A Sense of Place – A Guest Post by Nathan Mizrachi

PLACE is the bedrock of our existence. It ties together our most cherished memories, defines our experiences, and bookmarks our most important experiences. Place is not always at the forefront of what we do, or the defining totem of memory. But it is there, a vital organ in the body of our existence, and when we travel it takes on an added dimension to reflect the unique situation that we find ourselves in.

Nave, Église Notre Dame, Vinezac (Ardèche) Photo by PJ McKey

From an early age I was cognizant in an unspoken, instinctive way of how significant place is. Even my earliest memories are filled with quiet yet rich details which I can plunge into.

For example, right now I am remembering a Shabbat dinner at my aunt Ruthie’s house when I was probably no older than four years old. My cousins were all girls so I was making do with cousin Jacqueline’s Polly Pocket set; yes, I will admit that Nathan c. 1994 was a brony. We were sitting on an off-white carpet. Anyways, I remember fiddling with the white and pink plastic parts which seemed small even to me then. We were playing in the living room while the adults ate; there was a white tablecloth on the dining table and the walls were illuminated a pale yellow from the lighting. Behind my uncle Elias was a sliding glass door leading to their backyard, but it was dark outside so it was impossible to see outside. There was a cherry-colored wooden end table with brass handles on it, and when I became bored with it we played with Jacqueline’s—or maybe Sophie’s—Lite Brite toy.

Crossing, Église Notre Dame, Vinezac (Ardèche) Photo by PJ McKey

I tried to think of the most mundane example I could to illustrate a point: the focus of the memory was playing with the Polly Pocket toys, but there are so many quotidian details I can recall as well. Why should I remember what color the walls of my aunt’s living room were? Why should it be important that I remember such things?

Seemingly mundane details are not limited to my own life; they are oftentimes the defining feature in literature and art. One of an infinite number of examples is the final passage from one of my favorite books of all time, Hemingway’s For Whom the Bell Tolls.

Chapel, Chapelle Saint Benoit, Chassiers (Ardèche) Photo by PJ McKey

Robert Jordan lay behind the tree, holding onto himself very carefully and delicately to keep his hands steady. He was waiting until the officer reached the sunlit place where the first trees of the pine forest joined the green slope of the meadow. He could feel his heart beating against the pine needle floor of the forest. We are privy to the last moments of the protagonist’s life, which Hemingway chooses to show us directly from his perspective as he lays dying in the rugged Sierra Guadarama (which even from afar are mesmerizingly beautiful). Jordan’s hyper awareness of the minutiae around him —the light breaking through the trees, the meadow beyond, the pine needles that push softly against his chest — buttress the notion that memories and even consciousness are demonstrative of the macrocosmic influence of place.

So if some of my earliest memories from childhood and the memories of a fictional character — albeit one conceived by one of the greatest writers ever — in his dying moments are saturated with an awareness of surroundings, they must be equally instrumental in giving context and in some cases meaning to my memories of travel.

West end of side aisle, Église Saint Andéol, Bourg-Saint-Andéol (Ardèche) Photo by PJ McKey

Place, for me, is the cacophony of motorbikes, the shouting of merchants, the richly hued bolts of fabric hanging from the rafters, the Saharan sun marinating the back of my neck as I walk through the narrow reddish streets of the medina in Marrakech.

Place is the setting sun casting waves of shadows that spill across row after row of vines as Dennis, PJ and I sit on the back porch of our gite in the Ardeche and savor the fat of veal’s belly dissolving on my tongue, and the chilled glass of wine sweating gently into my hand, and seeing the green foothills of the Alps rising up off the plain.
Place is the impending roar of a solitary passing car on a gravel road in the depths of Iceland’s Westfjords, the quivering lap of gentle waves falling across the rocky shore, the dense mist which rolls across my sleeved arms and the low clouds like tarnished steel that are pierced by the sharp peaks as they pass overhead.

Place is a gray Parisian afternoon — the naked trees, the muddy swirling Seine, the dampness saturated with the knowledge of fleeting time — become monolithic to me.

Apse, Église Saint Andéol, Bourg-Saint-Andéol (Ardèche) Photo by PJ McKey

Dennis asked me when I visited him and PJ in Cape Cod last May to write some sort of recollection of my travels, which to me is an exercise in summoning forth the essence of my memories and what I felt in this or that particular moment. There are certainly greater conclusions that I can come to by synthesizing my travels into a grander sum — I have been told time and again by friends and family I haven’t seen in two years how much more outgoing I am now, how much more bold I am (and I agree wholeheartedly with this assessment) — but they are phenotypes of greater changes which occurred within the depths of myself.

