Architecture
The original monastic church had a nave and four aisles, roofed by barrel vaults. The nave and aisle terminated in five apses, later increased to seven when apses were added to the transepts also. The current church dates to Rogent's reconstruction in 1896, and although maintaining features of the original church, the present building has only two aisles. The transept houses the tombs of the counts of Besalú and of several counts of Barcelona, from Wilfred the Hairy to Ramón Berenguer IV.
The cloister contains more of the original structure than the church itself, the first floor having been built between 1180 and the early 15th century. The second floor dates to the 15th and 16th century. It is formed, on each side, by thirteen semicircular arches supported by small pairs of columns with carved Corinthian-like capitals, sculpted by Pere Gregori and Jordi de Déu. Each one of the latter has a different decoration, inspired by mythological themes or by daily life.
The portal, although damaged by fires and restored in modern times, is a notable example of Catalan Romanesque sculpture. The frontal section features a relief from the mid-13th century (stylistically similar to the tomb of Ramón Berenguer III in the cloister), divided in seven horizontal bands. The upper two show God enthroned, near whom are the symbols of the Four Evangelists; the scene is completed by several angels in adoration and the Twenty-four Elders. The central bands are dedicated to the story of David and Solomon (left) and Moses (right). At the bottom are various mythical animals commonly identified with the visions of the prophet Daniel.
The portico is flanked by two statues, nearly destroyed, of St. Peter and St. Paul. Around them are various scenes, including the stories of Cain and Abel, that of Jonah and others.
Read more about this topic: Santa Maria De Ripoll
Famous quotes containing the word architecture:
“No architecture is so haughty as that which is simple.”
—John Ruskin (1819–1900)
“For it is not metres, but a metre-making argument, that makes a poem,—a thought so passionate and alive, that, like the spirit of a plant or an animal, it has an architecture of its own, and adorns nature with a new thing.”
—Ralph Waldo Emerson (1803–1882)
“I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.”
—Roy Lichtenstein (b. 1923)