Aachen’s Palatine Chapel: An Architectural Example of the Carolingian Renaissance

“Situated at the westernmost tip of Germany, close to the frontiers of The Netherlands and Belgium, Aachen once symbolized the political and cultural unity of the Carolingian empire” (Lepie, Wentzler). Even today Aachen is one of the most important historical cities in Europe, chosen by Charlemagne as the center of his empire in 786 or 787 (Kleinbauer 2). He constructed a magnificent palace complex which included a chapel, today known as the Palatine Chapel. This palace complex has been used throughout history, being constantly augmented as the centuries pass.

In his own time, Charlemagne was “[eager] to establish the imperial past . . . [by encouraging] the use of Roman building techniques” (Kleiner, Mamiya 313). The inspiration for the Palatine Chapel, like many buildings constructed during the Carolingian Era, came from the Mediterranean. He wanted to show that his empire was the true successor of the Romans. The particular inspiration for the Palatine Chapel came from the Church of San Vitale in Ravenna, Italy, which Charlemagne had visited (Wren, Wren, Carter 196-197). Looking at the structure of the two buildings, they appear very similar.

Simply looking at cross sections of the two churches shows a very similar structure; both are in the circular basilica design after the early Christian model (Kleinbauer). As well, they both consist of “a two-storey-high octagonal rotunda encircled by a sixteen-sided ambulatory” (Lepie, Wentzler). The influence of San Vitale is further enhanced by the “imported porphyry (purple marble) columns from Ravenna”, according to Kleiner and Mamiya. Indeed many Carolingian structures were often constructed with some type of building material directly taken from an earlier Roman site which was then incorporated into the Carolingian structure. The interior of the chapel is also a typical example of the Carolingian style, decorated with “marble slabs, bronzework, stucco decoration, and mosaics” (Kleinbauer 2,3). The mosaics in particular link the Palatine Chapel with San Vitale as both contain mosaics in the Byzantine style, San Vitale itself having said to be modeled after the center of the Byzantine Church – Hagia Sofia. In this way, Charlemagne’s chapel expresses his desire “to be recognized as the successor of the Roman emperors in the West and as the equal of the Byzantine emperors in the East” (Wren, Wren, Carter 197).

However, the plan for Aachen is simpler, expressing better geometric clarity than that of San Vitale (Kleiner, Mamiya 313). The essential style of Carolingian art and architecture is that of being influenced by earlier Roman and Byzantine structures and simplifying them slightly while also incorporating the northern influence of the lands now known as France and Germany. This type of art and architecture would later lead into the Romanesque style, literally meaning ‘Roman-like’ (Kleiner, Mamiya 314). There are several elements of the Palatine Chapel which demonstrate how Carolingian would become Romanesque. For one, the two towers on the western side are the precursors to the later “dual-tower facades” which first appear during the Romanesque period (Kleiner, Mamiya 314-315). As well, the simple decoration of the outside façade (which can no longer be seen due to later additions) is also something that would become very characteristic of the Romanesque period.

But clearly the most important aspect of the Palatine Chapel is Charlemagne’s throne. It is probably one of the most symbolic elements of the chapel. Not only did Charlemagne want to be seen as the successor to the Roman emperors, but he also wanted to show his power in both secular and religious arenas. Charlemagne proved to be very important in the development of the Catholic Church and implementing religion onto his subjects, “issuing reform directives to the clergy, strengthening the church administration, and protecting the papacy” (Wren, Wren, Carter 196). So much so that he would later be crowned Holy Roman Emperor by the Pope on Christmas Day 800. By placing a throne inside of his chapel, Charlemagne merged his secular authority with his religious ties. And, after his coronation by the Pope, Charlemagne was truly a leader of both religion and secular law. And his throne showed that strong connection all the way to the year 1531, with every Holy Roman Emperor and Germanic king being crowned on that throne in the Palatine Chapel (Kleinbauer 3).

Charlemagne’s Palatine Chapel can be considered a symbol of his legacy and reign. He reinvented imperial power, aided church reform, and centralized his secular power. The Palatine Chapel in Aachen shows all of this through its architectural design; it is a shining example of the Carolingian Renaissance.

Works Cited and Consulted

Kleinbauer, W. Eugene. “Charlemagne’s Palace Chapel at Aachen and Its Copies.”

Gesta, Vol 4 (1965): 2-11

Kleiner, Fred S., and Christin J. Mamiya. Gardner’s Art Through the Ages: The Western

Perspective. 12^th ed. Belmont, CA: Thomson Wadsworth, 2006.

Lepie, Herta, and Roland Wentzler. “The Stones of Aachen.” UNESCO Courier.

Nov 1991. 5 Apr 2008.

Wren, Linnea Holmer, David J. Wren, and Janine M. Carter. Perspectives on Western

Art. Boulder, CO: Westview Press, 1994.