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artist: Godoman,
name: Benedictional of St. Ethelwold: The Three Marys at the Tomb,
type: Anglo-Saxon,
when: ca. 980. [S 171]
illuminated manuscript featuring intricate ornamentation and religious iconography
artist: Maius,
name: Morgan Beatus: Woman Clothed with the Sun escaping from the dragon,
type: Mozarabic,
when: ca. 940-45.
images showed what was in text, must have helped kids learn
depicts scenes from Revelations 12, in which the woman represents the Virgin Mary escaping from the seven headed dragon, which is represented by the devil or Satan.
artist: Liber Vitae of New Minster:
name: Heaven and Hell,
type: Anglo Saxon,
when: ca. 1020. [S 173]
Devotional Manuscript – Created for religious use, emphasizing Christian beliefs.
artist: Silos Beatus:
name: Hell,
type: Spanish Romanesque,
when: text finished in 1091, illustrations added 1109.
showcases a vision of torment and punishment, with demons torturing sinners, and is a powerful visual representation of the Christian concept of the afterlife, particularly the consequences of sin
name: Liber Vitae of New Minster: Patrons of the minster,
type: Anglo Saxon,
when: ca. 1020. [S 174]
book that records visitors to the New Minster and features a contemporary image of King Cnut the Great and his wife Ælfgifu, along with other information and a list of monks.
where: Bayeux Tapestry:
name: "Harold swore a sacred oath to the Duke William,"
type: Norman Romanesque,
when: ca. 1070. [S 191]
Harold's supposed promise to support William's claim to the English throne after King Edward the Confessor's death, a promise Harold later allegedly broke.
where: Àvila,
name: Curtain Wall,
type: Romanesque secular architecture,
when: late 11th-12th cs. [S 193]
Defensive walls built to protect the city from invaders.
where: Church of Saint Genis-des-Fontaines:
name: Christ and the Apostles,
type: Lombard-Catalan,
when: 1020-21.
One of the earliest known Romanesque monumental sculptures in France.
name: Rainier of Huy, Baptismal Font,
type: Romanesque: Athens of the North,
1107-1118. [S 195]
way to make it was very specifc, very interacte and detailed process
being skilled at the time meant u could follow detailed steps well
only freedom was the decoration
name: Stavelot Triptych: Reliquary of the True Cross,
type: Romanesque: Athens of the North,
when: 1155. [Petzold(=P) (page) 65]
Romanesque reliquary containing relics believed to be pieces of the True Cross
where: Rome, Church of San Clemente:
name: nave with choir and Cosmatesque pavement,
type: Italian Romanesque,
when: rebuilt after 1084. [S 197]
Rebuilt after Norman sack of Rome in 1084.
where: Rome, Church of San Clemente:
name: Cross as the Tree of Life,
type: Italian Romanesque,
when: 12th c. [S 198]
the victory of Christ's sacrifice over death, offering eternal life and salvation to humanity.
where: Florence,
name: San Miniato al Monte,
type: Italian Romanesque,
when: 1062-1150. [S199]
influencing later Florentine churches.
where: Pisa,
name: Baptistry,
type: Italian Romanesque,
when: 1153. [S 199]
Largest baptistry in Italy, part of Pisa’s famous cathedral complex, alongside the Leaning Tower.
artist: Lanfranco,
name: Modena Cathedral: west façade,
type: Italian Romanesque,
when: ca. 1099-1120. [S 200]
blending classical and medieval sculptural traditions
artsit: Wiligelmo,
name: Relief sculpture from the west façade of Modena Cathedral: Cain and Lamech with Noah,
type: Italian Romanesque,
when: ca. 1100. [S 200]
blending classical influences with expressive Romanesque style
artist: Wiligelmo,
name: Relief sculpture from the west façade of Modena Cathedral: Adam and Eve laboring,
type: Italian Romanesque,
when: ca. 1100. [P 99]
Adam and Eve expelled from Eden, shown working as punishment for sin.
emphasizing human suffering and divine justice.
name: Apse mural painting from Church of S. Clemente in Tahull: Christ in Glory,
type: Catalan Romanesque,
when: 1123. [S 203]
Byzantine influence—bold outlines, flat colors, and expressive gestures
name: Puerta de las Platerías, south transept, Cathedral of Santiago de Compostela,
type: Romanesque Pilgrimage Style,
when: early 12th c. [S 207]
important stop on the Camino de Santiago pilgrimage route
Elaborate relief sculptures depicting biblical scenes, including Christ’s Passion
artist: Bernard Gelduin,
where: Church of St. Sernin,
name: Toulouse: Christ in Glory,
where: Romanesque Pilgrimage Style,
when: ca. 1096. [S 207]
emphasizing Christ’s divine majesty and reflecting the pilgrimage culture of the time.
