The architecture of the Romanesque period had significant influences from the Ancient Romans. Do these Romanesque buildings remind you of anything from the Ancient Roman Unit? Do you see similarities within these buildings that are alike your architectural search of your community in Unit 3? Choose one Romanesque feature of architecture, be it an entire structure or a specific detail from Unit 7 content, and compare/contrast it with one from the Ancient World (using an example from Unit 3 or Unit 4). Interpret how the Romanesque period used the influence from the Ancients to create a new system for Christianity
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Art History
Unit 7: Europe in the Romanesque Period
2 / 19 Nave and choir, Sant Vincenç. ca. 1029–1040
Cathedrals built in the Romanesque period were made of stone, and relied on the Ancient Roman
system of arches and barrel vaults. Interiors appear heavy and dense with thick walls and small windows.
3 / 19 Lintel of west portal, Saint-Genis-des-Fontaines, France. 1020–1021
Stone relief sculptures are decorative, inspired by illuminated manuscripts.
4 / 19
Nave, Cathedral of Santiago de Compostela,
Spain. ca. 1075–1120
• Christians considered pilgrimage to be a key factor to their religion.
• Most traveled to notable cathedrals that housed holy relics, remains of
saints. These relics were believed to have healing powers.
• This cathedral was the final stop along the European pilgrimage route, and
was the grandest of them all.
• Traditionally, pilgrimages to Jerusalem was important to Christians, but
that path was too dangerous due to the Crusades, wars in the Middle East
between Europeans and Muslims, who occupied the area.
5 / 19 Plan of Cathedral of Santiago de Compostela, Spain (after Dehio)
The pilgrimage floor plan is shaped like a cross, and allows traffic to flow around the Cathedrals to view the relics without interfering with rituals.
6 / 19 The Chasse of Champagnat. Reliquary casket with symbols of the four Evangelists. ca. 1150
Holy relics were kept in small caskets called reliquaries. These were displayed in the apsidioles of the Cathedrals.
7 / 19 Christ in Majesty (Maiestas Domini). ca. 1096
Common depiction of Christ is Christ in Majesty: Christ as a royal leader.
8 / 19 Gunzo and others. Plan of Monastery of Cluny (Cluny III), France (after Conant). ca. 1088–1130
9 / 19
Reconstruction of Abbey Church, Cluny
• The Benedictine Monastic Order built their original monastery with
Cathedral in the Romanesque style.
• The original cathedral was rebuilt three times after the Romanesque period.
• Monasteries were exclusively used for the monks. The Cathedrals were the
only portion of the monastery that had public access.
• The commoners entered the Cathedral from the front entrance. The monks
used their own entrance on the side.
• Monks performed rituals in the Cathedral five times a day.
10 / 19 Cloister, Priory of Saint-Pierre. ca. 1100
A cloister is an open pavilion used exclusively by the monks. They are traditionally placed
outside the monks entrance to the Cathedral, and it is where they begin their processional rituals.
11 / 19
Trumeau and jambs, south portal, Church of
Saint-Pierre, Moissac, France.
• Sculptural elements that were popularized in the Romanesque period can
be described as linear, decorative, and stylized.
• Human forms were not created in a representational, three dimensional
style. Instead, they were molded to the surface, using unnatural proportions.
• Design elements were created using patterns and lines, with no regard to
the spatial qualities of the Ancient Roman sculptures.
12 / 19
South Portal with Second Coming of Christ
on tympanum, Church of Saint-Pierre,
Moissac, France. ca. 1115–1130
• Entrances to Romanesque Cathedrals were traditionally decorated with
scenes of the Second Coming of Christ or Judgment Day.
• This is a biblical reference to the prophecy of Christ returning to Earth,
condemning the evil to hell, and rewarding the good with heaven.
• These scenes centered on Christ in Majesty, surrounded by demonic
monsters and tortured human forms.
13 / 19 West portal, with Last Judgment by Gislebertus on tympanum, Cathedral of Saint-Lazare. ca. 1120–1135
14 / 19 The Building of the Tower of Babel. Early twelfth century. Detail of painting on the nave vault, Saint-Savin-sur-Gartempe, France
A rare example of Romanesque painting. Stylistically, it is very similar to the preferred
method of decoration: relief sculpture.
