Romanesque Architecture: Vaults, Pilgrimage, and Art
Architectural Solutions: The barrel vault was a hallmark of Romanesque architecture. Stone was employed for increased safety and aesthetic appeal, representing the pinnacle of structural creation. Problems arose as the vault’s weight exerted pressure on the walls. The solution involved dividing the vault into sections with transverse arches, supported by pillars that distributed and channeled the forces, allowing for increased height and length. A new problem emerged when three naves were present: the central barrel vault was offset by groin vaults over a buttress on the exterior.
Buttresses: The use of buttresses enabled aisles with two floors and a high gallery, doubling seating capacity and allowing light to enter through windows. These elements are characteristic of Romanesque buildings. A temple, whether monastic or episcopal, typically features a cruciform floor plan, an east-facing apse, a transept, and naves. To further enrich and embellish the structure, elements such as a header with absidioles, a platform, and a portico were added. The use of separate apses was a solution employed by the Cluniacs to facilitate private Masses and prayers, which were repeated throughout the day. This new structure of chapels and an ambulatory circling the head would extend to the pilgrimage shrines for the Cluniacs, providing shelter for pilgrims and initiating the processional circle.
The Pilgrimage Church: Santiago de Compostela
The Cathedral of Santiago de Compostela became a significant pilgrimage and worship site. Legend has it that after being martyred in Jerusalem, Saint James’ body was transported to Santiago. His grave was later forgotten. However, in the early ninth century, a series of miracles revealed the location of Saint James’ remains, a place since known as Campus Stellae (Compostela).
Points of Departure of the Camino de Santiago
The Camino de Santiago has four primary starting points:
- Tours: Serving pilgrims from the Netherlands.
- Vézelay: Serving pilgrims from Germany.
- Le Puy: Serving pilgrims from Central Europe.
- Arles: Serving pilgrims from Italy.
These four routes converge in the Kingdom of Navarre, uniting into a single path. Pilgrims were distinguished by a staff, a gourd for water, and a shell on their chest.
- The Pilgrimage Journey: Typically covered in stages of 30 km per day.
- Length: Varies from one to two months, depending on the starting point.
- Direction: Guided by the Milky Way.
Sculpture and Painting in Romanesque Art
Sculpture and painting served as a visual catechism for the illiterate, teaching them about salvation. They were used on the covers of Bibles, in temples, and painted on church walls. Beyond their didactic purpose, their function was to provide monumental architectural coatings and decoration. Sculpture was commonly used in flared tympanums, while painting adorned the apse’s shell.
Composition
Both sculpture and painting shared a similar composition:
- Center: The almond-shaped mystic, symbolizing divine power.
- Image of Jesus Christ: Depicted in a larger size.
- Rest of the Composition: Fragmented into horizontal friezes, featuring characters secondary to Christ.
Formal characteristics included elongated forms, distorted perspectives, and flawed anatomy.
Themes
Maiestas Domini (Christ in Majesty): Depicts Christ seated on a throne, holding a gospel in his left hand and blessing with his right. He is flanked by the four tetramorphs: the angel of Matthew, the lion of Mark, the bull of Luke, and the eagle of John. Seraphim (messengers of God) and 24 elders surround him. Christ is portrayed as an angry and vengeful figure, instilling fear in the viewer during the final judgment scene. This fear prompted people to bring gifts.
Maiestas Mariae (Mary in Majesty): Depicts Mary with the child on her knee. Derived from Byzantine models, this image represents Mary as an intercessor between God and humanity (Santa Maria de Taüll). Catalan Romanesque art simultaneously employed the fresco technique, applying colors to a fresh coat of lime on the wall.
Composition of Maiestas Mariae
- Central Nucleus: Maiestas Mariae.
- Surrounding Areas: Fragmented depictions of miracles, stories, martyrdoms of saints, and apparitions.
Areas of increased production: Vic and Ripoll.
Other Romanesque Works: Cypress wood crucifixes, depicting Christ in a cassock, with open eyes, triumphant over death, beyond the suffering of the Passion (VATILLO CRUCIFIX).