Christ in mandorla (almond-shaped halo), holding a book, surrounded by symbolic figures of the Evangelists.
where: Church of St. Sernin,
name: Toulouse: Miègeville Door,
type: Romanesque Pilgrimage Style,
when: ca. 1110-15. [S 208]
Christ in Majesty, surrounded by angels and apostles, with detailed high-relief carvings
expressive gestures, showing movement and emotion.
reflecting the importance of pilgrimage art on the Camino de Santiago.
where: Ste. Foy,
name: Conques: Tympanum of the Last Judgment,
type: Romanesque Pilgrimage Style,
when: ca. 1125-35. [P 74]
Christ as Judge, dividing saved souls (left) and damned souls (right) with vivid imagery of Heaven and Hell.
emphasizing drama and moral lessons.
name: Autun Cathedral (nave),
type: Burgundian Romanesque,
when: ca. 1125-50. [P 103]
Pointed barrel vault with transverse ribs, pointed arches, and clerestory windows.
where: Gislebertus, Autun Cathedral:
name: Tympanum of the Last Judgment (west porch),
type: Burgundian Romanesque,
when: ca. 1140. [S 211]
Christ in Majesty, with the saved on the left and the damned on the right, emphasizing the horrors of Hell.
elongated, dramatic figures that evoke fear and awe.
where: Gislebertus, Autun Cathedral:
name: Suicide of Judas (nave capital),
type: Burgundian Romanesque,
when: ca. 1125. [S 211]
Judas hanging from a tree, with demons pulling his soul from his body.
A dramatic, expressive depiction of sin and punishment, reinforcing medieval moral and religious teachings.
name: Gislebertus, Autun Cathedral: Eve (lintel of the north portal),
type: Burgundian Romanesque,
when: ca. 1130. [P 125]
A dramatic, expressive depiction of sin and punishment, reinforcing medieval moral and religious teachings.
name: Church of the Madeleine, Vézelay (nave),
type: Burgundian Romanesque,
when: ca. 1120-32. [S 212]
major pilgrimage church, associated with the Crusade
name: Vézelay: central tympanum with Pentecost and Christ's Mission to the Apostles (Church of the Madeleine, narthex),
type: Burgundian Romanesque,
when: ca. 1130-39. [S 214]
Christ in Majesty at the center, sending the Holy Spirit to the apostles, surrounded by various peoples symbolizing the spread of Christianity.
Dynamic drapery and elongated figures, creating a sense of movement and energy.
Emphasizes the church’s role in the Crusades, linking it to the mission of spreading Christianity worldwide
name: Berze-la-Ville: Christ in Majesty (mural in the chapel apse),
type: Burgundian Romanesque,
when: early 12th c. [S 215]
Christ in Majesty within a mandorla, surrounded by angels and apostles
name: Moissac: Abbot Durandus (cloister pier),
type: Burgundian influenced Romanesque,
when: ca. 1100. [S 216]
highlighting the importance of monastic leaders in medieval society
where: Church of St. Peter,
name: Moissac: Tympanum of the Apocalyptic Vision (south portal),
type: Burgundian influenced Romanesque,
when: ca. 1125-30. [S 217]
Christ in Majesty, surrounded by the Four Evangelist Symbols and the 24 Elders of the Apocalypse.
where: Church of St. Peter,
name: Moissac: Trumeau of the Prophet and Lions (south portal),
type: Burgundian influenced Romanesque,
when: ca. 1125-30. [S 217]
symbolizing divine authority and prophecy.
wisting prophet figure (likely Jeremiah or Isaiah) flanked by lions with intricate detailing
where: Church of St. Peter,
name: Moissac: Lazarus and Dives (left side of the porch),
type: Burgundian influenced Romanesque,
when: ca. 1130. [P 73]
Lazarus suffering while Dives feasts, then their roles reversing in the afterlife
detailed narrative panels, emphasizing contrast between luxury and suffering
moralizing biblical scene reinforcing medieval ideas of divine justice and the consequences of wealth and greed
where: Abbey Church of Souillac:
name: Legend of Theophilus,
type: Aquitanian Romanesque,
when: ca. 1150. [P 128]
Depicts the Legend of Theophilus, a cleric who makes a pact with the Devil and is later saved by the Virgin Mary.
