Tympanum (architecture)
: tympana; from Greek and Latin words meaning "drum") is the semi-circular or triangular decorative wall surface over an entrance, door or window, which is bounded by a lintel and an arch.
[6] There are uncountable stories and messages in these inscriptions however the symbolism remained closely related to the philosophy and democracy associated with classical Greek city states.
These themes continued when the Romans spread the style further into Europe, Giving the pediment an aspect of authoritarian symbolism in provinces captured by conquest.
Pediments started being placed above any doorway and curved instead of triangle shapes were introduced, ignoring structural value and instead using the now abstracted form purely for decoration.
The form became even more abstracted in this period, replacing sculptures with geometric engravings and mosaics, and using small alternating curved and triangular pediments above windows on churches such as St. Generoux from the 9th or 10th century.
There are many more subtle messages however, such as encouraging donations through depicting a miser character being damned, and even making comments about politics by showing Charlemagne bowing his head.
Santiago de Compostela was one of the most prominent pilgrimage churches and features a tympanum over both of its portals with the archetypical deep carving and emotional display.
[11] Many other examples appeared throughout the Iberian peninsula starting with the church in Jaca which the 1090s was carved with one of the first archetypical Romanesque tympanums in Europe.
Many of the sculptors for Spanish Romanesque churches were Moorish, and adapted Arabian forms and styles into tympanums, resulting in brighter reds and nature-like geometric patterns.
The tympanums, at the time their carving, served to align Javari with western conventions while using the imagery to support their political struggle.
The original 1163 reliefs are typical Romanesque tympanums in form and style, featuring common characters such as Christ, Mary, and a select couple saints.
In the late 1300s there were significant renovations, which sought to make the cathedral match contemporary gothic styles by widening, restoring and replacing many of the tympanums.
The image on the right shows many of the features common to Gothic tympanums, retaining the shape and large central figure surrounded by smaller characters.
[14] While the Reconquista was unconducive to large building projects, as Iberia became more peaceful in the early gothic era the lingering Arabian influences lead to many unique architectural developments.
This shows how even without the inscription, Gothic tympanums still served to set a mindset for people who enter, reminding the (religiously diverse in the case of Spain) population of the importance of Christianity and the royals that justified their power through god.
What makes it particularly famous is the tympanum over the main door which has been “a prominent feature in the Venetian land-scape for over five hundred years”, despite being moved 5 times.
The tradition of putting inscriptions on curved pediments originated in Italy in late antiquity constructions, such as Old Saint Peters basilica.
