Cesar Avila 1December 8, 2013

Final Part II – Essay

The enactment of sweeping sociopolitical changes by Western European theocracies

transformed the landscape of society throughout the region. Chief among such reforms, the

emergence of both feudalism and monasticism had massive implications on nearly every

dimension of culture including art and architecture. While the feudalistic structure prevalent

among rural communities fostered greater political stability and population growth, the absolute

dominion of the Church led to an unprecedented rise of religious fervor among Christians. The

rapid development of an ardently devoted congregation resulted in the need for cathedrals that

could accommodate legions of pilgrims while upholding aesthetic standards that ascribed to

divinity. The two most poignant examples of this medieval paradigm are communicated through

the Romanesque Cathedral of St. James (1078-1122) and the Gothic Chartres Cathedral (c.

1134). Although Romanesque and Gothic architecture were both predicated upon the facilitation

of religious devotion, the differences between the styles and artistic intentions of each order

reflect differences in societal tastes and cultural values. The Romanesque style originated in rural

areas from a desire to allow Christians to demonstrate piety through pilgrimage, employing a

modest longitudinal plan with thick walls, rounded arches, and groined vaults. While Gothic

conventions also supported religious missions, the urban nature of such cathedrals resulted in a

greater emphasis on aesthetic grandeur as is evident by soaring towers, ornate facades, and a

more spacious, well-lit interior. Despite these inherent differences, both Romanesque and Gothic

cathedrals effectively communicate the profound influence of both reform and Christianity

throughout medieval Western Europe society.

Largely considered to be one of the most significant instances of Romanesque

architecture, the use of robust structural elements and an uncomplicated rectangular plan allowed

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for the Cathedral of St. James at Santiago de Compostela to be relegated as one of the holiest

sites throughout the Christian world. With the rise of monasticism in the twelfth century, the

Christian congregation aspired to exhibit their piety through pilgrimage to cathedrals that housed

sacred relics. In accordance with this societal trend, medieval architects based their designs upon

the desire to foster a harmonious balance between form and function, creating massive cathedrals

that could house throngs of worshippers without sacrificing visual excellence. As the name

implies, the Romanesque order adopted many of the structural standards established by the

Romans to convey stability, fortitude, and elegance in their cathedrals. This notion is made clear

through the Cathedral of St. James with characteristics that couple Classical Roman conventions

with technical innovations that allowed for the reception of large crowds. The floor plan of the

cathedral revolves around an extensive longitudinal hall that resembles a Latin cross. Such

design is reminiscent of the Roman basilica, however, Romanesque designers implemented

additional aisles and a broader transept to aid in the pilgrim’s unrestricted movement. The

modular floor plan caused Romanesque churches to appear compartmentalized and to use

divided spaces such as with the radiating chapels that housed relics or served as private

devotional chapels for the clergy. The legacy of Roman architecture is unequivocally derived

from the invention of arches that supported massive loads and provided rigidity. As such, Roman

arches are ubiquitous throughout the sanctuary of Santiago de Compostela. The arches that

define the naves of this cathedral are well modulated and exhibit symmetry with repeating

shapes. Moreover, the prominent size of the arches allows for a great degree of geometric

proportionality with regard to the immense weight that they have to bear. An additional

structural innovation that Romanesque architects employed was the use of the groin vault, an

improvement on the Roman barrel vault of earlier centuries. These vaults were composed of

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masonry and consisted of two separate barrel vaults that intersected at a right angle. Unique to

the Cathedral of St. James, the groined vaults are further bolstered by the addition of transverse

arched ribs that allow for the abutment of the thick, heavy walls and massive columns. On the

ground level of the sanctuary there is a large arcade comprised of bulky piers that serve to

support the aforementioned vaults. This section is embellished by the addition of a second level

of smaller, paired arches and columns. This intermediary layer is in turn crowned by an ultimate

series of proportionally smaller columns and arches. This terraced arrangement of forms creates

a rational diminution of structural elements that corresponds to the reduction of the building’s

mass as one looks from floor to ceiling. One of the most notable characteristics of the

Romanesque cathedral is the dark, somber mood of the space that results from the sparing use of

windows in the supporting walls. Large glass windows were thought to compromise the

structural integrity of the building and as such, the entrance of ambient light was severely

restricted. Interestingly, the creation of such a bleak interior ascribed to the solemn nature of

both monks and pilgrims whose journeys were often centered upon showing reverence for the

sacrifice of Jesus Christ. Throughout the early twelfth century, the cathedral was conceived

primarily from a clerical desire to allow the congregation to show reverence for Christianity’s

holiest figures. As is apparent from the conventions and styles employed throughout this

marvelous structure, the Cathedral of St. James ascribes to the notion that the Romanesque order

was concerned primarily for the functional purposes of religious devotion rather than achieving

any sort of aesthetic splendor.

