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ROMAN ART (1) CHAPTER 1 THE ROMAN ARCHITECTURE

ROMAN ART
Jacques rouveyrol

CHAPTER 1: THE ARCHITECTURE ROMAN

one church, there is first a plan.

1. The plan:

The twelfth century is a century of pilgrimages. The most prestigious but also the riskiest and most expensive are first pilgrimage to Jerusalem, second in Rome. More popular and frequented the famous pilgrimage to St. Jacques de Compostela.
A pilgrimage is a tour to the relics. In Greece, we would consult the Oracle at Delphi was delivered by the Pythia whenever we had to make a decision or an important matter to be concluded. Why specifically to Delphi? Because at Delphi is the omphalos, the navel of the World (a large stone having the shape of an egg). Delphi is the center of the universe.
The Christian world gets a multitude of "centers": places where the relics of saints which are ready spiritual power (to ensure its hello) or time (cure disease).
The plan of the church must fulfill two functions: 1) ensure the presentation of the relics, 2) ensure the movement of pilgrims.

Two kinds of plans will emerge: the Benedictine plan that promotes the presentation of the relics by exposing them in chapels aligned along the transept.

The plan chapels which promotes the movement of pilgrims in groups in the apse of the ambulatory chapels around where the relics are exhibited. This plan generally prevail over the other.
2. Structure.

structure, what are the elements of construction and composition.

2.a. Elements: arcs.

It is customary to imagine that the novel is the rainbow arched. That is incorrect. Certainly, the semicircle is characteristic, but the novel does not summarize it. The arch, but also many other kinds of arcs have been used by masons novels.

2.b. Composition: the vaults.

The vault is the most common, of course, the barrel vault arch. But once the vault is completely broken romance.
Where vaults intersect, we get a vault that will later distinguish the Gothic vault.

3. The wall.

3.a. Elements: columns and pillars

chapente The churches generally use pillars.

vaulted churches, columns. But things are not simple. The pillar can be append pilasters (giving rise to the quadrangular pillar, for example) or half-columns (giving rise to the pillar quatrefoil). Column semi-columns. Sometimes the number of elements becomes very important.

3.b. Commitment to the wall.

But these pillars, the columns are generally engaged in the wall, so they have only a secondary load-bearing function. Everything happens as if one were to express this grouping of pilasters and half-columns around the pillar and column themselves against a wall, the subordination of small to large and organized solidarity that characterizes the resulting social order of feudalism (lord, vassals, peasants).

Below is the terminology for column topped with a tent and a drawing of a half-engaged column a pillar itself engaged in the wall.

3.c. Portal.

The portal is an essential element of the church. Not that it is the crossing point from the outside inwards, because the church has around it an entire perimeter of its sacredness patrticipe (there is often a cemetery that is part of his "space"), but he is the location of the opening.

3.d. The Roman wall

The Greek wall (below left) is abstract. Whatever the output of a stone quarry and cut, we can put it wherever you want, replace it with another stone without difficulty. The Greek wall is homogeneous.
The Roman wall (below right) is concrete. Each stone is unique and therefore requires that each other is consistent with it and vice versa. Like a living organism, each member fits (more or less) changes in the functioning of other organs, stone Romanesque meets all others.
The same principle of solidarity is at work here, except that there is no domination of the largest to the smallest.

4. The refusal of perspective in painting.

The wall is the essential element art and spirit novels. He will prevail. It is he who will determine what will and painting and sculpture of the twelfth century.
In painting, for example, there can be no question of "pierce" the wall by an illusion of depth. There can be no question therefore use linear perspective that will implement the Renaissance. We will not accept that there is more of a plan and everything will be included on the same plane (see next section).

5. Places decoration

Places of sculptural decoration are conditioned by architecture. These are the junction points. The marquee at the junction of the column and vault. The base at the junction of column and soil. The arches at the junction of inside and outside (porch). The corbels finally at the junction of wall and roof.

6. The bedside.

The apse, is finally the outer eastern apse elect which includes around which, like the half-columns around the column, are grouped the apses, again evoking the subordination of small to large.
Viewed from outside, the church is then presented as a gigantic sculpture carved himself space, drawing in this space lay a block architecture and sacred space as the eyes, streaming toward the apse apses may amount to little to Heaven through the arrow.

7. The problem of the sculpture.

has . In the scheme Egyptian dimensions "technical" and "objective" coexist. The statue of the pharaoh in the proportions of the human body. But to reach a gigantic size, the result of visual distortions that are not corrected. The top of the statue is seen smaller because more distant than its base, because larger view closer. Similarly, the shortcut that makes the arm farthest toward the "rear" is shorter than that seen unfolding forward, is ignored. Both arms are always the same size.

b. In the scheme Greek dimensions "objective" outweigh the dimensions "technical". Vision correction applies and that, whatever the height of the statue, the impression will be that of the conservation objective proportions of the human body are also canonized.

c . In the medieval scheme the objective dimensions are simply abandoned and human figures or animals subjected to "deformations" he will try to explain (next chapter) reasons.