都爾的瑪爾定

馬丁·路德

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羅馬式美術

主條目：羅馬式美術

Saint-Julien-de-Jonzy的教堂的弧形頂飾 十二世紀中葉. 上為《威嚴基督像》, 下為《最後的晚餐》

羅馬式美術，也譯羅曼式美術，發展於公元1000年到公元十二世紀哥特藝術興起前這段時間，這段時期西歐的修道主義也在興起。這種風格最初源於法國，但是最終擴散到了基督教的西班牙、英格蘭、法蘭德斯、德國、意大利和其他地區，並最終成為第一個可以在全歐洲範圍找到的中世紀藝術風格，但仍具地區差異。 這種風格的到來碰巧趕上了建造更多更大的教堂，尤其是主教座堂的風潮，雖然很多這些教堂都在後世被重建，但是大部分都在羅馬式時期達到了今天的規模。羅曼式建築的主要特點是由厚實的牆壁，恢弘的結構構成的明晰而生動的形式，還有拱形的穹頂、半圓的窗子，和各式的拱券。

Figurative sculpture, originally colourfully painted, plays an integral and important part in these buildings, in the 柱頭of columns, as well as around impressive 入口, usually centred on a 弧形頂飾 above the main doors, as at 韋茲萊隱修院 and 奧頓聖拉扎爾主教堂. Reliefs are much more common than free-standing statues in stone, but Romanesque relief became much higher, with some elements fully detached from the wall behind. Large carvings also became important, especially painted wooden 十架苦像 like the Gero Cross from the very start of the period, and figures of the 童貞瑪利亞 like the埃森大教堂的黃金聖母. Royalty and the higher clergy began to commission life-size effigies for tomb monuments. Some churches had massive pairs of 青銅 doors decorated with narrative relief panels, like the 格涅茲諾大門 or those at 希爾德斯海姆, "the first decorated bronze doors cast in one piece in the West since Roman times", and arguably the finest before the Renaissance. Most churches were extensively frescoed; a typical scheme had 莊嚴基督 at the east (altar) end, a 最後的審判 at the west end over the doors, and scenes from the 基督生平facing typologically matching 舊約聖經 scenes on the 中殿 walls. The "greatest surviving monument of Romanesque wall painting", much reduced from what was originally there, is in 普瓦捷附近的聖塞文-梭爾-加爾坦佩教堂 , where the rounded 筒形拱頂 of the 中殿, the 地下墓室, 門廊 and other areas retain most of their paintings. An equivalent cycle in Sant'Angelo in Formis at 卡普阿 in southern Italy by Italian painters trained by Greeks illustrates the continuing predominance of Byzantine style in much of Italy.

French historiated initial with men slaying a monster, from a theological manuscript. 1110–1115

Romanesque sculpture and painting is often extremely vigorous and expressive, and very inventive in terms of 圖像誌—the subjects chosen and their treatment. Though many features absorbed from classical art form part of the Romanesque style, Romanesque artists rarely intended to achieve any sort of classical effect, except perhaps in 默茲河藝術. As art became seen by a wider section of the population, and because of challenges from new 異端, art became more didactic, and the local church the "窮人的聖經". At the same time grotesque beasts and monsters, and fights with or between them, were popular themes, to which religious meanings might be loosely attached, although this did not impress St |聖伯納德, who famously denounced such distractions in monasteries:

But in the cloister, in the sight of the reading monks, what is the point of such ridiculous monstrosity, the strange kind of shapely shapelessness? Why these unsightly monkeys, why these fierce lions, why the monstrous centaurs, why semi-humans, why spotted tigers, why fighting soldiers, why trumpeting huntsmen? ... In short there is such a variety and such a diversity of strange shapes everywhere that we may prefer to read the marbles rather than the books.

He might well have known the miniature at left, which was produced at 熙篤修道院 before the young Bernard was transferred from there in 1115.

During the period typology became the dominant approach in theological literature and art to interpreting the bible, with 舊約聖經 incidents seen as pre-figurations of aspects of the life of Christ, and shown paired with their corresponding New Testament episode. Often the iconography of the New Testament scene was based on traditions and models originating in Late Antiquity, but the iconography of the Old Testament episode had to be invented in this period, for lack of precedents. New themes such as the 耶西的本 were devised, and representations of 聖父 became more acceptable. The vast majority of surviving art is religious. 默茲河藝術 was an especially refined regional style, with much superb metalwork surviving, often combined with 琺瑯, and elements of classicism rare in Romanesque art, as in the 列日的聖巴托羅繆教堂的領洗地, or the 三王聖龕 at 科隆, one of a number of surviving works by 凡爾登的尼古拉, whose services were sought across north-western Europe. 花窗玻璃 became a significant art-form in the period, though little Romanesque glass survives. In illuminated manuscripts the bible became a new focus of intensive decoration, with the 聖詠經 also remaining important. The strong emphasis on the suffering of Christ and other sacred figures entered Western art in this period, a feature that strongly distinguishes it from both Byzantine and classical art for the remainder of the Middle Ages and beyond. The Gero Cross of 965-970, at the cusp of Ottonian and Romanesque art, has been called the first work to exhibit this. The end of the Romanesque period saw the start of the greatly increased emphasis on the 童貞聖母 in theology, literature and so also art that was to reach its full extent in the Gothic period.

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  默茲河藝術的代表作，都爾奈聖母大教堂中凡爾登的尼古拉所做的聖物箱，1205年。
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  一個西班牙地下墓室的彩繪天花。
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  莫扎克修道院的中殿的柱頭上約拿被鯨魚吞掉的場景。
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  《抹大拉的馬利亞向使徒們宣告基督復活》, 聖奧爾本斯聖詠經，英格蘭, 1120–1145年。