Some Major Stylistic Periods of Medieval Art and Architecture
Churches, Abbeys, Cathedrals, Basilicas, Monasteries and Castles.
England, Wales, Scotland,
Sweden, Denmark and
Norway;
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England 1. Early Christian
(c300-350)
Mosaics of Chedworth Villa 1 2 (++)
2.
Anglo-Saxon
(c450-1066)
doorway
and quoin of Odda's
chapel , window
and dragon form of St.
Mary's, Deerhurst, font details 1 2 3 of
St.
Mary's, Frampton on Severn, sculpture in Saint
Laurence, Bradford on Avon, belltower windows 1 2
of
St. Bartholomew's,
Cadeleigh, belltowers 1 2 of St. Swithun's, Sandford and St.
Mary's, Upton Hellions,
window
of St.Matthews, Cheriton Fitzpaine, tower
of St.
Oswalds church, Highnam, tower of St.
Michael's
church, Oxford, tower
(random)
of St. Mary's church, Great Washbourne, cross
and archway of St. Mary and
All Saints
church, Hawksworth, archway
of All Saints church, Turkdean, fragments 1
2 of
Winchcombe Abbey,
quoin, spandrel and fragments 1 2 of St.
Oswald's Priory, Gloucester, dragonform
of Malmesbury Abbey, (++++),
interior and exterior
of doorway, at St. Winwalo's church, Tremaine, chancel carving , tomb slab
and window
of St. Mary's church, Bibury, window, doorway and herringbone
pattern at St. Andrew and Bartholomew
church, Ashleworth, sundial of St.
Nicholas's church, Saintbury, sundial, lintel, capital,
and sculptures
1
2 of Holy Rood church, Daglingworth, crucifix of St.
Katherine's church, Wormington, doorway(s), birdforms
and sundial detail of St. Andrew's
church,
Castle Frome, sundials of St. Giles church,
Bredon, (##), window of
Holy Mary church, Ampney Crucis, font, jambs
arch and saddleback
tower of St. Peter's church, Ampney,
splay window of St. Mary's church,
Barnsley, splay windows 1 2
and arches 1 2 of St,
Giles' church,
Aston Piper, (####), lintel
above arch at St. Giles' church, Acton Beauchamp, doorway of St. Leonard's church,
Hatfield, (G), splay window, front and rear view, of Edvin Loach church, (I).
3.
Celtic
(c500-1150)
Font of St. Mary's, Deerhurst.
4.
Carolingian
(c700-900)
Capitals 1 2
of St. Mary's church, Bibury, (###).
5. Romanesque
(c1066-1170)
window
with details 1 2 3 and dragonform ,(^),of St. James the Great
church,
Stoke Orchard, exterior
tympanum and corner
capital, chancel arch, (corner capital and decoration),
nave and wall
painting
of
St. Mary's church, Kempley, doorway
, column , stringcourse details 1 2 3 4 5 and dragonform
of
Kilpeck church (+), doorway of
Saint
James, Jacobstowe, columns 1 2 of St. Swithun's, Sandford and
St.
Mary's, Upton Hellions, windows of Glastonbury
Abbey, archways1 2 of St. Mary and Holy Trinity
church, Buckland Filleigh, font carvings 1 2 of St. Mary the Virgin church,
Frampton-on-Severn, sculpture
at St.
Mary's church, Temple
Guiting, fragment of St. Oswald's
Priory,
Gloucester, archway, corner
capital,
tympanum and lancet window of the church of
St. Mary the Virgin, Dymock, (********), tympanun
(detail), voussoirs
and dragonform of St.
George's church, Brisop, (*********),west
door, archway,
alternating and continuous orders of
Malmesbury Abbey, (**********), tympanum
of St. Gregory's
church, Treneglos, (***********), tympanum
(detail) of St. Peter's church,
Handborough, doorway
with beakhead ornament, capitals
1 2
of Romsey Abbey, (#), font
details 1 2 3 of St. George's church,
Orleton, (H).
6.
Norman
(1066-1180)
corner
capital (s)of
Buckfast
Abbey, windows of St. Andrew's church, Bere Ferrers, 1
(interior view) (linear), 4 (interior
view) (detail)(random) (*), window of Kilkhampton
church,
window of St.
Martin and Mary's, Chudleigh, windows of St.Petroc's church, Lydford
1
(harmonic),
2 (random), 3
(harmonic, random),
windows of St. Mary's, Huxham 1
(harmonic) 2 (random),
window (harmonic) of St.Mary's,
Exbourne, arch scroll of St. James,
Jacobstowe, windows
(interior view) (harmonic)
of Winchester Cathedral,
windows of Tewkesbury Abbey, window
(random) of St. John the Baptist
church, Netherexe, belltower (detail)
(harmonic) of Exeter Cathedral,
windows of St. Peter the Poor Fisherman, Revelstoke, 1 (interior
view), 2 (interior
view)
(harmonic), window (random) of St.
Disen's church, Bradninch, gargoyle,
pillar (random) and stones
of
St. Euny's church, Redruth, windows 1
(harmonic) 2 (random) of , King Charles
the Martyr's church,
Falmouth, font details 1 2
of St.
Margaret's church, Topsham, Exeter, tower
of St. Nicholas of Myra's
church, Ozleworth, capitals 1 2 3 of St. Mary the
Virgin church, Iffley, archway of All
Saints church,
Turkdean, archway of St. John the Baptist
church, Ruardean, (+++), archway
of St. Oswald's Priory,
Gloucester, archway
of St. Mary de Crypt, Gloucester, volute capitals 1 2 of
Gloucester Cathedral crypt,
(*******), nave arcades, dragonform and dragonforms
of Malmesbury Abbey, beakhead
ornamentation,
arch boss and dragonforms
capital of Old Sarum church, (+++++), doorway,
pillar and serpentform
tympanum of St. Corentine's church, Cury, (++++++), interior tympanum and doorway
with dragonform
tympanum of St. Petrock and St. Keri's church, Egloskerry, (+++++++), tympanum and volute
capital of
St. Nicholas's church, Saintbury, doorway
and dragonform(s) of St. Cassian church, Chaddesley
Corbett,
archway and corner capitals left (detail),
right (detail)
of St.
Eadburgha's church, Ebrington,
(++++++++),
font of Holy Mary church, Ampney
Crucis, font
of the Ivy
church,
Ampney St. Mary, egg moulding of St.
Mary's
church, Barnsley, doorway, capitals, and dragonform
detail of St. John the
Baptist church, Coln St.
Aldwyn's, doorway, orders with diamond arch detail, sunform,
capital
and green man detail of St.
Swithun's
church, Quenington, (+++++++++), jambs,
cushion capital , orders
and archform at St.Nicholas church,
Idbury, font of St. James the Great
church,
(++++++++++) , windows 1 2 , interlaced blind arcades, interior
and exterior, archways 1 2
, capital, pillar, moulding, starform, crosses, diagonal and concentric, fragments
1 2
of Glastonbury Abbey, (+++++++++++), capitals 1 2 and archways 1 2 of St. Mary's church, Bishop's
Frome, archform and dragonform
detail of St. Giles'
church, Aston Piper, (++++++++++++), window
and
doorway of St. John the
Baptist church, Cirencester, doorway
at St. Michael's church, Yanworth, wall painting
at St. Oswald's church, Shipton Oliffe, (C), font details 1 2 3 4 of St. Michael's
church, Castle Frome, volute
capitals and archway at St.
Mary's church, Bishops Frome, (D), volute
capitals and archway at St. Giles
church, Acton Beauchamp, volute capitals
and archway at St. Mary's church,
Yarkhill, (E), fragment of Old
Sarum castle, (F), doorway and font of St. Anna's church, Thornbury,
(J), archway, volute capitals 1 2 and
corner capital of St. James's church,
Avebury, (K), volute capitals 1 (detail), 2 (detail),
of St. John the Baptist
church, Great Rissington, (L), details 1 2 of
font in St. Mary's Priory, Abergavenny, (M), pillar (detail)
of St.
John the Baptist church, Circencester, (O), font details 1 2 at
St. Peter's church, Bromyard, (P).
7. Response to
Geometric
(1240-1280)
Shields at St. Andrew's church,
Cullompton and Thomas A Becket's church, Sourton,
Devon, pillar of
Holy Mary church, Ampney Crucis, (&), arches
at St. Mary's Priory, Abergavenny, (N).
8. Curvilinear. (Decorated)
(c1275-1380)
Chapterhouse of
Southwell Minster, west window of York Cathedral ,windows of St. Mary's Cheltenham;
1 2
3 4 5 6 7 , vault
of Ottery, St. Mary's, Devon, cloister windows 1 2
3 4 5 6, and rose window of
Exeter Cathedral.
9.
Perpendicular
(c1380-1520)
Font details 1 2
at the
Holy Rood church, Daglingworth, (^^), fan vault
and column of All Saints' church,
Evesham, doorway of St. Lawrence's church,
Evesham.
France;
1.
Carolingian
(c768-840)
Oratory
, apse (detail) and exterior windows of Germigny-des-Pres,
(!!).
2.
Celtic
(c1125-50)
Clearstorey fragments of the Abbey of
Saint-Marie-de-la-Regle, Limoges.
3.
Romanesque
(c1000-1200)
Chevet
of St. Benoit-sur-Loire, south
porch of Anzy-le-Duc, nave and chevet of
Montmajour, nave of
Tournus abbey, doorway
of St. Sernin
cathedral, Toulouse,
Vignory cathedral, chevet of Saint
Austremoine, Issoire, chevet of
Notres Dame du Port,
Clermont-Ferrand, chevet of Saint Hilaire
church, Semur-en-Brionnais, chevet
of
Fontevraud Abbey, doorway of Cathedral
of Saint-Trophime, Arles, westwork of
Sacre-Coeur, Paray-le-Monial, sculpture
from the Cathedral of Limoges, sculptural
reliefs
of the Abbey of Saint-Marie-de-la-Regle, Limoges, archways and pillar
of the church at
Lanleff, pillars of St.
Croix, Quimperle, archways and pillar of St. Sauveur, Dinan. cloister
of Saint Saveur Cathedral, Aix-en-Provence. cloister
of Senanque abbey, capital of Saint
Benigne church, Dijon, lunette of Abbey
Sant Marie, Arles-sur-Tech, reliefs
of
Saint Sernin
Cathedral, Toulouse, capital of
Cluny Abbey, Burgundy, crypt pillars of Mont
St-Michel (!!!!).
4. Pre-conquest
Norman/Romanesque
(c1020-1066)
Capitals 1 2
of Bayeux Cathedral crypt, ambulatory, clearstorey and nave
of the
Abbaye-aux-Dames, Caen, clearstorey
views 1 2
3 4 5 of Mont
St-Michel abbey,
volute capitals 1 2 and windows 1 2 of Bernay Abbey,
(G).
5.
Norman
(1066-1140)
corner
capital
(s) of Morienval,
chevet, ambulatory,
facade, windows, clearstorey,
vault and towers
of St. Foy,Conques, nave
of
Bayeux Cathedral (****), windows
(harmonic) of Eglise
Saint Pierre d'Airvault, belltower
of Cunault priory church, window
of Charlieu Abbey, chevet
of
Saint Hilaire, Melle, exterior and windows
of abbey churches
of Thaon and Lessay, capitals 1 2 3 4 5 6 from the
Abbey of Saint Martial, Limoges,
Bayeux tapestry images 1 2 3 4, church of Saint
Etienne-le-Vieux, Caen, nave and clearstorey
of Abbaye-aux-Hommes, Caen, (H).
6. Early Gothic
(c1140-1195)
Ambulatory
of Saint Denis
7.
Cistercian
(c1180-1250)
Nave and facade
of Silvacane Abbey.
8. Geometric (High Gothic)
(c1195-1240)
Clearstorey
of Saint Denis, ambulatory, nave
and clearstorey
of Reims
Cathedral,
clearstorey, facade, maze
details 1 2,
west
and north
rose windows of Chartres Cathedral,
apse
and nave
clearstoreys of St.
Peter and St. Paul, Troyes, nave
of Notres
Dame Cathedral.
9. Rayonnant
(c1240-1350) North
rose window of Saint Denis, west
, south
and north
rose windows of Reims,
rose
window of Troyes, south
and north
rose windows of Notres-Dame, upper
storey of Saint Chapelle
10. Regional
Gothic
(c1240-1385)
chapel of Papal
Palace, Avignon
Italy; 1. Byzantine
(c400-1300)
Mosaics from the basilicas of San
Clemente
(detail), Santa
Maria
Maggiore,
nave
and mosaics
from Santa Maria in Cosmedin, facade
and mosaics
Santa Maria in Trastevere,
pillars (detail) of
Santa Maria in Cosmedin, Rome.
