Editing Romanesque architecture (section)

===Decoration===

====Architectural embellishment====
Arcading is the single most significant decorative feature of Romanesque architecture. It occurs in a variety of forms, from the [[Lombard band]], which is a row of small arches that appear to support a roofline or course, to shallow blind arcading that is often a feature of English architecture and is seen in great variety at [[Ely Cathedral]], to the open dwarf gallery, first used at [[Speyer Cathedral]] and widely adopted in Italy as seen on both [[Pisa Cathedral]] and its famous [[Leaning Tower]]. Arcades could be used to great effect, both externally and internally, as exemplified by the church of Santa Maria della Pieve, in Arezzo.<ref name=RH/>

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File:Iglesia de São Bento de Castro de Avelãs (5819068854).jpg|alt=Blind arcading in brick in the Mozarabic style of Asturia and Leon on the apse of Castro de Avelãs Monastery, a unique example in Portugal.|Blind arcading in brick in the [[Mozarabic architecture|Mozarabic style]] of [[Asturia]] and [[León (historical region)|Leon]] on the apse of [[Portuguese Romanesque architecture|Castro de Avelãs Monastery]], a unique example in Portugal
File:St Lawrence's church in Castle Rising - Norman west facade - geograph.org.uk - 1878796.jpg|Overlapping arches form a blind arcade at St Lawrence's church [[Castle Rising]], England. (1150) The semi-circular arches form pointed arches where they overlap, a motif which may have influenced Gothic.
File:San Juan de Rabanera-Soria - P7234547.jpg|alt=Flat striated pillars (one of which forms the axis of symmetry, separating two windows with semi-circular arches) and richly decorated blind windows in the apse of San Juan de Rabanera Church in Soria, Spain.|Flat striated pillars (one of which forms the axis of symmetry, separating two windows with semi-circular arches) and richly decorated blind windows in the apse of [[San Juan de Rabanera|San Juan de Rabanera Church]] in [[Soria]], Spain
File:2010.08.14.164600 Dom Speyer lighter.JPG|Dwarf galleries are a major decorative feature on the exterior of [[Speyer Cathedral]], Germany (1090–1106), surrounding the walls and encircling the towers. This was to become a feature of Rhenish Romanesque.
File:Duomo di parma, abside sx 01.JPG|alt=The eastern apse of Parma Cathedral, Italy (early 12th century) combines a diversity of decorative features: blind arcading, galleries, courses and sculptured motifs.|The eastern apse of [[Parma Cathedral]], Italy, early 12th century, combines a diversity of decorative features: blind arcading, galleries, courses and sculptured motifs.
File:Toscana Lucca5 tango7174 lighter.JPG|alt=The arcading on the façade of Lucca Cathedral, Tuscany (1204) has many variations in its decorative details, both sculptural and in the inlaid polychrome marble.|The arcading on the façade of [[Lucca Cathedral]], Tuscany (1204), has many variations in its decorative details, both sculptural and in the inlaid polychrome marble.
File:Monreale-bjs-17.jpg|alt=Polychrome blind arcading of the apse of Monreale Cathedral, Sicily (1174–82) The decoration indicates Islamic influence in both the motifs and the fact that all the arches, including those of the windows, are pointed.|Polychrome blind arcading of the apse of [[Monreale Cathedral]], Sicily (1174–82). The decoration indicates Islamic influence in both the motifs and the fact that all the arches, including those of the windows, are pointed.
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====Architectural sculpture====
The Romanesque period produced a profusion of sculptural ornamentation. This most frequently took a purely geometric form and was particularly applied to mouldings, both straight courses and the curved moldings of arches. In La Madeleine, Vezelay, for example, the polychrome ribs of the vault are all edged with narrow filets of pierced stone. Similar decoration occurs around the arches of the nave and along the horizontal course separating arcade and clerestory. Combined with the pierced carving of the capitals, this gives a delicacy and refinement to the interior.<ref name=RH/>

