Come to me, all you who labor and are heavy laden, and I will give you rest. Matt. 11:25

     Everyone has some burden they have to bear from the very young to the very old. It is different from one person to another, but it is still there. We all need someone that can help us bear up under the burdens, and that someone is Christ. It is only through him that we find rest. He reaches out to us in love waiting for us to take his hand, and let him pull us up out of the depths of our despair.You need to give your heart and life into his care. Call out to him now, and receive him as your Lord and Savior. He has been waiting for you so long. Don't leave him waiting any longer. It is not complicated. It is just the sincere cry of the heart, Father forgive me, and come into my heart, and life. I surrender all to you right now. I want to be your child, and live and walk with you. Thank you Jesus for hearing me and answering me. I belong to you, and from this day forward I will walk with you.
     It is that simple. Now you need to start reading the word, and talking to Christ every day. Talk to him like the friend he is. You can share everything with him. Get into a church where you can begin to grow in the Lord and in the word. Everyday praise him for the good in your life. He is there with you as your constant companion. You will never be alone again.
 I will be praying for you. God knows who you are, and will direct my prayers. God Bless you!
    

Romanesque chuches: architectural features.Latin cross Bacilica modified, sculptural program on portals.

 

The Sainte-Foy abbey-church in Conques

The pictures came from Wikipedia., These are the church doors.

The architectural features of the typical Romanesque church and their purposes.  The traditional Latin-cross Basilica modified.

Romanesque architects had the challenge of building churches that were large enough to accommodate the large number of pilgrims that visited  them. They needed to build churches that were structurally sound, and had adequate illumination as well as aesthetically pleasing. Building material could be a problem due to a large amount of construction during this time period. Romanesque means Roman like, because the buildings shared certain characteristics with Roman architecture. This included things like round arches, stone vaults, thick walls and exterior relief sculptures. An example of a Romanesque church is Sainte- Foy, Conques, Auvergne, France c. 1050-1120. One of the reasons for the pilgrimages was to be able to see or touch the saint’s relics which were kept in gold reliquaries. The churches had to be large, but they also needed to be able to have visitors without interfering with the duties of the clergy.  The Latin-cross basilica was modified for this purpose. They extended the side aisles around the transept and the apse to form an ambulatory. The visitors could circulate freely leaving the monks undisturbed access to the main altar in the choir. Radiating chapels protruded from the main apse two chapels of equal size were added at the east side of the transept arms. In Romanesque churches they replaced wooded roofs with stone barrel vaults. They lessened the chance of fire and improved acoustics. They did require extra support of buttressing which was to counteract the lateral thrust they exerted against the wall.  “Transverse ribs cross the underside of the quadrant”. These are supported by cluster piers. These are reinforced by four engaged half columns.  Architectural sculpture was also used to help the illiterate population understand the message the church was presenting.

 The sculptural programs on the portals of the Romanesque churches iconography and function.

One development of the Romanesque period was the use of architectural sculptures, animating surfaces and illustrating surfaces, and illustrating bible stories and saints lives. There were images carved in relief at the entrance of most pilgrimage churches. These images were the first thing a pilgrim saw as they came to a church. Since most people were illiterate they wouldn’t have been able to understand text, so art work allowed them to understand the churches message. The usual scenes were either Christ in Majesty or The Last Judgment. The church portals were fairly consistent, but the programs were varied. At Saint-Foy the picture was the last judgment. It conforms to iconographic convention in its arrangement. Christ is the center, and to his right are saints and churchmen. Above them are angels holding scrolls that form arches. Below this is Saint –Foy prostrate before Christ. On the left Christ’s hand is lowered toward hell. That is Christ’s left and our right. You look down to see the damned souls being tortured by devils. There is a crowned frontal figure of Satan. The damned punishment fits their earthly crime. The saved souls on the right are neatly presented while the damned are in complete disorder. The traditional right to left Christian symbolism is maintained. At the center of the lintel two individual scenes are divided by a vertical. On one side angels welcome saints into heaven, and on the left Satan brandishes a club at the damned as they are ushered into hell. The iconography conflates the Christian metaphor of the gates of hell or the jaws of death. This must have been a terrifying idea for the pilgrims, and made them want to repent and live good lives. Heaven or hell? I’m sure they knew what the best choice would be.  Saint-Pierre at Moissac’s imagery was from the book of Revelations 4:2-7, and it presents a picture of the scriptures in layers with the seals being the bottom layer. The next layer is the elders, then the sea which is represented by wavy lines. Christ is in the center of the next and top layer on his throne with the four beasts around him. This represents Christ’s second coming. These images fulfilled their purpose which would appear to use fear of the afterlife to keep the people in line. They tried to do the right thing to avoid the dire consequences. It also educated the people as to the message of the scriptures.

