CAROLINGIAN DEVELOPMENT
Brief history of the area. The Franks were a Germanic people who invaded Roman-held Gaul (present-day France) in the 3rd and 5th centuries. They were converted to Christianity by about the 6th century. Their second ruling family was named the Carolingians. That family under the leadership of Pepin the Short took control in 751. Pepin's son was Charlemagne (742-814), who expanded the Frankish territories (western German area). He was crowned Emperor of the West by Pope Leo III, after conquering most of western Christendom. The papal connection was undoubtedly due to the religious interests of Charlemagne, among which were architectural ideas culminating in the designing of an "ideal" monastery, based on modular sizes. Actually, Charlemagne seemed to follow the near divine outlook espoused by Constantine. In the midst of construction of his Palace Chapel, 789 to be exact, he declared: "Under the everlasting reign of our Lord Jesus Christ, I, Charles, am by the grace of God and the gift of His mercy King and Ruler of the Frankish Empire and the devoted protector and humble helper of holy Christendom".
Charlemagne and his son Louis the Pious were patrons of learning and literacy throughout their empire. They fostered a cultural revival known as the Carolingian renaissance. Undoubtedly, Charlemagne viewed the accomplishments of law and order and cultural development of the Romans as models to emulate and became titular head of what future historians would call the Holy Roman Empire.
The kingdom was split into three parts, under the control of each of the three sons of Louis. The eastern part became Germany and remained in family hands until 911, with the western part eventually becoming present-day France; it remained in Carolingian control until 987.
German Romanesque churches were often planned on a large scale. Many of them are very high and have an apse or sanctuary at each end. Numerous round or octagonal towers create a picturesque silhouette.
AACHEN, GERMANY
The city today, site of Charlemagne's Palace and Chapel, in western Germany, is known as Aachen. When the area was under French control, it was known as Aix-la-Chapelle. Its history goes back at least to Stone Age times, when there was a flint stone mine nearby. Actually, a complete stone workshop has been excavated, dating back to about 2,900 B.C.E., making the site the oldest technical monument in Germany.
Hot springs in the area attracted whom else but the Romans. They were really into those mineral water spas - perhaps it's what kept their fighting spirit up - early versions of Gatorade.
A city of parks and open spaces (“platz” in Germany, “place” in France, “praka” in Greece, “plaza” in Spain, “piazza” in Italy – all seemingly sharing a similar root.).
A thriving commercial sector.
As in almost every Germany city – a pedestrian way, free of vehicular traffic.
Outdoor eating, drinking, snacking, typical of just about every European community, and the concept is picking up some converts in the United States.
Fruit and flowers prevail out of doors in all the warm months in Europe.
In the pedestrian way – an artist, sketching.
An interactive fountain. But what is most engrossing just before you get to the Charlemagne complex, is a grouping of sculptural pieces surrounding a fountain. Typical wry German humor, but so on the money (so to speak).
In Aachen there is this fountain (1977) by Karl-Henning Seemann, a German sculptor born in 1934, who has created public images throughout Germany. Titled: “circulation of money,” this fountain grouping is located in a park on the corner of Hart Street and Ursulinerstraße, in proximity to Charlemagne's Chapel. The following is a descriptive quote: “The six bronze figures on the edge of the fountain show how to handle money; the centrifugal movement of water is the steady flow of money.”
But a simple interpretation goes far beyond that benign description. This is public graft on the take, one behind-the-back handoff to another, around and around, beginning with a father showing his child a few coins, a child whose countenance bespeaks innocence of what is about to occur later in life. Then a grubby politician taking a few coins from a constituent (taxes?) and passing them behind his back to a crony. Unless, of course, the woman is taking the money from the politician's “stash,” in exchange for her vote.
Across the water, a looming money-grabber is seen begging for a piece of the pie. All in the eye of the beholder? You be the judge. Germany has quite a few symbolic sculptures on its urban landscape, infinitely more meaningful than pseudo-sophisticated gibberish found elsewhere.
Locals took over the ruined palace of Charlemagne in the early 14th century, and built a gothic town Hall on some of its foundations. The 17th and 18th centuries brought about Baroque “renovations” in keeping with the times. There had been a fire in 1656, and again in 1883. The building features 50 statues of German rulers on this, its north facade. Of those 50, 31 kaisers (kings) were crowned here in Aachen, in Charlemagne's Cathedral.
CHARLEMAGNE'S CHAPEL AND THE CATHEDRAL OF AACHEN
There were royal palaces scattered throughout the Frankish Empire. If you follow the news, you'll know that Saddam Hussein did the same thing in Iraq - for protection. One such Carolingian royal palace was already located in Aachen, and Charlemagne was determined to turn it into a permanent residence. The nearby hot springs were an inducement for settling here.
A view from the south, with the Chapel in the center, and to the right - originally the Anna Chapel - now a second sacristy. The building is in remarkably excellent condition, and is all that remains of the what was an extensive palatial complex. UNESCO declared the construction as a World Heritage Site in 1978, the first such designation in Germany.
