Chapter 5: The Medieval PeriodRomanesque 5001100

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Chapter 5 The Medieval PeriodRomanesque
(500-1100)
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Chronology

• Visual Arts -
• Hagia Sophia, Constantinople (532537)
• Baptistry, Cathedral and Tower, Pisa (10521272)
• The Bayeux Tapestry (c. 1088)
• Notre Dame la Grande, Poitiers, France (late 11th
  century)
• San Ambrogio, Milan (late 11th century)
• St. Trophime portal, Arles, France (c.1105)
• La Madeleine tympanum, Vézelay (c.1130)

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Chronology

• Music
• Gregorian chant (c. 540-1100)
• Pope Gregory (c. 540-604)
• Guido of Arezzo (c.997-1050)
• Historical Figures Events -
• Rise of Monasteries (c. 650)
• Charlemange (742-814)
• Second Council of Nicaea (787)
• Feudalism established (c. 900)
• Cluny Abbey founded (910)
• The Norman Conquest (1066)

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Study Objectives

• Pronunciation Guide (p.80)
• Learn about Romanesque art as the mirror of the
  religious beliefs and practices of the Church,
  the dominant medieval patron of the arts.
• Understand the symbolism in Church architecture.

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General characteristics

• Period known as medieval period (or Middle Ages)
  is roughly from 500-1400
• Usually divided into two sub-periods (Romanesque
  Gothic)
• Many of our economic and religious institutions
  date back to this time
• Artistic developments in the medieval period come
  from the attitudes of the Church which was almost
  the sole patron of the arts

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General characteristics

• Rise of monastic movement
• Cluny Abbey is an example of a monastery building
  for groups of worshipers who lived/ worked/
  worshiped together (fig.5.1, 5.2)
• Pagan Greek culture was generally condemned by
  Christian scholars
• Plato Aristotle banned until St.Thomas Aquinas
  in 13th century

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The Church Medieval Art

• Because the Church was the supreme power, art had
  to have a religious function.
• Second Council of Nicaea (787)
• Set rules for artistic representation of
  religious subjects
• Illiteracy was almost universal,
• Bible stories were taught most easily through
  visual arts (painting, stained glass,
  sculpture)
• Theology determined structure, style and
  decoration of cathedrals and monastic churches
• Music also served religious function
• Providing personal communication with God

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Romanesque

• Refers to the artistic style influenced by the
  Romans
• A style noted for its stark simplicity and its
  use of the rounded arch
• 10th century before a well-developed body of
  creative art appeared in Western Church
• Architecture
• Architects builders, mostly monks friars
  adapted the stone arch of Romans
• Interior distances gloomy spaces suggest a
  spirit of quiet renunciation of the world
• None of the brilliant color and expression of
  Byzantine churches

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Architecture

• Notre Dame la Grande, Poitiers, France
  (fig. 5.6, p.90)
• 11th century excellent example of Romanesque
  spirit in architecture
• Symbolism
• Triple arches suggest Trinity
• San Ambrogio, Milan (fig. 5.7, p.91)
• Interior demonstrates use of the rounded arch
• Large central aisle (nave) is built of a series
  of bays which are areas between the heavy piers.
• Little light from windows (few used because of
  thick walls to support stone roofs), shutting out
  the light of the world both physically and
  symbolically.

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Sculpture

• Almost always conceived as an architectural
  decoration, as well as an educational object.
• Pope Gregory said What the literate learn by
  reading, the uneducated learn by looking at
  pictures.
• Portal of St. Trophime, Arles, France (fig.
  5.8, p.93)
• Tympanum of La Madeleine, Vézelay, France (fig.
  5.9, p.94)

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Painting

• Like sculpture, painting was purely functional,
  serving as an educational object.
• Very few original examples because they were
  generally painted on wood - destroyed by fire or
  normal decay.
• Crucifixion (c. 800) colorplate 14 (following
  p.114)
• As in sculpture, figures are not realistic, and
  as in earlier mosaics, there is no sense of
  space.
• Paintings less likely to please the aesthetic
  sense than to impress upon beholders the
  Christian significance of the cross.

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Music

• Under patronage of the Church the nature role
  of music made significant changes.
• Instruments at first banned in church music
  because of their secular uses to keep people from
  being diverted from their spiritual aim.
• Vocal sound was predominant - it had to be simple
  and unpretentious in its expression of religious
  sentiment.

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Music

• Medieval Christian music
• Took its forms and liturgical order from the
  Byzantine (Eastern) church and the Jewish temple.
  
• Theoretical basis for music - modal system -
  which used Greek names for the modes. (fig. 5.2,
  p.97)
• Several styles of chant - early monophonic vocal
  music.
• Gregorian chant used in Rome became predominant
  music of the Western church.

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Music

• All chants shared four characteristics
• Based on the church modes
• Rhythms were derived from latin texts
• Monophonic texture
• Composers were unknown
• Chant music forms consisted of settings of the
  various texts of the service.
• Mass - 11 pieces of music needed for sung portion
• Ordinary - stayed the same for all services
• Kyrie, Gloria, Credo, Sanctus, Agnus Dei, and Ite
  missa est
• Proper - changed texts from service to service
  depending on the church calendar
• Introit, Gradual, Alleluia, Offertory, and
  Communion

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Music

• Music in Romanesque period written in neumes on a
  four line staff. (fig. 5.3, p.98)
• Developed by 11th century music scholar/theorist
  Guido of Arezzo.
• Melismas - a section of melody with many notes
  sung on a single syllable. (fig. 5.4, p.98)
• Cadence - a point of rest in the melody where the
  music returns to a central tone.
• Three repetitions of phrases creates musical
  structure using symbolism of the number 3 in the
  art of the Church.

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• Next Time
• Ch. 6
• Medieval Period - Gothic