Gardners Art through the Ages A Global History

entrances on the side, and Bernward probably was familiar with this
variant basilican plan.
At Hildesheim, as in the plan of the monastery at Saint Gall
(FIG. 16-19), the builders adopted a modular approach. The crossing
squares, for example, are the basis for the nave’s dimensions—three

crossing squares long and one square wide. The placement of heavy

piers at the corners of each square gives visual emphasis to the three

units. These piers alternate with pairs of columns (FIG. 16-23,top) as

wall supports in a design similar to that of Saint Cyriakus (FIG. 16-21)

at Gernrode.

Ottonian Art 423

16-22Saint Michael’s, Hildesheim,

Germany, 1001–1031.

Built by Bishop Bernward, a great

art patron, Saint Michael’s is a

masterpiece of Ottonian basilica

design. The church’s two apses,

two transepts, and multiple towers

give it a distinctive profile.

16-23Longitudinal section (top)

and plan (bottom) of the abbey

church of Saint Michael’s,

Hildesheim, Germany, 1001–1031.

Saint Michael’s entrances are on

the side. Alternating piers and

columns divide the space in the

nave into vertical units. These

features transformed the tunnel-like

horizontality of Early Christian

A A ́ basilicas.

N

0 10 20 30 40 50 feet

0 105 1 5 meters

Entrances

Entrances

A A ́

16-23ANave,

Saint Michael’s,

Hildesheim,

1001–1031.