Construction on the palace began in 785, and shortly after the Royal Chapel was begun between 790 and 800, and completed in 805. The palace is no more. As with his predecessors (Constantine onward), Charlemagne considered it his duty to express himself as defender of his faith, in an architectural way, by constructing this Chapel. Pope Leo III attended the consecration.
The Anna Chapel was completed in 1449. Everything surrounding the Royal Chapel is considerably younger by comparison. The outer roof of the octagonal upper structure was applied in the 17th century.
Here a model, located out of doors, near the entrance to the complex, will best explain the basic elements. The dome-like structure in the center is the Royal Chapel, built by Charlemagne. The rectangular mass in the lower right is the Nicholas chapel, built on the site of a Romanesque chapel in 1480, same dedication.
Immediately to the left of the Nicholas Chapel is the Chapel of Charles and Hubert, consecrated in 1474, and in which kings maintained vigil prior to coronation. The structure to the far left is the choir, added to the complex on the 600th anniversary of the death of Charlemagne in 1,414. Realize that just about 600 years ago was the 600th anniversary of Charlemagne's death, and his royal Chapel is a bit older! In fact, the 1200th anniversary was celebrated in the year 2,000.
Here a photograph taken from the north. The bridge connecting the Chapel with the tower is unusual. The upper part of the very tall tower on the extreme right was added between 1879 and 1884. Executed in the “Gothic” style, it is 243 feet (74 m.) high. At the time of its construction the original chapel was the largest dome north of the Alps. Aachen Cathedral was the site of the coronation of 30 German kings. Apparently some original masonry from Charlemagne's time remains intact in the lower level. Not certain what was here originally, but a tower was erected in the 14th century, destroyed by fire in the 17th, and constructed in its present form as stated above in the 19th century.
A view of that tower, and some of the original base. The entrance is through a long courtyard, the “Domhof,” in front of the tower.
One small mystery, however: the original model shows no cupola at the top of the original dome (see model below). The top of the cupola reaches a height of 101.5 feet (30.9 m.) All reference sources mention the cupola, but neither its date, nor its architect.
Later additions, but the gargoyles stand guard overhead.
Before we enter, a sketch of Charlemagne's Chapel with the tower to the left.
We enter into a sixteen-sided ambulatory, which actually has two stories to it. The sixteen sides merge into eight, resulting in the centralized octagonal chapel area.
The incredible mosaic tile work of the ceiling prepares us for the entrance into the central core. A groin vault, typical of the Romanesque. We shall enter under the striped arch visible on the extreme right of the illustration.
The design is very similar in plan to San Vitale in Ravenna, and sources state that its designer, Odo of Metz did derive the design from that structure. However, the 9th century historian Notker wrote that Charlemagne had the Palace Chapel built “propria dispositione,” i.e. in “accordance with his own conception.” While San Vitale was an octagon within an octagon (the outer “ring” was also an ambulatory), here in Aachen there are actually sixteen sides surrounding the inner eight. Semi-circular arches – basic Romanesque.
The central space is reminiscent of Constantine's Hagia Sophia - a centralized tower. Most interesting is the fact that the inner octagon is actually a cube, in that the height equals its width to the base of the dome.
Hanging from the vault in the center of the Chapel is “Barbarossa's Chandelir,” a 13 foot 9 inch (4.2 m.) wide bronze circlet commissioned by Frederick Barbarossa to celebrate Charlemagne's canonization. Created between 1165 and 1184, its candles are lit on holy days.
A digression: the golden corbeled ledge which projects directly over the arches leading into the octagon, contains a consecrational inscription, which when translated from the Latin states:
“Once the living stones have been joined together in peaceful union, and all measurements and numbers are in agreement throughout, the works of the lord who created this great hall shall shine forth brightly. The completed edifice crowns the pious efforts of the people, whose work shall stand as a monument of eternal beauty if the Almighty protect and rule over it. May it therefore please G-d to watch over this temple which Charles our emperor has established on solid ground.”
What a testament to a work of architecture! And twelve hundred years later it is still standing, possibly more beautiful than ever.
A model of the original palace and chapel complex. The sixteen external sides have a diameter of 33 meters (108'). Every two exterior corners angle inwards to become eight piers, forming an internal octagon. This geometric configuration then rises to support a dome 14.6 meters in diameter (48'), and approximately 33 meters in height (108'), forming a square, dimension wise, of base to height. The upper drum section contains the outward thrusts of the eight-part vaulted dome by means of two iron rods wrapping around the structure, which were embedded in the upper masonry sections of that drum. This is like having a belt around your waist, which you tighten to keep your stomach in. It is a principle which Michelangelo was to employ in his construction of the dome of St. Peter's in Rome. Michelangelo actually used chains, with which he “cinched” the base of his dome.