One of the earliest depictions of Marian intervention, reinforcing medieval beliefs in redemption through Mary
where: Abbey Church of Souillac:
name: Figure of Isaiah,
type: Aquitanian Romanesque,
when: ca. 1140-50. [P 160]
Prophet Isaiah, depicted in a twisting, dynamic pose, holding a scroll
emphasizing Isaiah’s role as a visionary prophet foretelling Christ’s coming.
artist: Poitiers
name: Notre-Dame-la-Grande: west façade,
type: Aquitanian Romanesque,
when: ca. 1174. [S 222]
integrating Romanesque and early Gothic elements
name: Fontenay (nave),
type: Cistercian Romanesque,
when: ca. 1130-47. [S 219]
Minimalist and austere, reflecting Cistercian ideals of simplicity and spirituality
name: Tree of Jesse,
type: Cistercian Romanesque,
when: ca. 1130. [S 220, P 130]
Illustrates Christ’s royal lineage, reinforcing monastic devotion and the importance of scriptural ancestry in medieval theology
Vine-like ornament linking Old Testament figures to the Virgin and Child at the center
genealogy of Christ as branching from Jesse, father of King David
where: Moralia in Job of Gregory the Great:
name: Initial 'I,'
type: Cistercian Romanesque,
when: 1111. [P 111]
The decorated initial ‘I’ contains figures climbing a tree, symbolizing spiritual struggle and ascent
Cistercian ideals of simplicity, focusing on spiritual meaning over decoration
where: Abbey Church of Fontevrault (nave),
type: Aquitanian Romanesque,
when: ca. 1125. [S 221]
Large barrel vaults, tall cylindrical piers, and pointed transverse arches
where: Abbey Church of St. Savin-sur-Gartempe (nave with vault painting),
type: Aquitanian Romanesque,
when: ca. 1100-15. [S 222]
demonstrating the importance of visual storytelling in medieval religious spaces
where: Abbey Church of St. Savin-sur-Gartempe:
name: Torture of Patron Saints Savinus and Cyprian (painting in the crypt),
type: Aquitanian Romanesque,
when: ca. 1100. [P 61]
Depicts the martyrdom of St. Savinus and St. Cyprian, showing graphic scenes of torture
emphasizing devotional themes and saintly suffering.
where: Caen,
name: Abbey Church of St. Étienne: west façade,
type: Norman Romanesque,
when: ca. 1064-87. [S 223]
set the standard for Norman Romanesque churches, influencing later Gothic cathedral façades
name: Caen, Abbey Church of St. Étienne (nave),
type: Norman Romanesque,
when: ca. 1120. [S 223]
One of the first major churches to use rib vaulting
name: Cathedral of Durham (nave),
type: Norman Romanesque,
when: ca. 1093-1133. [S 224]
major use of ribbed vaulting over a large span, creating a strong and rhythmic interior
name: Gloucester Candlestick,
type: Norman Romanesque,
when: ca. 1104-13. [S 225]
Twisting foliage, fantastical creatures, and interwoven figures, symbolizing the battle of good vs. evil.
artist: Master Hugo, Bury Bible:
name: Vision of Ezekiel,
type: English Romanesque,
when: ca. 1135. [P 12]
Christ in Majesty within a mandorla, surrounded by the Four Evangelist Symbols (Tetramorph)
artist: The Cloisters Cross (of Bury):
name: Synagogue spearing the Lamb of God,
type: English Romanesque,
when: ca. 1130. [P 158]
The personification of Synagogue, shown blindfolded while spearing the Lamb of God, symbolizing Judaism’s rejection of Christ
Deeply carved, expressive figures with intricate drapery and dramatic gestures
artist:Alexis Master,
location:Psalter of Christina of Markyate:
name:Mary Magdalene announcing the Resurrection to the apostles,
type:English Romanesque,
when: ca. 1120-30. [P 32]
Mary Magdalene gesturing toward the apostles, who appear hesitant or surprised
Highlights Mary Magdalene’s role as the “Apostle to the Apostles”, reinforcing themes of faith and revelation in medieval Christianity.
name: Stave Church Portal and Wall Planks,
location: Urnes,
when: ca. 1060. [S 170]
Intricate interlacing animal designs (Urnes style), with serpentine and dragon-like creatures.
