\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Geographical position determined many of the peculiarities of the style of each country<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Apart from its Roman origin , the Romanesque style owed something to Byzantine art, which carried westwards along the great trade routes, by way of such centers as Venice, Ravenna, and Mersailles, and thus exerted\u00a0 a formative influence on Romanesque<\/div>\n
<\/div>\n
II. GEOLOGICAL<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The use of local materials whether stone or brick, marble or terra cotta, as well as of ready- made columns and other features from old Roman buildings, accounts for many of the varying characteristics in each country over this wide area, with its different geological formations<\/div>\n
<\/div>\n
III. CLIMATIC<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Climatic conditions also contributed to differences of treatment north and south of the Alps and the Pyrenees<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In duller climates of the north, window openings were enlarged to admit sufficient light<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In south , windows were kept small to exclude the dazzling sunshine<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The slope of the roof was also largely determined by climate<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Flat roofs of the south gave way to high pitched roofs in the north to throw off rain and snow<\/div>\n
<\/div>\n
IV. RELIGIOUS<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Christianity, the chief source of education and culture, was gradually extending throughout Northern Europe<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Erection of the church often resulted in the foundation of a city<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Religious enthusiasm and zeal found their material expression in the magnificent cathedral churches and monastic buildings, which were an even more characteristic outcome of this period than were the castles of feudal chiefs<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Monastic system gave an impulse to civilization, promoted new methods in agriculture, and exercised its influence on architecture<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Until the middle of the twelfth century, science, letters, arts, and culture were the monopoly of the religious orders<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Schools attached to monasteries trained youths for the service of religions<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Monks and their pupils were often the designers of cathedrals<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Up to the thirteenth century architecture was almost regarded as sacred science<\/div>\n
<\/div>\n
The chief Monastic Orders were as follows:<\/div>\n
<\/div>\n
1. Benedictine Order ( Black Monks )<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Founded during the sixth century at Montecassino in South Italy by S. Benedict of Nursia who decreed that all architecture, painting and all branches of art were to be taught<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 All monasteries in England including those of Canterbury and Westminster belong to this order<\/div>\n
<\/div>\n
2. Cluniac Order<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Founded by Abbot Odo in 910 at Cluny, Burgundy<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Plan had double transepts, a feature adopted in many English cathedrals<\/div>\n
<\/div>\n
3. Cistercian Order\u00a0 ( White Monks )<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Founded in 1098 at Citeaux by S. Stephen Harding and at Clairvaux by S. Bernard<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 After 1134\u00a0 all Cistercian churches were dedicated to the virgin and had no separate Lady chapel<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The typical church was divided transversely into three parts by screens, walls, or steps, and there were often no aisles<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Transepts and eastern arm of the cross were short\u00a0 so that the choir extended westward of the transept<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 There was an absence of towers and painted glass<\/div>\n
<\/div>\n
4. Carthusian Order<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Founded by S. Bruno at the Grande Chartreuse near Grenable in 1086<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Carthusian architecture is\u00a0 notably severe and unadorned<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Two churches were provided, one for the monks and the other for the people<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The typical feature was the great rectangular cloister surrounded by an arcade on to which opened the monks cells which were self contained and had their own gardens<\/div>\n
<\/div>\n
5. Secular Canons, serving principally cathedrals and collegiate churches<\/div>\n
<\/div>\n
The Orders of the Cannons Regular<\/div>\n
<\/div>\n
6.. Augustinian Cannons ( Black Cannons Regular )<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Established in about 1050<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Undertook both monastic and pastoral duties in houses often sited in towns<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Differed a little bit from the Benedictine and was introduced into England in AD 1185<\/div>\n
<\/div>\n
7. Premonstratensian Cannons ( White Cannons Regular )<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Founded around 1100 by S. Norbert at Pre\u2019montre in Picardy<\/div>\n
<\/div>\n
8. Gilbertine Cannons<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 An exclusively English order founded in the twelfth (12th) century by S. Gilbert of Sempringham<\/div>\n
<\/div>\n
The Military Orders<\/div>\n
<\/div>\n
9. Knights of Templars<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Founded in the 1119 to protect the Holy Places in Palestine and to safeguard the pilgrim routes in Jerusalem<\/div>\n
<\/div>\n
<\/div>\n
10. Knights of Hospitallers<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Organized in about 1113 ( the Knights of S. John of Jerusalem ) under the Augustinian rule<\/div>\n