2.
Ottonian
(909-1024)
Octagon of Santa Maria Maggiore,
Lomello.
3.
Anglo-Romanesque
(c1050-1137, 1159) archways 1 2,
pillars 1 2
and trefoil window, interior views 1 2, of
Santa Maria Maggiore church, Alatri,
ciborium of Santa Maria
in Valle, Porclaneta, pulpit of Abbazia de
Santa Maria del Lago, Moscufo, (*****)..
4.
First
Romanesque
(c900-1030)
Lombard bands 1 2,
nave (north side),
archway and chancel arch, rose window,
detail , dragonform
and
interior
view, of San Pietro, Tuscania, cupola,
transept, nave archway,
facade and transverse arches 1 2
of Santa
Maria Maggiore, Lomello, pulpit, facade, belltower
and pillars 1 2
of the Basilica of Saint Ambrogio,
Milan, facade
and columns of San Martino,
Tarquinia, facade and pillar
of San Michele Maggiore, Pavia, (***).
5. Second Romanesque (c1030-1200)
Cathedral of Civita
Castellana and
San Vittoria, Monteleone Sabino, nave
and south portal (dragonform detail)
of San Antimo (~), Church of Aregno, Corsica, facade
(detail) and nave
of the Cathedral of Anagni ,
Church of
San
Silvestro, Bevagna, Cathedral of Ferentino,
clearstorey
(detail)
of San Benedetto, Subiaco, Cathedral of
Frosinone,
fragments at Santa Maria in Trastevere, Rome, ambo of Sant Ambrogio,
Milan, frieze of Modena
Cathedral,
(!!!!!), dragonform detail of the pulpit
in Abbazia de Santa Maria del Lago, Moscufo, archforms at
the Abbazia di San Clemente a Casauria, archforms
at the Duomo di Sessa Aurunca (~ ~).
6. Cosmati
(c1190-1300)
Cloisters of San
Scholastica, Subiaco, San
Giovanni in
Laterano and San Paolo fuori
Le Mura
in Rome, pavements of San Lorenzo
fuori Le Mura, Santa
Maria in Cosmedin,
Santa
Maria in Trastevere in Rome, and San
Benedetto, Subiaco, ciborium
of Santa
Maria in Cosmedin, ciborium of
basilica of Castel
Sant'Elia, cloister of Sasso Vivo,
near
Foligno, (a rare example in England is the pavement
of Westminster abbey), ciborium of Santa
Maria in Cosmedin, Rome, pavement of San
Cataldo church, pavement (detail) of Palazzo
Normanni and pavement details 1 2 3 4 of Monreale cathedral, Palermo.
7. Cistercian
(c1180-1250)
Abbeys of San Galgano
in Tuscany, and Fossanova
cloisters,
Casamari
cloisters,
Valvisciolo
cloisters
(detail)
in Lazio, church of San Michele, Arcangelo,
Bevagna.
8. Response to English
(c1275-1300)
tomb
in San
Francesco, Viterbo.
9. Response to
Geometric
(c1240-1280)
Arcade of Palazzo
dei Papi ,Viterbo.
10.
Norman
(c1070-1200)
Arches 1 2 of
San Cataldo church, archway of Palazzo
Normanni, arch, cloister, apse
and choir
pavements
of Monreale Cathedral, Palermo, arches 1 2
and lancet
window of Cefalu cathedral, Sicily, cupola
and
belltower
of Sant Pancrazio, Tarquinia (!).
11. Regional
Gothic
(c1250-1385)
Abbey of Monte
Oliveto, near Siena, church of Sant
Agostino,
Visso, tower of Corciano,
Upper
church of San
Francesco d'Assisi, Assisi, church of San
Francesco, Viterbo,
monastery of Farfa (tower), facade of San Francesco, Tarquinia, facade of Messina Cathedral..
Spain; 1.
Visigoth
(c660-930)
Churches of San Juan de Banos,
Banos de Cerrato, San Pedro
de la Nave, Campillo, Zamora,
Santiago de Penalba,
San Cebrian de
Mazote, Ponferrada, archway and pillar (s)
of the church
of El Salvador, Toledo, church of Santa Maria del
Naranco, Oviedo.
2. Romanesque
(c1075-
1150)
Nave of Santiago
de Compostela Cathedral, rose window
and cupola of San
Miguel de Breamo,
Coruna, archway and windows
of San Roman, Toledo, archway
of Santiago de los Caballeros,
Santa Lucia, San Tome, San
Isidoro, windows 1 2 of San Esteban and Santa Maria La
Nueva,
facade of San
Antolin, Zamora.
3. Norman
(c1085)
windows
(random) and pavement of the church
(originally a
synagogue) of Santa Maria la
Blanca, (**),
belltowers 1 2
3 4 5 6 of the
churches of San Tome, San Sebastian, San Andres, San Pedro Martir,
San Domingo el Antiguo, Santiago del Arrabal, Toledo,
cupolas 1 2 3 4 5 of the churches of San
Domingo el Antiguo, San Vincente, Santiago del Arrabal, and convents of
Santa
Ursula, San Isabel,
Toledo, vault, arches
of the mosque of Cristo de la Luz and archways of Puente de San Martin
(Visigoth
influence), Toledo, (**), cupola of
Seu Argell
cathedral, belltowers 1 2 3
4 5
6 of the
churches of Santiago del Burgo, San Pedro y San Ildefonso, San Juan de
Puerta Nueva, San Vincente,
Santa Maria la Horta, San Cipriano, Zamora, cupolas1 (interior view) 2 3
4 5 of Santa
Maria Magdalena,
Santa Maria La Nueva, Santa Maria La Horta, Santiago
Caballeros, San Claudio de Olivares,
Zamora, archways 1
2 (random) of Santiago del
Burgo, Zamora, (******)..
4.
Cistercian
(c1180)
Cloisters of Santa
Maria de Oia
5.
Cusp
(c1280)
Cloisters of the monastery of San Juan de Reyes
6. Response to Geometric
(c1240-1280)
Nave of Bilbao
Cathedral
Germany; 1.
Anglo-Saxon
(c765) Konigshalle of
Lorsch Abbey.
2.
Carolingian
(c
800) Octagon
of Aachen cathedral, (!!!!!!).
3.
