Design and Construction in Romanques Architecture by C. Edson Armi

By C. Edson Armi

Edson Armi deals an unique interpretation of Romanesque structure through concentrating on constructions in northern Italy, Switzerland, southern France, and Catalonia, the areas the place Romanesque structure first seemed round a thousand advert. He integrates the research of medieval constitution with a data of building, ornament and articulation to figure out the origins of medieval structure and the excessive Romanesque sort. Armi's extensive examine finds new wisdom approximately layout judgements within the early center a long time.

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In northern France at the beginning of the eleventh century, masons almost invariably chose this solution to even the crown line of groin vaults (see “short-segmenting” in the next section). Southern European masons who built in the brick tradition normally did not use shortened groin segments to depress the diagonal groin lines to the lower height and narrower diameter of the surrounding arches. Instead, they preferred to keep the groin lines relatively steep and straight, flatten the top of the vault, and elevate the peak of the webs on the sides, where they rested on the adjacent arches (see Figs.

The cross section of the ruined tribunes in the south aisle of NotreDame at Jumièges exposes a similar shift in construction from a corbeled base to a true vault. At about 25 percent of the height of the vault, the horizontal courses at the base of the vault abruptly change to radially laid stones (Fig. 22a). Although northern builders shared the The Pointed Arch and Groin Vault in Northern Italy 22. Jumièges, Notre-Dame, nave, southern aisle, tribune, groin vault; cross section showing coursed stones in corbel, (a) radially laid stones in true vault, and (b) semicircular webs.

Auxerre, Saint-Étienne, interior, crypt, ambulatory, groin vault; (a) wide formeret stones at the base of the true vault. At the beginning of the eleventh century, northern French masons also preferred to interrupt horizontally interior walls, vaults, and arcades. In contrast, in the choirs of northern Italian churches, like Sant’Ambrogio in Milan and San Giovanni at Piobesi Torinese, and in the nave of Catalan churches, like Saint-Martin-du-Canigou, Sant Llorenç de Morunys, and Sant Vicenç at Cardona (Figs.

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