<\/div>\n
The Friars<\/div>\n
<\/div>\n
11. Dominicans ( Preaching or Black Friars )<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Founded by S. Dominic about 1170 and came to England about AD 1217<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fra Angelico was the best known member of this order which held high place in Christian art<\/div>\n
<\/div>\n
12. Franciscans ( Mendicant or Grey Friars )<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Founded by S. Francis of Assisi in AD 1209 and came to England in AD 1224<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Roger Bacon was one of the most distinguished members of this order, which was noted for intellectual attainments<\/div>\n
<\/div>\n
13. Carmelites ( White Friars )<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Were expelled from Mt. Carmel by the Muslims in AD 1098 but only came to England in AD 1229<\/div>\n
\u00b7<\/div>\n
14. Austin Friars ( Hermits )<\/div>\n
15. Friars of the Holy Trinity<\/div>\n
16. The Crutched ( or Crouched ) Friars<\/div>\n
16. Jesuits<\/div>\n
<\/div>\n
V. SOCIAL<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The introduction of the system of feudal tenure, or the holding of land on condition of military service cause important changes in the social and political organization of the states<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 As civilization advanced the towns grew in importance but constant warfare rendered the condition of the\u00a0 people\u00a0 unsettled and craftsmanship was consequently at a low ebb<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Monastic system played an important part in the life of the people of all countries especially in rural districts before the establishment of hospitals and when learning even of medicine was monopolized by the church<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Freemasons by reason of privileges gradually acquired, did much to facilitate the building of churches<\/div>\n
<\/div>\n
VII HISTORICAL<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The breakup\u00a0 of the Roman Empire in the West in AD 475 led the rise of independent states and nations of Europe<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The election of the First Frankish King Charlemagne ( AD 799 ) as Holy Roman Emperor marks the beginning of a new era<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 From the fall of the Roman empire till the time of Charlemagne few buildings had been erected but he gathered artists and craftsmen around him, and before his death ( AD 814 ) he had great measure, restored the arts and civilization to western Europe<\/div>\n
<\/div>\n
ARCHITECTURAL CHARACTER<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The term Romanesque includes those phases of\u00a0 European architecture which were based on Roman art from the end of the Roman empire in Ad 475 up to the end of the twelfth century, when the pointed arch was introduced<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The later Romanesque style of the tenth to the twelfth centuries was remarkable for the tentative use of the new constructive principles<\/div>\n
o\u00a0\u00a0 This was the application of equilibrium to construction in strong contrast to that of inert stability as used by the Romans<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The general architectural character of the Romanesque architecture is sober and dignified while picturesqueness depends on the grouping of towers and the projection of transepts and choir<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Roman cross vaults were used throughout Europe till the beginning of the twelfth century, but they were heavy and difficult to construct and were gradually superseded by \u201crib and panel\u201d vaulting<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Later on produced sexpartite and quadripartite vaulting<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The Roman basilica had been the model for Early Christian churches, the plan of which was subject to new development during this period<\/div>\n
o\u00a0\u00a0 The addition of transepts and the prolongation of the sanctuary or chancel made the church a well defined cross plan<\/div>\n
o\u00a0\u00a0 Transepts were generally the same breadth as the nave, which was usually twice the width of the aisles<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cloisters in connection with monastic churches are often very elaborately treated with twisted columns, curved capitals and sculptured arches<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Towers were either square, octagonal, or circular are the prominent features of Romanesque architecture<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Roman methods of craftsmanship still influenced constructive art in Europe but technical skill in general was at a low ebb<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Walls were roughly built and were relieved externally by buttresses formed as pilaster strips and connected at\u00a0 the top by bonds of horizontal mouldings or by a series of semi circular arches on corbels<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Attached columns,\u00a0 with rough capitals supporting semi circular arches, formed wall arcading which was a frequent decorative feature<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Arcades consisted of massive circular columns or piers which supported semi circular arches<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Doors and window openings are very characteristic, with jams or sides formed in series of receding moulded planes known as orders<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A rose or wheel window was often placed over the principal west door<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Glass does not appear to have come in general use till the ninth century<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The general employment of vaulting in the eleventh century especially over the side aisles may have been due to the desire to fire proof the building<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The form of arch employed in vaulting was semicircular but sometimes raised or stilted<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Romanesque architects began to use flying buttresses under the aisle roof to counteract the trust of a vaulted nave roof but it was left for Gothic architects to place these flying buttresses outside the aisle roof and to weight them with pinnacles<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Columns were either cylindrical or of stumpy proportions or formed as massive piers and the shafts were treated with flutings of vertical, spiral or trellis form or sometimes carved with ornaments<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Variations of Corinthian or Ionic capitals are used and in later times in the form of a cushioned ( cubiform ) shape with a twisted shaft known as \u201c escallop \u201c<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Other columns shafts used were<\/div>\n
