Romanesque Art and Architecture
Architecture
Construction of this building, intended to house relics of the Apostle Thomas, began in 1075. Roberto and Bernardo the Elder started with the header, followed by the transept by Maestro Esteban, the higher arm by Bernardo the Younger, and finally the Portico de la Gloria by Maestro Mateo. The work, spanning a century, represents a major example of a pilgrimage church with a prominent Latin cross arm. The transept is formed by three naves and a very distinct crossing. The nave is covered with barrel vaults and arches supported by pillars. Aisle vaults are separated by compound arches. Pillars in the aisles supported stands for the faithful during times of large gatherings. The cathedral had three grand portals: the most monumental at the feet and two others on the sides of the transept.
Late Romanesque (13th Century)
Several regional schools developed: Castilian Romanesque, characterized by lateral porticos (e.g., Segovia) and the domed Romanesque of the Duero basin (e.g., Gayon). Catalan Romanesque persisted, and Galician Romanesque preserved the influence of the Cathedral of Santiago.
Figurative Art: Romanesque Sculpture
The main feature of Romanesque sculpture is its didactic nature. Medieval society was largely illiterate, so both sculpture and painting served to transmit the teachings of scripture and salvation. Most sculpture was concentrated on the facade, capitals, inside, or cloister.
Characteristics:
- Adaptation to the architectural framework, sometimes resulting in distorted figures.
- Dominance of reliefs over free-standing sculpture, although reliefs later became more common.
- Figures display disproportion and anti-naturalism.
- Frontal, hieratic, and hierarchical presentation of figures.
- Polychrome.
- Themes related to the end of the world, doom, salvation, or eternal punishment.
- Extensive symbolism, including geometric, plant, or animal motifs. Examples include mermaids (evil), the vine (Christ), and the pineapple (immortality).
Iconography:
- Portals: Geometric, vegetal, animal, or figurative motifs in the archivolts.
- Mullion: Figure to whom the church is dedicated.
- Jambs: Columns, apostles, and prophets.
- Tympanum: Tetramorphs, Christ Triumphant (Pantocrator) as the supreme judge, often within a mandorla. As seen in Moissac and Santiago, the Apocalypse may also be depicted. In the Portico de la Gloria, 24 elders and angels with instruments of the Passion are featured.
- Capitals: Fantastic animals, plants, geometric elements, and narratives from the New and Old Testaments, such as scenes from the life of Christ (e.g., Monastery of Silos, including the Doubting of Thomas).
Main Manifestations:
- France: Saint Lazarus of Autun (Pantocrator and Tetramorph with the righteous ascending to heaven and the damned descending to hell), Madeleine Church of Vezelay (Pantocrator and Pentecost), Sainte-Foy de Conques (Last Judgment, heaven, and hell), Saint-Pierre de Moissac (24 elders).
- Spain: Cathedral of Jaca (Crismon with Chi-Rho symbol, alpha and omega, and lions), San Isidoro de León (Lamb of God), Monastery of Silos (scenes from the life of Christ), Santa Maria de Ripoll (zodiac and agricultural work, Pantocrator, and 24 elders), Door of Platerías and Portico de la Gloria at Santiago de Compostela. The Portico de la Gloria by Master Mateo displays a more naturalistic and human Christ, emphasizing his suffering.
Exempt Sculpture:
From the 12th century onward, polychromed carved wood gained importance. Common topics include the crucified Christ (showing no emotion) and the Virgin and Child (Virgin enthroned), often with a blessing hand and a book or orb. Figures typically lack interaction and exhibit disproportion, frontality, and hieraticism.
Romanesque Painting
Features:
- Didactic function.
- Adaptation to the architectural framework.
- Fresco technique.
- Hierarchy of scenes and characters.
- Schematism.
- Flat colors.
- Predominance of drawing.
- Frontal, hieratic, disproportionate figures.
- Flat backgrounds lacking depth.
Representative Works:
SAN CLEMENTE DE TAULL: S.XII (pirinio catalan) in the apse of the church represents the mandorla pantocr.rodeado d (symbol of paradise) and tetram.cristo angeles gift is blessing and a book (yo soi light of the world) letters alpha and omega, below are the apostles and the Virgin framed in a arqeria, paint colors and try to achieve a intriducir chiaroscuro effect to various shades of the same color in the creases. San Isidoro: paintings are in the central nartex.en the vault is surrounded by the tetram.en pantocrator other domes are the Lord’s Supper, the killing of the innocent, the announcement to the shepherds and the walls apocalipsis.en scenes from the life of Jesus and Mary and arches months of the year with agricultural work propios.destaca produced the sensation of movement x of the characters’ disposal.