Despite originating from a similar clerical desire to promote pilgrimage, the Gothic

Chatres Cathedral is a structure that reflects the urban culture of medieval Western European

society with soaring features and undeniably impressive ornateness. Like the Romanesque, the

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Gothic order was concerned with facilitating the movement of large groups of devout Christians

throughout cathedrals that were considered sanctimonious by the clergy. With the emergence of

urban centers in the late twelfth century, medieval society developed a profound appreciation for

both intellectual achievement and cultural splendor. As such, Gothic architects coupled far

greater degrees of artistic freedom with technical innovation on the conventions of earlier

periods to produce extravagant sanctuaries. Gothic cathedrals are predominantly characterized by

their sheer verticality, as achieved by the extensive columns that supported a repeated façade

adorned with intricate designs. Upon examination of the exterior of the Chartres Cathedral, one

cannot help but to marvel at the towers that pierce the sky and loom over the city. Such imposing

towers represent the Gothic artist’s desire to create towers that would communicate the

cathedral’s holiness by seemingly reaching toward the heavens. The floor plan of the interior of

the Chartres Cathedral displays typical elements of a Christian basilica with a cross-shaped

design that is formed by the intersection of a longitudinal nave by a short transept. Flanking the

central cross is an ambulatory, three main aisles, and five radiating chapels. Despite a floor plan

reminiscent of the Roman (and consequently, the Romanesque) order, the Gothic cathedral

differentiates itself with heavy emphasis on dematerialization. While the enclosure of the interior

space is achieved through solid masonry, the upper levels of the towers exhibit a skeletal frame

consisting of diagonal ribbed vaults, and octagonal domes that replaced the rounded domes of

the Romanesque. In effect, the Gothic cathedral achieves both structural lightness and repetitive

rhythm. This delicate open space was made viable through the multiple innovations that afforded

Gothic architects a significantly greater flexibility of design. The first of such innovations was

the ribbed groin vault that combined three separate arches with right angles and was fortified by

ribs. Such vaults provided great strength and support by efficiently distributing the weight of the

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ceiling structure to the surrounding columns and piers. Another prominent innovation was the

pointed arch which, compared to the Roman rounded arch, provided more support by distributing

structural weight more equally among the surrounding walls. Moreover, the sharp climax of the

pointed arch was consistent with the vertical nature of the Gothic order. While the barrel vault of

earlier styles had to be met with thick walls or columns in order to be supported, Gothic

architects developed flying buttresses to ensure that the overall structure maintained relative

lightness. Such buttresses consisted of arches that jutted from the walls of the side aisle and

reinforce the nave walls from the exterior. This particular innovation had massive implications

on the overall appearance of the cathedral as the achievement of structural integrity without the

need for thick walls allowed for the implementation of large stained glass windows. Such awe-

inspiring glass panels not only served to communicate the Christian doctrine through illustration

of Biblical scenes, but also admitted more light in the interior. To a pilgrim, rays of sunshine

coming down from such lofty altitudes echoed the divine light of Christ. As such, the Gothic

cathedral became an even more fitting symbol of divine majesty. Although Chartres Cathedral

served a functional purpose to provide sanctuary for hordes of Christians, the stylistic

conventions employed throughout this breathtaking structure reflect increased attention to

creative opulence.

Throughout the medieval period, cathedrals were the most significant institutions in

Western European society, as they represented not only the profound influence of Christianity

but also the power of the ruling elite. Such structures allowed for the widespread pilgrimage of a

Christian congregation that was more populous and as religiously fervent as ever while

embodying the cultural values of the specific regions that they were located. Though united

through the common purpose of supporting reverential practices by devout followers,

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Romanesque and Gothic cathedrals differed significantly with regard to artistic expression and

stylistic conventions. Such stylistic divergences are made evident through analysis of the

Romanesque Cathedral of St. James at Santiago de Compostela and the Gothic Chartres

Cathedral. Whereas the Romanesque invoked modest and robust designs to accommodate

crowds, the Gothic aspired to meld structural soundness with sheer artistic grandeur. Despite the

unique qualities that distinguish these examples of the Romanesque and Gothic orders, both

cathedrals serve to communicate the extensive sociopolitical reform that ultimately shaped the

course of Western European artistic tradition.