In England, such decoration could be discrete, as at [[Hereford Cathedral|Hereford]] and Peterborough cathedrals, or have a sense of massive energy as at Durham where the diagonal ribs of the vaults are all outlined with [[Chevron (insignia)|chevron]]s, the mouldings of the nave arcade are carved with several layers of the same and the huge columns are deeply incised with a variety of geometric patterns creating an impression of directional movement. These features combine to create one of the richest and most dynamic interiors of the Romanesque period.<ref>Alec Clifton-Taylor says "With the Cathedral of Durham we reach the incomparable masterpiece of Romanesque architecture not only in England but anywhere."</ref>

Although much sculptural ornament was sometimes applied to the interiors of churches, the focus of such decoration was generally the west front, and in particular, the portals. Chevrons and other geometric ornaments, referred to by 19th-century writers as "barbaric ornament", are most frequently found on the mouldings of the central door. Stylized foliage often appears, sometimes deeply carved and curling outward after the manner of the acanthus leaves on [[Corinthian order|Corinthian capitals]], but also carved in shallow relief and spiral patterns, imitating the intricacies of manuscript illuminations. In general, the style of ornament was more classical in Italy, such as that seen around the door of [[San Giusto, Lucca|San Giusto]] in [[Lucca]], and more "barbaric" in England, Germany and Scandinavia, such as that seen at [[Lincoln Cathedral|Lincoln]] and [[Speyer Cathedral]]s. France produced a great range of ornament, with particularly fine interwoven and spiralling vines in the "manuscript" style occurring at [[Basilica of Saint-Sernin, Toulouse|Saint-Sernin]], Toulouse.<ref name=OME/><ref name=Toman/><ref name=RH/>

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File:Modillonsarthous2.JPG|alt=Detail of an apse of Abbey d'Arthous, Landes, France showing corbels representing aspects of sin such as lust, drunkenness and ignorance.|Detail of an apse of Abbey d'Arthous, Landes, France, showing corbels representing aspects of sin such as lust, drunkenness and ignorance
File:Avila - Ermita de San Segundo 3.jpg|The portal of the [[Ávila, Spain#Ermita de San Segundo|Hermitage of St Segundo, Avila]], has paired creatures. and decorative bands of floral and interlacing. The pairing of creatures could draw on Byzantine and Celtic models.
File:Aiguilhe - Chapelle St-Michel - JPG3.jpg|alt=The carving of the polychrome porch of the Saint-Michel-D'aiguilhe chapel, the Aiguilhe, Haute-Loire, France, (11th century), has paired mermaids, and the Lamb of God|The carving of the polychrome porch of the Saint-Michel-D'aiguilhe chapel, the [[Aiguilhe]], Haute-Loire, France, 11th century, has paired mermaids, and the [[Lamb of God]].
File:Lincoln cathedral 03 West portal.jpg|On these mouldings around the portal of [[Lincoln Cathedral]] are formal chevron ornament, tongue-poking monsters, vines and figures, and symmetrical motifs.
File:Eglise StMartin Gensac detail portail.JPG|St Martin's Church, [[Gensac-la-Pallue]] has capitals with elaborate interlacing.
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====Figurative sculpture====
{{main|Romanesque art}}
The name of the architectural style was transferred onto the art of the period. [[Romanesque art]] provided fine examples of painting and sculpture, but, while the Romanesque churches were flush with colours, most large paintings were lost. The period brought a major revival of sculpture.{{sfn|Oxford University Press|2004}}

With the fall of the Roman Empire, the tradition of carving large works in stone and sculpting figures in bronze died out. The best-known surviving large sculptural work of Proto-Romanesque Europe is the life-size wooden Crucifix commissioned by [[Gero (Archbishop of Cologne)|Archbishop Gero of Cologne]] in about 960–65.<ref>See details at [[Cologne Cathedral]].</ref> During the 11th and 12th centuries, figurative sculpture flourished in a distinctly Romanesque style that can be recognised across Europe, although the most spectacular sculptural projects are concentrated in South-Western France, Northern Spain and Italy.