Charlemagne did put personal effort into the design. He tore down an earlier chapel, and realigned the axis of the altar, placing it due east. The entire Palace complex, which surrounded the Chapel, conformed to this layout. Charlemagne used architecture to seal his destiny and perhaps legacy. His use of Egyptian porphyry columns - he had them shipped from Rome and Ravenna - harked back to ancient times when that particular stone was reserved for imperial buildings.
Charlemagne had ordered the porphyry before he was crowned Emperor, apparently regarding himself as the heir of the Roman Emperors. Again, leaders and rulers continue to reveal their power and position - or even ordain it - throughout history. Problem, however, is the fact that many of the porphyry was stripped by those rascals who keep popping up in this history – the French revolutionists. Imagine surviving almost 1,000 years, only to be sent to Paris. Six of the eight red porphyry columns wound up in the Louvre Four are supporting a canopy in the “salle des emperuers,” and two others are in the “niche d' Apollo.” Two were lost or destroyed in transit – probably winding up behind a horse cultivating crops on a French farm. Others were returned by Prussian conquerors in 1815.
The Royal Chapel was much emulated, particularly in Alsace (the church of Ottmarsheim), Cologne (St. Maria im Kapitol), and Essen (the Minster).
The German historian Ferdinand Gregorovius (1821-1891), who specialized in Roman history, wrote in his History of the City of Rome in the Middle Ages: "The figure of the Great Charles can be compared to a flash of lightning who came out of the night, illuminated the earth for a while, and then left night behind him."
Charlemagne went to war on a yearly basis, and ravaged the Slavs, forced the Czechs of Bohemia to pay tribute, conquered Lombardy, Bavaria, Saxony, and more. But regarding his “illumination,” much can be said of the fact that he recognized and codified the autonomy enjoyed by peoples living within his realm. Instituting an educational system, he brought a degree of literacy, particularly in monasteries and among his administrators, in order to advance the cause of his kingdom and of the church. His “court” consisted of scholars from England, Spain, Italy, and native Franks, and as one source puts it “probably Jews.” With regards the latter, Charlemagne attempted to control and develop trade, encouraging the development of Jewish communities. He did spread Roman Christianity across central Europe.
As with San Vitale, this only slightly younger building appears in remarkably wonderful condition, undoubtedly due to the attention given by Charlemagne and his northern Italian artisans. Its appearance defies its age. It is beautiful, uplifting, regardless of your religion orientation, if any, and presents an attestation to the spirit of man and belief. The vault lifted on a drum to bring light into the Chapel, features rather new golden mosaics, created by Salviati of Venice, in 1882.
The large number of pilgrims who came to visit necessitated the addition of the choir hall. This is the connection between Charlemagne's original chapel and the new choir. Because of its large amount of stained glass, infilling between structural “bones,” it has been dubbed: “The Glass Chapel.”
On the left, a shrine dedicated to the Virgin Mary (1238). The gold box contains an impressive collection of relics and still attracts pilgrims. On the right, the shrine of Charlemagne, completed in 1215. This contains some of the emperor's remains.
On the second level, in an area being reconstructed, is Charlemagne's throne. Though not used by Charlemagne for his coronation – who was crowned in Rome – he never-the-less is purported to have used it. Apparently 32 Holy Roman Emperors were crowned on this throne between 936 and 1531. Unfortunately the view available did not provide a perspective, but the throne itself is composed of four ancient marble slabs, held together with the visible bronze straps. Leading up to the throne are six marble steps supposedly carved from an ancient column, and allude to the throne of Solomon. The seat slab is just at the level of the lower straps.
TRUE ROMANESQUE
Some historians insist on categorizing Carolingian architecture separately, in the 8th and 9th centuries. This places it between what I am calling Early Romanesque (from the decline of Rome to the end of the 8th century), and the 10th and 11th centuries, the "true" Romanesque.
A little summation to avoid confusion:
ROMAN ARCHITECTURE: 4th Century B.C.E. to 4thCentury A.D.
BYZANTINE ARCHITECTURE: 4th Century A.D. to 15th Century
EARLY ROMANESQUE: 4th Century to 8th Century
CAROLINGIAN: 8th Century to 10th Century
ROMANESQUE: 11th Century to 12th Century
GOTHIC: 12th Century to 16th Century
An outstanding achievement of Romanesque architects was the continued development of stone vaulted buildings. Major activity was to take place in France, leading eventually to the Gothic.
French Romanesque architecture is characterized by various vaulted styles. Provençal churches (the southeast) have pointed domes and facades decorated with tiers of wall arcades filled with sculpture. In the Auvergne region (central France), architects built churches containing a long choir with side aisles and, around the semicircular sanctuary, an arcaded ambulatory with radiating chapels, the chevet. In Burgundy, the barrel-vaulted, three-aisled basilica was developed. Norman architects (the northwest), influenced by Lombardian methods, created an original style with groined vaults supported by flying buttresses (the world's first), and facades with two high, flanking towers.
© Architecture Past Present & Future - Edward D. Levinson, 2009