DON HONORIO VENTURA STATE UNIVERSITY Villa de Bacolor, Pampanga College of Engineering and Architecture Department of Architecture ARTHISTO 213 History of Architecture 2 Course Subtitle This course will introduce students to the evolution of history of architecture from Romanesque Architecture to Modern Architecture period. It will also highlight significant events, styles, architects, buildings and other factors that would lead to an understanding of why various cultures produced the architecture of their time. Arch. Jomer B. Obang, UAP COURSE FACILITATOR jbobang@dhvsu.edu.ph Big Picture: 1. 2. 3. 4. Romanesque Architecture Gothic Architecture Renaissance Architecture Modern Architecture Factors that affects Architecture in a certain period or time: 1. 2. 3. 4. 5. 6. 7. Geographical Geological Climatic Condition Religion Social Activity Historical background and events Architectural Character ROMANESQUE ARCHITECTURE IN EUROPE I. GEOGRAPHICAL • The decline of the Roman Empire, the Romanesque style grew up in those countries of Western Europe which had been under the Roman rule • Geographical position determined many of the peculiarities of the style of each country • Apart from its Roman origin , the Romanesque style owed something to Byzantine art, which carried westwards along the great trade routes, by way of such centers as Venice, Ravenna, and Marseilles, and thus exerted a formative influence on Romanesque II. GEOLOGICAL • The use of local materials whether stone or brick, marble or terra cotta, as well as of ready- made columns and other features from old Roman buildings, accounts for many of the varying characteristics in each country over this wide area, with its different geological formations III. CLIMATIC • Climatic conditions also contributed to differences of treatment north and south of the Alps and the Pyrenees • In duller climates of the north, window openings were enlarged to admit sufficient light • In south , windows were kept small to exclude the dazzling sunshine • The slope of the roof was also largely determined by climate • Flat roofs of the south gave way to high pitched roofs in the north to throw off rain and snow IV. RELIGIOUS • Christianity, the chief source of education and culture, was gradually extending throughout Northern Europe • Erection of the church often resulted in the foundation of a city • Religious enthusiasm and zeal found their material expression in the magnificent cathedral churches and monastic buildings, which were an even more characteristic outcome of this period than were the castles of feudal chiefs • Monastic system gave an impulse to civilization, promoted new methods in agriculture, and exercised its influence on architecture • Until the middle of the twelfth century, science, letters, arts, and culture were the monopoly of the religious orders • Schools attached to monasteries trained youths for the service of religions • Monks and their pupils were often the designers of cathedrals • Up to the thirteenth century architecture was almost regarded as sacred science The chief Monastic Orders were as follows: 1. Benedictine Order ( Black Monks ) • Founded during the sixth century at Montecassino in South Italy by S. Benedict of Nursia who decreed that all architecture, painting and all branches of art were to be taught • All monasteries in England including those of Canterbury and Westminster belong to this order 2. Cluniac Order • Founded by Abbot Odo in 910 at Cluny, Burgundy • Plan had double transepts, a feature adopted in many English cathedrals Saint Benedict of Nursia (c. 480–543). Detail from a fresco by Fra Angelico (c. 1400– 1455) in the Friary of San Marco Florence. 3. Cistercian Order ( White Monks ) • Founded in 1098 at Citeaux Abbey by Robert of Molesme, Stephen Harding, and Alberic of Cîteaux. After 1134 all Cistercian churches were dedicated to the virgin and had no separate Lady chapel • The typical church was divided transversely into three parts by screens, walls, or steps, and there were often no aisles • Transepts and eastern arm of the cross were short so that the choir extended westward of the transept • There was an absence of towers and painted glass 4. Carthusian Order • Founded by S. Bruno at the Grande Chartreuse near Grenable in 1086 • Carthusian architecture is notably severe and unadorned • Two churches were provided, one for the monks and the other for the people • The typical feature was the great rectangular cloister surrounded by an arcade on to which opened the monks cells which were self contained and had their own gardens 5. Secular Canons, serving principally cathedrals and collegiate churches The Orders of the Cannons Regular 6. Augustinian Cannons ( Black Cannons Regular ) • Established in about 1050 • Undertook both monastic and pastoral duties in houses often sited in towns • Differed a little bit from the Benedictine and was introduced into England in AD 1185 7. Premonstratensian Cannons ( White Cannons Regular ) • Founded around 1100 by S. Norbert at Pre’montre in Picardy • 8. Gilbertine Cannons • An exclusively English order founded in the twelfth (12th) century by S. Gilbert of Sempringham Shield of the Premonstratensians Seal of the Master of the Order of Sempringham The Military Orders 9. Knights of Templars • Founded in the 1119 to protect the Holy Places in Palestine and to safeguard the pilgrim routes in Jerusalem 10. Knights of Hospitallers • Organized in about 1113 ( the Knights of S. John of Jerusalem ) under the Augustinian rule Seal of the Templars Flag used by the Templars in battle. The Friars 11. Dominicans ( Preaching or Black Friars ) • Founded by S. Dominic about 1170 and came to England about AD 1217 • Fra Angelico was the best known member of this order which held high place in Christian art 12. Franciscans ( Mendicant or Grey Friars ) • Founded by S. Francis of Assisi in AD 1209 and came to England in AD 1224 • Roger Bacon was one of the most distinguished members of this order, which was noted for intellectual attainments Orden de Predicadores Francis of Assisi, founder of the Order of Friars Minor; oldest known portrait in existence of the saint, dating back to St. Francis's retreat to Subiaco (1223– 1224) 13. Carmelites ( White Friars ) • Were expelled from Mt. Carmel by the Muslims in AD 1098 but only came to England in AD 1229 • 14. Austin Friars ( Hermits ) • 15. Friars of the Holy Trinity • 16. The Crutched ( or Crouched ) Friars • 17. Jesuits Simple coat of arms of the Carmelite Order Blazon: Argent a pile reversed Bruntare three stars of David 2 and 1 counterchanged. Pietro Novelli, Our Lady of Mount Carmel and Carmelite saints (Simon Stock (c. 1165–1265) (standing), Angelus of Jerusalem (1185–1220) (kneeling), Mary Magdalene de Pazzi (1566–1607), Teresa of Ávila (1515–82), 1641 (Museo Diocesano, Palermo). V. SOCIAL • The introduction of the system of feudal tenure, or the holding of land on condition of military service cause important changes in the social and political organization of the states • As civilization advanced the towns grew in importance but constant warfare rendered the condition of the people unsettled and craftsmanship was consequently at a low ebb • Monastic system played an important part in the life of the people of all countries especially in rural districts before the establishment of hospitals and when learning even of medicine was monopolized by the church • Freemasons by reason of privileges gradually acquired, did much to facilitate the building of churches VI HISTORICAL • The breakup of the Roman Empire in the West in AD 475 led the rise of independent states and nations of Europe • The election of the First Frankish King Charlemagne ( AD 799 ) as Holy Roman Emperor marks the beginning of a new era • From the fall of the Roman empire till the time of Charlemagne few buildings had been erected but he gathered artists and craftsmen around him, and before his death ( AD 814 ) he had great measure, restored the arts and civilization to western Europe First Frankish King Charlemagne ARCHITECTURAL CHARACTER • The term Romanesque includes those phases of European architecture which were based on Roman art from the end of the Roman empire in Ad 475 up to the end of the twelfth century, when the pointed arch was introduced • The later Romanesque style of the tenth to the twelfth centuries was remarkable for the tentative use of the new constructive principles • This was the application of equilibrium to construction in strong contrast to that of inert stability as used by the Romans • The general architectural character of the Romanesque architecture is sober and dignified while picturesqueness depends on the grouping of towers and the projection of transepts and choir • Roman cross vaults were used throughout Europe till the beginning of the twelfth century, but they were heavy and difficult to construct and were gradually superseded by “rib and panel” vaulting • Later on produced sexpartite and quadripartite vaulting • The Roman basilica had been the model for Early Christian churches, the plan of which was subject to new development during this period • The addition of transepts and the prolongation of the sanctuary or chancel made the church a well defined cross plan • Transepts were generally the same breadth as the nave, which was usually twice the width of the aisles • Cloisters in connection with monastic churches are often very elaborately treated with twisted columns, curved capitals and sculptured arches • Towers were either square, octagonal, or circular are the prominent features of Romanesque architecture • Roman methods of craftsmanship still influenced constructive art in Europe but technical skill in general was at a low ebb • Walls were roughly built and were relieved externally by buttresses formed as pilaster strips and connected at the top by bonds of horizontal moldings or by a series of semi circular arches on corbels • Attached columns, with rough capitals supporting semi circular arches, formed wall arcading which was a frequent decorative feature • Arcades consisted of massive circular columns or piers which supported semi circular arches • Doors and window openings are very characteristic, with jams or sides formed in series of receding moulded planes known as “orders” buttress formed as pilaster strips • A rose or wheel window was often placed over the principal west door • Glass does not appear to have come in general use till the ninth century • The general employment of vaulting in the eleventh century especially over the side aisles may have been due to the desire to fire proof the building • The form of arch employed in vaulting was semicircular but sometimes raised or stilted • Romanesque architects began to use flying buttresses under the aisle roof to counteract the trust of a vaulted nave roof but it