Developement in Greek culture of the standing nude male

     

                              Development  in Greek Culture of the Standing Nude Male

                                              

     The development of the standing male nude changed over time. It is possible to look at a piece of

sculpture, and be able give all the detail of its origin, and the period it was created.  Over time the 

proportion, the ability to depict motion, and the conception of a figure in space were

changed. It is interesting to see the development of the standing male nude in Greek sculpture,

and to be able to experience their culture through their works of art. Their sculptures told the

story of what was important in their society. Through it we begin to understand the culture which

idealized the male body. We see their attitudes towards women also in their sculptures of the

female form which, at least in the Archaic Period was always clothed. It wasn’t until the late

classical period that the female nude began to gain in popularity. Each culture learned things

from the preceding culture, and added to it their own individuality.

     The sculpture of the human figures began in Greece in the Archaic Style around c 600-480

BC. The Greeks learned from the Egyptians how to create life size sculptures, and they took the

information and adapted it to their own culture. Around 600 B.C. the New York Kouros was

made. It is a standing male figure that is carved out of marble, and is commemorative. They were

usually grave markers that represented an individual, and this one is life size.  They were found

in religious sanctuaries.  The Kouros can be compared to the statue of Menkaure. The Greeks did

put more emphasize on the human anatomy. The kouros is cut away from the original block of

marble, and is in a frontal pose. His left leg is forward with no bend. His arms are at his side with

                                                                                                                                   Hadley2

elbows back, and clenched fists. This is similar to the Menkaure. There is space between the

arms and body, and between the legs, and the body is detailed. This was not found in

Egyptian sculpture. Egyptian sculptures were clothed while Greek males were not, but they did

clothe the female sculptures. During this period they were able to suggest the power to move by

the positioning of the statue. Archaic sculptures of standing women were called Korai. The

female’s garments revealed the contours of her body, and she has the archaic smile.  The Greeks

felt that the male body was perfection. The emphasis on the anatomy increased tension while the

rectangularity of Egyptian convention did not build tension. The Kouros is curved, and the

knees,  the lower rib cage, and hair are detailed. The stance of the Kuros is positioned over both

legs , and with the addition of muscular definition it gives the feel of having the ability to move.

     There was a widespread use of bronze for large scale sculptures that were cast with the lost-

wax process. The most impressive bronze was the Posidon/Zeus as he either hurls his

thunderbolt or trident. His pose is commanding as he focuses, aims, and tenses his muscles to

throw. He is perfectly balanced between the ball of his right foot and his left heel. By slightly

bending his knees the sculptor gives the impression that he is about to spring. Greek artists

studied athletes as they practiced for the games. This gave them the information necessary to

create amazing pieces of art. Bronze use started in the Archaic period and went into the Classical

period.

     A good example of the Classical style is the Kritios Boy. Stylization decreased, but they did

maintain the smooth, wavy hair with a circle of curls around the head, and the body was an

organic structure of bone and muscle. They began to have the head slightly turned. The right leg

is slightly forward and bends at the knee while the left leg supports the weight. They are posed in

the contrapposto which uses the Latin word positus which means positioned and the word contra

                                                                                                                              

this means against. The contrast between rigid and relaxed elements gives the feeling of how

the human body works. It is like the statue freezes a moment in time for the enjoyment of future

generations.  The Olympics was a very important event, and the men who preformed did so in

the nude. It was an event for males, and females were not permitted. The Discus Thrower was

probably one of the athletes that were frozen in time for the appreciation of generations to come.

     Polykleitos of Argos’s work was thought of as the embodiment of  High classical style. His

Spear Bearer was called the canon. It dealt with a series of proportions that related one part of

the body to another and to the whole. Symmetry achieved beauty. “It is the emphasis on the

intelligible appearance that gives Greek art its ideal character.”(158)  The ratio 4:9 governs

proportions. The human form was idealized. It was usually young with no defect. They are well

proportioned and symmetrical, but lack personality. The male figures were idealized, and

showed a full appreciation for the perfection and beauty of the muscular proportions of the male

body. He created naturalism and balance.