Chapelle Saint Benoit, Chassiers (Ardèche) Photo by Nathan Mizrachi

What unifies my experience of almost two years traveling is not a change in my personality, nor a broader outlook on the world, nor a willingness to throw myself into the vagaries of chance that lie around corners on the road. The collective seams of numerous memories, themselves composed of infinite threads of place, are the substructure which has defined my life for the past two years. I am simply grateful that I had the courage, the means, and the desire to walk down a path — literally — that has lit up my consciousness with the fire of discovering something new, again and again.

This guest post by Nathan Mizrachi is illustrated by PJ’s photographs from our time together in the Ardèche a few years ago. Nathan stayed with us at a gite for a week as we photographed this beautiful region.

Guest Photos of Église Saint-Pierre-et-Saint-Paul de Toulongergues – Albert Pinto

PJ and I have been shooting Romanesque churches in France for so long and so intensely that we sometimes think we’ve seen them all. Recently our good friend Albert Pinto sent us three photographs of frescoes that have somehow been preserved at the Église Saint-Pierre-et-Saint-Paul de Toulongergues in Aveyron, about 20 miles south of Figeac. For all the times we have been in that region, we had never heard of the church.

Église Saint-Pierre-et-Saint-Paul de Toulongergues (Aveyron) Photo by MOSSOT, Courtesy of Wikipedia Commons

The church is quite ancient, quite possibly 10th century, which makes it pre-Romanesque. For centuries it served as a small priory but was abandoned and fell into disrepair. The church was only classified by the Monuments historique in 1988.

Saint with halo, Église Saint-Pierre-et-Saint-Paul de Toulongergues (Aveyron), Photo by Albert Pinto

The survival of the frescoes in almost miraculous, as described by Pinto. At the time of his photographs, “that was used as a barn and devastated during centuries (same case as Fenollar). The Monuments historiques have since undertaken a restoration, but the frescoes seem to be in the same state as I found them.”

Eve at the Tree of Knowledge, Église Saint-Pierre-et-Saint-Paul de Toulongergues (Aveyron), Photo by Albert Pinto

Thanks to Albert, we have another place to visit in one of our favorite areas of France, and can use it as another excuse to return to the Basilique Sainte Foy de Conques.

Two doves, Église Saint-Pierre-et-Saint-Paul de Toulongergues (Aveyron), Photo by Albert Pinto

Location: 44.404371 2.027088

Collégiale Sainte-Gertrude de Nivelles – A Guest Post by Jong-Soung Kimm

Nivelles is a municipality in the Belgian province of Waloon Brabant with a population of around 28,000 in 2016. It is said that starting in the 4th millennium B.C., the region had gradually been cultivated as agricultural land by the Danubean settlers. The land was invaded by the Romans in the 1st century, and in turn by the Germanic tribes in the 3rd century. By the 7th century it belonged to the Frankish kingdom. The archaeological excavations of the site of the present Romanesque church have yielded traces of two Merovingian and three Carolingian houses of worship which stood there between the 7th and 10th centuries. The church was for a Benedictine nunnery which was founded in 650 by Itta of Aquitaine, widow of Pépin, the Elder of Landen. Their daughter, Gertrude was the first abbess, who would be declared a saint by Pope Clement XII in the 17th century.

During the Middle Ages, it was one of the larger abbeys in Europe due to a great number of pilgrims on their way to Santiago de Compostela who would pass through Nivelles and pay homage to the would-be saint. By the 15th century the abbey was organized as a collegiate church for canonesses, and continued to function until the end of the 18th century when it was dissolved. While there is no reference to the successive master builders, it is documented that construction was begun at the dawn of the 11th century for the main body of the church that stands today, and it was consecrated by Wazo, Prince-Bishop of Liège in 1046 in the presence of Henry III, Holy Roman Emperor.

Exterior view from southwest across Grand’ Place, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

The first sight of the Collégiale Sainte-Gertrude a visitor might catch when approaching the town center of Nivelles is its imposing westwork, completed in the last years of the 12th century, one and a half century after the church structure itself was dedicated.

