Romanesque Revival (original) (raw)

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Romanesque Revival in America: In general 1840-1890

American architects experimented with the Romanesque in the 1840s and 1850s for churches and public buildings, using round arches,corbels and historically correct features such as chevrons and Lozenges borrowed from the pre-Gothic architecture of Europe. But in texture and outline these early Romanesque structures resembled their Gothic Revival contemporaries. The outstanding example of this early phase of the style is the original Smithsonian Institution building (1847-55, James Renwick), Washington, D.C. It was designed with extremely irregular outlines, battlemented cornices and relatively smooth-faced ashlar walls.

As interpreted by Richardson in the 1870s and 1880s, the American Romanesque became a different, and uniquely American, style (see below).

The defining feature of the [American]Romanesque Revival is the semi-circular arch used for all window and door openings and for wall enrichment.

Other distinguishing motifs are beltcourses and the arcaded corbel table which is a series of miniature arches below the eaves.

Belt- or stringcourses mark horizontal divisions.

Column capitals and compound arches are enriched with geometric medieval ornament.

Facades have gabled roofs flanked by square or polygonal towers of differing heights, with parapets or various roof shapes, and occasionally spires of Gothic origin.

Pyramidal roofs often have concave slopes.

The typical plan is basilican, with a long, narrow nave,vestibule, central tower or paired side towers, and self-contained massing.

Broad, smooth wall surfaces of monochromatic brick or ashlar masonry laid with thin mortar joints were favored.

-New York Landmarks Conservancy: Common Bond (Online May 1997)

Romanesque Revival in America: Houses

A hallmark of the Italian villa and Romanesque styles (and their close cousins, the Tuscan and Norman styles) is the three- or four-story tower with arched openings. The low roof, pitched (gabled) or hipped, has a wide overhang.

Constructed of solid masonry, American

Romanesque Revival houses were expensive and, with the exception of row houses built on speculation, largely the purview of architects designing for affluent clients. The style was popular in urban and suburban areas. Interest in it faded in 1890s.

Romanesque Revival in America: Victorian Romanesque 1870-1890

A polychromatic exterior finish combined with the semicirculararch highlight the American Victorian Romanesque style.

The rock-faced stone finish is relieved by

Like Victorian Gothic compared to the Gothic Revival, American Victorian Romanesque was a freer interpretation of historical forms, visually heavier and more ornate than Romanesque Revival It was also more readily adaptable to all types of construction, residential included, provided the scale was large enough to employ the characteristic heavy stonework

Romanesque Revival in America: Richardsonian Romanesque 1870-1900

Few architects are prominent and innovative enough to have an architectural style named after them.

As interpreted byH. H. Richardson in the 1870s and 1880s, the Romanesque became a different, and uniquely American, style. Still present were the round arches framing window and door openings, but gone were vertical silhouettes and smooth stone facings. Richardson's buildings were more horizontal and rough in texture.

Heaviness was an ever-present characteristic of the style -- emphasized not only by the stone construction but also by deep window reveals, cavernous door openings and, occasionally, bands of windows. These openings were often further defined by a contrasting color or texture of stone or by short, robust columns.

Richardsonian Romanesque was favored for churches, university buildings and public buildings such as railroad stations and courthouses. Consequently, towers were often part of the design. In the best examples, a single tower, massive and bold in outline, crowns the ensemble.

Just as one architect was responsible for this style, one building established its popularity. Richardson's 1872 design of Trinity Church in Boston won one of the most prestigious architectural competitions of the day.

Although Richardson produced fewer houses in the Romanesque style (he is also noted for his Queen Anne and Shingle Style designs), there were enough to inspire a plethora of followers.

A large house, such as the Glessner House in Chicago, the Ames Gate Lodge in Massachusetts, and the Gratwick House Richardsonian Romanesque style, but elements of Richardson's work -- such as broad round arches, squat columns, eyebrow dormers and carved, intertwining floral details -- found their way into the vocabulary of many local builders. Numerous masonry row houses still exist to pay tribute to Richardson's creativity and immense popularity. See, also, a photo of Albany City Hall (1880-83). (demolished) in Buffalo,was required to support the massive stoniness of the

Some critics characterize Richardsonian Romanesque as being basically the Shingle style (H. H. Richardson) is credited with popularizing the style) in masonry form.

Richardson's style is characterized by the following:

An early transitional Richardsonian Romanesque building - some would say the beginning of the style - is the Buffalo Psychiatric Center.

Richardsonian Romanesque e

xamples in Buffalo:

Richardsonian Romanesque other examples:

Romanesque Revival in America: Churches Even as the Greek Revival flourished, the feeling grew that pagan forms were hardly appropriate for Christian worship, that the intensely religious Middle Ages could provide more appropriate models. Thus, in the 1840s and 1850s, the self-contained, horizontal, monumental, static mass of Greek temple-church gave way to the irregular, vertical, picturesque, and lively forms of the Gothic and Romanesque Revival styles.

While the Gothic Revival was particularly favored by Episcopalian and Catholic parishes, the German or Italian Romanesque or early Renaissance style was generally preferred by Congregationalist, Methodist, Baptist, and other low-church groups.

The distinguishing characteristics of the Romanesque was its use of the round arch for door and window openings and its distinctive rounded moldings. In mood, it was less spiritual than the Gothic, but more reasoned; less picturesque, but more serene.

Brick or ashlar masonry, laid with thin mortar joints, is characteristic of Romanesque and Renaissance Revival churches.

Basilican is a substyle of Romanesque and Romanesque Revival. The distinguishing feature is a flat ceiling. Church examples in Buffalo:

Examples ofChurchcapitals in New York City: St. Bartholomew's Episcopal Church

Romanesque Revival in America: Civic and Commercial Buildings

Examples in Buffalo: