Cistercian Architecture

Cistercian architecture is a style of architecture associated with the churches, monasteries and abbeys of the Roman Catholic Cistercian Order. It was heavily influenced by Abbot Bernard of Clairvaux (d. 1153), who believed that churches should avoid superfluous ornamentation so as not to distract from prayer. Cistercian architecture was simple and utilitarian. Although a few images of religious subjects were allowed, such as the crucifix, elaborate figures common in medieval churches were prohibited. Bernard noted their capacity for distracting monks in a famous letter. Early Cistercian architecture shows a transition between Romanesque and Gothic architecture. Later abbeys were constructed in Renaissance and Baroque styles, which were more ornate by nature.

In terms of construction, buildings were made where possible of smooth, pale, stone. Columns, pillars and windows fell at the same base level, and if plastering was done at all, it was kept extremely simple. The sanctuary kept a simple style of proportion of 1:2 at both elevation and floor levels. To maintain the appearance of ecclesiastical buildings, Cistercian sites were constructed in a pure, rational style; and may be counted among the most beautiful relics of the Middle Ages.

Most Cistercian abbeys and churches were built in remote valleys far from cities and populated areas; the isolation and a need for self-sustainability bred innovativeness among the Cistercians. Many Cistercian settlements display early examples of hydraulic engineering and waterwheels. After stone, the two most important building materials were wood and metal. The Cistercians were also skilled metallurgists, and their skill with metal has been associated directly with the development of Cistercian architecture and the spread of Gothic architecture as a whole.

Theological principles

In the mid-12th century, one of the leading churchmen of his day, the Benedictine Abbot Suger of Saint-Denis, united elements of Norman architecture with elements of Burgundian architecture (rib vaults and pointed arches respectively), leading to what was later termed Gothic architecture. This "architecture of light" was intended to raise the observer "from the material to the immaterial" – it was, according to the 20th century historian Georges Duby, a "monument of applied theology". In order to achieve such moving effects, the interiors of many religious buildings were designed to be witnessed at specific times of the day such as sunrise and sunset. St Bernard saw much of church decoration as a distraction from piety,Toman, p 10 and in one of his letters he condemned the more vigorous forms of early 12th century decoration:Harpham, p 39"

These sentiments were repeated frequently throughout the Middle Ages, and the builders of the Cistercian monasteries had to adopt a style that observed the numerous rules inspired by Bernard's austere aesthetics. However, the order itself was receptive to the technical improvements of Gothic principles of construction and played an important role in its spread across Europe.

This new Cistercian architecture embodied the ideals of the order, and was in theory at least utilitarian and without superfluous ornament.Lalor, p 1 The same "rational, integrated scheme" was used across Europe to meet the largely homogeneous needs of the order, along with similar prescriptions for liturgy and music. Various buildings, including the chapter-house to the east and the dormitories above, were grouped around a cloister, and were sometimes linked to the transept of the church itself by a night stair. Usually Cistercian churches were cruciform, with a short presbytery to meet the liturgical needs of the brethren, small chapels in the transepts for private prayer, and an aisled nave that was divided roughly in the middle by a screen to separate the monks from the lay brothers.

The mother house of the order, Cîteaux Abbey, had in fact developed the most advanced style of painting, at least in illuminated manuscripts, during the first decades of the 12th century, playing an important part in the development of the image of the Tree of Jesse. However, Bernard of Clairvaux quickly gained influence in the order. Since he was averse to imagery, painting ceased and was finally banned altogether, probably from the revised rules approved in 1154. Crucifixes were allowed, and later some painting and decoration crept back in.

Recently, it has been shown that the "austere" architecture of the so-called "Bernardine plan" is not really by Bernard at all but is better thought of as "the classic Cistercian plan," a compromise plan of lower ascetic standards, aimed at broader institutional acceptance.

Construction

The building projects of the Church in the High Middle Ages showed an ambition for the colossal, with vast amounts of stone being quarried, and the same was true of the Cistercian projects.Erlande-Brandenburg, p 32-34 Foigny Abbey was long, and Vaucelles Abbey was long. Monastic buildings came to be constructed entirely of stone, right down to the most humble of buildings. In the 12th and 13th centuries, Cistercian barns consisted of a stone exterior, divided into nave and aisles either by wooden posts or by stone piers.

The Cistercians acquired a reputation in the difficult task of administering the building sites for abbeys and cathedrals.Erlande-Brandenburg, p 50 St Bernard's own brother, Achard, is known to have supervised the construction of many abbeys, such as Himmerod Abbey in the Rhineland. Others were Raoul at Saint-Jouin-de-Marnes

HOME


Content is Copyleft
Website design, code, and AI is Copyrighted (c) 2014-2017 by Stephen Payne


Consider donating to Wikimedia



As an Amazon Associate I earn from qualifying purchases