Pre-Romanesque
(c920-1024)
Westworks of the abbey churches of Gernrode
and Hildesheim
(Ottonian)
4.
Romanesque
(c1025-1200)
Westworks of Worms and Speyer
cathedrals, and abbey churhes of Fredesloh
and Maria
Laach
Holland; 1.
Romanesque
(c1000-1050)
Westwork of the basilica of San Servatius, Maastricht.
Israel; 1.
Romanesque
(c1075-1150)
Church of the Holy Sepulchre
2. Cosmati
(c1190-1300)
pavement
of the Holy Sepulchre.
Turkey; 1.
Byzantine
(c400-1300)
Monastery of Chora, Hagia Sophia, Constantinople.
Greece; 1.
Byzantine
(c400-1300)
Monastery of Helandarion,
belltower at Vatopedi monastery,
pavement at Iveron monastery, Mount
Athos.
Ireland; 1.
Celtic
(c900-1000)
High Cross of Monasterboice, High Cross at Ahenny.
2.
Anglo-Saxon
(c600-800)
doorway
of Ratass church, doorway
of Our Lady's church, doorway of
Reefert church, Glendalough,
doorway of St.
Fechin, Fore, doorway of the
church of Sons of Nessan, east end doorway and west
end window at St. Molua's church,
Killaloe,
archforms of Christchurch Cathedral
crypt, Dublin, illustrations
1 2 3 4 5 6 7 8 9 10 from the Book
of
Kells, Kells, exterior window, arcade, apse,
towers 1 2
and
westwork, interior pillars 1 2 of Cormac's
chapel, Rock of Cashel, (A).
3.
Anglo-Saxon/Carolingian (c800)
window
of church of Sons of Nessan,
(!!!).
4.
Norman
(c1180)
Abbey of Fore
5.
Anglo-Norman
(c1084-1111)
archform at Killaloe Cathedral,
(!!!!!!!), font and gravestone of St. Canice's Cathedral,
Kilkenny,
exterior window and doorway, interior doorway,
chancel arch, window and corner capitals 1 2 3
of Cormac's chapel, Rock of Cashel, (B).
6. Cistercian
(c1150)
Abbey
of Mellifont , Abbey of Boyle , Abbey of Hore.
7. Romanesque
(c1200-1250)
Church of Teampall Mor, Abbey of Cong , Abbey of Jerpoint
, Nun's Church,
Clonmacnoise.
8.
Lancet
(1180-1240)
Abbey of Timoleague, pillar and nave
of St. Canice's Cathedral, Kilkenny.
9.
Perpendicular
(1400)
Abbey of Quin
10.
Augustinian
(c1450)
Priory of St. Mary's
(+) The Y-shape of the
tree
in the tympanum of the doorway, echoed by the V-shape of the apex
angel, also the braiding pattern of the
stringcourse element suggest
an Anglo-Saxon
influence, the presence of Lombard bands in the interior column and the
dragon form are
characteristic of the First Romanesque style, although
Zarnecki argues that
they be derived from Scandinavean influences. In "Later English
Romanesque Sculpture", he also identifies the abaci as Anglo-Norman,
possibly
due to the use of
diagonals and the beak head ornamentation, as characteristic of the
later English Romanesque period, 1140-1210, see also (******) here.
The
arms of the Y point to
one of the fishes of the Zodiac and the head of a dragon, features of
the corbels in the centre of the north and west side walls. The symbol
of
the lamb and cross
appear at the centre of the east and west walls, the cross appearing at
St. Mary's church, Temple Guiting.. Zarnecki identifies
the style as part of
the Herefordshire
school of sculpture.
(++) The
Christian influence may be due to a chi-rho symbol found engraved on
the Nymphaeum, predating the villa's mosaics.
(+++) Also a feature
of the Herefordshire school.
(++++) See also (+), (++) here.
(+++++) We can attribute the Norman
influence, due
to the lack of grooving in the dragon heads of the third and fourth
archways, and the use of cushion capitals in the six
archways of the nave. Both the Anglo-Saxon and Norman designs, see
(++++), appear at the junction of the second and third archways,
creating a harmony with
the total number of arches on the north side. Zarnecki suggests that
the designs were influenced by those at Old Sarum, a ruined castle in
Wiltshire, (c1150). The
beakhead ornament at Old Sarum church, now in the Salisbury museum, is
clearly
Norman due to the chevron moulding at the base, Zarnecki also mentions
the
figure at Old Sarum appears at the apex of an arch, but
the capital has moved from
the museum.
(++++++) The embattled pattern on the pillar,
similar to the
frieze design of the central doorway at Lincoln Cathedral, created in
about 1145, according to Zarnecki, confirms
the Norman influence. The chevron pattern, a development
of the usual
one, found for example at Tewkesbury Abbey, is identical to that at
Mylor. The head at the
right of the five interlocked rings, is suggestive of a serpentine
form, the circles may represent the main four islands of Scilly and
Lundy.
(+++++++) The vertical line of the interior tympanum follows the
north-south direction of Lundy island, passing between England and
Ireland, the diagonal cross connects
Egloskerry with Mylor and Byton, as mentioned in (********) here. The
dragon form is associated with a circle, also a symbol of the Knights
Templar, and
present at Tremaine, the form may be pointing
towards Cury, see also (++++++).
(++++++++) The volute capital and diagonal patterning of the
tympanum at Saintbury, together with the cushion capitals and chevron
design at St. Cassian are typically Norman,
see also (*******), the dragon forms on the font are of the same
period, and, presumably, of Lombard influence, see also (~). The corner
capital appears
at Ebrington, but the jamb on the doorway and the recessed arch at
Ebrington confirm an Anglo-Saxon influence in this Anglo-Norman
style. The right side column
at Ebrington features a face looking away, and, on the
left, a figure looking towards it, indicating some asymmetry in Norman
art. The figure on the left might depict a
medium rasing the dead.
(+++++++++) The font at Ampney Crucis with an octagonal base and
the 8-point sunform at Quenington again confirm the use of an even
number of points in Norman art, see
(***), and (*********) here. The
green man symbol in the north door at Quenington and the grooved dragon
head at Coln St. Aldwyns are Anglo-Norman, see
(++) and (/////) here. There
are 3 orders in the extrados and intrados of the arch at Coln St.
