Romanesque Art: At that time they had in mind so much religion is the belief q had the world ends. At first religious buildings are built to apologize to God taking as influences the apocalypse. In Europe they begin to see a series of disasters that kill millions of people there are poor harvests and a series of events that give Christians believe q God is angry with them and the belief that the end of the world. Began to build churches and to pray. There comes a thousand years the world not just think so q q have miscounted. The art is fully connected to religion being the international Romanesque art which forced union to create routes (routes for pilgrimage). The Crusades: It raises the reconquest of the holy places such as Bethlehem where Jesus was born occupied by the Turks and reason for Christians that God is angry. The troops across Europe to win back the holy places, it was even in the churches to the monks were trained for battle. Sponsor: Were the people of this era that had a lot of money and were the ones who ordered and sponsored works for God. These concepts are religious sphere, giving rise to a name and a surname. Artists: They are grouped into teams and move quickly from one country to another. They have little artistic interest whether it is placed the name where he has worked and not by their works. At that time people could barely read or write asynchronous that all works were visual for people to realize the threats and rewards that will be after death. Construction will be done mainly in sculpture or painting, is sacrificed beauty for plasticity, sculptors or painters do not put much effort into their work. Architecture: The Romanesque Rome comes from a derogatory manner, ie the Romanesque sculptors are terrible compared with those of ancient Rome, all pass through France works echo the early church was Romanesque in France. The architecture will be the container of all the glow of Romanesque art: the Romanesque Church: Its plan is usually a Latin cross with one or more longitudinal ships: 1-3-5 and a transverse or cruise. There are also temples with Greek cross plan and central temples (churches octagonal baptistery or Templars). The headwaters of the longitudinal end plants in apses, usually semicircular, although the central nave is usually higher than the sides. Sometimes they are fitted on the side apses, transepts and radial on the ambulatory or ambulatory, semi-circular nave surrounding the central apse behind. The central nave is higher than the side leading to the outside a volumetric effect varied. The Romanesque church is resolved in a set of geometric shapes. On the second floor gallery feature makes it futile and open to the nave. This set of windows of the gallery is called clerestory. In the place where the nave meets the generally transverse rise on horns hemispherical vault or dome over scallops.The central dome covers the square of the transept and stands outside a tower called dome. The vaults are reinforced with arches at the point of incidence of the pillars. Sometimes you use the flat wooden roof typical of the old basilicas and Spain also Muslim influence. But it is also common the use of vaults, cross intersection of two barrel vaults. In the Romanesque columns are cylindrical inside the temple but more often are the pillars, rectangular and thick, which are complicated to bind to these columns thin, beaded or pillars, which hold the arches of the vault. In small churches it is normal that the wall thickness, helped by buttresses or external brackets directly support the roof of stone, without arches or pillars. Church of Pilgrimage: Probably the main factors of consolidation, standardization and dissemination of the Romanesque are booming pilgrimages and the title role of the Order of Cluny, which will promote the consolidation of a unified liturgy throughout Europe. On the other hand, the cult of the relics will be essential to promote the existence of pilgrimage routes where they flowing people, ideas and technical innovations and aesthetic. Therefore, the pilgrimage will be a key factor in European Romanesque globalization. The Monastery: The monastic orders spread throughout Christian Europe as hey were indispensable agents in the unification of the models consrutivos and diffusion of Romanesque. The monasteries were important cultural centers and many of them had libraries and workshop where they copied and illustrated with miniature antique books. Parts of a monastery on the model of the Abbey of Cluny Romanesque monasteries consisted of the following parties: Senate: It was a quadrangular courtyard with galleries on all four sides of columns. Church often built adjacent to the northern wing of the cloister. Chapterhouse : The square was built in the eastern part of the cloister and accessible from it. Refectory: A place where the monks ate. Bedroom: Same as in food is to follow the rule all the monks slept in common. Desk and library: on the desktop copyist monks engaged in copying and illuminating manuscripts. Architecture in Europe: Although the art of Western Europe during lo0s s. XI and XIII are some common features can also speak of different schools have emerged as historical and cultural peculiarities of each region.France: The area of greatest growth is in Burgundy. There is the Abbey Church of Cluny, which was rebuilt between 1080 and 1108.El another great Romanesque church of this region is Santa Maria de Vezelay. His great central nave is covered with a barrel vault reinforced with arches bicolor, recalling the alternate segments of the Mosque of Cordoba. Impresses with its cover. Italy: Romanesque in Italy is mainly in the north, Lombardy and in the center, but it is a classic Romanesque survivals, which is authentically Italian. So this is a very different Romanesque. The grandest Romanesque Italy is in Pisa, medieval commercial republic boomed in the eleventh century to collapse after the competition of Genoa. The set consists of a Pisan cathedral, baptistery and tower or campanile free, the three together in an open and separate from other buildings. The cathedral has five ships on three other cruise. In the center is a giant oval dome and the rest is covered with vaults in the aisles and the center with flat wooden roof (early Christian influence). The exterior is covered