The state of Europe during the Romanesque period was ideal for the creation of new art and architecture. Reinstated trade, improved economy, higher populations, the constant growth of Christianity, and agricultural surplus were all contributing factors to the period. The Romanesque pulled from many ancient traditions such as the Byzantine, Roman, Ottonian, and Islamic symbolism. The term "Romanesque" was originally used due to the architectural forms being reminiscent of ancient Rome's but is now used by art historians to refer to the whole movement (Bleiberg 437). Shortly before the Romanesque began, Europe’s society was fixed in a feudal system. Within European feudalism, landlords hold power and land over their vassals, their servants who would repay them with military security. Due to the food surplus and economic boost, Europe slipped from the feudalist grip (Garnder and Kleiner 341). As Europe changed in the High Middle Ages, the Romanesque developed and shifted the perception of religious architecture. Romanesque architecture is both reflective of Europe’s state of prosperity in agriculture, economy, society, and religion at the time and reminiscent of ancient cultures such as Rome. The Romanesque set a standard for not only religious art of its age, but many of the changes made during this period still remain.
Christian monuments’ layouts were revolutionized during the Romanesque period throughout Europe including France, Spain, the Holy Roman Empire, Italy, Normandy, and England. The Romanesque changed the Christian church structure through the movement from timber to stone vaultings, multistory basilicas, and rounded arches. Most basilicas before the Romanesque were unremarkable, but due to a rise in Christian pilgrimages and economic stability the Romanesque brought awe to the religious monument. The standard, single level and short naved basilica originally designed by the Romans was revolutionized by the Carolingians, by adding a second apse and transepts. The addition of transepts allowed for separate worship chapels dedicated to saints. During the Romanesque, radiating chapels became an essential feature of basilicas due to personal aspects of worship. Many pilgrims would come to worship a singular saint by themselves, thus smaller chapels set off from the regular altar or apse were needed. As time continued and design took turns, many basilicas became multi-level, creating a nave on the top and bottom levels, and with the addition of leaves came stair towers, adding complexity to the facades of these buildings (Johnson). For example, while many basilicas before the Romanesque were one story with timber vaulting, Romanesque churches raised the layout to two or more stories, opening the space up to the large, billowing churches known today. The addition of stories also created an impetus for extra support, thus the Romanesque also employed the barrel and groin vaults. A barrel vault is simply a half-tube ceiling, but groin vaults are the intersection of barrel vaults, creating a ribbed look. In addition to vaulting techniques, the added elevation created a space for engaged or attached pillars, half columns integrated into the wall of the tall aisles (Kluckert 20-31).
Saint-Sernin Basilica (above) is an early Romanesque church with subtle examples of the changes made in this movement. The ceiling is barrel vaulted with a high, but completely rounded arch. Very small, attached pilasters are visible along the nave. Saint-Sernin’s vaultings are fully made of stone, thus fully avoidant of the frequent church fires at the time (Garnder and Kleiner 344-345).
The floor plan of Saint-Sernin (above) shows the changes made during the Romanesque. They include the nine radiating chapels, elongated nave, the transept perpendicular to the nave, and an enlarged apse for worship. This church can accommodate the large number of pilgrims and their worship. The changing of the floor plan completely shifted the Christian experience within churches.
Not only did the spatial elements of churches change, but sculptural elements such as decorative sculpture and entryway art evolved to shift the way church-goers experienced their religion. Relief sculpture above and surrounding the door depicted images of Jesus Christ, the crucifixion, or the Last Supper. There are many sculptural elements to a Romanesque entryway.
The Church of St. Pierre (above) has a relief sculpture with a Christian image. As was the standard during the Romanesque, this relief was not ‘high relief’, meaning it did not come very far out of the wall. These sculptures were detailed but had a low grade of depth variation. The rounded arch filled with relief is called a tympanum, this space holds the aforementioned low relief. The tympanum is framed by very small arches, called archivolts, themselves filled with small, decorative relief. Lastly the lintel, a horizontal beam beginning the tympanum, sets the place for the relief to begin (Garnder and Kleiner 350). The characteristic low relief quality of the Romanesque carried into other decorations as well, including the attached columns and pilasters seen above in the archway and the interior of Saint-Sernin. None of these sculptures are completely independent of their stone or wall. As time progresses and the Romanesque evolves into the Gothic, these sculptures become more and more pronounced.
Another example of tympanum relief is the Church of St. Foy (above). This relief depicts the Last Judgment, a well known scene in the Bible and a popular choice for sculptures on churches (Johnson). While this sculpture is very detailed, it is very dependent on the wall of the tympanum. Within the Romanesque, low relief sculpture was used to convey religious images in the entryway.
The changes made during the Romanesque helped progress architecture in many ways, but its legacy still lives on through Romanesque revival architecture or Richardsonian Romanesque. H. H. Richardson was the main architect associated with Romanesque Revival, so much so that the style was named for him. Richardson’s work is reminiscent of the Romanesque, using heavy stone, rounded arches, and low relief tympanums. He also combined these elements with architectural standards of the time, creating a fusion of architectural elements (O’Gordon).
For example, H. H. Richardson’s Trinity Church (above) in Boston is a Richardsonian Romanesque building. Its two toned heavy stone, attached columns, rounded arches, and low relief sculpture on the exterior all pull from the Romanesque. This was Richardson’s true debut of his style, pulling from old Romanesque works of Byzantine churches and European basilicas. The Romanesque style was not limited to one time period.
The drastic changes made to Christian churches during the Romanesque period of architecture not only had a profound impact during their time, but also have survived into American architecture. Additions made during this period changed the religious experience of European Christians, making more space for pilgrims, more secluded areas, and more references to ancient Roman architecture. The sculptural elements of these churches and basilicas reference the most popular and recognizable scenes from the Bible. The lasting impact of the Romanesque materialized through the work of H. H. Richardson in 19th century architecture, referencing the Byzantine and Romanesque Christian architecture. Due to Europe’s prosperous state and Christianity's growing, the Romanesque was able to flourish and spread its influence beyond borders of time and land.
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