Aldwyn's and the south doorway at Quenington, with 2 orders in the
intrados and 3 orders in the extrados of the north doorway. They have
exclusively chevron (3); egg/dart, beakhead, chevron (3); chevron,
sunform (2) and
egg/dart, chevron, chevron (3) mouldings, with a diamond scroll and an
embattled pattern over the green man.
(++++++++++) The style of the arch at Idbury is Anglo-Norman with
recessing, jambs, a
cushion capital and 3 orders; plain, chevron and diaper. The font at
Stoke Orchard uses
the interlace design, which Thomas Bell claims originates
at Winchester Cathedral, (c1090). The T-design of the supporting
pillars appears in the Anglo-Saxon arch
at Muchdewchurch and may be based on an early Anglo-Saxon
original, but I haven't seen pillars of this kind in England. This is
another Anglo-Norman feature.
(+++++++++++) The wider circular headed windows of St.
Mary's chapel are copied from an earlier
French design, which can be found at Bernays Abbey in Normandy (c1020),
see (****), but they are
now clustered, and also shorter than those
at Llanthony Priory in Wales. The interlace design of the blind arcades
on the north and south
walls are a development of the
pattern at Winchester Cathedral, which Thomas Bell dates to 1090 and
claims is the earliest example, see (++++++++++). The
orders in the archways, 3 and 4, are similar to Malmesbury Abbey,
(c1150), see (+++++). The cushion corner capital, found in the museum
is also clustered with
a V, duplicating a single groove, as
at Worcester Cathedral. Zarnecki dates cushion capitals from 1066-1100,
with Worcester being the earliest example, see
(****) here.
He dates corner capitals from 1100-1140, see (*****) here. The
star fragment is similar to one found
at
Brewardine, see (+++++) here , which
is
early 12th century. The T-design of
the pillar in a fountain
fragment font occurs at Stoke
Orchard, see (++++++++++), while the diagonal cross fragment is similar
to one at Mylor in Cornwall,
see (++++) here. The egg
and dart moulding can be found at Quenington, see
(+++++++++), but I haven't seen the diagonal cross
and
U-design. St. Mary's chapel might have been built about 1150, about the
same time as Malmesbury, but, probably earlier the rest of the Abbey
which is
transitional, c1180, see
(***********) here.
(++++++++++++) The exterior capitals are clustered volutes , see (****)
and (*******), derived from France, and the interior capitals are
clustered cushions, with an Anglo-Saxon
influence, see (****) and
(**********) here, both
belonging to the Anglo-Norman style, (c1150) the exterior archway
having a chevron marking and the interior
archway unmarked. It is likely
local craftsmen were used in the construction of the interior, while
French artisans were imported for the exterior part, probably about
1150, as at Glastonbury, due to the clustering of the capitals.
Innovations might have involved architects following designs, possibly
in pattern books or books on
geometry. The exterior
archform at Aston Piper is Anglo-Norman due to the chevron pattern and
use of jambs. There is a dragon form detail which is probably not
influenced by Lombard art due
to the lack of twists or knots in the tails, see (~).
.
*
It
is the author's opinion, that the
random fragments found in a number churches from Devon and
Cornwall derive from
architectural motifs found in Spain, see (**),
whereas the harmonic
elements,
originate in the French Norman/Romanesque style. Many of these
architectural elements are used in later constructions, from
different periods, but the initial
geometrical idea remains.
** The idea being
that
this form is a pointed
version of the Visigothic horseshoe arch, developed in conjunction at
San Martin.
*** The presence of Lombard
bands in
both the facade and cupolas at Santa Maria Maggiore, Lomello, date the
building (c1000-1050) to the Lombard or First
Romanesque
style.
According to "Lombard Architecture", by A.K.Porter, "The
transverse arches of Lomello, therefore, may be accepted as the
earliest
known erected over a nave". Lombard bands can also be found on the
belltower of the Basilica of San Ambrogio, Milan, and at San Pietro in
Tuscania. There
is a similarity between the design of the south transept at Lomello and
the facade of San Michele Maggiore, Pavia. The use of ionic and
corinthian orders in the
nave capitals at San Pietro, and
of doric orders in the nave capitals at San Ambrogio, Milan, and San
Martino, Tarquinia, confirm the view
that the First
Romanesque was influenced by Greek architecture.
Circular arches are of course
adopted from the Roman triumphal design, but the height in the nave, as
at
Lomello, seem to be a Lombard innovation, developed later by the
Normans, as at St.
Foy, Conques. Semi circular and circular motifs, together with dragon
forms, and a numbering of 12,19 and 26, can
also be found in the rose window at San
Pietro, it is possible there is a Norman as well as Lombard influence
here.
**** The style, here, should be
compared carefully, with the design of
cupolas in Toledo, Zamora and Lomello. There is less of an
emphasis on asymmetry, in favour of a
harmonious
pattern. The use of circular arches in combination with a high vault,
as at Lomello, is rare, and it is an interesting architectural
question as to how the vault
was supported. The chevet is a Norman development of the Carolingian
inventing of radiating chapels, see (!!). Both Peter Strafford in
"Romanesque Churches of
France" and Kenneth Conant in "Carolingian and Romanesque Architecture
800-1200", date the nave at Bayeux to 1077.
(G) Zarnecki
cites Bayeux
Cathedral and Bernay Abbey as examples for the origin of volute
capitals, which occur later at
Gloucester Cathedral, see (*******). However,
the grooved capitals at Bayeux suggest an Anglo-Saxon influence as
well. Strafford notes that the crypt at Bayeux Cathedral belongs to the
earlier
church, buit before
1066. Both Strafford and Conant date the Abbaye-aux-Dames, built for
William the Conqueror's wife Matilda, to 1060/1062, before the
conquest. The wider circular
headed window
can be found at Bernay (c1020), with a later similar example at
Glastonbury Abbey
(c1100), the divided arches can be found later at Tewkesbury
Abbey
(c1100). Strafford and Conant date the clearstorey of Mont
St-Michel from 1023/1024, before the conquest again; the circular
headed windows with the
volute capitals are similar to those at Bernay
Abbey. Conant dates Bernay Abbey from 1017.
(H) Both
Strafford and Conant date the Abbaye-aux-Hommes, where William the
Conqueror was buried, to 1068, after the conquest.