Major figurative decoration occurs particularly around the portals of cathedrals and churches, ornamenting the [[Tympanum (architecture)|tympanum]], lintels, jambs and central posts. The tympanum is typically decorated with the imagery of [[Christ in Majesty]] with the symbols of the [[Four Evangelists]], drawn directly from the gilt covers of medieval [[Gospel Book]]s. This style of doorway occurs in many places and continued into the Gothic period. A rare survival in England is that of the "Prior's Door" at [[Ely Cathedral]]. In France, many have survived, with impressive examples at the [[Abbey of Saint-Pierre, Moissac]], the [[Abbey of Sainte-Marie, Souillac]],<ref>{{cite web |last=Howe |first=Jeffery |title=Romanesque Architecture (slides) |work=A digital archive of architecture |publisher=[[Boston College]] |url= http://www.bc.edu/bc_org/avp/cas/fnart/arch/souillac.html |access-date=2007-09-28}}</ref> and [[Abbey of la Madaleine, Vézelay]]&nbsp;– all daughter houses of Cluny, with extensive other sculpture remaining in cloisters and other buildings. Nearby, [[Autun Cathedral]] has a [[Last Judgement]] of great rarity in that it has uniquely been signed by its creator Giselbertus (who was perhaps the patron rather than the sculptor).<ref name=HG/><ref name=RH/> The same artist is thought to have worked at la Madeleine Vezelay which uniquely has two elaborately carved tympanum, the early inner one representing the Last Judgement and that on the outer portal of the narthex representing Jesus [[Great Commission|sending forth the Apostles]] to preach to the nations.

It is a feature of Romanesque art, both in manuscript illumination and sculptural decoration, that figures are contorted to fit the space that they occupy. Among the many examples that exist, one of the finest is the figure of the [[Jeremiah (prophet)|Prophet Jeremiah]] from the pillar of the portal of the [[Abbey of Saint-Pierre, Moissac]], France, from about 1130.<ref name=RH/> A significant motif of Romanesque design is the spiral, a form applied to both plant motifs and drapery in Romanesque sculpture. An outstanding example of its use in drapery is that of the central figure of Christ on the outer portal at [[Vézelay Abbey|La Madaleine, Vezelay]].<ref name=RH/>

Many of the smaller sculptural works, particularly capitals, are Biblical in subject and include scenes of [[Genesis creation myth|Creation]] and the [[Adam and Eve|Fall of Man]], episodes from the life of Christ and those [[Old Testament]] scenes that [[Typology (theology)|prefigure]] his [[Crucifixion of Jesus|Death]] and [[Resurrection]], such as [[Jonah|Jonah and the Whale]] and [[Daniel in the lions' den]]. Many [[Nativity of Jesus in art|Nativity]] scenes occur, the theme of the [[Biblical Magi|Three Kings]] being particularly popular. The cloisters of [[Santo Domingo de Silos Abbey]] in Northern Spain, and [[Moissac]] are fine examples surviving complete.
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File:Tympan - Porte Miégeville - Basilique Saint-Sernin.jpg|The tympanum of the side entrance of [[Basilica of Saint-Sernin, Toulouse|Saint-Sernin of Toulouse]], ({{Circa|1115}}) shows the Ascension of Christ, surrounded by angels, in a simple composition of standing figures.
File:02 Basilique Ste-Marie-Madeleine de Vézelay - Tympan.jpg|The tympanum of the inner portal of la Madeleine Vezelay has the scene of Christ in Majesty, at the Last Judgement. The figure of Christ is highly formalised in both posture and treatment. (1130s)
File:Portail sud de l' Abbatiale Saint-Pierre de Moissac (3).JPG|alt=The tympanum of the Saint-Pierre, Moissac, is a highly sophisticated, tightly packed design, like a manuscript illumination. Christ is surrounded by the symbols of the Four Evangelists|The tympanum of the [[Abbey of Saint-Pierre, Moissac|Saint-Pierre, Moissac]], is a highly sophisticated, tightly packed design, like a manuscript illumination. Christ is surrounded by the symbols of the [[Four Evangelists]].
File:Cathedrale Sainte-Marie Oloron portail avaleur.jpg|Details of the portal of [[Oloron Cathedral]] show a demon, a lion swallowing a man and kings with musical instruments.
File:Saint-Trophime 805.jpg|A relief from St Trophime, Arles, showing King Herod and the [[Biblical Magi|Three Kings]], follows the conventions in that the seated Herod is much larger than the standing figures.
File:ND-en-Vaux Chapiteau 4 adjusted.JPG|Notre-Dame-en-Vaux, [[Châlons-en-Champagne]]. This paired capital representing Christ washing the feet of the disciples is lively and naturalistic.
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====Murals====
The large wall surfaces and plain curving vaults of the Romanesque period lent themselves to mural decoration. Many of these early wall paintings have been destroyed by damp or the walls have been replastered and painted over. In most of Northern Europe such pictures were systematically destroyed in bouts of [[Protestant Reformation|Reformation]] [[iconoclasm]]. In other countries they have suffered from war, neglect and changing fashion.

A classic scheme for the full painted decoration of a church, derived from earlier examples often in [[mosaic]], had, as its focal point in the [[semi-dome]] of the apse, [[Christ in Majesty]] or Christ the Redeemer enthroned within a [[mandorla]] and framed by the four winged beasts, symbols of the [[Four Evangelists]], comparing directly with examples from the gilt covers or the illuminations of [[Gospel Book]]s of the period. If the [[Virgin Mary]] was the dedicatee of the church, she might replace Christ here. On the apse walls below would be saints and apostles, perhaps including narrative scenes, for example of the saint to whom the church was dedicated. On the sanctuary arch were figures of apostles, prophets or the twenty-four "[[Elders of the Apocalypse]]", looking in towards a bust of Christ, or his symbol the Lamb, at the top of the arch. The north wall of the nave would contain narrative scenes from the Old Testament, and the south wall from the New Testament. On the rear west wall would be a [[Doom paintings|Doom painting]] or [[Last Judgement]], with an enthroned and judging Christ at the top.<ref>James Hall, ''A History of Ideas and Images in Italian Art'', p. 154, 1983, John Murray, London, {{ISBN|0-7195-3971-4}}</ref>

One of the most intact schemes to exist is that at [[Abbey Church of Saint-Savin-sur-Gartempe|Saint-Savin-sur-Gartempe]] in France. <small>(See picture above under "Vault")</small> The long barrel vault of the nave provides an excellent surface for fresco, and is decorated with scenes of the [[Old Testament]], showing the [[Genesis creation myth|Creation]], the [[Adam and Eve|Fall of Man]] and other stories including a lively depiction of [[Noah's Ark]] complete with a fearsome figurehead and numerous windows through with can be seen the Noah and his family on the upper deck, birds on the middle deck, while on the lower are the pairs of animals. Another scene shows with great vigour the swamping of Pharaoh's army by the Red Sea. The scheme extends to other parts of the church, with the martyrdom of the local saints shown in the crypt, and [[Apocalypse]] in the narthex and Christ in Majesty. The range of colours employed is limited to light blue-green, yellow ochre, reddish brown and black. Similar paintings exist in Serbia, Spain, Germany, Italy and elsewhere in France.<ref name=Toman/>