Elevation view of Westwork, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

It has the hall-mark of a mature Romanesque architecture of the Rhineland as found in churches such as Worms or Maria Laach. The westwork had a Gothic central tower through stylistic transformation before the destruction in the World War II, but it was restored in the Romanesque style through a referendum of townspeople, at the time of post-WW II restoration. The westwork of Sainte-Gertrude has a very sculptural composition due to its semi-circular western apse expressed on the façade, together with a series of columned openings at multiple gallery levels on the slab-like vertical mass, a pair of cylindrical stair turrets with bells on either side of the block, and finally, the octagonal Romanesque central tower.

If it had been said that the Westwerk of Sainte-Gertrude is of the mature Rhineland Romanesque style, the main body of the church is built in the Ottonian style. The plan is laid out with a nave of eight bays in two compartments of four bays each, defined by half round diaphragm arches which spring from sturdy cross-shaped piers.

Plan, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant)

The longitudinal view of the nave toward east shows that there are two aisles, square eastern crossing with transepts of same width as the nave, and a rectangular western crossing and narrow transepts.

View of nave to east, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

The nave arcades are as thick as the piers with only a hint of demarcation by a thin cornice. The groin vaultings of both the eastern and western transepts are lower than the timber nave ceiling, a design characteristic found in the Meuse valley region in the Ottonian architecture. The square-ended eastern apse with three lancet windows, raised over a crypt serves as the principal chancel today.

The modern altar is placed well into the nave on wooden extension of the choir.

View of nave and eastern sanctuary, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

The church of Sainte-Gertrude has a length of 102 meters, a generous scale recalling “ the splendor of the Ottonian liturgy,” as poetically described by Donnay-Rocmans writing in a chronicle of the patrimony of Wallonia.

The view looking up at the timber ceiling of the crossing and the nave shows the relatively new carpentry, as the restoration after the bombing in 1940 was completed only 30 years ago.

View of wooden ceiling over the eastern crossing, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

The axial view from the eastern choir toward the west amply illustrates the square crossing, spacious transepts as well as the substantial diaphragm arches demarcating the two halves of the nave.

View of nave from the eastern choir to west, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

The groin vaults for the aisles were constructed at a later stage of the church building. The view of the north aisle shows off solidly bonded groin vaults with gilt ornaments of rib crossing.

View of north aisle to east, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

The view from the rectangular western crossing with a font toward west shows the semi-cylindrical western choir.

View of western choir from western crossing with font, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

The closer view of the tribune level on the north wall of the apse brings to fore well-lit chambers beyond at the tribune level in the cylindrical volume.

View of north tribune at western choir, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

The precision with which the dome for the western choir has been re-built gives a visitor an awareness of the painstaking efforts and high caliber of the post-WW II restoration architects and the craftsmen for the rebuilding project begun in the 60’s and completed two decades later.

View of dome over western choir, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

The view of the north wing at the western transept shows that the vaulting is at a lower height than the nave ceiling, as mentioned earlier (Photo 12).

View of north transept at western crossing, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

Finally, the wall elevation scheme shows that while there is a cornice running the length of the nave.

Elevation scheme of northern nave wall, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

The nave wall is basically flush, as though the arcades and clearstory windows are punched out of a sheer masonry plane.

View looking up toward nave ceiling, Collégiale Sainte-Gertrude, Nivelles (Walloon Brabant) Photo by Jong-Soung Kimm

At Sainte-Gertrude in Nivelles, the unity of piers and arcades, and the pure surface of the nave wall all contribute to an ascetic spatial ambience, which one would almost describe as modern in sensibility.

Reichenau-Oberzell, Abbey Church of Sankt Georg – A Guest Post by Jong-Soung Kimm

In 896, Hatto III, archbishop of Mainz and the abbot of Reichenau monastery traveled to Rome during the time of Pope Formosus, and came upon relics of Saint George and brought them to his monastery in Lake Constance (Bodensee), and the monastery in Oberzell became the resting place of important relics of Saint George including a piece of his skull. It is said that the 7th century early Christian church of San Giorgio Velabro in Rome played a part in Hatto’s acquisition of the relic. In the first centuries of the Middle Ages, veneration of St. George gradually spread from Italy to the Frankish land across the Alps.

The abbey church of Sankt Georg is situated on a gentle hill at the eastern tip of the Reichenau island in Lake Constance.

Exterior, Sankt Georg (Reichenau-Oberzell) Photo by Jong-Soung Kimm

It is a sample of late Carolingian architecture built at the end of the 9th century, and expanded in later times. It is laid out as a basilica plan with a nave, relatively wide for the time of its construction, two aisles with low ceiling, and a raised eastern choir over the crypt.

