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Romanesque architecture is a term that describes the style of architecture which was used in Europe from the late 10th century until the 12th century when it changed to the Gothic style. The Romanesque style in England is called Norman architecture.
Buildings in the Romanesque style have very thick walls and round arches, Castles and churches or cathedrals were built in this style. Some of them are still standing.
Maria Laach Abbey, Germany
Tum Collegiate Church, Poland
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Portal, Church of Santa Maria, Viu de Llevata, Catalonia, Spain
The vault at the Abbey Church of Saint Foy, Conques, France
Cloister of the Basilica di San Giovanni in Laterano, Rome
Bell tower of Angoulême Cathedral, Charente, SW France
Window and Lombard band of the Rotunda of San Tomè, Almenno San Bartolomeo
Saint Nicholas Rotunda in Cieszyn, Poland
Romanesque house in Poreč, Croatia
The Civic Hall in Massa Marittima, Italy
Abbey Church of St James, Lebeny, Hungary (1208)
The keep of Conisbrough Castle, England.
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The Tower of London (1078). William the Conqueror built the central White Tower as his stronghold and residence.
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Speyer Cathedral, begun by Conrad II, Holy Roman Emperor in 1030, as an expression of imperial power and architectural innovation
Many towns, such as San Gimignano, were enclosed with walls, causing crowding and the building of tower houses.
Many parish churches across Europe, such as this in Vestre Slidre, Norway, are of Romanesque foundation
The Romanesque Sénanque Abbey church and surrounding monastic buildings, Gordes, Provence, France
Collegiate churches such as that of Saint Hadelin, Celles, Belgium, were administered by lay canons.
Many cathedrals such as Trier Cathedral, Germany, date from this period, with many later additions.
The Church of the Holy Sepulchre, Jerusalem, a major pilgrimage site from the 4th century onwards, its rotunda inspired the construction of many Romanesque circular churches.
The Abbey of Saint Foy, Conques, France, was one of many such abbeys to be built along the pilgrimage Way of St James that led to Santiago de Compostela.
The plan of the Church of Saint Front, Périgueux, France, was influenced by Byzantine architecture seen by the Crusaders. The present appearance is largely due to restorer Paul Abadie, mid-19th Century
The monastery of San Vittore alle Chiuse, Genga, Italy, of undressed stone, has a typically fortress-like appearance with small windows of early Romanesque.
Castle Rising, England, shows flat buttresses and reinforcing at the corners of the building typical in both castles and churches.
Abbaye Cerisy le Foret, Normandy, France, has a compact appearance with aisles rising through two storeys buttressing the vault.
St Albans Cathedral England, demonstrates the typical alterations made to the fabric of many Romanesque buildings in different styles and materials
The atrium and arcaded narthex of Sant'Ambrogio, Milan, Italy, is a harmonious composition of similar arches.
The facade of Notre Dame du Puy, le Puy en Velay, France, has a more complex arrangement of diversified arches: Doors of varying widths, blind arcading, windows and open arcades.
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Collegiate Church of Saint Gertrude, Nivelles, Belgium uses fine shafts of Belgian marble to define alternating blind openings and windows. Upper windows are similarly separated into two openings by colonettes.
Worms Cathedral, Germany, displays a great variety of openings and arcades including wheel and rose windows, many small simple windows, galleries and Lombard courses.
The south portal of the Abbey of Saint-Pierre, Moissac, France, has a square door divided by an ornate doorpost, surmounted by a carved tympanum and set within a vast arched porch.
Simple capital of a Doric form supporting a Mozarabic arch, São Pedro de Lourosa Church, Portugal
Capital of Corinthian form with anthropomorphised details, Pisa Campanile, Italy
Capital of Corinthian form with Byzantine decoration and carved dosseret, San Martín de Tours, Palencia
Capital of simplified concave Corinthian form with billeted abacus, simple dosseret and pronounced annulet. Church of Santa Maria, San Martín de Castañeda, Spain
Capital of convex cubic form with its abacus, concave dosseret and cable decoration defined by polychrome. Herina. Capitals of this shape are often decorated with "Barbaric" carvings of foliage, and mythical creatures.
Capital retaining Corinthian form decorated with intertwined beasts derived from Irish manuscripts. Grande-Sauve Abbey, France
Capital of amorphous form surmounting a cluster of shafts. The figurative carving shows a winged devil directing Herod to slaughter the Innocents. Monastery of San Juan de Duero, Soria, Spain
The painted barrel vault at the Abbey Church of Saint-Savin-sur-Gartempe is supported on tall marbled columns.
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The nave of Lisbon Cathedral is covered by a ribbed barrel vaul and has an upper, arched gallery (triforium).