***** George
Zarnecki takes the view that
Anglo-Saxon traditions continued in the English Romanesque style, from
1050 into the 12th century, with little influence from the
Norman
conquest. The church at Alatri can be dated back to 1137, and shows
some aesthetic similarities with Anglo-Saxon churches in England, for
example the
narrow circular arches and pillars in the aisles, similar to those
found at Odda's chapel, Gloucestershire, and All Saints church,
Turkdean. The use of the trefoil, introduced
at Winchester cathedral arouund 1180, with its emphasis on a triangular
geometry, could also be related to the Anglo-Saxon use of dogtooth in
windows and archways, and
the
inclusion of spandrels in architecture. A fragment from St. Oswald's
Priory, dating from the Anglo-Saxon period, in the Gloucester Museum,
shows similarities with a
braiding pattern found at Anagni. Lloyd and Jennifer Laing in
"Celtic Britain and Ireland" suggest that the interlace design has an
Anglo-Saxon origin, similar to work found
at the
Sutton Hoo 2 burial site. The pulpit and ciborium (c1150) are
mentioned in "Romanesque Sculpture in Italy" by Crichton, who
attributes the trilobate arches to an
Islamic source, but the trefoil form can be found earlier at Alatri,
and the trefoil arch also occurs in England around 1180, for example at
Hailes Abbey.
****** The use of an
asymmetrical cupola dates
possibly back to the Lombard church at Lomello, the Norman presence in
Italy from 999, and in Spain, from 1085, suggests that
they developed the idea in Spain later.
******* According to "English Romanesque
Sculpture, 1066-1140", by George Zarnecki, such capitals (1089) are
derived from the Corinthian design, and influenced by architecture
in Normandy, France, citing Bernay Abbey (c 1010) as a
predecessor, see (****). .
******** The geometrical motifs at St. Mary
the Virgin, Dymock, and St. Mary's, Kempley, are clearly related, with
the spiral patterns asymmetrical and at opposite sides in the two
churches. The spiral designs occurs symmetrically in the chancel arch
at Kempley, a feature of the Romanesque style in Italy, with the
chancel arch decoration doubling the
frequency of the crests in the wall painting, above a
semicircle, from red and grey to yellow. The corner capital style
confirms the development as Norman, see also (***)
of this page and (****), (*****) here.
********* Work of the Herefordshire
School,
according to Zarnecki, see (******). The lance of St. George is
pointing to the dragon and a bird, possibly a sandpiper or curlew.
It's direction is opposite to that of the
cross at
Byton, and perpendicular to the Y at Kempley, see (+) of this page and
(*****) here.
********** According to Zarnecki, belonging to the
period of Late Romanesque sculpture in England, from about 1160-1170.
He mentions the diamond shaped and scroll patterns
appearing on the inner doorway, referring to the
orders as alternating. He compares the outer doorway to that of Aulnay
in France, which displays a continuous or repeating
pattern, but believes the development here is English. He also notes
the fragment of the west doorway.
*********** The leonine beasts, facing each other across
the palm tree, might be a precursor to the use of lions in medieval
heraldry.
(#)
Zarnecki dates the tympanum to the early 12th century,
the Agnus Dei symbol appears next to the lion, in reference to the
evangelist St. Mark. This does not signify
that the lion wil lie down with the lamb; "The wolf also shall dwell
with the lamb, and the leopard shall lie down with the kid; and the
calf and the young lion and the
fatling together; and a little child shall lead them." (King James
Version). Zarnecki dates the beakhead ornament at St. Ebbe's
church to about 1150, and notes the
influence of similar sculptures at Reading Abbey, from about 1130, the
earliest known examples, which also influenced the Herefordshire
School. In an article with
Henry, "Romanesque Arches Decorated with Human and Animal Heads", he
argues that the designs may originate from Anglo-Saxon bird symbols,
used in
manuscripts, though the use is usually in
conjunction with the Norman chevron pattern, see (+++++). George Baxter
in "Beakhead Ornament and the Corpus of
Romanesque Sculpture" dates the Old Sarum
beakheads to 1130, and those at Reading Abbey to 1121, but Zarneck
believes the latter are from about 1130,
so it seems to be an open question where exactly in England they
originated. Baxter notes the presence of beakhead ornaments in Ireland,
for example at
Clonmacnoise, noting a connection with French examples, but Zarnecki
suggests they may have been introduced from Spain. The capitals at
Romsey Abbey date
from 1140, and have a French Carolingian influence, see (!!!!).
(##) The
carving is difficult to see, but shows a slightly recessed Anglo-Saxon
arch, which Clapham believes are more common in the North of
England, but can also be found
at Bradford-on-Avon. The strip on the exterior
south wall, close to the chancel arch, as at Coln Rogers, is also
mentioned in Clapham, but has a base block. There
is a round headed window which doesn't seem significant, but is again
cited. I could find a double splay type, as at Bradford-on-Avon, though
slightly pointed,. I'm
wondering if this is the one he means. The tomb slab is now in the
British museum, and, according to Clapham, is Anglo-Saxon but with a
Norwegian influence, the
Ringerike style. The herringbone pattern seems to be Anglo-Saxon, with
similarities to the network at Earl's Barton, and using the dogtooth
form. The doorway shows
recessing, again an Anglo-Saxon feature, the trefoils in the window are
probably later, but, as I argue in (*****) are probably related to an
Anglo-Saxon original. The
sundials at Daglingworth and Saintbury are similar, with 3 grooves
beneath the central axis, representing the monastic times of Vespers,
Sext and Matins, and suggesting
a 10-spoke design, similar to that
at Kempley, see also (********).. The crucifixon sculptures at
Wormington and Daglingworth are similar with a horizontal and vertical
design, rather than aY-shape, see (oo) here,
suggesting that the Anglo-Saxons used both forms. The remaining
Daglingworth sculpture shows the right hand in blessing. There
is an Anglo-Saxon bulged capital at Daglingworth, similar to Earl's
Barton. The doorways at Castle Frome are typically
Anglo-saxon with narrow circular arches, jambs and
slight recessing.
The sundial is also similar in form to those at Daglingworth and
Saintbury, but without visible grooving. The sundials at Bredon
exhibit grooving patterns, as
at Daglingworth and Saintbury.
(###) One of the
capitals shows acanthus decoration, which Clapham compares to a design
at Chichester Cathedral above the chancel, and can also be found in
tenth century
manuscripts of the Winchester school. It must be
earlier than possible Roman influences, for example near Coln St.
Aldwyn's, from around 950, though I
haven't seen these.