     Late Classical and Pre-Hellenistic was influenced by the Praxitelean curve. Praxiteles used a

combination of contrapposto and in the round compositions. These were meant to be seen from

all sides. He created fluidity in the pose. He gave the shoulders, hips and knees a sloping angle

which gave a feel of realism. An example is the Aphrodite of  Knidos. It is a nude statue of the

goddess as she emerges from her bath. She reaches for a towel that is near a water jar. She is

slightly fleshier with a fuller face than Classical sculptures.  The changes he made emphasized

naturalism and movement which was a step towards the realism of the Hellenistic period.

     Lysippos created greater realism by making the figures head smaller and elongating the body.

This made a sculpture more realistic. He brought in the Hellenistic period. He did  a statue of

Socrates which shows him walking slowly and thinking deeply. He also did the Athlete with a

                                                                                                                               

Stigil. There is more movement implied, because the legs are positioned wider apart, and the

arms are outstretched. The athlete appears to swivel which draws the viewer into the movement.

Lysippos was able to do a wide variety of subjects always with great realism.

     It is interesting to see the development of the standing male nude in Greek sculpture, and to

be able to experience their culture through their works of art. 

Written by Kathleen Hadley 2006

Contrasting and comparing "Madonna Enthroned' by Cimabue and Giotto

 

Artist	Giotto
Year	c. 1310
Type	Tempera on panel
Dimensions	325 cm × 204 cm (128 in × 80 in)
Location	Uffizi Gallery, Florence

Madonna Enthroned, also known as the Ognissanti Madonna, is a painting by the Italian late medieval artist Giotto di Bondone, housed in the Uffizi Gallery

Artist:  Cimabue

Maestà, 1280-1285, Uffizi Gallery, Florence

 These images were taken from Wikipedia. http.//en.wikipedia.org

Compare and  contrast “Madonna Enthroned” by Cimabue and Giotto.

     Both Cimabue and Giotto created their Madonna Enthroned with tempera on panels, and they were both created as altar pieces. The panels were made of poplar which was glued and braced on the back with strips of wood. A frame was also made and attached. The wood was sanded until it was smooth, and was then sealed with size. This made a stable surface. Strips of linen reinforced it and prevented warping. It was then covered with several layers of gesso. It was sanded again and smoothed out, and at this point the painting would begin. The artist would use brushes to outline the figures in charcoal. The artist would reinforce the painting with ink or a stylus. They next applied the decorative gold design. These were things like halos and backgrounds which were polished, so they would glow in the dim lighting in the church. The paint was made of pigment from minerals and vegetable extracts. They were made into a paste, and then the artist used animal hair brushes. It took a year to dry, and was then varnished.

     Cimabue’s and Giotto’s Madonna had a Byzantine influence, and they both had a gold background. They both have a flat round halo that doesn’t turn illusionistic ally with the head. Cimabue’s Madonna has long thin proportions that creates a very elegant figure. There are lines of gold in Mary’s drapery folds. She sets on an elaborate throne that has no visible means of support at the back. It appears to rise upward. There is no apparent floor which appears to deny the material reality of its weight. Giotto’s throne has a horizontal support approached by steps. It also has the Gothic pointed arches, and like Cimabue the throne is elegant. His Mary is more bulky with drapery that corresponds to the organic form, and obeys the laws of gravity. The folds in her drapery are created by shading. There are V shaped folds between Mary’s knees. This identifies their solidity and the void between them. The curving folds above the waist indicate a slight spatial turn, and directs the viewer’s attention to Jesus. Cimabue and Giotto had a different approach to space, and to the relationship between space and form. Giotto created the illusion of three dimensional space and his figures turn and move in a natural way. Cimabue’s Christ child has the proportions and gestures of a man much like the homunculus. He has a small head and thin proportions. He is not supported by Mary’s lap. Giotto was more interested in reality, and his Christ child has the cubby proportions of an infant. Christ sets firmly on the horizontal surface of Mary’s leg. His pose is regal as he raises his hand as though to bless the people. He has more natural proportions. In Cimabue’s painting there are four prophets at the foot of the throne. Giotto’s contemporaries felt he had surpassed Cimabue, because of his rendition of nature. They felt that he” herald a new generation of artists”.

