Course Content
Technical Support
1-800-234-5832
M–Th: 8:00A.M.–Midnight EST
F: 8:00A.M.–10:00P.M. EST
Lesson Plans
Art History ©1999
by Marilyn Stokstad
Focus Lesson 9
Chapter 15: "Romanesque Art"
AP* Course Description
- Ancient Through Medieval
- Romanesque
Key Components
- Instructor's Resource Manual with Tests, Vol. I: pp. 47–49, 73–74, 172–178, 225–228
- Study Guide, Vol. I: pp. 118–125
Key Web Sites
Check the Online Companion Web site for updated information and links to other sites.
Key Words and Terms
- groin vaults
- quadrant vaulting
- tympanum
- animal style
- undercutting
- glazing
- donjon
- stringcourse
- niello
- baldachin
- sanctuary
- compound pier
- archivolt
- trumeau
- pseudo-kufic
- bailey
- moat
- embroidery
- aquamanile
- choir
- lantern
- voussoirs
- Corinthian capital
- cloths of honor
- keep
- chevron
- tomb effigy
- campanile
Suggested Pacing
One and a half to two weeks is usual for the study of Romanesque art, with the focus on major cathedrals.
Test Strategy
The history behind the making of the Bayeux Tapestry, actually a work of embroidery, allows students to review issues of patronage. A major document of the Norman invasion, this brilliant art object can frequently be used as an example in long essay responses on the AP* exam. Understanding the story of the tapestry, and identifying major episodes from it, can be useful facts for students to know.
Key Concepts
- Elements of Romanesque architecture
The Romanesque style and how it differs from Classical architecture and Gothic architecture, which students will learn about in the next chapter, is the single most important concept that students should remember from this period. The text provides excellent and concise explanations on pp. 511–513 and p. 517. Students should be adding to their notes on the characteristics of different styles of architecture. - Deciphering Christian symbolism
New images of Christian iconography appear in Romanesque art. Gislebertus's Last Judgement, from Autun (p. 520) is a good example of the evolving body of Christian symbolism. - Regional differences
The stylistic differences between cathedrals in France and in Italy need to be understood and recognized by students. This regionalization will become even more pronounced during the Gothic period, as students will see in the next chapter. Students should add the characteristics of different cathedral styles to their notes on architectural innovations.
Summing Up Student Understanding
Ask students to write an interpretation of the sculpture from a tympanum of one of the major Romanesque cathedrals. The Priory Church of Saint-Pierre at Moissac (p. 518) and the Cathedral of Saint-Lazare at Autun (p. 520) are the two best examples from the text, although you may wish to use slides to set up the assignment. Students should answer all of the following questions in their essay:
- Who are the figures in the scene?
- What is taking place in the scene?
- What is the overall message of the tympanum?
- What effect would it have had on the worshippers entering the cathedral in the Middle Ages?
- How does the artist use the varying of sizes of the figures to convey the meaning?
- How does the artist use registers to allow the viewer to read the scene?
- How does this compare with previous artistic traditions? (It is very similar to images in the ancient Near East.)
- How does the tympanum fit into the overall program of sculptural ornamentation on and inside the cathedral?
- Does the entire artistic program have a specific message?
As an alternate project, ask students to do research about the Bayeux Tapestry (pp. 534–535), choose two scenes, and write a description of each. Students should relate each scene to historical accounts of the Norman invasion and answer the following questions about each scene:
- What pictorial devices did the embroiderers use to tell their story?
- How are words and images combined?
Students who have studied Latin might find this to be a challenging project.