03 — ARTWORK
Interior view
ARCHITECT, Portuguese · 1200 →
- MEDIUM
- Photo
- TYPE
- Religious
PALETTE
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- FILE
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COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
The Spanish orders of knights were closely connected with the pilgrimage to Santiago. The Templars had arrived in 1188, and like the other orders of knights (e.g. the Hospitaliers) they were strongly influenced by France and French culture. They not only integrated elements from France into their architecture, but also attempted to imitate sites in the Holy Land. A truly international style was the result. A number of very characteristic buildings by these orders sprang up on the Iberian Peninsula during the twelfth and the early thirteenth century.
The largest of these churches is at Tomar in Portugal. At its site in the second half of the twelfth century was a fortification of the Order of the Templars with the church in the centre of it. Only some ruins of the fortification and the church survived. The RomanesqueStyle of art and architecture prevailing throughout most of Europe in the 11th and 12th centuries, the first style to achieve such international currency. The dominant art of the Middle Ages was architecture, and 'Romanesque', like 'Gothic', is primarily an architectural term that has been extended to the other arts of the period. As the name suggests, it indicates a derivation from Roman art, and sometimes Romanesque is used to cover all the developments from Roman architecture in the period from the collapse of the Roman Empire until the flowering of the Gothic roughly AD 500-1200. More usually, however, it is applied to a distinctive style that emerged, almost simultaneously, in several countries - France, Germany, Italy, Spain - in the 11th century. It is characterized most obviously by a new massiveness of scale, reflecting the greater political and economic stability that followed a period when Christian civilization seemed in danger of extinction. Romanesque painting and sculpture are generally strongly stylized, with little of the naturalism and humanistic warmth of classical or later Gothic art. The forms of nature are freely translated into linear and sculptural designs which are sometimes majestically calm and severe and at others are agitated by a visionary excitement that can become almost delirious. Because of its expressionistic distortion of natural form, Romanesque art, as with other great non-naturalistic styles of the past, has had to wait for the revolution in sensibility brought about by the development of modern art in order to be widely appreciated. church consists of a centrally planned building with sixteen sides and with a free-standing, octagonal chapela small separate place for worship, either part of a large church or a separate building. in the centre. The interior is decorated with late GothicGothic, which may well have originated with Alberti as a derogatory term and which certainly corresponds to Vasari's 'maniera tedesca' ('German style'), is properly the descriptive term for an artistic style which achieved its first full flowering in the Ile de France and the surrounding areas in the period between c. 1200 and c. 1270, and which then spread throughout northern Europe. It is characterized by the hitherto unprecedented integration of the arts of sculpture, painting, stained glass and architecture which is epitomized in the great cathedrals of Chartres, Amiens, and Reims or in the Sainte Chapelle in Paris. In all the arts the predominantly planar forms of the Romanesque are replaced by an emphasis on line. There is a transcendental quality, whether in the soaring forms of the pointed arches or in the new stress on the humanity of Christ, which similarly distinguishes it from the preceding Romanesque style. In thinking of Nicola (d. c. 1284) or Giovanni Pisano (d. after 1314) there is same danger of forgetting what had happened in French sculpture half a century or more earlier, and likewise it is hard to remember that the spectacular achievements of early Renaissance art are a singularly localized eddy in the continuing stream of late gothic European art. By northern European standards few Italian works of art can be called gothic without qualification, and the story of 13th and 14th century Italian architecture is as much one of resistance to the new style as of its reception, whether directly from France or through German or central European intermediaries. In sculpture and in painting, the Italian reluctance to distort the human figure, conditioned by a never wholly submerged awareness of the omnipresent antique heritage, gives a special quality to the work of even those artists such as Giovanni Pisano or Simone Martini who most closely approached a pure gothic style. Nevertheless, the vitalizing role of Northern gothic art throughout the early Renaissance and the period leading up to it should never be underestimated. The artistic, like the cultural and commercial, interaction was continuous and much of the Italian achievement is incomprehensible if seen in isolation. It is not merely at the level of direct exchanges between one artist and another, or the influence of one building; painting, manuscript or piece of sculpture upon another, that the effects are to be felt. The streaming quality of line which is so characteristic of Brunelleschi's early Renaissance architecture surely reflects a sensitivity to the gothic contribution which is entirely independent of, and lies much deeper than, the superficial particularities of form. The counterflow of influence and inspiration from South to North must likewise not be underrated. In particular, the contribution of Italian painters from Duccio and Simone Martini onwards is central to the evolution of the so-called International Gothic style developing in Burgundy, Bohemia and north Italy in the late 14th and early 15th centuries. painting and sculpture.
This building was intended to be a copy of the church of the Holy Sepulchre in Jerusalem.
View the <a href="#" onClick="w=window.open ('/support/plans/zzzarchi/12c/5/tomar.html', 'newWin', 'scrollbars=yes,status=no,dependent=yes,screenX=0,screenY=0,width=400,height=600');w.opener=this;w.focus();return false">ground plan</a> of the Templar church, Tomar.
CITE THIS RECORD — BIBTEX
@online{wga-rb144a8e2658770,
author = {Krén, Emil and Marx, Daniel},
title = {Interior view by ARCHITECT, Portuguese},
organization = {{Web Gallery of Art}},
date = {2026-09-12},
url = {https://beta.wga.hu/artists/architect-portuguese-r48bfd97f5453b9/interior-view-rb144a8e2658770},
urldate = {2026-09-12},
langid = {english}
}ACCESSED 2026-09-12. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