Plan, Sankt Georg (Reichenau-Oberzell)

It is reasonable to assume that the wide nave was called for because of its function as a shrine for Saint George. The nave is covered with painted high wooden ceiling. The master builder, heir as he was to the Carolingian builders with predilection for the cross form, vertically stacked three square elements, which are only slightly narrower than the nave: the crypt for enshrining the relic, a “crossing” and a square tower over it.

Nave, Sankt Georg (Reichenau-Oberzell) Photo by Jong-Soung Kimm

As there is no transept at Sankt Georg; reference of a “crossing” requires an elaboration. At Sankt Georg, the crossing is where the choir/chancel is located, and it is defined by tall walls on all four sides, with high, but narrow round arch openings on east and west, and low openings toward north and south, as there are no transept wings. It is what Kubach termed as “tied-off (abgeschnürte)” crossing, which we see in this architecture. The upper portion of the crossing walls extends above the nave roof to form the tower. It is easy to deduce that over the course of development from the late Carolingian to Ottonian architecture, the walls had gradually become piers at four corners of the crossing, as at Saint Michael in Hildesheim built about a century later. Today the crossing is covered by cross rib vault at about the level of the flat nave ceiling.

Crossing, Sankt Georg (Reichenau-Oberzell) Photo by Jong-Soung Kimm

A square eastern apse is joined to the crossing. A half round western apse was constructed at the beginning of the 11th century, and the main entrance is located at the western apse.

Western apse, Sankt Georg (Reichenau-Oberzell) Photo by Jong-Soung Kimm

Western apse, Sankt Georg (Reichenau-Oberzell) Photo by Jong-Soung Kimm

The columns defining the nave and aisles have pronounced entasis, and they are surmounted by cushion capitals of pure geometry with painted ornaments.

Nave columns, Sankt Georg (Reichenau-Oberzell) Photo by Jong-Soung Kimm

Over the nave arcades running the length of the nave space, smooth and tall walls are covered with frescoes with small clerestory windows high near the ceiling. Both north and south walls of the nave serve as the surface for very highly regarded narrative cycle of Ottonian fresco paintings depicting Jesus’s miracles. They were restored in 1880, and form an important part of the UNESCO world cultural heritage designation of the entire island of Reichenau.

Location: 47.689241 9.082024

For more information about our guest writer, Jong-Soung Kimm, please see this link.

A Gatehouse and Westwork in the Romanesque architecture of Germany – Guest post by Jong-Soung Kimm

One of the earliest examples of the Carolingian architecture, if not the earliest, is the gatehouse for a former Benedictine abbey in Lorsch (between Worms and Darmstadt, Hesse) of ca.764 AD. It has come down to this day remarkably intact, belying its building in the mid-eighth century. Although it has been called Torhalle, the structure appears to have been a free-standing building in a spacious forecourt to the abbey, all but a trace today.

Some scholars see a connection between the form of this structure and the Arch of Constantine, while others link it to the Propylaeum of the old St. Peter’s Basilica in Rome. In either case, it shows the Carolingian tendency to look for inspiration from the glory of the Constantinian era. Lorsch structure has two stories with stair turrets on either side, and a very tall, steeply sloped hip roof. Unlike triumphal arches, however, only the outer walls of the structure have arches, and the underside of the upper story is framed with flat ceiling between the outer walls. According to one account, on the upper story was located a chapel of St. Michael, a commonly found element which was placed at the westernmost spot of the ground of an abbey for the archangel to ward off the evil spirit.

Torhalle, Imperial Abbey of Lorsch, Lorsch (Hesse) Photo by Jong-Soung Kimm

The façade with three arcade openings is defined by four semi-cylindrical engaged columns with the Composite capitals, with a relatively thin architrave with shallow relief above; on the inner faces are placed shorter columns with capitals to support the half-round arches. Over the architrave are placed fluted pilasters, three bays per each arcade below, with Ionian capitals with very shallow relief. A zigzag pattern of beams, rather than half-round blind arcades, straddle these pilasters. The wall surfaces are filled in with hexagon- and square-shaped brown sandstone tiles, in a Roman technique called opus reticulatum. The wall articulation for the upper story at Lorsch relies on the use of an appliqué, like weaving in a textile as Frankl described, unlike the lower story with structural expression of columns and arches. The master builder, quite ingeniously, worked out all the geometrical relations of the sizes of tiles to the spaces to fill so that nothing is left to chances, including the incline of the aforementioned zigzag beams at 60 degrees to correspond to hexagons.

