Romanesque art is the art of Europe from approximately 1000 AD to the rise of the Gothic style in the 12th century, or later depending on region. The preceding period is known as the Pre-Romanesque period. The term was invented by 19th-century art historians, especially for Romanesque architecture, which retained many basic features of Roman architectural style – most notably round-headed arches, but also barrel vaults, apses, and acanthus-leaf decoration – but had also developed many very different characteristics.
In southern France, Spain, and Italy there was an architectural continuity with the Late Antique, but the Romanesque style was the first style to spread across the whole of Catholic Europe, from Sicily to Scandinavia. Romanesque art was also greatly influenced by Byzantine art, especially in painting, and by the anti-classical energy of the decoration of the Insular art of the British Isles. From these elements was forged a highly innovative and coherent style.
Characteristics Outside Romanesque architecture, the art of the period was characterised by a vigorous style in both sculpture and painting. The latter continued to follow essentially Byzantine iconographic models for the most common subjects in churches, which remained Christ in Majesty, the Last Judgment, and scenes from the life of Christ. In illuminated manuscripts more originality is seen, as new scenes needed to be depicted. The most lavishly decorated manuscripts of this period were bibles and psalters. The same originality applied to the capitals of columns, which were often carved with complete scenes with several figures. The large wooden crucifix was a German innovation at the very start of the period, as were free-standing statues of the enthroned Madonna. High relief was the dominant sculptural mode of the period.
Colours were very striking, and mostly primary. Presently, these colours can typically only be seen in their original vividness in samples of stained glass and well-preserved manuscripts. Stained glass became widely used, although few survive today. In an invention of the period, the tympanums of important church portals were carved with monumental schemes, often Christ in Majesty or the Last Judgement, but treated with more freedom than painted versions, as there were no equivalent Byzantine models.
Compositions usually had little depth and needed to be flexible to be fit into the shapes of historiated initials, column capitals, and church tympanums; the tension between a tightly enclosing frame, from which the composition sometimes escapes, is a recurrent theme in Romanesque art. Figures often varied in size in relation to their importance. Landscape backgrounds, if employed at all, were closer to abstract decorations than realism – as in the trees in the "Morgan Leaf". Portraiture hardly existed.
Background During this period, Europe grew steadily more prosperous, and art of the highest quality was no longer confined, as it largely was in the Carolingian and Ottonian periods, to the royal court and a small circle of monasteries. Monasteries continued to be extremely important, especially those of the expansionist new orders of the period, the Cistercian, Cluniac, and Carthusian, which spread across Europe. But city churches, those on pilgrimage routes, and many churches in small towns and villages were elaborately decorated to a very high standard – these are often the structures to have survived, when cathedrals and city churches have been rebuilt. No Romanesque royal palace has really survived.
The lay artist was becoming a valued figure – Nicholas of Verdun seems to have been known across the continent. Most masons and goldsmiths were now lay, and lay painters such as Master Hugo seem to have been in the majority, at least of those doing the best work, by the end of the period. The iconography of their church work was no doubt arrived at in consultation with clerical advisors.
Sculpture
Metalwork, enamels, and ivories
Precious objects in these media had a very high status in the period, probably much more so than paintings – the names of more makers of these objects are known than those of contemporary painters, illuminators or architect-masons. Metalwork, including decoration in enamel, became very sophisticated. Many spectacular shrines made to hold relics have survived, of which the best known is the Shrine of the Three Kings at Cologne Cathedral by Nicholas of Verdun and others (–1225). The Stavelot Triptych and Reliquary of St. Maurus are other examples of Mosan enamelwork. Large reliquaries and altar frontals were built around a wooden frame, but smaller caskets were all metal and enamel. A few secular pieces, such as mirror cases, jewellery and clasps have survived, but these no doubt under-represent the amount of fine metalwork owned by the nobility.
The bronze Gloucester candlestick and the brass font of 1108–1117 now in Liège are superb examples, very different in style, of metal casting. The former is highly intricate and energetic, drawing on manuscript painting, while the font shows the Mosan style at its most classical and majestic. The bronze doors, a triumphal column and other fittings at Hildesheim Cathedral, the Gniezno Doors, and the doors of the Basilica di San Zeno in Verona are other substantial survivals. The aquamanile, a container for water to wash with, appears to have been introduced to Europe in the 11th century. Artisans often gave the pieces fantastic zoomorphic forms; surviving examples are mostly in brass. Many wax impressions from impressive seals survive on charters and documents, although Romanesque coins are generally not of great aesthetic interest.
The Cloisters Cross is an unusually large ivory crucifix, with complex carving including many figures of prophets and others, which has been attributed to one of the relatively few artists whose name is known, Master Hugo, who also illuminated manuscripts. Like many pieces it was originally partly coloured. The Lewis chessmen are well-preserved examples of small ivories, of which many pieces or fragments remain from croziers, plaques, pectoral crosses and similar objects.
