Romanesque Art. Some writers apply the term "Romanesque" to the period of Christian art in Italy and Western Europe which extended from the 3d to the 10th century ; but it is more usually applied to the period extending from the 9tli to the Pith or 13th cen- tury. Until the 9th century Christian art, especially architecture, had flowed in two main streams, which in locality and in characteristics were quite distinct from each other. The one is usually called the Basilican style [see Basilica], which had its origin in Rome; the oth- er is called the Byzantine style, which had its origin in Constantinople. See Architectuek.
In the verj' active period of church erection which existed in Central and Western Europe from the 9th to the Pith century, the basilican and Byzantine styles were in a sense forced into a new style, which took on certain characteristics of these former styles, but which had many very marked original features.
The general ground-plan of the later basilicas, that
Eastern Exteiioi ol llie Abbtv eliuitli .a L,a.i(.h. IX.-G
of the Latin cross, was retained. For the convenience of the officiating clergy, a semicircular apsis, or choir, was placed at the farther end of the main nave and at the end of each arm of the transept. From this general typical ground-plan there were many variations, which were chiefly caused by the disconnected times and plans by which the different parts of the edifices were erected. The round arch is a distinctive feature of the Roman- esque style, which is termed, indeed, by many writers the Round-Arch style, in distinction from its successor the Pointed-Arch, or (iotliic, style. See Gothic Ak- CHITECTUKE. The round arch was inherited from both the basilican and the Byzantine style. During the lat- ter part of the Romanesipie period, the pointed arch be- gan to be used in parts of the openings, and, indeed, in a few cases was almost entirely adopted: but the other features of these edifices mark them as distinctively Ro- manesque. The method of covering enclosed spaces bv vaulting differed greatly from that in the preceding styles, and forms one of the most prominent features in this style.
During the early Romanesque period, especially in Italy, the campanile, or bell-tower, was built separate from the church, as in the leaning tower of Pisa ; but later it was attached to the church edifice. Indeed, tlie single tower was expanded into a system of towers sur- mounted by spires, producing a balancing of parts around the entire structure. The towers were in many cases flanked by small turrets, which produced beautiful and picturesque effects. In manj' cases a lofty tower with turrets rose over the intersection of the transept and the nave. In the Cathedral of Bamberg four lofty tow- ers rose, two on each side of the nave.
One of the most attractive features of the Romanesque architecture is the introduction of delicately formed ar- cades in various places on the exterior, where they pro- duce pleasing effects, as under the cornices of the choirs, or apsides, or on the main facade. These arcades sometimes rose, like steps, up along the lines of the roof. Sometimes they were placed in successive tiers up the entire height of the fa(;ade, or even up the en- tire height of the campanile, as in the cathedrals of Lucca and Pisa.
The portals of churches were often flanked by greatlv variegated and deeply set clusters of columns. These were surmounted by capitals, and the same or similar clustered lines were carried in an arcli over the doorway. In a few cases the inner lines over the doorway were ttirown in round arches, while the arches grad- ually changed to pointed ones. These clustered arches were, in the Gothic style, replaced by rows of angels. The courts of cloisters were frequently surrounded by arcades of exquisite beauty, the columns usually being double, no two being alike, and more frequently one col- umn being twisted. Clustered columns were also introduced in the interiors of churches. In- deed, the entire Romanesque architecture is marked by a rather too exuberant fancy, va- riety being considered necessary or desirable, even when more harmony could be secured by less varied types of decoration.
The capitals of pillars were manifestly mod- elled upon the type of the late Roman-Corinthi- an or the Composite cajiital; but independence of motive was soon manifested, and great varie- ty was introduced in the capitals, which were generally managed in excellent harmony with the lines of the new stylo. ISIany new plant forms were conventionalized, and the founda- tion was laid for the subsequent luxurious lioth- ic foliation. Animal forms, both realistic and imaginary, were frequently introduced in the midst of plant forms or alone, in the capitals of pillars and elsewhere. Tiicse not unfrc(iuent- iy represented ogres and other hideous beasts,
ROMANIC VERSIONS
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ROMANIC VERSIONS
which were to frighten hypocrites and the wicked from entering the house of God, the precursors of the gar- goyles of tlie Gothic. Not unfrequently the chief col- umns of portals rested on the backs of lions or mas- sive dogs, typifying the strength and defences of the Church.
In truth and consistency of architectural character, the Konianesque style, in its best examples, takes very 'high rank among the historic styles. It is the only one of the great styles in history which did not pass into decadence through the perversion of architectural feat- ures or principles. It was cut- off in the height of its career by its successor the Gothic — the pointed dis- placing the round arch, with all its entire new type of decoration. The finest examples of the Romanesque style are : in Italy, the cathedrals of Pisa, Lucca, Par- ma, Vercelli; in France, those of Avignon, Toulouse, Bayeux, Clermont, Perigueux, St.-Etienne, and other churches in Caen; in Germany, those of Worms, Bonn, Speyer, Treves, Hildesheim, and Bamberg; in Eng- land, those of Peterborough, Waltham, and Winchester. Many of the finest effects in this style are found in de- tached fragments, which were made in churches that were not finished initil this style had been superseded by the Gothic.