 

Plan and elevation of Romanesque church

                                              Typical Romanesque architectural form

Cloister of the Baasilica di San Giovanni in Laterano, Rome

 Bell Tower of Angouleme Cathedral, Charente,SW France

Window and Lombard band of the Rotunda of San Tome, Almenno San Bartolomeo

 This is the site that the pictures came from. Check it for more photos and information. http://en.wikipedia.org/wiki/Romanesque_architecture

You are a Romanesque church builder, and you have been hired to construct a church on the pilgrimage route to Santiago de Compostela. Describe the plan and elevation of your new church. Explain how the pilgrimage function affected your building.

      We will be building a church on the pilgrimage route to Santiago de Compostela. I realize that
Jerusalem and Rome are also sacred, but traveling to these cities can be dangerous. This is often a more

popular choice for those on a pilgrimage, because it is safer, and so by choosing to build along this route

we will be able to meet the needs of a larger number of pilgrims.

     The elevation of the church will be based on the basilicas form, but with the nave higher than the side

aisles. There will be variations like masonry vaulting, ribs, buttresses, and an ambulatory. The church

that I will build will have to be large enough to accommodate the large numbers of pilgrims that we will

be expecting to visit daily. It will need to be structurally sound, and have adequate illuminations as well

as being aesthetically pleasing. I do realize that building materials will be a problem, because of the large

amount of construction that is being done. I will have to be sure I have   building supplies enough to

complete the project. I will employ some of the characteristics of Roman architecture. This will include

things like round arches, stone vaults, thick walls, and exterior relief sculptures. The load bearing walls

will be kept strong by using small windows, so the light in the church will be low. We will need to acquire

the relics of a saint that will be kept in a gold reliquary. Sacred relics are necessary for the pilgrims to be

able to fulfill their pilgrimage, and atone for their sins.

      The church will be built in a way to allow visitors without interfering with the duties of the clergy. I

believe I will modify the Latin-cross basilica for that purpose. We will extend the side aisles around the

transept and the apse will form an ambulatory. This way visitors can circulate freely leaving the monks

undisturbed access to the main altar in the choir. Radiating chapels will protrude from the main apse,

and two chapels of equal size will be added at the east side of the transept arms. There will be  arcades

built to allow pilgrims to walk around the peripheral aisles without bothering the local worshipers. We

will not have a wooden roof, but stone barrel vaults. This will lessen the chance of fire and improve

acoustics. T his will require extra support or buttressing which will counteract the lateral thrust exerted

against the wall. Transverse ribs will cross the underside of the quadrant. These will be supported by

cluster piers. These will be reinforced by four engaged half columns. Barrel or groin vaulting will

rest on piers and span large openings with few internal supports.

      I will also use architectural sculpture to help the population understand the message of the church.

We will hire artists to create images carved in relief at the entrance of the church. Since these will be

the first thing that they will see we must select an appropriate program. I would suggest either Christ in

majesty or The Last Judgment. It will conform to the iconographic convention. The portal will have a

voussoir, archivolts, tympanium, lintel, doorjamb, and trumeau.

     After it is built I would suggest using tapestries to add color and warmth to the interior of the church.

They can be hung along the aisles, and will also give a clearer message to those attending since many

are illiterate.

What features of the plan of Old St. Peter’s survive in Romanesque and Gothic Church plans. Briefly describe the structural innovations that permitted Gothic Cathedrals to achieve a feeling of “spiritual escape to another world”.

     Romanesque like Old St. Peter’s had the nave which was a long narrow central area that was used to

house the congregation. They both had a transept. It was a cross arm placed at a right angle of the nave.

It separated the apse from the nave.  The aisles were the passageways that  flanked a central area.

They both had apse which was a projecting part of the building that was semicircular, and was topped

by a half dome or a vault. The Gothic church also had a narthex. The altar in these churches was in the

east part of the church, and faced west as it was believed that Christ was crucified in the east of

Jerusalem, and that as he hung on the cross he was facing west. They were shaped like a cruciform.

     Stained glass was not only used to illuminate the church, but to give it a supernatural quality. It

transformed natural light into what Suger called mystical lux nova. Stain glass windows told stories from

the bible. They were translucent, and the colors were predominantly blues and reds. The colored glass

was cut to form a window design. It was made by mixing metallic oxide with molten glass or fusing

colored glass with clear glass. They fit the pieces to the model drawn on wood, and then details were

added in black enamel. To be able to achieve an area to place all these windows the weight of the

ribbed vault is concentrated only at the corners of the bay; the structure can be buttressed at intervals.

This frees up more space for windows. This allows also larger windows, so the light that is admitted

into the building through these stained glass windows causing the other worldly feel about the interior.