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Updated: June 15, 2025
Again, what a difference between this solid and simple cimborio and the marvellous lantern of the cathedral at Burgos! Two ages, two generations, even two ideals, are represented in both; the earlier, the stronger, in Zamora; the later, the more aerial and elaborate, in Burgos. Another Romanesque characteristic is the approximate height of nave and aisles.
Western Normandy and Brittany Most people who have read Ruskin, and most people have done so in the past, will undoubtedly concur with his dictum that Rouen's "associated Norman cities," Bayeux, Caen, Coutances, St. Lo, Lisieux, and Dieppe, run the entire gamut of mediæval architectural notes; or, as Ruskin himself has put it, "from the Romanesque to the flamboyant."
At all events the primitive Gothic influences were early at work and in a measure absorbed the Romanesque tendencies which had flourished previously. The most notable exception, an example of the distinctly southern type, is at Besançon, which has a remarkable array of contrasting style, with the Romanesque, though not of the best, predominating.
Then, when they crossed over, before the great entrance portal, under the triforium of the organ, they had a feeling of deliverance as they raised their eyes towards the high, Gothic windows of the nave, which shot up so gracefully above the heavy Romanesque coursed work. But they continued by the southern side-aisle, and the feeling of suffocation returned again.
One sees from without, at a glance, the peculiarity of the church the disparity between the romanesque nave, which is small and of the twelfth century, and the immense and splendid transepts and choir, of a period a hundred years later.
But prior to either were the Byzantine and Romanesque sculptures in Italy and Southern France. Our attention must first be turned to them. Charles Eliot Norton's definition of this word Romanesque is as satisfactory as any that could be instanced: "It very nearly corresponds to the term of Romance as applied to language.
Some bases and capitals of the triforium date from the twelfth century, but the heavy Romanesque capitals of the eleventh century nave are restorations, and the beautiful early Gothic choir has also been much modified at various epochs. Unhappily, they are seen with difficulty, and a bright, sunny day is necessary to appreciate the masterly art, the noble and reverent spirit that animates them.
"I wonder if this town's going on building up things and rolling over them, as poor father once said it was rolling over his poor old heart. It looks like it: here's the Amberson Mansion again, only it's Georgian instead of nondescript Romanesque; but it's just the same Amberson Mansion that my father built long before you were born.
The west façade before us, completed about 1140 by Abbot Suger, is of profound interest, for here we may behold the round Romanesque arch side by side with the Pointed, and the very first grip of the new Gothic on the heavy Norman architecture it was about to overthrow. The sculptures on the W. portals, however, almost wholly and clumsily renewed, need not detain us long.
It is only on looking closer that the real date is seen, for the figures on the capitals, which are carved with scenes such as the beheading of St. John the Baptist, are all dressed in the fashion that prevailed under Dom Diniz about 1300 while the foliage on others, though still romanesque in arrangement, is much later in detail.
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