(####) The splay window
at Barnsley has a slightly flattened, semi circular apex, see
(##), which I couldn't find at Bibury, though mentioned by
Clapham, and I found a replica at
Ampney St. Mary. The jambs and tower at Ampney are typically
Anglo-Saxon with oblong and triangular forms, which are mirrored, with
semi circles in the font, there is
also an oblong window at Ampney Crucis. There are two types of splay
window at Aston Piper, the shorter forms similar in appearance to
those, for example, at Morienval
and Conques, in France, see (****), while the longer forms appear
at Llanthony Priory, in Wales, and the Church of Sons of Nessan,
Ireland, see (\\\\) here
and (!!!).
(!)
The first use of a lancet window
form, with a slight apex, occurs at Cefalu Cathedral, an inspiration
for the later style in England. The replacement of curves with more
linear
forms is an influence on the Cosmati artists who worked later at
Palermo; you can find more about their work in the following paper and I consider the relationship with
symmetry here.
(!!) Peter
Stafford in "Romanesque Churches of France", (2005), dates the church
to 805, and argues that it is a precursor to the Romanesque style,
noting the originality of
the apses and the interior apse detail. He also notes a similarity with
Visigothic architecture, in the exterior keyhole arch forms. The plan here shows the first development
of radiating chapels in the apses of the east end and single apse in
the west. Kenneth Conant in "Carolingian and Romanesque Archiecture
800-1200" makes the point that
development of this echelon idea occurs at Saint
Philibert de
Grandlieu (c814) 1 2
3 and Saint Germain, Auxerre (c850) 4, see also (!!!).
(!!!)
George Petrie in "The Ecclestical Architecture of Ireland,
Anterior to the Anglo-Norman Invasion", (1845), gives a careful
analysis of
Saxon architecture at Our
Lady's church at Glendalough, St. Kevin's church at
Reefert and the church
at Ratass. He measures the dimensions of the top and bottom of the
three
doorways
there to be 2ft 6''/3ft, 2ft 6''/2ft 9'' and 2ft 8''/3ft 1'', a
difference of 6'', 3'' and
5''. This asymmetry marks a different style, using the trapezium form,
and the
progression of differences might suggest the chronology of the three
churches, which he
dates to about the 6th/7th centuries. This form can also be found in
the
east doorway at Killaloe. Thomas Bell notes the use of a circular
arched window, with Corinthian capitals at the west end of Killaloe,
but only refers to a pointed
arch window at the east end, which I couldn't find from the image. The
use of lintels at Glendalough, Reefert and Ratass and a double
moulding as in splay windows,
anticipates the later Anglo-Saxon
style in England, from around the 9th century. Cormac's chapel has
square headed capitals, see also (!!!!!!!), with a Corinthian design.
Due to Bell's dating, they must belong to an earlier
period than the mainstream style of Anglo-Saxon architecture in
England, but I would still describe them as belonging
to the Anglo-Saxon period. Christchurch has a herringbone
network over the arch, see also (###). Petrie also dates the church
on Ireland's Eye to the
7th century, on
historical grounds connected to the sons of Nessan.
He notes
the dimensions of the west front doorway, as 2ft 8''/3ft, a difference
of 5'', and notes that it had then been
moved, but presumably
subsequently replaced. The style conforms to early Saxon examples in
England, for example at Deerhurst, which is about 9th century, with a
similar
use of lintels in the arch. He doesn't mention the window
form on the east
side, which, due to the height, and the semi-circularity of the apex
conforms more to the style
at
Germigny-du-Pres, see (!!). Again, the presence of lintels in the arch
suggests that this could be a combination of forms. I would suggest a
date attribution of about
800, for the east window, based on the dates of
these other
2 sites.
(!!!!) Millard
Hearn in "Romanesque Sculpture: The Revival of Monumental Stone
Sculpture in the Eleventh and Twelth Centuries", notes the new use of
the geometric forms
of diagonals and ovals in the capital at Saint Benigne
(1016), and a lunette in the doorway sculpture at Arles-sur-Tech,
(1046). The 45 degree angle at the top of the
lunette suggests it could be formed by two intersecting semicircles,
each passing through the other's centre, a theme which is repeated
later in England at Romsey Abbey,
(1140), in 2 capitals, one consisting of two
semicircles, the other two figure 8's, in which the central node is
separated from the inflexions, also demonstrating a geometric
intelligence. Hearn suggests the genesis of these designs
is Carolingian, noting the difference with regional styles, and
observing that the Christ in Majesty sculpture of the
lunette is typical of earlier Carolingian designs. The use of the
lunette in the Saint Sernin sculptures again suggests a Carolingian
influence. There is an additional awareness
of symmetry and asymmetry in the symmetric designs of the
angels and the asymmetric attitudes of the saints, with the right hand
in blessing. Delarnelle suggests a single
authorship due to similarities between the designs, but
attributes mainly a Byzantine or Roman influence. Hearn notes the
similarities with the design of Christ in Majesty
from the Carolingian text of the "Godescale Gospels", (783), and the
same design from the Ada group, Berlin, (900), which is generally
attributed as Ottonian, but, as
Hearn argues could also be derived from a Carolingian source. The
capital at Cluny (probably 1100) again uses a lunette in a Corinthian
format. Strafford notes the
existence of a crypt at Mont St-Michel from 900,
the capitals are similar to those at Bayeux Cathedral, see (G).
(!!!!!) The ambo
in Milan, (1106), shows an awareness of mirror symmetry in the spirals
of the relief design, and, as Hearn notes, a new use of repeating arch
forms in a square.
The cusped nature of the overlaps in the arches
suggests a connection with later cusp architectural forms, for example
at St. Anne's chapel, Malbork. There is also a use
of inflexions in a cross design, but they are not separated, unlike at
Romsey Abbey. Hearn suggests a local influence, but there might be an
Ottonian connection here. The
frieze at Modena Cathedral (1106) combines
the repeating cusped form with a lunette, so it is possibly influenced
by both Carolingian and Ottonian sources, see also (!!!!).
The brading patterns at Anagni Cathedral and in the fragments at Santa
Maria in Trastevere
(!!!!!!) The
triangular motif is similar to English dogtooth and herringbone
networks of Anglo-Saxon architecture, see (##), there is also
documentary evidence that there was
interaction between Anglo-Saxon and Saxon culture
in Lorsch at this time. The octagonal chapel at Aachen was built by
Charlemagne, the attached palace shows
similarities with the development of radiating chapels in France, see
(!!) and the plan here, which can be found in "Carolinigian and
Romanesque Aechitecture
800-1200" by Kenneth Conant, see also (!!).