15 / 19 St. Matthew, from the Codex Colbertinus. ca. 1100
The most common form of Romanesque painting can be found in illuminated manuscripts.
16 / 19 St. Mark, from a gospel book produced at the Abbey at Corbie. Early twelfth century
17 / 19 West façade, Notre-Dame-la-Grande. Early twelfth century.
18 / 19 Crowds Gaze in Awe at a Comet as Harold Is Told of an Omen. Detail of the Bayeux Tapestry. ca. 1066–1083a
19 / 19 West façade, Saint-Étienne. Begun 1068
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Rubric for Unit 7 Written Assignment
The architecture of the Romanesque period had significant influences from the Ancient Romans. Do these Romanesque buildings remind you of anything from the Ancient Roman Unit? Do you see similarities within these buildings that are alike you’re your architectural search of your community in Unit 3? Choose one Romanesque feature of architecture, be it an entire structure or a specific detail, and compare / contrast it with one from the Ancient World. Interpret how the Romanesque period used the influence from the Ancients to create a new system for Christianity.
CRITERIA
Deficient
(0-5points)
Proficient to Development Needed
(6-8 points)
Exemplary to Proficient (9-10 points)
Points Earned
(100 points)
Overview of the topic.
25 points
Does not provide an adequate overview or is missing
Overview is presented, though may not be clear or complete
Overview is clearly presented including all criteria outlined above
Interpretation
25 points
Missing major content areas, unable to compare content from Units 4 and 7
Recognizes basic content from Units 4 and 7
Critiques content from Units 4 and 7
Evaluation
25 points
Fails to draw conclusions between content from Units 4 and 7
Identifies some conclusions between content from Units 4 and 7
Examines conclusions between content from Units 4 and 7
Presentation
10 points
Misrepresents issues or draws faulty conclusions
Identifies or generalizes issues
Discusses issues thoroughly and shows intellectual honesty
Evidence of learning outcomes
15 points
Unclear or contradictory evidence of learning the styles of Roman and Romanesque Art
Some evidence of learning the styles of Roman and Romanesque Art
Complete evidence of learning all about Roman and Romanesque Art
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Art History
Unit 3: The Ancient Greek World
2 / 21 Temple Plans: Reading Architectural Drawings
3 / 21 Ground plan of a typical Greek Temple (Parthenon model)
4 / 21 Doric, Ionic and Corinthian styles in elevation
5 / 21 The Temple of Hera I (“Basilica”), ca. 550 BCE, and the Temple of Hera II (“Temple of Poseidon”), ca. 500 BCE
Example of an Archaic Greek temple, created using the Doric Architectural Order.
6 / 21
Kouros (Youth). ca. 600–590 BCE
• First free-standing human sculpture (no additional supports to keep upright).
• Archaic style: frontal design, stylized hair, features, and proportions (learned
from observing the Ancient Egyptians.
• The idealized youth is a Greek concept where the Gods were personified in
beautiful human forms. In life, the pursuit of achieving a perfected physique
was considered an act of Godliness.
• Male youths were often portrayed nude, as it was customary for men to be
nude in society.
7 / 21
Kore, from Chios (?). ca. 520 BCE
• Kore: Greek for female youth.
• Archaic Age: stylized features and dress.
• Archaic sculptures are characterized by their Archaic smile.
• Women were always portrayed fully clothed, as was expected of
them in society.
8 / 21
Battle of the Gods and Giants, from the north frieze of the
Treasury of the Siphnians, Delphi. ca. 530 BCE
• As the Greeks developed their own style of art, they learned techniques for
creating space in their work, a three dimensional quality that does not exist in
the art of the Egyptians, or any other civilization of this time.
• The figures are no longer portrayed side by side, but rather, in layers. This
layering creates space.
• Figures in the foreground are carved with more dimension, while figures in the
background are carved more shallow. This too creates space.