a. Flutted\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 b. Zigzag\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 c. Chevron\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 d. Wreath<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mouldings are elaborately carved<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The base of the column is generally an adaptation of the old Attic form<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ornaments were either entered vegetable or animal form and were treated conventionally<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Carvings and sculpture were often rough<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 For interiors frescoes were more usual than mosaic<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Stained glass was as yet little used<\/div>\n
<\/div>\n
<\/div>\n
ITALIAN ROMANESQUE<\/div>\n
<\/div>\n
ARCHITECTURAL CHARACTER<\/div>\n
<\/div>\n
A. CENTRAL ITALY<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The basilican type of church was closely adhered during this period<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Naves were divided from the aisles by antique columns<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Italians were slow to adopt a new system of construction and preferred to concentrate on beauty and delicacy of ornamental detail<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Architectural character was much governed by classic tradition<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The most pronounced features of the fa\u00e7ades were the \u201cornamental arcades\u201d<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Battlemented parapets primarily designed for defense was used as purely decorative feature<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Used marble facing for walls<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Churches are covered with timber roofs ornamented with bright coloring<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Campanili or bell towers which seem to have originated in the sixth century, for carrying the bells which summoned the Christian to prayer now became an integral part of the church group<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Arcades were universal, doors and windows are small and unimportant<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mouldings were roughly imitations of old classic mouldings<\/div>\n
<\/div>\n
B. NORTH ITALY<\/div>\n
<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The most important development took place in Lombardy<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The principal innovation was the development of the ribbed vault which brought about the adoption of many new constructive features<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Churches are basilican type, but the naves as well as sides aisles are vaulted and have external roofs<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Aisles are often two storeys in height while thick walls between the side chapels act as buttress to resist the pressure of the vault<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The flat severe entrance fa\u00e7ades stretch across the whole church thus masking externally the division of nave and aisles<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 There is often central \u201cprojecting porch\u201d with columns standing on the backs of crouching lions<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rose window light the nave area<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The gable is outlined with raking arcades which had originated in gthe eaves arcades round the apses<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The general character became less refined owing to the increased use of stones and bricks instead of marbles<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ornaments shows a departure from Classic precedents and portrays with an element of the grotesque<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The Comacine masters, a privileged guild of architects and sculptors originating in Como, carried out church building and characteristic decorations during the eleventh century not only in the North but also in other parts of Italy<\/div>\n
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C. SOUTH ITALY AND SICILY<\/div>\n
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\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Architectural character is greatly influenced by Byzantine, Moslem and Norman rule<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Byzantine influence is evident in the mosaic decoration and predominates the plans of many buildings<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Moslem influence is especially seen in the application of coloured marbles and in the use of stilted pointed arches<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Norman character is displayed in the planning and construction of cathedrals which are cruciform in plan and decorated with mosaics and has nave arcade of stilted pointed arches<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Low lanterns at crossing of the nave and transept are marked features<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Lateral walls are occasionally decorated with flat pilaster strips connected horizontally by small arches springing from the corbels<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Domes rather than vault s were adopted<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Timber roofs are the rule in Sicily under the Islamic influence and have stalactite ceilings, rich in design and colour<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mouldings are specially characterized by grace of contour and intricacy of carving<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Elaborately modeled bronze doors are characteristic externally<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coloured mosaic add to the beauty of the interiors<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Colour in spreading masses of geometrical design was the predominant note of internal decoration<\/div>\n