(!!!!!!!) The square
headed capitals at Killaloe Cathedral are similar to the smaller ones
at Cormac's chapel in Cashel, which Bell dates to the end of the 9th
century, and Odda's
chapel, 10th century, in Gloucestershire. The
archform is Norman due to the chevron moulding, but the Anglo-Saxon
influence suggests that it belongs to the Anglo-Norman
style, see also (****) here.
(~) According
to "Romanesque Sculture in Italy", by Crichton, the dragon form is
typically used in the Lombard school of architecture, he distingusihes
between dragons with
twisted tails, as at San Jacob, Regensberg, and dragons with knotted
tails, as, here, in San Antimo, see also (***). Dragons can be lawful
or evil in Christian mythology,
for example the clash of the red and white dragon in Arthurian
mythology.
(~ ~)
Crichton also mentions the dragon form at Moscufo, 1159, and the
opposite circular and pointed arch combinations, both constructed in
1176. Crichton notes the Lombard
influence first, while you can see both a Norman and Lombard design in
the arches, see (***) and (!).
(&)
The circular design of the capital at Ampney Crucis is
similar to the form, commony found in Welsh churches of the geometric
period, using Simon Jenkin's terminology in "England's Thousand
Best Churches"
(^)
The details show St. James wearing a hat, it
is recorded he could use magic, which he does against the enchanter
Hermogenes. The dragon form could be a combination of
Lombard and Anglo-Saxon influences, due to
the use of braiding and the connection with Santiago de Compostela, see
also (~), (~ ~) and (!!!!!).
(^^)
The font detail
depicts a green man, similar to one at Brecon Cathedral, with the
other cusped form on the font typical of the Perpendicular period. The
10-point design
may be derived from an Anglo-Saxon source, see
(\\\\\) here.
(A)
The exterior arcade of Cormac's chapel bears a striking resemblance to
the three-shaft arcading used at St. Laurence's church,
Bradford-on-Avon, and the
upper window at
Abernothy round tower, examined by Clapham in "English
Romanesque Architecture before the Conquest", and E.A.Fisher in
"Anglo-Saxon Towers" respectively, see (o) and
(C) here. The
pillars used in the exterior window, apse
and the interior resemble those at All Saint's church, Brixworth, and,
in an another arcaded form, at Bradford-on-Avon,
see here.
The towers form a westwork, similar to a series of designs in
Germany, for which
connections between Anglo-Saxons and Saxons are known. All
Saint's church is
7th century, (Clapham), and the arcading at St. Laurence's may be about
700, according to H.M.Taylor in
"Anglo-Saxon Architecture", or early 10th century (Clapham). The
conventional date for Cormac's chapel is 1127, Cormac being the king of
Munster from
1127-1134, placing it in the Anglo-Norman period,
but, as noted with the round tower,
see (\\\\\\\) here,
there
may have been a previous Anglo-Saxon chapel, or the designs in England
and
Scotland could have influenced
travelling Irish monks.
(B)
The
designs at Cormac's chapel are typical of the Anglo-Norman period, with
the use of corner and square-headed capitals, see here and (A).
"The Oxford Illustrated
History of Ireland", edited by R.F.Foster, describes Cormac's chapel as
"heavily influenced by English Romanesque. It's context is the 12th
century reform of the Irish
church and the growing closeness between Ireland and Anglo-Norman
England". The Norman invasion of Ireland by Strongbow is 1171,
but the book mentions a charter
1175-76, which states that the townsmen of Chester had enjoyed a steady
trade with Dublin during the reign of King Henry I, (1100-1130).
(C)
The capitals in the doorway at St. Michael's are in the volute style,
see (*******), the wall painting carries a wave pattern, possibly
the form of a dragon, and is claimed to
be medieval, according to "Historic churches in Gloucestershire",
Britain Express, with the adjacent arch being Norman, see (B) here.
(D)
The font and volute capitals might be Anglo-Norman, due to the
combination of braids in the Anglo-Saxon and Norman styles, see
(*****), and the jambs below the capitals.
(E)
The archway at Bishop's Frome has 3 orders and the typical chevron
design, the volute capitals at Bishop's Frome and Yarkhill are similar,
with a clustering of 3, see
(++++++++++++).
(F)
The capital fragment is from Old Sarum castle, according to Zarnecki,
though similar designs are found at Glastonbury Abbey, see
(+++++++++++).
(G)
The herringbone stonework is typical of the Anglo-Saxon period, and
predates Norman influence.
(H)
Work of the Hereforshire School, 12th century, with a Romanesque
arcade, according to the Historic Herfordshire Guide.
(I)
There is evidence of herringbone masonry in the church walls, and the
window is splayed, making it typical of the Anglo-Saxon style, even
though the church is built within
the remains of an 11th century Norman motte and bailey castle.
(J)
The Norman style is evident from the chevron markings in the arch of
the doorway and in the font, where they are reflected into a lozenge
pattern. The capitals are volutes
with wave patterns,
which are further explored in the inner and outer orders of the
arch.
(K)
It is unusual to find corner capitals, see (+++++++++++), and
volute capitals, see (G), in close proximity, the
architectural feature being suggested in the asymmetric
facial gestures of the volutes on either side of the archway. The
square capital heads of the volutes suggest that their style is
Anglo-Norman,
(L)
The volute capitals develop the scrollwork found in Ionic architecture.
The first capital uses a fuller spiral pattern, while the second
capital uses double grooving with the
combination of an inflexion and a spiral.
(M)
The wave pattern on the font has transverse
intersections with the baseline, a Norman feature.
(N)
The boss shaped ripost is a Welsh design, the circular form connected
to the Geometric style of architecture and the Cistercian style,
dating it about 1240.
(O)
The drum capital design is similar to those at Great Rissington, see
(L), below what appears to be a Norman transitional arch. There
is some argument that the foliage
element might be linked to the curvilinear period, but it is not
particularly naturalistic, and appears to be an inverted fleur-de-lys.
(P)
As in (J), (M), the font displays an interest in wave patterns,
possibly associated with the resurrection, further developed with
spiral forms, see (L). The first detail might
be a depiction of the tree of life, a Christian symbol associated with
spirals, see my book Christian Geometry: the Geometry of Light,
available for download here.