Torhalle, Imperial Abbey of Lorsch, Lorsch (Hesse) Photo by Jong-Soung Kimm

If it had been said that Lorsch might be the earliest work of the Carolingian architecture, the Palatine Chapel in Aachen is the most important architecture of the Carolingian era. Charlemagne is said to have instructed his master builder, Odo of Metz to study San Vitale in Ravenna of 547 AD, another Roman capital. Little did Charlemagne or his court envision that what Odo did deliver would be a wholly new work of architecture, a work of the Western sensibility as contrasted to the immaterial space of the Eastern, or Byzantine church. The Palatine Chapel was consecrated by Pope Leo III in 805 AD to Virgin Mary.

Palatine Chapel, Aachen Cathedral, Aachen (North Rhine-Westphalia) Photo by Jong-Soung Kimm

The term Westwerk was invented in the nineteenth century to describe what Carolingian writers referred to as castellum or turris at the west end of a church. The westwork of the Palatine Chapel in Aachen, constructed as an integral element of Charlemagne’s palace compound, is placed on the axis of the Chapel facing a spacious rectangular forecourt which was connected to, and defined by an elevated walkway from the palace quarters. What is quite visibly different from a typical westwork is that, unlike a west façade for a church of a basilica plan, the westwork at Aachen is rather narrow, because it is joined to only one side of an octagon. It also has a prominent concave surface on the relatively narrow surface, reminiscent of the façade of the Palace of Exarchs in Ravenna built sometime after 712 AD. From the tribune level above the niche, Charlemagne would address the crowd. Additions of more height to the square tower, and a rather slender steeple built during the Gothic era resulted in the present westwork.

Westwork, Aachen Cathedral, Aachen (North Rhine-Westphalia) Photo by Jong-Soung Kimm

The imperial abbey of Corvey in North Rhine-Westphalia was established sometime in the early part of the ninth century, and populated by monks from a Benedictine abbey of Corbie in Picardie, present-day France. The abbey church itself had been transformed into a Baroque architecture in the seventeenth century, but the westwork at Corvey, built between 873~85 AD, is the only Carolingian westwork extant today.

Westwork, Imperial Abbey of Corvey, Corvey (North Rhine-Westphalia) Photo by Jong-Soung Kimm

It is built as a sort of vertically organized church in itself: the ground level, a square plan of three bays by three bays, is built of sturdy square piers with groin vaulting like a hall crypt, with the axial bay leading to the abbey church; the central section of the exterior wall of the westwork projects forward from the generally flat surface up to the tribune level; stairs on either side lead to that tribune level, where a partially restored Carolingian chapel, called Johannischor at one time, gives us a glimpse of the space as it was built. The view of the west front clearly shows where, in the 12th century, additional tower floors were built with different stone coursing.

Interior detail, Imperial Abbey of Corvey, Corvey (North Rhine-Westphalia) Photo by Jong-Soung Kimm

The westwork at the Cathedral of SS. Petrus and Gorgonius at Minden, constructed in the first half of the tenth century, presents to us another important example of what a Carolingian westwork might have appeared, although a twelfth century alteration has given it a markedly perpendicular emphasis.

Westwork, Cathedral of SS. Petrus and Gorgonius, Minden (North Rhine-Westphalia) Photo by Jong-Soung Kimm

The westworks of St. Cyriakus in Gernrode, and St. Godehard in Hildesheim present a pair of cylindrical stair towers flanking a half-round western apse, one of the characteristic features of Ottonian architecture.

Westwork, Church of Saint Cyriakus, Gernrode (Saxony-Anhalt) Photo by Jong-Soung Kimm

Westwork, Church of Saint Godehard, Hildesheim (Lower Saxony) Photo by Jong-Soung Kimm

Other notable examples of westwork in the Romanesque architecture in Germany include St. Pantaleon in Köln; Cathedral St. Stephen of Trier; Cathedral St. Peter of Worms; Cathedral SS. Mary and Stephen of Speyer; St. Kastor in Koblenz; and St. Georg in Limburg-an-der-Lahn.

