Romanesque vs. Gothic: Art, Architecture, and Sculpture
Romanesque and Gothic Art: A Detailed Comparison
Romanesque and Gothic Architecture
In Romanesque architecture, there are two types of floor plans: the basilica and the Latin cross, which represents Christ’s body. In Gothic architecture, only one type of floor plan persists: the Latin cross. The naves are odd in number, typically three to five. The central nave is wider than the aisles, and this remains the same in Gothic architecture. The transepts symbolize Christ’s arms and usually have one to three naves. The crossing is covered with a hemispherical dome on pendentives if the base is square, and on squinches if the base is octagonal. It is topped with a lantern. In Gothic architecture, the transepts are shorter because small chapels and burials for the wealthy were built along the naves.
Romanesque churches have apses that are directed towards the east. If the church is very important, small apses called apsidal chapels are opened. In pilgrimage churches, there is an ambulatory. This feature is lost in the Gothic period. In Romanesque architecture, two towers were placed on both sides of the facade. The towers are often square, rectangular, or octagonal. The Gothic facade still has two towers that surround it but is finished with Gothic elements such as steeples and pinnacles. These two new elements are terminated with iron needles.
The arch most commonly used in Romanesque architecture was the round arch. In Gothic architecture, arches are usually pointed, elliptical, or ogee. Alongside these arches, gabled arches and tracery appear. Romanesque masonry walls have few openings and are supported with buttresses. Some Romanesque churches had a second floor in the aisles called galleries. These tall naves are covered with barrel vaults and open to the interior through arches. Exterior windows provided light to the church.
In contrast, Gothic walls are very high and therefore thinner. Buttresses were added, from which flying buttresses extend. The ends of these flying buttresses are called gargoyles, often shaped like monstrous figures to frighten the faithful. Very large windows are covered with beautiful stained glass that depict biblical stories. Romanesque structures feature barrel vaults, groin vaults, and domes on pendentives and squinches. In Gothic architecture, vaults remain but in different forms: rib vaults, sexpartite vaults, and fan vaults.
The rose window of the Romanesque period was not as large as the rose window of the Gothic period. The most commonly used supports in Romanesque architecture are pillars (rectangular, square, plain, or cruciform), arches that support the weight of the barrel vaults, and arches that support the thrust of the pillars of the aisles. In Gothic architecture, pillars are composed of clustered columns, often sharing a capital.
In summary, Romanesque churches were built on deep foundations. Often, a crypt or a large room was constructed in the gaps where important relics were kept. The facades are where the decoration was usually built, as it is the first thing the faithful saw, as in Gothic architecture.
Romanesque and Gothic Sculpture
Romanesque sculpture, like Gothic sculpture, has two goals: beautifying the building and educating the people in religion. They differ in the various parts of the facades. Both in Romanesque and Gothic, the tympanum depicts Christ surrounded by a mandorla, accompanied by the four Evangelists who wrote about the life of Christ, often represented as the Tetramorph. The mullion is situated between the two doors and allows some light to enter the church. The archivolts typically represent biblical figures. The jambs (columns attached to the door) and the lintel were carved with figures, symbols, or plant motifs. The facades are decorated in such a way that we can say there is a *horror vacui* (fear of empty space).
In the Gothic period, these elements are still present, but their facades are different from the Romanesque due to the type of arch and the order of the figures. Romanesque sculpture adapts to the building, so there are parts where the figures are elongated and others where they are very small. In contrast, Gothic figures are located in altarpieces, choir stalls, and the facades of the temples. As in Romanesque, great importance is attached to the iconography of ancient forms that are copied, and new Early Christian symbols are created, such as alpha and omega.
Gothic sculpture shows some differences from Romanesque, especially in the iconographic themes and the expression of the faces. The materials remain stone and ivory in both Romanesque and Gothic, although wood carving is often seen in Gothic. In Romanesque, there is always a hierarchical perspective: Christ appears gigantic with a deep, arched gaze towards the viewer. The figures are almost flat, so they are called bas-reliefs. In Gothic, however, there is an approach to realism through the movement of the draperies and expressiveness in the faces and hands.
In free-standing sculpture, the crucified Christ and the Virgin are highlighted. In Romanesque, there is no movement or communication. The Romanesque Christ has four nails and separate feet, stiff arms, and a crowned head. The Gothic Christ has three nails and is topped with a crown of thorns; he is dying, with expressive eyes, an open mouth, and blood. The Romanesque Virgin sits, crowned as queen of heaven, with the child Jesus on her knee. In Gothic, religious themes remain obvious, but the protagonist is the Virgin, in addition to the lives of different saints, virtues and vices, and jobs. The life of Christ is still an important theme, although not only his death but also his birth and childhood are depicted. At this time, the bourgeoisie began to commission artists for coffins to have their names mentioned, which the Romans did not do. Artists began to sign contracts and were supported by patrons who eagerly commissioned work.
Romanesque and Gothic Painting
Romanesque painting is subject to architecture; it usually appears in the apse or on the walls of the aisles. Its main objective is to teach Christian doctrine to the faithful. In Gothic, the didactic and devotional order remains. As for the technique, Romanesque painting could be fresco or on panel. Gothic painting became more independent. The media are different: painting on wood, in books, study books, books of hours, on glass, and at the end of the Gothic period, oil on canvas.
In Romanesque, figures are framed in a thick, black outline. In Gothic, the outline is finer, and there is an important composition and volume of the figures. There are no volumes, linear perspective, or a point of light, unlike in Gothic, where we can find points of light and shadow. Color appears in Gothic as symbolic, and gradations of color are used to create backgrounds; this technique had not succeeded in Romanesque. Hierarchical perspective is always present in Romanesque, always highlighting Christ or the Virgin. In Gothic, compositions always start from the center, where the protagonist of the painting is located.
In Romanesque, there is no movement or expression in the eyes. In Gothic, expression becomes more natural. The figures do not have suitable proportions, and the figure of Christ is always interested in monumentality. In the Gothic period, as in sculpture, few artists dared to sign their works, apart from signing contracts.