lipprose Werner Nolte über mittelalterliche Architektur und Geschichte
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An alternation of supports

Walking through the central naves of Romanesque basilicas, the visitor is accompanied on the right and left by arcades, the arches of which are supported by either columns or pillars.
Especially in buildings with wooden ceilings, attentive observers will sometimes notice discrepancies. Instead of two rows of identical pillars, pillars and columns alternate on each side, either in a strict rhythm, or two columns can follow one pillar. In the first case, experts speak of a Rhenish, in the second of a (Lower-)Saxon "Stützenwechsel" ("alternation of supports").
Godeh.04 0693.modAP.resol
St. Godehard Hildesheim, Saxon "Stützenwechsel"
The reasons for these appear to be varied.
Geography might be a primary explanation, yet both the construction of St Cyriacus in Gernrode, built in the late tenth century (an important structure for the period), as well as the twelfth-century Basilica of Sts George and Pancrace in Hecklingen, also in the former territory of the Ottonian Saxons, feature a single, that is Rhenish alternation of supports.
Basilica of Sts. George and Pancrace, Hecklingen
This appears to be logical in case of structures with bound systems. The pillars mark the corners of the bays in the central nave, of which the squares, beginning with the transept square, determine the entire floor plan. The weaker columns between the pillars support the half-sized aisle bays.
Numerology has also been mentioned as a reason: with the Saxon "Stützenwechsel", the total of four pillars may allude to the Evangelists and the twelve columns on Christ's disciples or the tribes of Israel.
Translation: Erik Eising (M.A.)

A forest of columns in Monte Amiata

Already in the sixth century, the warlike Germanic people of the Lombards had conquered a part of Byzantine Italy and had the opportunity to develop their own architectural style based on antique and Byzantine examples.
  In an eighth-century crypt, sheltered by the 300-years-younger church of the Monastery of San Salvatore, early medieval stonemasonry and modern lighting technology have come together and created a magical space.
Although not comparable, I cannot help but think of the forest of columns of the mosque in Córdoba.
  Here, Lombard artists created 36 monolithic columns with richly varied sculpted capitals. They carry a brick groin vault. During its twentieth-century restauration, twelve columns were newly created.
  Translation: Erik Eising (M.A.)

Lion gates

In the Middle Ages, the lion was a powerful symbol.
It stood for power and strength, as well as for a royal attitude. Lions adorned flags and coats of arms, and somtimes word and symbol were merged into the name of a powerful aristocrat.
Take for example Henry the Lion, Duke of Saxony (1130?-1195) or the English king Richard the Lionheart (1157-1199).
The Church appreciated lions as well. Numerous medieval bronze doors  are adorned with lion heads as defensive and protective symbols.
Still more imposing are lion gates, which can especially be found in Italy. Only occasionally did they find their way to other countries.
Stiftskirche San Quirico OrciaCollegiate  Church of San Quirico d'Orcia, Southern Tuscany
kaiserdom koenigslutter
Imperial Cathedral in Königslutter
Usually, two lions with opened mouths face each other. Their backs support columns or human figures carrying an ecclesiastic structure.
This symbolizes that the powerful have to submit to the Church.
A different variant (e.g. found in Matera Cathedral) shows the lions holding human figures beween their paws. This underlines danger, yet nevertheless implies that these too have to serve the Church.
Translation Erik Eising (M.A.)



Thousands of years before the Christian era, the builders of ancient high cultures started to write architectural history with this type of stone, initially dried in the sun, later burned.



The Romans introduced these bricks in Germania. However, apart from a few isolated cases (=> see the Einhard-Basilika in Michelstadt-Steinbach)), the art of brick and tile production died out with the Romans' departure during the fifth century.

Only the ingenious Bishop Bernward of Hildesheim, around the turn of the millennium, had roof tiles burned on a larger scale.

The twelfth century saw the beginning of the high period of the inconspicuous bricks in Northern Europe, around the Baltic Sea. Initially, structures were built in Romanesque style, but only for a short period (see Jerichow Monastery). Then, over the course of three centuries, the master builders created a unique type of architecture - Brick Gothic.

      Stralsd 2012 0833 modHP(3)   Rathaus Stralsund


 Münster Doberan


With millions and millions of these inconspicuous clay artificial stones, both profane and ecclesiastic masterpieces were created. It is estimated that 4.5 million bricks and tiles were used for the Marienburg of the Crusaders in former East Prussia alone.

  Bürgerhaus Greifswald


Many of the buildings were lavishly decorated with glazes and an abundance of friezes, tracery and terracotta reliefs, mainly as a result of the demands of the urban patriciate.





 Translation: Erik Eising (MA)

Proud about Wood

The Norwegians are rightfully proud about their wooden buildings, particularly their medieval wooden churches - the stave churches.
                        Stave Church borgund
Due to the properties of the building material, it is astonishing that around thirty examples of these churches have survived. They testify to the great skill of the ancient carpenters, as well as to their sense of aesthetics, which incorporates elements from Nordic mythology and legend.
1 2167.modAP.bloh
In museums, we can admire the relics of other wooden structures - the Viking ships. Their bows are decorated with dragon heads, similar to those that can today still be found adorning the stave churches.
These boats were elegant and sleek, but, from the ninth century on, their appearance on rivers and along the coasts of Europe spread fear and horror. In this regard, the Vikings resembled the Hungarians, who during this same period devastated Central and Western Europe on small, undemanding horses.
Translation: Erik Eising

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