of castles and stone churches and monasteries according to continental trends. Such large scale, monumental, stone construction was rare in England before 1066, and had not been at the centre of English life since the exit of the Roman Legions in the early 5th century.

5-7th c. Anglo-Saxon vernacular architecture, at the reconstructed village of West Stowe. Survivals of Anglo-Saxon churches. A decorated copper pin head.

Very little even of traces and memories of England’s Saxon architecture remains; but everyone knows what William did and quite a lot of his material works and those of his successors are still in use.

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In England the best and most enduring examples of Romanesque Norman architecture is mostly in the churches and cathedrals (many of which are ecclesiastically only cathedrals - seats of bishops - because they were so-designated after the Dissolution of the Monasteries for the apostatising Church of England).

L: Durham Cathedral. R: Typical zig-zag decoration, Guiting Power, Gloucestershire.

It was the first pan-European style since the fall of the Roman Empire, and is characterized by its use of semi-circular arches, thick walls, and massive forms.

Here’s a quick little bullet point list of things to look for in Romanesque architecture:

• Semi-circular arches: Romanesque arches are rounded, rather than pointed like Gothic arches. This type of arch is stronger and more stable, making it ideal for supporting the weight of large buildings.

• Thick walls: Romanesque buildings often have thick walls, which provide support and insulation. The walls may also be decorated with arcades, columns, and other architectural elements.

• Massive forms: Romanesque buildings are often large and imposing, with a sense of solidity and strength.

• Solid geometric decorative forms: Repeating geometric motifs. Zig-zag, chevrons, carved cables. Animal and plants stylised into geometric forms.

What’s the message? “I’m here to stay, Saxon peasant. Better get used to it.” This was the start of what can properly be called the English Middle Ages.

Part 2: Painting - geometric and heavily stylised, bold colours and generally in-your-face

More tomorrow…

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1. The story goes that French historian and archaeologist, Charles de Gerville, wrote a letter to his colleague, August Le Prévost, using the term romane to describe the architecture spanning from the 400s to 1200s. He didn’t think much of it, calling it “debased Roman architecture” comparing it to the Romance languages that were “degenerated Latin language”.