Romanesque Art in Southern Manche: Album - LightNovelsOnl.com
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137. Genets. The church plan. Regularly oriented from west to east, the building is formed by a wide nave, a transept and a three-row choir with a flat apse. The whole building has an external length of 53.7 meters. The external width of the nave is 10.8 meters (width of the front). The first row of the choir opens north and south on two flat apse chapels, that open themselves on the transept arms. Plan by Marie Lebert.
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138. Genets. The north wall. The tower is Romanesque for two-thirds of its height. Its upper part was built in the early 16th century. The nave was completely rebuilt in the mid-18th century. Photo by Alain Dermigny. [Alain-072]
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139. Genets. The Romanesque transept, with its north part and its gable wall. The masonry is made from irregular blocks of schist and granite.
The schist is the local stone. The granite probably came from the granite ground of Avranches a few miles south-east. The gable wall is opened by a large semi-circular bay. Photo by Alain Dermigny.
[Alain-073]
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140. Genets. The tower is situated at the transept crossing, with two floors. It is Romanesque to two-thirds of his height, with blocks of granite of medium size, while the top is from the early 16th century, with much larger blocks of granite. The lower floor is blind. The upper floor is open to the north, south and west by walled-up Romanesque twin bays, that were extended by Gothic trefoil bays added in the early 16th century. Photo by Alain Dermigny. [Alain-074]
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141. Genets. The tower is topped by a saddleback roof, the base of which is hidden north and south by a bal.u.s.trade with an openwork design. Its corners are adorned with Gothic gargoyles shaped as dogs, wolves and imaginary animals. Photo by Alain Dermigny. [Alain-075]
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142. Genets. A Gothic gargoyle at another angle of the bal.u.s.trade hiding the base of the saddleback roof of the tower. Photo by Claude Rayon. [Claude-41]
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143. Genets. A Gothic gargoyle at another angle of the bal.u.s.trade hiding the base of the saddleback roof of the tower. Photo by Alain Dermigny. [Alain-076]
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144. Genets. The gate in the south transept. This heavy and simple gate is from 11th century, with semi-circular plain grains and thick columns. It probably belonged to the building that was prior to the Romanesque church consecrated in 1157. The semi-circular arch is formed of two thick non-molded grains. The external grain rests on two thick attached columns topped by a square chamfered abacus, which goes on as a chamfered band on the wall. The capital basket is carved with barely visible angle hooks. The outside ground level is now at the same level as the start of the column trunk. The square base is topped by a double torus is below ground level. Photo by Alain Dermigny. [Alain-077]
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145. Genets. Sketch of the gate in the south transept. Sketch by Marie Lebert.
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146. Genets. The Romanesque transept crossing is bounded by four strong square piers. The two west piers are attached to the transept and the nave. They receive four thick triangular arches that surround the groin vault above the transept crossing. The first row of the choir opens north and south on two flat apse chapels, that open themselves on the transept arms. Photo by Alain Dermigny. [Alain-078]
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147. Genets. The Romanesque transept crossing. The piers support four thick slightly triangular arches that surround the groin vault above the transept crossing. Photo by Alain Dermigny. [Alain-079]
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148. Genets. The Romanesque transept crossing. The four piers are perfectly symmetrical, with two flat non-molded sides and two other sides with two attached twin columns on a backwall, that support the triangular arches. On one angle of each pillar, an attached column supports the spring of one arris of the vault. Each pillar is topped by a large impost molded with a chamfered band. Photo by Claude Rayon.
[Claude-46]
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149. Genets. The Romanesque transept crossing. One of the tower piers.
Two sides have a flat non-molded surface. On the other two sides, the arches are received by two attached twin columns on a backwall. In one corner, an attached column receives the spring of one arris of the vault. The carved basket capitals are topped by a thick square abacus.
The square bases are topped by a double torus. The pier itself rests on a broader square base. The other three pillars are perfectly symmetrical to this one. Photo by Claude Rayon. [Claude-45]
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150. Genets. Sketch of the south-east pier in the transept crossing.
This pier is topped by an impost molded with a chamfered band. East and south, the pier has a flat non-molded surface. North and west, the arches are received by two attached twin columns on a backwall. At the north-west angle, an attached column receives the spring of one arris of the vault. The carved capital baskets are topped by a thick square abacus. The pier itself rests on a broader square base. Sketch by Marie Lebert.
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151. Genets. Detail of the north-west pier in the transept crossing.
The capital baskets, carved in low relief, are adorned with plant designs such as chestnut leaves, oak leaves with acorns, and vine leaves. Other baskets are carved with grapes, animal designs--such as hares running around--or geometric designs--such as small arches and prominent bands. Photo by Alain Dermigny. [Alain-080]
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