9 / 21 Dying Warrior, from the east pediment of the Temple of Aphaia. ca. 480 BCE
This sculpture was meant to fit within the pediment, the triangular space created
by the temple roof. As the Greeks were creating sculptures to decorate specific
sections of the temples, they experimented with more life-like body positions.
The Archaic smile is still evident, and dates this piece to the Archaic Age.
10 / 21 Achilles and Ajax Playing Dice. Black-figured amphora signed by Exekias as painter andpotter. ca. 540–530 BCE
The artistic development seen in sculpture is also reflected in their pottery. Early
examples are created using the black figure technique, with stylized features and
clothing. Then they would put all the pieces together, which creates the iconic
Egyptian style.
11 / 21 Euthymides. Dancing Revelers. Red-figured amphora. ca. 510–500 BCE
In contrast, the red figure technique shows a greater focus on creating realistic human forms.
12 / 21 The Classical Age: Kritios Boy. ca. 480 BCE
In the Classical Age, the pursuit of life like representations of the kouros becomes more realized.
13 / 21 Iktinos and Kallikrates. The Parthenon (view from the west), ca. 447–432 BCE
An iconic Greek temple created in the Classical Age, using the traditional
Doric architectural order.
14 / 21 Three Goddesses, from the east pediment of the Parthenon. ca. 438–432 BCE
A sculpture created for the Parthenon pediment. Drapery is created in a highly realistic way, with the true forms of the goddesses
revealed through the folds of fabric.
15 / 21 Frieze above the western entrance of the cella of the Parthenon. ca. 440–432 BCE
Upon closer inspection, while the exterior architrave is Doric, the interior is Ionic, as indicated by the continuous
frieze: a sculpted frieze of a continuous image, without any spaces or breaks.
16 / 21 Theater at Epidauros. Early third to second centuries BCE
The Ancient Greeks were the first to design a perfectly acoustic theater, where all spectators had a clear view of the stage. It is a design still used today.
17 / 21 Paionios of Ephesos and Daphnis of Miletos. Temple of Apollo. Begun 313 BCE
Example of the style of theatricality, where traditional Greek designs were altered to create an experience of drama.
18 / 21
Lysippos. Portrait of Alexander the Great,
the “Azara herm.”
Roman copy after an original of the late
fourth century BCE
• Alexander the Great, a military leader known for united a divided Greek
republic, marks the Hellenistic Age and the quest for theatricality.
• Stylistically, the Hellenistic Age further improved upon the methods of
creating beautifully proportionate and life-like human figures, with a flair for
the dramatic.
• Introduces the concept of portraiture, images representing individuals
instead of an ideal man.
19 / 21 Epigonos of Pergamon (?). Dying Trumpeter.
Perhaps a Roman copy after a bronze original of ca. 230–220 BCE
20 / 21 The Great Altar of Zeus at Pergamon (restored) ca.180 BCE
Rather than use the Ionic tradition of a continuous frieze above the columns, this victory monument has a larger
than life frieze along the bottom, allowing the viewer to experience the story in a more realistic, dramatic way.
21 / 21 Athena and Alkyoneus, from the east side of the Great Frieze of the Great Altar of Zeus at Pergamon. ca. 180 BCE
A close up of this frieze reveals figures wrought with action, agony, and emotion.
Figures twist and turn in a theatrical rendition of a war story.
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Art History
Unit 4: The Ancient Roman World
2 / 20 Temple of Portunus. ca. 80–70 BCE
The Romans developed a new system of construction using concrete. Concrete is faster,
cheaper, and requires less skilled workers than marble stone. It allowed the Romans to
quickly establish a new Roman center in newly conquered territories.
3 / 20 Sanctuary of Fortuna Primigenia. Late second century BCE
Architectural style of the Roman Empire shows an influence from the Ancient Greek civilization.
Although there is a visual, decorative impression of Greek architecture, the purpose and structural design
of each Roman building was created to serve the purpose of the government.
4 / 20 Arches
Instead of relying on the post and lintel contstruction of the past, the Romans developed the arch system.