with marble slabs in alternating white and dark horizontal stripes. The facade has a series of blind arches arranged on several floors. The light, the richness of decoration, color, everything away from the European Romanesque. The tower is far from the cathedral (as in Florence), cylindrical section is very thick and is built mostly of white marble, to coincide withthe features the cathedral. Also outside is decorated apartments with blind arches. It was built by Bonanno of Pisa, and XII century. His inclination gradually began from the moment of its construction, but has managed to stop a cast concrete base. Spain: When entering the century Romanesque XI surpasses any concept of style and is installed as the representation of an entire civilization: the Western European feudalism. None of the previous styles came to cross borders and extends the Romanesque, however, like a wave across Europe. In the area of contact with Muslim culture. But the Romans is not the same throughout the Christian area nor was equal society and economy of the different kingdoms. The most important feudal core of the peninsula is Catalan. We must distinguish two main tendencies: an older one in the Aragonese Pyrenees, Catalan and develops XI and XII century on the basis of influence in northern Italy, from Lombardy and southern France. The other stream comes from the French core and the typically Burgundian cluniaciense, which infiltrates the peninsula through the Camino de Santiago from XI century Romanesque and determines part of Aragon (Western), La Rioja, Castilian and Galician in the eleventh and twelfth centuries. This is a more advanced type of Romanesque and greater financial resources. The Romanesque sculpture: Like architecture, the Romanesque sculpture is fully integrated into medieval culture and is one of his best. Through it reflects the idea of God omnipotent and omnipresent, the idea of religion as a mystery, as the only handle so as not to succumb to a dark unknown world. It is not naturalistic sculpture attempts, the faithful representation of the world or objects as they appear to us to the senses.Always Wanted allegory and symbolism, intended to represent ideas or experiences. It is intended that the figure originates from an ideological background and he will reside in the beauty and not mere cosmetic appearance. Not looking for aesthetic beauty in a figure but the beauty ethics, good ideas, religion. This uses natural elements such as animals, people or plants, but never as they are, your real image is not what matters, but as symbols, as an expression of an ideal. for it will not hesitate to systematically distort the figures. The architectural elsewhere over the home is decorated. The archivolts are decorated with geometric or human figures and the tympanum receives the Gospel scene is usually the main Pantocrator, or Christ in Majesty, seated and in an act of blessing, surrounded by the four evangelists, which are usually represented with the heads of their symbolic animals: the bull, lion, eagle and man, ie Tetramorph. Another typical scene is the Last Judgement Tympanum at whose feet appear the 24 elders of Revelation. Finally, there is another symbolic figure representing Jesus Christ and called Crismón or circle with two perpendicular lines inside and four Greek letters are the initials of Christ in Greek and Alpha and Omega because they signify the beginning and end of everything . The Portico de la Gloria is composed of three arches that give access to each of the three ships and eardrums, jamb, mullion archivolts arranged over two hundred figures. Ladelicadeza highlights this joint work in each figure, in every fold. Figures chat among themselves, the faces are more individualized and softer features, a manifest energy, kindness and other other they smile. As to highlight the most important works nationwide are on the ground floor of the cloister of Santo Domingo de Silos. In one of the four reliefs at the corners appears the La Duda de Santo Tomás. The fact that the sculptor has chosen the wider space of the panels to the capitals of the scenes shows an artist (anonymous) able to cope with great compositions. In this scenic scene shows the juxtaposition of the composition, with overlapping frisospara group the figures. The faces, the positions and size of all figures (the twelve apostles and Jesus) are repeated except the figure of Christ that is larger and in St. Thomas which is checking the wound of Jesus. The Romanesque Painting: The Romance is also decorative painting. Art is not conceived as autonomous and not important in itself but as ornamentation of walls inside the temple. Is derived directly from the thumbnails Byzantine monks then passed to Pre-Romanesque the early Middle Ages. They are miniatures of manuscripts from which the painter Roman themes and techniques drawn. He just has to continue that tradition and push the boundaries of the thumbnail for the fresco murals decorating the most Romanesque churches. Romanesque painting is, like sculpture, their appropriate places within the temple. Above all is the apse and sometimes also the side walls. Sometimes also painted shrines, especially the front. In the apse is the Pantocrator surrounded by the four evangelists, angels and saints. The most widely used is cool: the wall was covered with lime and sand on which, and before it dries, you should paint the mural. In this way the paint dries while the lining of the wall, it sticks and mixed with lime and get well and stay extraordinary cohesion.However, this affects a lot of the artist because it has only about seven hours to paint before it dries liming. The painter does not know Roman perspective. His works are flat in its execution and its color. The Romanesque painter does not understand almost nothing of composition because it is not problematic grouping, and when it does, it solves in a simple, linear, putting the figures in row, side by side and all in the same plane. If you want to highlight the importance of one of them, increases their disproportionate size of the other regardless of perspective. Dominates, as in sculpture, the principle of the frontal, especially for important figures: Christ, the Virgin, an emperor or king, a saint or an apostle, and so on. It aims to paint a picture as clear and simple as possible.