Westwork, Church of Saint Pantaleon, Cologne (North Rhine-Westphalia) Photo by Jong-Soung Kimm

Westwork, High Cathedral Saint Stephen of Trier, Trier (Rhineland-Palatinate) Photo by Jong-Soung Kimm

Westwork, Cathedral of Saint Peter, Worms (Rhineland-Palatinate) Photo by Jong-Soung Kimm

Westwork, Imperial Cathedral Basilica of the Assumption and Saint Stephen, Speyer (Rhineland-Palatinate) Photo by Jong-Soung Kimm

Westwork, Basilica of Saint Castor, Koblenz (Rhineland Palatinate) Photo by Jong-Soung Kimm

Westwork, Cathedral of Saint George, Limburg an der Lahn
(Hesse) Photo by Jong-Soung Kimm

It would be appropriate to include here three Romanesque churches in Alsace with important examples of westwork: Saint Foy in Sélestat; Saint Etienne in Marmoutier; and finally, the abbey church of Murbach.

Église Sainte Foy, Sélestat (Bas-Rhin) Photo by Jong-Soung Kimm

Westwork, Abbaye Saint-Étienne de Marmoutier, Marmoutier (Bas-Rhin) Photo by Jong-Soung Kimm

Westwork, Abbaye de Murbach, Murbach (Haut-Rhin) Photo by Jong-Soung Kimm

It is the eastern façade of Murbach with an impressive composition comparable to a westwerk which merits inclusion in the present essay.

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Sankt Maria im Kapitol, Cologne – Guest Post by Jong-Soung Kimm

Cologne had been settled in the Roman times, and it was made the provincial capital of Germania inferior in the first century AD. It was the seat of a bishop going back to the earliest Christian era, and Charlemagne elevated the position to that of archbishop during his reign. Cologne is also a veritable cradle of the Rhenish Romanesque architecture which flourished in the 11th century. There are twelve Romanesque churches in the historic center of Cologne dating from this period, most of which suffered devastating damages during WW II. The restoration work lasted until the 1990’s for some of the churches. Sankt Maria im Kapitol which measures about 100 meters long and 40 meters wide, is the largest and most notable of the twelve, and is considered to be one of the finest achievements of the building art of the Salian dynasty (aka Frankish dynasty 1024~1125).

The original Sankt Maria is said to have been built in the 8th century by Plectrudis, wife of Pippin as a convent church for noblewomen on the foundations of a Roman temple and an earlier church built in Merovingian times. The present Sankt Maria im Kapitol was begun in 1040, and consecrated by Pope Leo IX in 1049. Although the main body of the church had been substantially completed by 1065, the construction continued toward the late Romanesque period, the architecture gradually acquiring a Lombardy style in its exterior design.

As illustrated by the plan, Sankt Maria in the Kapitol district of Cologne has the trefoil-shaped, three-apse east end. While there are two other churches of trefoil plan in Cologne, it is Sankt Maria which epitomizes the geometrical logic and the formal resolution of the trefoil-shaped triapsal plan to the fullest extent. The aisles are groin vaulted, whereas the nave had initially been built with flat timber ceiling, but rebuilt with sexpartite vaulting starting in 1219, one of the earliest on the present day German soil.

Plan, Sankt Maria im Kapitol, Cologne (North Rhine-Westphalia)

In Sankt Maria the chancel is located at the junction of the easternmost bay of the nave and the crossing, with an 18th century rood screen. The eastern apse of the trefoil plan is the primary zone for the choir, while the northern and southern apses with entrances at centers are left free of seating today. Inside the space of Sankt Maria im Kapitol, one feels a distinct sense of movement north-south as well as east-west.

Nave to chancel, Sankt Maria im Kapitol, Cologne (North Rhine-Westphalia) Photo by Jong-Soung Kimm

The nave elevation scheme shows that in place of piers with capitals, there are very wide piers with relatively thin cornices forming a nave wall with half-round arched openings rhythmically punctuating the plane. The nave elevation also shows what the restoration architects must have agonized, then finally chosen as a visual record of the compound piers of the sexpartite nave vaulting of the early 13th century. How gratifying would it have been if the sexpartite vaulting were reconstructed in the post-WW II restoration!

Nave elevation, Sankt Maria im Kapitol, Cologne (North Rhine-Westphalia) Photo by Jong-Soung Kimm

The view from the ambulatory at the southern entrance toward the northern apse shows that the rood screen for the chancel straddles the western column line of the crossing, and is constructed of two sets of four columns, one set on the nave side, and the other on the crossing side, and an organ loft is placed within the thickness of the main arch.

