The Long Way Around

Romanesque art is a coalescence of artistic traditions ranging from Ancient Rome to the Insular art of pagan Europe. The continued lack of political and social unity in Western Europe is clearly expressed in the period’s diverse artistic styles. This artistic diversity often results in conflicting designs such as the contrast in interior decoration between Sant Vincenc cathedral and the late Abbey Church of Cluny who communicate different themes as a result of their unique artistic approaches. Nonetheless, their does exist some core, artistic aspirations of the Christian artistic tradition that remain relatively constant during multiple periods. Both the interior of Sant Vincenc and the “glittering immaterial screens” of Byzantine and Early Christian mosaics aspire to create a solemn environment conducive to spiritual transcendence, albeit by different means and to varying degrees of success.

The allusion of a “glittering immaterial screen”, prevalent in Early Christian and Byzantine mosaics, acts as a mental portal, transporting worshippers from “physical to spiritual realms”. The combination of abstract depictions of the human form and emotion in mosaics like The Crucifixion, result in paradoxical impressions of both humanism and celestial superiority, making the images emotionally accessible yet spiritually superior. 

Although it is arguable that the absence of a obvious overarching style or canon during the Romanesque is an indication that the essence of Romanesque art is in fact its lack their of, latent themes of monumentality, security and individualization nonetheless, pervade the period. Monumentality is clearly evident in the physical size and presence of Romanesque cathedrals such as Pisa and Saint-Sernin. The increase in grand cathedral construction during the Romanesque period exposes Europe’s attempt to solidify its position as a new socioeconomic superpower worthy of challenging the Islamic empires of the Middle East. European society’s search for spiritual and physical security during the period is evident in not only the monumentality and resulting “defensive qualities” of Romanesque structures but also in the fear inspiring illustrations of illuminated manuscripts like the Mouth of Hell, whose depiction of tortured souls in the jaws of a mythical beast demonstrates the lingering insecurities of European society concerning its spiritual and political future. The individualization of Romanesque art is evident in the diversity of artistic motifs throughout Europe. An example of this diversity is the contrast in visual aesthetic between the sober and unembellished nave of San Vincenc and the extravagant and ornately decorated nave of Saint-Savin. The artistic opposition occurring even though both structures serve the same purpose, to facilitate Christian worship.

Similar to the contrast between some Romanesque structures, “the glittering immaterial screen” concept and San-Vincenc create different visual impressions. However, both artistic creations strive to fulfill their intended purpose of impressing upon Christians God’s eternal power and the spiritual transcendence required to surmount earthly temptations. Rather than a complete rejection of the “glittering immaterial screen” concept, San Vincenc represents an alternative, fulfilling the same purpose but by different means. Mosaics like the The Crucifixion use coruscating metals, loaded imagery and abstract representations of the human form to convey the central theme of spiritual transcendence. Their detail and explicit imagery enables the mosaics to transmit a relatively universal theme with little imagination or faith required on the part of the viewer. San Vincenc, on the other hand, responds to the challenge of conveying spiritual transcendence by requiring its worshippers to, in a sense, prove their faith by achieving spiritual transcendence without the customary visual aids common during the early middle ages. San Vincenc does, however, adopt Romanesque monumentality by using simple yet imposing stone structures and vertically integrating its piers and vaults. This combination of imposing structure and limited light creates a humbling environment conducive to personal introspection and traditional Christian worship reminiscent of the clandestine Christian ceremonies of Ancient Rome. Ironic, considering the grand structure itself a retrogression to the monumental structures of a civilization that, not only, crucified Christ but persecuted Christians all across its vast empire. Even with its imposing interior, San Vincenc requires a more devout believer to overcome the earthly in its simple, modest environment rather than the extravagant environments of later Romanesque cathedrals such as Durham and Cluny. The obvious differences in decoration exposes the clear contrast in approach between the “glittering” mosaics of Early Christian and Byzantine Art and the interior of San Vincenc. However, this contrast is not universal, their exist numerous examples of Romanesque interiors, such as the nave of Saint-Savin, that create an environment of spiritual transcendence by means of visual extravagance similar to the elaborate mosaics and interiors of earlier periods.