Architectural sculpture
With the fall of the Western Roman Empire, the tradition of carving large works in stone and sculpting figures in bronze died out, as it effectively did (for religious reasons) in the Byzantine (Eastern Roman) world. Some life-size sculpture was evidently done in stucco or plaster, but surviving examples are understandably rare.Some (probably) 9th century near life-size stucco figures were discovered behind a wall in Santa Maria in Valle, Cividale del Friuli in Northern Italy relatively recently. Atroshenko and Collins p. 142 The best-known surviving large sculptural work of Proto-Romanesque Europe is the life-size wooden Crucifix commissioned by Archbishop Gero of Cologne in about 960–965, apparently the prototype of what became a popular form. These were later set up on a beam below the chancel arch, known in English as a rood, from the twelfth century accompanied by figures of the Virgin Mary and John the Evangelist to the sides.G Schiller, Iconography of Christian Art, Vol. II, 1972 (English trans from German), Lund Humphries, London, pp. 140–142 for early crosses, p. 145 for roods, During the 11th and 12th centuries, figurative sculpture strongly revived, and architectural reliefs are a hallmark of the later Romanesque period.
Sources and style Figurative sculpture was based on two other sources in particular, manuscript illumination and small-scale sculpture in ivory and metal. The extensive friezes sculpted on Armenian and Syriac churches have been proposed as another likely influence.V. I. Atroshenko and Judith Collins, The Origins of the Romanesque, p. 144–150, Lund Humphries, London, 1985, These sources together produced a distinct style which can be recognised across Europe, although the most spectacular sculptural projects are concentrated in South-Western France, Northern Spain and Italy.
Images that occurred in metalwork were frequently embossed. The resultant surface had two main planes and details that were usually incised. This treatment was adapted to stone carving and is seen particularly in the tympanum above the portal, where the imagery of Christ in Majesty with the symbols of the Four Evangelists is drawn directly from the gilt covers of medieval Gospel Books. 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 South-Western France, many have survived, with impressive examples at Saint-Pierre, Moissac, Souillac, and La Madeleine, Vézelay – 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.Helen Gardner, Art through the Ages.Rene Hyughe, Larousse Encyclopedia of Byzantine and Medieval Art
A feature of the figures in manuscript illumination is that they often occupy confined spaces and are contorted to fit. The custom of artists to make the figure fit the available space lent itself to a facility in designing figures to ornament door posts and lintels and other such architectural surfaces. The robes of painted figures were commonly treated in a flat and decorative style that bore little resemblance to the weight and fall of actual cloth. This feature was also adapted for sculpture. Among the many examples that exist, one of the finest is the figure of the Prophet Jeremiah from the pillar of the portal of the Abbey of Saint-Pierre, Moissac, France, from about 1130.
One of the most significant motifs of Romanesque design, occurring in both figurative and non-figurative sculpture is the spiral. One of the sources may be Ionic capitals. Scrolling vines were a common motif of both Byzantine and Roman design, and may be seen in mosaic on the vaults of the 4th century Church of Santa Costanza, Rome. Manuscripts and architectural carvings of the 12th century have very similar scrolling vine motifs.
Another source of the spiral is clearly the illuminated manuscripts of the 7th to 9th centuries, particularly Irish manuscripts such as the St. Gall Gospel Book, spread into Europe by the Hiberno-Scottish mission. In these illuminations the use of the spiral has nothing to do with vines or other plant forms. The motif is abstract and mathematical. The style was then picked up in Carolingian art and given a more botanical character. It is in an adaptation of this form that the spiral occurs in the draperies of both sculpture and stained glass windows. Of all the many examples that occur on Romanesque portals, one of the most outstanding is that of the central figure of Christ at La Madeleine, Vezelay.
Another influence from Insular art are engaged and entwined animals, often used to superb effect in capitals (as at Silos) and sometimes on a column itself (as at Moissac). Much of the treatment of paired, confronted and entwined animals in Romanesque decoration has similar Insular origins, as do animals whose bodies tail into purely decorative shapes. (Despite the adoption of Hiberno-Saxon traditions into Romanesque styles in England and on the continent, the influence was primarily one-way. Irish art during this period remained isolated, developing a unique amalgam of native Irish and Viking styles which would be slowly extinguished and replaced by mainstream Romanesque style in the early 13th century following the Anglo-Norman invasion of Ireland.Roger A. Stalley, "Irish Art in the Romanesque and Gothic Periods". In Treasures of Irish Art 1500 B.C. to 1500 A.D., New York: Metropolitan Museum of Art/Alfred A. Knopf, 1977.)
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