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1

THE ARCHITECTURE AND SCULPTURE OF THE RIGA DOME CATHEDRAL IN THE 13TH CENTURY: CONTACTS AND INFLUENCES (Rigas Doma arhitektura un buvplastika 13. gadsimta. Kontakti un ietekmes)

100%
Grosmane E.
Materiali Latvijas makslas vesturei
|
2000
|
vol. 1
7-22
EN
The cornerstone for the Riga Dome Cathedral was laid on July 25, 1211, and the construction project was completed in the second half of the 13th century. This topic has been discussed endlessly over the last century and more, but the subject has not yet been exhausted, and researchers continue to focus on it. The initial stimulus for construction of the Dome came from the ambitions of the German Bishop Albert in terms of Baltic expansion. The building of a grand cathedral was part of the process. The cathedral was originally intended as a pillar basilica modeled after the Dome Cathedral of Brunswick that was put up by Henry the Lion and served as a paradigm for the building of Northern German cathedrals at that time - especially the Dome at Ratzeburg, which is the oldest surviving sample of brick-based architecture in the region. Like that structure, the Riga Dome was at first built of stone blocks, but in the 1220s the builders turned to the new material of the brick not changing, however, the plan of the building. At the same time construction of a cloister was also begun. It is assumed that when Albert died in 1229 the project was not complete. The construction plans of that particular period are best reflected in the structural clarity of the geometric elements that are found in the eastern part of the church, testifying to a gradual shift in style from the Romanesque to the Gothic. We have little information about construction work during the reign of the next bishop, Nicolaus. It is presumed that the work did not stop, but continued along on the basis of inertia. A new intensity in the process appeared when the first archbishop, Albert Suerbeer, arrived in Riga. He came from the ranks of Pope Innocent IV, and it may be that his contacts with the upper reaches of the Catholic Church served as an impetus for moving away from the already old-fashioned style of pillar basilicas in favor of a hall-type building. Once the work became more active again, influences from the Rhineland and Westphalia appeared in parts of the building, thus causing the myth of a master craftsman from Cologne traveling to Riga to provide the necessary brilliance to the grandiose construction. Later research into Medieval architecture and art in the Rhine region have brought greater precision to descriptions of master artists in that period, defining the 'master of Samson' and the 'master Ezzo Erenfried', for example. Against this background, the idea of a 'Cologne master' in Riga seems far too abstract and unspecific. A detailed analysis of the Riga Dome sculpture shows that elements from the 13th century can be perceived as a homogeneous phenomenon - the ensemble of the Dome is imbued with a cross of various elements and influences.
2

THE RIGHT OF ART, THE PRINCIPLE OF THE ARTIST, THE IMPERATIVE OF THE SCHOLAR. THE EXAMPLE OF A ROMANESQUE SCULPTOR’S WORKSHOP IN THE CONTEXT OF THE LAW OF THE FRAME

100%
Waszak P.
ARS
|
2022
|
vol. 55
|
issue 2
98 - 108
EN
The article addresses the topic of the significance of the law of the frame in academic discussion, the classification of artworks, and the pursuit to understand the formal aspects of artistic objects. It has been demonstrated how frequently and to what extent the law of the frame is included in cross-sectional publications on the history of art. The analysis has confirmed considerable importance of the said law in the teaching of the history of Romanesque art. Consequently, the basis of the considerations contained herein is a wide selection of, mostly, academic and popular academic syntheses, in which – inspired by the idea of the law of the frame and function – original observations were made already in the 1930s and in which the law of the frame was discussed to define and describe the form of artworks. The law of the frame has remained significant until today.
3

NEO-ROMANESQUE CHURCHES OF THE ANNUNCIATION OF THE BLESSED VIRGIN MARY IN INOWROCŁAW AND ST. ADALBERO IN WÜRZBURG – EXAMPLES OF REFERENCES TO PRE-ROMANESQUE AND ROMANESQUE ARCHITECTURE

86%
Waszak P.
ARS
|
2023
|
vol. 56
|
issue 2
95 - 108
EN
The article presents a comparative analysis of the neo-Romanesque churches in Inowrocław and Würzburg. The education, artistic career and publications of the designer of the Church of the Annunciation of the Blessed Virgin Mary in Inowrocław, August Rincklake, as well as the architectural achievements of his younger brother, Wilhelm, proved to be important factors that shaped the church structure. Specific inspirations, correspondences and architectural references used in this monumental building have been identified. The discussion points include the western works, the idea of the Saxon façade, other tower western structures and the encastellated building, and minor components, such as ornaments. The Church in Inowrocław has served to discuss distinctive features of the Romanesque and neo-Romanesque styles, the relationship between them, the principles governing them and the approach displayed around the year 1900 to the patterns that were distant in time and space. The point of comparison is the neo-Romanesque Church of St. Adalbero [Adalberokirche] in Würzburg to demonstrate numerous uses and the universal application of motifs borrowed from the system developed in proto-Romanesque and Romanesque Lombard architecture.
4

THE NORTHERN PORTAL OF RIGA DOME CATHEDRAL (Rigas Doma ziemelu portals)

86%
Bergholde A.
Makslas Vesture un Teorija
|
2008
|
vol. 11
5-14
EN
The article examines the northern portal of Riga Dome Cathedral, a significant monument of late Romanesque sculpture in the Baltic region. Medieval plastic decor is found in the interior, former monastery complex, cloister and chapter house. There are about 300 decorated capitals and consoles, large part dating back to 13th century, including the northern portal. Art historians have taken up medieval plastic decorations of Riga Dome Cathedral since the late 19th century, but no separate research of the northern portal has been carried out. The article discusses several stylistic analogies, such as St. Mary's Church in Visby, St. John's Church in Haapsalu, Dome Church in Lubeck, Dome Church in Limburg, etc.
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