Pre-Romanesque Art in Europe: Visigothic and Asturian

Posted on Mar 9, 2025 in Latin

Pre-Romanesque Art

Developed in Western Europe between the 5th and 10th centuries. It can be divided into two stages:

  1. Between the 5th and 8th centuries: Art of the Barbarians or Germanic peoples. In Spain, this corresponds to the Visigoths.
  2. Between the 8th and 10th centuries: Pre-Romanesque art itself. This includes Carolingian art in France, and Asturian and Mozarabic art in Spain.

Visigothic Art

The Visigoths were the most Romanized of the Germanic peoples. Their capital was in Toledo. Visigothic art developed between the 6th and early 8th centuries. It shows influences of Roman, Byzantine, and North African art.

Architecture

Materials: Shaped stone blocks.

Architectural Elements: Horseshoe arch (adopted by the Arabs, with a decorative and constructive character), barrel vaults, groin vaults, flat roofs, brackets, columns with Corinthian-inspired capitals (but coarser, often reusing Roman elements), and Byzantine-inspired capitals (pyramidal trunk).

Plans: Predominantly basilica (with one or three naves) and cruciform, with a rectangular apse and an advanced porch. Buildings are generally small, with thick, straight walls, without buttresses, and few, small openings.

Two periods can be distinguished:

  1. Until Recaredo’s conversion to Catholicism (587): Predominance of Hispano-Roman elements.
  2. 7th to early 8th centuries: The purest Visigothic art. Most of the preserved Visigothic buildings belong to this period.

Principal buildings:

  • San Juan de Baños (Palencia)
  • San Pedro de la Nave (Zamora): Synthesis of basilica and cruciform.
  • Santa Comba de Bande (Orense): Elongated Greek cross plan with an apse and porch.
  • Quintanilla de las Viñas (Burgos)

Sculpture

Essentially reliefs (on walls and capitals). Notable examples include the reliefs of San Pedro de la Nave and Quintanilla de las Viñas, which feature:

  • Floral motifs, forming scrolls (coiled plants)
  • Geometric motifs (stars, swastikas with curved arms)
  • Animal motifs
  • Historical themes (Daniel in the lions’ den, the sacrifice of Isaac)

Metalwork

Precious stones, pearls, and colored glass were used. Votive crowns were offered by the monarch to temples upon coronation. Notable examples include:

  • Votive Crown of Recesvinto (Treasure of Guarrazar, Toledo)
  • Crosses
  • Rings
  • Brooches (some made of bronze with vitreous paste inlays)

Asturian Art

Developed from the second half of the 8th century through the 9th century. It receives influences from Visigothic and Carolingian art and is a clear precedent of Romanesque art.

Architecture

Materials: Stone (ashlar masonry and rubblework walls).

Architectural Elements: Stilted semicircular arch. Barrel vaults (reinforced with arches), flat lintels, and wood were used for roofing. Supports include pillars and columns (with a rope-molded shaft and Corinthian-inspired capitals, either frustum or inverted).

Plans: Basilica, with a rectangular apse with one or three chapels. They may have an iconostasis (as seen in the plan of San Julián de los Prados).

Stages:

  1. Pre-Ramirense Period (late 8th to first half of the 9th century): During the reign of Alfonso II, the court was moved to Oviedo. Public buildings include the Cámara Santa de Oviedo and San Julián de los Prados (three naves, three apses, numerous buttresses, and Romanesque paintings).
  2. Ramirense Period (mid-9th century, the period of Asturian art’s splendor): Notable examples include Santa María del Naranco (featuring a large barrel vault on the upper floor, stilted semicircular arches, and transverse arches), San Miguel de Lillo, and Santa Cristina de Lena.
  3. Post-Ramirense Period (second half of the 9th century): During the reign of Alfonso III the Great. A key example is San Salvador de Valdediós.

Sculpture

Scarce. Very flat reliefs on buildings. Ornamental elements include:

  • Jamb reliefs in San Miguel de Lillo (depicting circus scenes, inspired by 6th-century Byzantine consular diptychs).
  • Medallions with birds, swans, and fantastic animals of oriental influence in Santa María del Naranco.

Painting

Used for interior decoration of buildings. Few remains exist. Highlights include San Julián de los Prados (geometric and architectural elements reminiscent of Roman Pompeian paintings, without figurative motifs).

Metalwork

Precious stones and enamels were used. Notable votive crosses include:

  • The Cross of the Angels (equal arms, gems, gold filigree wire) from Alfonso II.
  • The Victory Cross (unequal arms, enamel, gems) from Alfonso III.

Both are in the Cámara Santa of Oviedo, along with the Agate Box (with enamel encrusted with precious stones).