5 / 20 Sculptural relief from statue base, showing sea thiasos and census.
Late second to early first century BCE
Greek sculpture focused on stories of the Gods, whereas Romans created images relating to their government.
6 / 20 Veristic male portrait. Early first century BCE
Veristic is Roman for “true.” Romans created realistic portraits of their leaders.
Rather than creating images of an idealized youth, portraits of men accurately displayed their age.
For the Romans, age was a symbol of maturity and intellect.
7 / 20
Augustus of Primaporta. Possibly Roman
copy of a statue of ca. 20 CE
• In contrast, the young Augustus Caesar chose to portray himself as an
idealized youth.
• The draped cloth also resembles the Ancient Greek sculptures, as does the
image of Eros and Cupid at his leg.
• The most notable Roman element is the warrior chest plate, a symbol of a
military leader, with a military scene decorating the surface.
8 / 20 Equestrian Statue of Marcus Aurelius. 161-180 CE.
A statue of gilded bronze, it is a symbol of military power.
9 / 20 Ara Pacis Augustae, Imperial Procession south frieze. 13–9 BCE
Since the Roman Empire was lead by an emperor, who was born into his role, we see an increase of imagery devoted to
the family: women, young children, and the elderly are all present in this frieze.
10 / 20 Colosseum. 72–80 CE
11 / 20 Colosseum, interior view
12 / 20
Colosseum (continued)
• Colosseum was the largest structure ever built at the time of its completion.
• To celebrate its opening, Rome enjoyed 100 days of gladiatorial games.
• Local seamen would install large sailcloth awnings on hot days.
• The wooden floor could be removed and the base flooded with water, to re-
enact naval war scenes.
• The entire structure is made out of concrete. It originally had a travertine
marble façade.
• The design allowed for the ease of citizens to move in and out of the
building freely and without congestion.
• The sports arenas of today are still designed after the basic floorplan of the
Colosseum.
• This was done to prevent raiders from stealing the artifacts left in the tombs,
which happened in Giza by invading forces.
13 / 20
Pantheon. Completed ca. 125 CE
• Dedicated to “all the Gods”, the Pantheon is a perfectly circular temple.
• Constructed out of concrete nearly 2000 years ago, to this day it is still the largest unreinforced concrete dome to exist.
• The interior has a coffered ceiling, which originally had bronze stars to represent the night sky.
• The interior design focuses on horizontal lines, which gives the dome the feeling of floating above the walls.
• The Pantheon is the best preserved relic from the Roman Empire, and has been a well used structure since its creation.
14 / 20 Pantheon. Interior
15 / 20 Aqueduct. First or early second century CE
An aqueduct is a structure designated to moving water from natural sources into Roman cities.
It was the first public water system in the world.
16 / 20
Portrait of a Woman, from Hawara in the
Fayum, Lower Egypt. ca. 110–130 CE
• In contrast, the young Augustus Caesar chose to portray himself as an
idealized youth.
• They are created using encaustic, a method of painting with hot melted
wax mixed with pigments.
• They represent how the Roman Empire influenced civilizations within
their borders.
17 / 20 Wall painting, Ixion Room, House of the Vettii, Pompeii. 63–79 CE
Decorative wall paintings discovered in the ruins of Pompeii is the largest collection Roman paintings to exist.
18 / 20
Portrait of Constantine the Great. Early fourth century CE
• Constantine was a powerful Roman Emperor who united a divided Republic.
• He is known for establishing Christianity as the religion of the Empire.
• At a meeting called The Council of Nicaea, Constantine and church leaders established many Christian rules that still
exist today: the end of gladiatorial games, Sunday being a day of rest, and how to decide the date of Easter each year.
• He moved the capital from Rome to Byzantium, which he renamed Constantinople, present-day Istanbul, Turkey.
19 / 20 Arch of Constantine. 312–315 CE
A victory monument that re-used decorative elements from other structures on a new concrete frame.
20 / 20 Basilica of Maxentius, renamed Basilica of Constantine. Begun ca. 307 CE
Example of the basilica floor plan. Once used for political structures, later adapted for Christian churches.
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