The Church of St Philibert, Tournus, has a series of transverse barrel vaults supported on arches.
The aisle of the Abbey Church at Mozac has a groin vault supported on transverse arches.
The aisles at Peterborough Cathedral have quadripartite ribbed vaults. (The nave has an ancient painted wooden ceiling.)
The ribbed vaults at Saint-Étienne, Caen, are sexpartite and span two bays of the nave.
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The crossing of Speyer Cathedral, Germany, has a dome on squinches.
The plan of the Abbey of St Gall, Switzerland
Germany, Speyer Cathedral
France, Autun Cathedral
France, Angoulême Cathedral
England, Ely Cathedral
Spain, San Isidoro de León
Modena Cathedral
This drawing is a reconstruction by Dehio of the appearance of the Romanesque Konstanz Cathedral before its alterations in the Gothic style. It has a typical elevation of nave and aisles with wooden panelled ceilings and an apsidal east end.
This nave elevation of Arnsburg Abbey, Germany, shows the typical arrangement of the nave arcade, aisle, clerestory windows and ribbed vault
Exterior elevation, Peterborough Cathedral
Rural church of São Pedro de Lourosa, Portugal, built in the 10th century it has the simplest type of square-shape apsidal east end.
The small church of Saint-Pierre Xhignesse, Belgium, already has a semi-circular termination at the same height as the choir and nave.
The Cathedral of Santa Maria d'Urgell, Spain, has an apsidal east end projecting at a lower level to the choir and decorated with an arcade below the roofline. This form is usual in Italy and Germany.
The Abbey of Sant'Antimo has a high apsidal end surrounded by an ambulatory and with small projecting apses
Saint-Étienne, Nevers, displays a round chancel with ambulatory, apsidal chapels and strongly projecting transepts
The Old Cathedral of Coimbra, Portugal, is fortress-like and battlemented. The two central openings are deeply recessed.
Church of St. Trophime, Arles, France. The ornamentation is focussed on the porch and the carved Christ in Majesty on the tympanum, typical of French cathedrals.
Church of San Zeno, Verona, Italy, The facade is neatly divided vertically and horizontally. The central wheel window and small porch with columns resting on crouching lions is typical of Italy.
Pisa Cathedral, Italy. The entire building is faced with marble striped in white and grey. On the facade this pattern is overlaid with architectonic decoration of blind arcading below tiers of dwarf galleries. The three portals became increasingly common.
The Collegiate Church, Empoli, Italy, represents a screen facade. The polychrome marble decoration divides the facade into zones while giving little indication of the architectural form behind it.
Angoulême Cathedral, France. The facade here, richly decorated with architectonic and sculptural forms, has much in common with that at Empoli in that it screens the form of the building behind it.
The groin-vaulted crypt of Worcester Cathedral
The chapter house of Santa María de la Oliva, Carcastillo, Spain
The lateral porch of the Church of San Estebán, Segovia
The cloister of Lavaudieu Abbey
The Baptistery of Parma Cathedral
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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.
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.
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.
The eastern apse of Parma Cathedral, Italy (early 12th century) combines a diversity of decorative features: blind arcading, galleries, courses and sculptured motifs.
The arcading on the facade of Lucca Cathedral, Tuscany (1204) has many variations in its decorative details, both sculptural and in the inlaid polychrome marble.
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.
The portal of the 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.
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
On these mouldings around the portal of Lincoln Cathedral are formal chevron ornament, tongue-poking monsters, vines and figures, and symmetrical motifs.
St Martin's Church, Gensac-la-Pallue has capitals with elaborate interlacing.
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)
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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
Details of the portal of Oloron Cathedral show a demon, a lion swallowing a man and kings with musical instruments.
A relief from St Trophime, Arles, showing King Herod and the Three Kings, follows the conventions in that the seated Herod is much larger than the standing figures.
The painted crypt of San Isidoro in León, Spain has a detailed scheme illustrating Biblical stories.
Apse of the Church of St Justus, Segovia. Christ in Majesty was a common theme for the apse.
A frieze of figures occupies the zone below the semi-dome in the apse. Abbey of St Pere of Burgal, Catalonia, Spain
In England the major pictorial theme occurs above the chancel arch in parish churches. St John the Baptist, Clayton, Sussex
This fresco showing Galen and Hippocrates is part of a complex scheme decorating the crypt of Anagni Cathedral, Italy
The Tower of London (1078). William the Conqueror built the central White Tower as his stronghold and residence.
The Great Hall of Oakham Castle, England, once part of the fortified manor of a Norman baron.
Many towns, such as San Gimignano, were enclosed with walls, causing crowding and the building of tower houses.
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