Northern apse, Sankt Maria im Kapitol, Cologne (North Rhine-Westphalia) Photo by Jong-Soung Kimm

The axial view of the eastern apse accurately conveys the rich spatial layering of the ambulatory and the apse. The stained-glass-fitted clerestory windows describing a semi-circle of the apsidal space appear to be from the Gothic period.

Eastern apse, Sankt Maria im Kapitol, Cologne (North Rhine-Westphalia) Photo by Jong-Soung Kimm

An oblique view toward southeast from the ambulatory of the northern apse shows how logically the master builder worked out interlocking of the structure at every turn.

Ambulatory to eastern apse, Sankt Maria im Kapitol, Cologne (North Rhine-Westphalia) Photo by Jong-Soung Kimm

The 45-degree view toward southeast shows the entry to the chapel at that re-entrant corner of Sankt Maria indicated on the plan.

Re-entrant corner chapel, Sankt Maria im Kapitol, Cologne (North Rhine-Westphalia) Photo by Jong-Soung Kimm

The view of the crossing toward northeast eloquently shows how the trefoil plan creates a rich spatial interplay.

Crossing, Sankt Maria im Kapitol, Cologne (North Rhine-Westphalia) Photo by Jong-Soung Kimm

The oblique view toward the entrance of the southern apse rewards visitors with wonderfully sculptural and generous space. The columns forming the trefoil apses of Sankt Maria im Kapitol are adorned with cushion capitals, which are not proportioned in accordance with the classical architecture, but are reminiscent of Byzantine precedents. They also bear certain resemblance to those of St. Michael in Hildesheim, but more cubic and taut.

Entrance to southern apse, Sankt Maria im Kapitol, Cologne (North Rhine-Westphalia) Photo by Jong-Soung Kimm

Finally, the axial view looking up to the vaulting of the eastern apse shows an oven vault joined to barrel vaults at the short bay, and the dome at the crossing.

Vault, eastern apse, Sankt Maria im Kapitol, Cologne (North Rhine-Westphalia) Photo by Jong-Soung Kimm

With its unique trefoil, three-apse plan, clarity of spatial organization and unity of form in its execution, Sankt Maria im Kapitol is justly considered a highpoint of the Rhenish Romanesque architecture of the Salian dynasty.

Location: 50.934600 6.958380

This article on Sankt Maria im Kapitol is the twentieth that Mr. Kimm has written for Via Lucis. We are so grateful for his enormous contributions to our site. For more information on Jong-Soung Kimm, please select this link.

Trier Cathedral – A Guest Post by Jong-Soung Kimm

In 326 A.D. Constantine the Great traveled to the West after many years of residency in Constantinople to commemorate the twentieth anniversary of his reign as the first Christian Roman emperor. He stayed in Rome and started construction of the great St. Peter’s Basilica. He also traveled across the Alps to Trier (Augusta Treverorum, Trèves in French), his one-time home, to lay foundation stones of a major church, on the site of the palace of his mother Helena. The Cathedral St. Peter of Trier is the oldest cathedral in Germany, and Trier had been one of the seven Elector-Archbishoprics of the Holy Roman Empire. Trier Cathedral, as befits its importance in the Western history, is a unique work of architecture which fuses the early, mature and late Romanesque styles with the early 4th century Roman nucleus. The Constantinian church is said to have been about four times as large as what comes down to this day. Extensive damages to the church in the 5th and 9th centuries left it in ruins, but the Cathedral was rebuilt starting in 1035 in the early Romanesque style, then the cross rib vaults were constructed in the late Romanesque style in the 12th century.

The plan shows that Trier Cathedral is laid out in general as a basilica plan with the nave and side aisles, eastern transept and two apses, with some unusual architectural features. The existing part of the 4th century Roman basilica, about 42-meter square structure shown in black on the plan, forms the core of the Cathedral. The square bay (B) in the center, about 18 meters to the side, was joined by rectangular bays (A) on all four sides. The center square bay had become the Crossing of the Transept which was finished flush with the outer walls to the north and south. The nameless master builder of the 11th century building workshop, quite brilliantly expanded the structure by adding another square bay, and a rectangular bay to the west, setting up the rhythm of A – B – A – B – A for the nave itself. Then a somewhat shorter rectangular bay for the Chancel was built to the east. The eastern and western apses which are as wide as the nave were joined later to the nave thus formed.