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EXAMPLES OF ROMANESQUE BUILDINGS<\/div>\n
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1. \u00a0PISA CATHEDRAL<\/div>\n
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\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 One of the finest under Romanesque period and has a strong marked individuality<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It resembles other early basilican churches in plan: with long rows of columns connected by arches, double aisles, and nave which has the usual timber roof<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The exterior has bands of red and white marble<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The ground storey is faced with wall arcading<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The entrance fa\u00e7ade is thrown into relief by tiers of open arcades which rise one above the other right unto the gable end<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The transept with an apse at each end were an advance on the simple basilican plan<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The elliptical dome over the crossing or the intersection of nave and transepts<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Concentrates on delicacy of its ornamental feature rather than on any new structural development<\/div>\n
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2. PISA CAMPANILLE<\/div>\n
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\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It is a circular tower<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16.00 m in diameter rising in eight storeys of encircling arcades<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The upper part of the tower now overhangs its base more than 4.20 meters and it has a very unstable appearance<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The belfry was not added until 1350<\/div>\n
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3. PISA BAPTISTERY<\/div>\n
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\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Was designed by Dioti Salvi<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On a circular plan with central space or nave 18.30 m in diameter<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Separated by tower piers and eight columns from the surrounding two storeyed aisle which makes the building nearly 39.30 meters in diameter<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Externally it is surrounded on the lower storey by half columns, connected by semi circular arches under one of which is the door<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The structure is crowned by hemispherical roof, through which penetrates a truncated cone capped by a small dome covering the central space<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 If there were a lower internal cupola, it would resemble the constructive scheme of S. Paul\u2019s, London<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 This baptistery bears remarkable similarity to the Church of S. Donato at Zara, Dalmatia<\/div>\n
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4. S. ANTONINO, PIACENZA<\/div>\n
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\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rebuilt on the site of an earlier cathedral<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Noted for its later Gothic church , Il Paradiso<\/div>\n
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5. S. AMBROGIO, MILAN<\/div>\n
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\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Founded by the great S. Ambrose in the fourth century<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0partly rebuilt with dome and vault in the twelfth century<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Here S. Augustine was baptized, emperor Theodosius was excommunicated and Lombard kings and Germanic emperors were crowned<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The plan includes the only existing atrium among Lombard churches, a narthex flanked by towers, vaulted nave and aisles with an octagon over the crossing, triforium gallery, raised choir over the crypt and an apse<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The interior is severely plain and impressive<\/div>\n
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6. S. MICHELE, PAVIA<\/div>\n
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\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Is a notable instance of a treatment which is in\u00a0 advance on the divisions marked only by piers<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The church is cruciform in plan with well defined transepts and a raised choir under which is a vaulted crypt<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The side aisles which are two storeys in height are also vaulted in square compartments<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The flat fa\u00e7ade shows little play of light and shade with its three simple recessed portals and four vertical pilaster strips from ground to gable, almost akin to buttress<\/div>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The wide spreading gable stretches across nave ad aisles and is emphasized by a characteristic raking arcaded gallery<\/div>\n
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7. S. ZENO, MAGIORRE<\/div>\n