Ottonian (9th-10th Century)

The Ottonian style reflected the will to affirm the Holy Roman Empire.
Monumental and massive churches were built based on proportions, introducing innovations in construction techniques, structures, and typologies.

 St Michaels Church, Hildesheim
St Michaels Church, Hildesheim
Image source: by MCAD Library

The Origins

Ottonian began under the rule of Otto the Great and continued until the mid-11th century.
Otto the Great was German King from AD 936 and Holy Roman Emperor from AD 962, because of him, the political institution was reinforced by the union of the Royal and Church powers.
Ottonian Emperors wanted to be remembered for their greatness, this led to a rebirth in the arts and architecture of the time (Ottonian Renaissance), this happened after years of barbaric invasions.

Otto I presenting the Cathedral of Magdeburg
Detail, Otto I presenting the Cathedral of Magdeburg, 962–968, Ottonian, from the Cathedral of Magdeburg
Image source:,_Holy_Roman_Emperor#/media/File:Christ_Magdeburg_Cathedral_Met_41.100.157.jpg

Ottonian Architecture

Ottonian Architecture introduced innovations in typologies, structures, and construction techniques, expanding and elaborating Carolingian forms rather than developing a new style.
The simple Carolingian volumes evolved into a complex system, the typical interest in the wall surface and the geometrical organization of the internal space were some features successively in-depth by Romanesque architecture. The cult of the relics was also raised and the crypts were placed on one level with the nave.

 St Michaels Church Hildesheim.
St Michaels Church, Hildesheim.
Image source:

Characteristics of the Ottonian churches

Derived from Carolingian:
–  longitudinal plan;
–  long choir, sometimes double and opposite;
–  westwerk;
–  crypts;
–  monumental, referred to the Emperor.

Derived from Paleochristian:
basilica was the typology that referred to the churches, a central plan for the baptisteries;
– simple volumes as cylinders, parallelepipeds, cones, and pyramids;
– large arched windows;
– deambulatories around the choir.

Derived from Byzantine:
– women’s gallery facing on the central nave;
– massive rectangular piers between columns arranged in regular patterns;
– sculpted capitals;
– use of the proportions.

New elements:
– massive shapes derived from the combination of geometric volumes;
– solid and strong appearance derived from the thick walls;
– double transept in the short sides;
– the entrance was placed on the side;
– a big tower starting from the final transept cross vault;
– use of the pier more than the column;
– evocative and fascinating  spaces derived from the alternation of solid and empty;
– a complex study of the light effects.

The westwerk of St. Cyriakus in Gernrode
The westwerk of St. Cyriakus in Gernrode
Image source:

Ottonian Art

Ottonian art reflected the will to affirm a sacred Roman imperial lineage that connected the royal dynasty to the Christian rulers of late Antiquity as Theodoric and Justinian and their Carolingian predecessors, particularly Charlemagne. The style, generally grand and heavy, was influenced by late Roman, Carolingian, and Byzantine, sometimes to an excess, and at the beginning less sophisticated than the Carolingian equivalents.
Surviving paintings from this period exist for the most part in illustrations from illuminated manuscripts, murals, and fresco fragments.
Ottonian was also renowned for its metalwork and monastic workshops become the origin of all Ottonian art.

The front side (Kaiserseite, "imperial side") of the Cross of Lothair, early 10th century.
The front side (Kaiserseite, “imperial side”) of the Cross of Lothair, early 10th century.
The cross is a famous part of the Aachen Cathedral Treasury at Aachen, Germany
Image source:

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