Plan – Dom Sankt Peter, Trier (Rhineland-Palatinate)

The western façade of Trier Cathedral facing Liebfrauenstrasse and a spacious square presents a one-of-a-kind Romanesque Westwork. At the outer corners, two cylindrical stair turrets are placed forward of the cubical blocks for the western towers of different heights above, as the turrets and tower bases are connected diagonally. In front of the towers, on axes with aisles inside, are the tall entrance bays with significant upper story arches and relief. At the center flanked by the entrances is the very wide half-round western apse, completed in 1196. Stair turrets pulled forward, stepping of entrance bays with the somewhat squat towers behind, and the very wide half cylinder apse in the middle all contribute to making the Westwork of Trier Cathedral quite different from other well-known works of the Carolingian and Ottonian architecture which have taller, and flush Westwork.

Western facade, Dom Sankt Peter, Trier (Rhineland-Palatinate) Photo by Jong-Soung Kimm

The view from the northeast shows the Cathedral ensemble with myriad structures accumulated over the centuries. It also shows what might be described as half of the twelve-sided eastern apse joined to the end wall of the nave, the tall gable of the northern transept, and more vertically proportioned eastern towers. The octagonal Baroque chapel at the eastern end with its own crypt is not shown on the more diagrammatic cathedral plan.

View from northeast, Dom Sankt Peter, Trier (Rhineland-Palatinate) Photo by Jong-Soung Kimm

The longitudinal view toward the eastern choir shows the nave appearing not as long as its length of about 80 meters, probably due to absence of a rhythm set up by regularly spaced piers and columns in a normative Romanesque church space.

Eastern nave, Dom Sankt Peter, Trier (Rhineland-Palatinate) Photo by Jong-Soung Kimm

The nave elevation scheme of the western of the two square bays illustrates this point further. Here, the relatively narrow south aisle reads as lateral expansion of the nave space itself, rather than appearing as continuation of a linear “aisle” running parallel to the nave in the east-west direction. The aisle space here has been made into a sort of shallow narthex for the door from the adjoining Liebfrauenkirche of mid-13th century.

Nave elevation, Dom Sankt Peter, Trier (Rhineland-Palatinate) Photo by Jong-Soung Kimm

A closer view of the crossing toward the eastern chancel shows that the steps to the choir starts at about the midpoint of the crossing, and a very elaborate Baroque altar is placed high up in the six-sided apse with ornate Gothic ribs on the vault ceiling.

Eastern chancel crossing, Dom Sankt Peter, Trier (Rhineland-Palatinate) Photo by Jong-Soung Kimm

The view from the raised eastern Choir looking west conveys the unique spatial character of Trier Cathedral faithfully. As said earlier, due to the lateral expansion of the nave space at the square bays and absence of a rhythm, the sense of sweep lengthwise is halted at these two points. From the entrances on either side of the western apse, the sense of movement toward the eastern chancel is subdued. The nave is a calm and deeply contemplative space of worship.

View from eastern choir, Dom Sankt Peter, Trier (Rhineland-Palatinate) Photo by Jong-Soung Kimm

The view looking straight up to the nave vaulting shows the rectangular bay at the midpoint of the Cathedral with an ornate Baroque organ loft, and the Crossing to the east (down), the “narthex” bay with gallery above to the west (up). Trier Cathedral is 26 meters high at the crown of the nave vaulting, and the width of the nave is about 18 meters.

Nave vaulting, Dom Sankt Peter, Trier (Rhineland-Palatinate) Photo by Jong-Soung Kimm

The view of the eastern Choir looking north shows on the left a generous Gothic arch with well-lit gallery above, and a well-crafted choir screen. It also shows on the right an opening leading to the northeastern stair tower, and a gallery at a mezzanine level.

Eastern choir, Dom Sankt Peter, Trier (Rhineland-Palatinate) Photo by Jong-Soung Kimm

The view of the north aisle at the western square bay opposite the “narthex” on the south side, looking east accurately conveys the feel of expansion of the nave space, as the relatively narrow aisle space beyond reads as a separate spatial compartment, rather than a linear continuation of the north aisle.

North side aisle, Dom Sankt Peter, Trier (Rhineland-Palatinate) Photo by Jong-Soung Kimm

One special treasure of Trier Cathedral, although rarely put on public view, is the Holy Tunic of Christ, which legend relates was worn by Christ shortly before he was crucified, and was subsequently brought from Jerusalem by Helena (later St. Helena) when she made pilgrimage to the Holy Land, and was entrusted to the new church of her son.

Location: 49.756221 6.643821

For more information on Jong-Soung Kimm, please select this link.