was left for Gothic architects to place these flying buttresses outside the aisle roof and to weight them with pinnacles • Columns were either cylindrical or of stumpy proportions or formed as massive piers and the shafts were treated with flutings of vertical, spiral or trellis form or sometimes carved with ornaments • Variations of Corinthian or Ionic capitals are used and in later times in the form of a cushioned ( cubiform ) shape with a twisted shaft known as “ escallop “ • Other columns shafts used were a. Flutted b. Zigzag c. Chevron d. Wreath • Mouldings are elaborately carved • The base of the column is generally an adaptation of the old Attic form cushioned ( cubiform ) column • Ornaments were either entered vegetable or animal form and were treated conventionally • Carvings and sculpture were often rough • For interiors frescoes were more usual than mosaic • Stained glass was as yet little used Map of Italy ARCHITECTURAL CHARACTER A. CENTRAL ITALY Central Italy encompasses four of the country's 20 regions: •Lazio •Marche •Tuscany •Umbria • The basilican type of church was closely adhered during this period • Naves were divided from the aisles by antique columns • Italians were slow to adopt a new system of construction and preferred to concentrate on beauty and delicacy of ornamental detail • Architectural character was much governed by classic tradition • The most pronounced features of the façades were the “ornamental arcades” ORNAMENTAL ARCADE BLIND OR WALL ARCADE • Battlemented parapets primarily designed for defense was used as purely decorative feature • Used marble facing for walls • Churches are covered with timber roofs ornamented with bright coloring • Campanili or bell towers which seem to have originated in the sixth century, for carrying the bells which summoned the Christian to prayer now became an integral part of the church group • Arcades were universal, doors and windows are small and unimportant • Mouldings were roughly imitations of old classic mouldings BATTLEMENTED PARAPET Campanili or bell towers B. NORTH ITALY • The most important development took place in Lombardy • The principal innovation was the development of the ribbed vault which brought about the adoption of many new constructive features • Churches are basilican type, but the naves as well as sides aisles are vaulted and have external roofs • Aisles are often two storeys in height while thick walls between the side chapels act as buttress to resist the pressure of the vault • The flat severe entrance façades stretch across the whole church thus masking externally the division of nave and aisles • There is often central “projecting porch” with columns standing on the backs of crouching lions projecting porch • Rose window light the nave area • The gable is outlined with raking arcades which had originated in the eaves arcades round the apses • The general character became less refined owing to the increased use of stones and bricks instead of marbles • Ornaments shows a departure from Classic precedents and portrays with an element of the grotesque • The Comacine masters, a privileged guild of architects and sculptors originating in Como, carried out church building and characteristic decorations during the eleventh century not only in the North but also in other parts of Italy ROSE WINDOWS WHEEL WINDOWS Grotesque elements The Comacine masters (magistri comacini) Portion of the carvings of the choir apsis of the church at Königslutter Lion portal at the monastery church (Kaiserdom) in Königslutter C. SOUTH ITALY AND SICILY • Architectural character is greatly influenced by Byzantine, Moslem and Norman rule • Byzantine influence is evident in the mosaic decoration and predominates the plans of many buildings • Moslem influence is especially seen in the application of coloured marbles and in the use of stilted pointed arches • Norman character is displayed in the planning and construction of cathedrals which are cruciform in plan and decorated with mosaics and has nave arcade of stilted pointed arches • Low lanterns at crossing of the nave and transept are marked features • Lateral walls are occasionally decorated with flat pilaster strips connected horizontally by small arches springing from the corbels • Domes rather than vault s were adopted • Timber roofs are the rule in Sicily under the Islamic influence and have stalactite ceilings, rich in design and colour • Mouldings are specially characterized by grace of contour and intricacy of carving • Elaborately modeled bronze doors are characteristic externally • Coloured mosaic add to the beauty of the interiors • Colour in spreading masses of geometrical design was the predominant note of internal decoration EXAMPLES OF ROMANESQUE BUILDINGS 1. PISA CATHEDRAL (Cattedrale Metropolitana Primaziale di Santa Maria Assunta; Duomo di Pisa ) • One of the finest under Romanesque period and has a strong marked individuality • It resembles other early basilican churches in plan: with long rows of columns connected by arches, double aisles, and nave which has the usual timber roof • The exterior has bands of red and white marble • The ground storey is faced with wall arcading • The entrance façade is thrown into relief by tiers of open arcades which rise one above the other right unto the gable end • The transept with an apse at each end were an advance on the simple basilican plan • The elliptical dome over the crossing or the intersection of nave and transepts • Concentrates on delicacy of its ornamental feature rather than on any new structural development Detail of the facade of the cathedral The cathedral, with the Leaning Tower of Pisa. The Pisa Baptistery with the Cathedral and Leaning Tower of Pisa 2. PISA CAMPANILLE • It is a circular tower • 16.00 m in diameter rising in eight storeys of encircling arcades • The upper part of the tower now overhangs its base more than 4.20 meters and it has a very unstable appearance • The belfry was not added until 1350 3. PISA BAPTISTERY • Was designed by Dioti Salvi • On a circular plan with central space or nave 18.30 m in diameter • Separated by tower piers and eight columns from the surrounding two storeyed aisle which makes the building nearly 39.30 meters in diameter ▪ Externally it is surrounded on the lower storey by half columns, connected by semi circular arches under one of which is the door • The structure is crowned by hemispherical roof, through which penetrates a truncated cone capped by a small dome covering the central space • If there were a lower internal cupola, it would resemble the constructive scheme of S. Paul’s, London • This baptistery bears remarkable similarity to the Church of S. Donato at Zara, Dalmatia PISA BAPTISTERY 4. S. ANTONINO, PIACENZA • Rebuilt on the site of an earlier cathedral • Noted for its later Gothic church , Il Paradiso 5. S. AMBROGIO, MILAN Basilica romana minore collegiata abbaziale prepositurale di Sant'Ambrogio • Founded by the great S. Ambrose in the fourth century • partly rebuilt with dome and vault in the twelfth century • Here S. Augustine was baptized, emperor Theodosius was excommunicated and Lombard kings and Germanic emperors were crowned • The plan includes the only existing atrium among Lombard churches, a narthex flanked by towers, vaulted nave and aisles with an octagon over the crossing, triforium gallery, raised choir over the crypt and an apse • The interior is severely plain and impressive 6. S. MICHELE, PAVIA • Is a notable instance of a treatment which is in advance on the divisions marked only by piers • The church is cruciform in plan with well defined transepts and a raised choir under which is a vaulted crypt • The side aisles which are two storeys in height are also vaulted in square compartments • The flat façade shows little play of light and shade with its three simple recessed portals and four vertical pilaster strips from ground to gable, almost akin to buttress • The wide spreading gable stretches across nave ad aisles and is emphasized by a characteristic raking arcaded gallery 7. S. ZENO, MAGIORRE • Has a simple façade which is stern in simplicity • The fine projecting porch has two free standing columns which rest on the backs of the crouching beast and support a semi circular vault • Above is the great wheel window which lights the nave and is one of the earliest in Italy • The interior has arcade of compound piers with uncarved capitals and the nave shaft is carried up as if to support the vault Details The nave S. ZENO, MAGGIORE • Has no triforium but with clerestory • The choir 2.10 meters above the nave has a high pointed fourteenth century vault and an apse and beneath is the crypt, in seven aisles, with the shrine of S. Zeno • The campanile is detached as usual in Italy has no buttresses is made of alternate courses of marble and bricks • The sturdy tower formerly belonged to a residence of the German Emperors and is finished with Ghibelline battlements 8. ASTI BAPTISTERY and PHARMA BAPTISTERY • Are octagonal and modeled on that of Constantine, Rome ASTI BAPTISTERY PHARMA BAPTISTERY 9. HOUSE OF RIENZI, ROME • Sometimes known as the “Casa di Crescencio” is an instance of the degraded civic architecture of the period • Said to be the only private house in Rome older than the fifteenth century 10. MONREALE CATHEDRAL • Stands on the heights southwest of Palermo • Is the most splendid of all monuments erected under Norman rule in Sicily • The plan is a combination of an Early Christian basilican church in its western part and quasi Byzantine in its eastern part • The nave columns have capitals of Byzantine form with dosseret block encrusted with mosaic to support pointed arches Italy, Sicily, Monreale, Cathedral Cloister Cloister Apse Apse interior Sarcophagi of William I and William II of Sicily • Walls are covered with mosaics in gold and colour representing scenes from biblical history with a figure of Christ in the apse • The interior is solemn and grand, an effect produced by the severity of the design, enhanced by the coloured decoration • The low, oblong central lantern and the antique bronze doors add to the beauty and distinction o this famous church • The cloisters, the only remaining portion of the Benedictine monastery are the finest of the style 11. CAPELLA PALATINA, PALERMO • The chapel in the Royal palace • Served as the model for Monreal cathedral Detail of the Muqarnas ceiling of the nave Fatimid arches and Byzantine mosaics complement each other within the Palatine Chapel. Image of the Muqarnas ceiling 12. LA ZISA, PALERMO • Is a three storeyed Norman castle with battlemented parapet • Shows the influence of Saracenic art • The vestibule is rich in marble columns and coloured tiles • Stalactite vaults over the alcoves recall the glories of the Alhambra, Granada Vestibule Niche with fountain in the main hall