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File:Leon (San Isidoro, panteón).jpg|alt=The painted crypt of San Isidoro in León, Spain has a detailed scheme illustrating Biblical stories.|The painted crypt of [[Basilica of San Isidoro|San Isidoro]] in [[León, Spain]], has a detailed scheme illustrating Biblical stories.
File:Segovia - San Justo 22 adjust.JPG|Apse of the Church of St Justus, Segovia. ''Christ in Majesty'' was a common theme for the apse.
File:Absis de Sant Pere del Burgal, 11th c. fresco crop.JPG|alt=A frieze of figures occupies the zone below the semi-dome in the apse. Abbey of St Pere of Burgal, Catalonia, Spain|A frieze of figures occupies the zone below the semi-dome in the apse. [[Paintings from El Burgal|Abbey of St Pere of Burgal]], Catalonia, Spain.
File:12th-century paintings of Last Judgement (Clayton Church, Sussex).jpg|alt=In England the major pictorial theme occurs above the chancel arch in parish churches. St John the Baptist, Clayton, Sussex|In England the major pictorial theme occurs above the chancel arch in parish churches. [[Clayton, West Sussex#Parish church|St John the Baptist, Clayton, Sussex]].
File:Galenoghippokrates.jpg|alt=This fresco showing Galen and Hippocrates is part of a complex scheme decorating the crypt of Anagni Cathedral, Italy|This fresco showing [[Galen]] and [[Hippocrates]] is part of a complex scheme decorating the crypt of [[Anagni#Cathedral|Anagni Cathedral]], Italy.
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====Stained glass====
{{further|Medieval stained glass}}
The oldest-known fragments of medieval pictorial [[stained glass]] appear to date from the 10th century. The earliest intact figures are five prophet windows at Augsburg, dating from the late 11th century. The figures, though stiff and formalised, demonstrate considerable proficiency in design, both pictorially and in the functional use of the glass, indicating that their maker was well accustomed to the medium. At Canterbury and Chartres Cathedrals, a number of panels of the 12th century have survived, including, at Canterbury, a figure of Adam digging, and another of his son Seth from a series of [[Ancestors of Christ]]. Adam represents a highly naturalistic and lively portrayal, while in the figure of Seth, the robes have been used to great decorative effect, similar to the best stone carving of the period.

Many of the magnificent [[Medieval stained glass|stained glass windows]] of France, including the famous windows of Chartres, date from the 13th century. Far fewer large windows remain intact from the 12th century. One such is the Crucifixion of Poitiers, a remarkable composition that rises through three stages, the lowest with a quatrefoil depicting the Martyrdom of St Peter, the largest central stage dominated by the crucifixion and the upper stage showing the [[Ascension of Christ]] in a mandorla. The figure of the crucified Christ is already showing the Gothic curve. The window is described by George Seddon as being of "unforgettable beauty".<ref name=GS>George Seddon in Lee, Seddon and Stephens, ''Stained Glass''</ref>

<gallery mode="packed" heights="300" perrow="1" caption="Stained glass from Germany, England and France. Note: the scale of the first three windows is similar.">
File:King David in Augsburg Cathedral light.JPG|King David from [[Augsburg Cathedral]], late 11th century. One of a series of prophets that are the oldest stained glass windows in situ.
File:Canterbury, Canterbury cathedral-stained glass 03 Seth and Adam.JPG|alt=Two panels of lively figures, Seth and Adam from the 12th-century Ancestors of Christ, Canterbury Cathedral, now set into a Perpendicular Gothic window with panels of many different dates.|Two panels of lively figures, Seth and Adam from the 12th-century [[Ancestors of Christ]], Canterbury Cathedral, now set into a Perpendicular Gothic window with panels of many different dates
File:Bas-côté nord, baie VI Otto II Rex (dernier tiers XIIe).jpg|alt=Otto II, Holy Roman Emperor, from a series of Emperors (12th and 13th centuries) The panels are now set into Gothic windows, Strasbourg Cathedral|[[Otto II, Holy Roman Emperor]], from a series of Emperors (12th and 13th centuries). The panels are now set into Gothic windows, [[Strasbourg Cathedral]].
File:David et Salomon, vitrail roman, Cathédrale de Strasbourg.jpg|alt=Detail of a small panel showing Kings David and Solomon set in an architectonic frame from a large window at Strasbourg. Late 12th century. The alternation of red and blue is a typical device of simpler window designs. It is approximately 1/3 the height, and is much less complex in execution than the Emperor series of which Otto II is a part.See left|Detail of a small panel showing Kings David and Solomon set in an architectonic frame from a large window at Strasbourg. Late 12th century. The alternation of red and blue is a typical device of simpler window designs. It is approximately 1/3 the height, and is much less complex in execution than the Emperor series of which Otto II is a part. <small>See left</small>
File:Poitiers, Cathédrale Saint-Pierre -PM 34985 lighter.JPG|alt=A rare and remarkable survival, of "unforgettable beauty", the very large Crucifixion window of Poitiers Cathedral, France.|A rare and remarkable survival, of "unforgettable beauty",<ref name= GS /> the very large Crucifixion window of [[Poitiers Cathedral]], France
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