Though the bishop's see was removed to Christiansand in 1685, the Romanesque cathedral church of St Swithun, founded by the English bishop Reinald in the end of the 11th century, and rebuilt after being burned down in 1272, remains, and, next to the cathedral of Trondhjem, is the most interesting stone church in Norway.
Gyula-Fehervar is the seat of a Roman Catholic bishop, and has a fine Roman Catholic cathedral, built in the 1 nth century in Romanesque style, and rebuilt in 5443 by John Hunyady in Gothic style.
The ruined church at Longpont (13th century) is the relic of an important Cistercian abbey; Urcel and Mont-Notre-Dame have fine churches, the first entirely in the Romanesque style, the second dating from the 12th and 13th centuries, to which period the church at Braisne also belongs.
Between 1310 and 1315 Jacques de Longuyon (or Langhion) introduced into the account of the Indian war Les Viceux du paon, a romanesque and fantastic episode very loosely connected with Alexander.
The parish church, with its two lofty towers, is substantially a Romanesque building of the 13th century, but the choir and transepts are Gothic additions of a later date.
Herculanus), erected between 1064 and 1074, and consecrated in 1106 by Pope Paschal II., is a Lombardo-Romanesque building in the form of a Latin cross.
The walls and ceiling of the fine Romanesque interior are covered with frescoes of 1570, subdued in colour and well suited to the character of the building; those of the octagonal cupola representing the Assumption of the Virgin are by Correggio, but much restored.
The Public Library building is Romanesque and elaborately ornamented; the building was presented to the city by James P. Baxter; in the library is the statue, by Benjamin Paul Akers (1825-1861), of the dead pearl-diver, well known from Hawthorne's description in The Marble Faun.
Of Bourg), a building in the Romanesque style of Burgundy, and that of Nantua (12th century), are of architectural interest.
The principal portal is a fine specimen of 12th-century Romanesque, and the lower part of the nave is of the same period; the choir and the transept are striking examples of the style of the 13th century.
They had simply to make Saracen and Greek work in partnership. In England, on the other hand, the Normans did really bring in a new style of their own, their own form of Romanesque, differing widely indeed from the Saracenic style of Sicily.
This Norman form of Romanesque most likely had its origin in the Lombard buildings of northern Italy.
But it took firm root on Norman soil; it made its way to England at an early stage of its growth, and from that time it went on developing and improving on both sides of the Channel till the artistic revolution came by which, throughout northern Europe, the Romanesque styles gave way to the Gothic. Thus the history of architecture in England during the 11th and 12th centuries is a very different story from the history of the art in Sicily during the same time.
England indeed had, possibly in a somewhat ruder form, the earlier style of Romanesque once common to England with Italy, Gaul and Germany.
In the Byzantine and early Romanesque periods it was an essential part of church furniture; but during the middle ages it was gradually superseded in the Western Church by the pulpit and lectern.
The Romanesque cathedral contains some interesting examples of native art (by Giovanni Martini da Udine, a pupil of Raphael, and others).
Other noteworthy churches are the Jakobskirche, an i r th-century Romanesque basilica; the St Martinskirche; the Marienkirche or Obere Pfarrkirche (1320-1387), which has now been restored to its original pure Gothic style.
The Michaelskirche, 12th-century Romanesque (restored), on the Michaelsberg, was formerly the church of a Benedictine monastery secularized in 1803, which now contains the Biirgerspital, or alms-house, and the museum and municipal art collections.
Prospero, close by, has a facade of 1504, in which are incorporated six marble lions belonging to the original Romanesque edifice.
Freeman, on account of the Romanesque character of the architecture, thought it probable that it really belongs to the time of the Lombard kings, and his opinion is shared by Ricci and Rivoira, who consider it to be a guardhouse erected by the exarchs, recent explorations having made it clear that it was an addition to the palace, while mosaic pavements and an atrium once surrounded by arcades really belonging to the latter were found in 1870 behind S.
The Palazzo del Comune is Romanesque (12th century), but has been restored.
Giovenale are also Romanesque churches of the 11th century; both contain later frescoes.
Thick; the market church, in the Romanesque style, restored since its partial destruction by fire in 1844, and containing the town archives and a library in which are some of Luther's manuscripts; the old town hall (Rathaus), possessing many interesting antiquities; the Kaiserworth (formerly the hall of the tailors' gild and now an inn) with the statues of eight of the German emperors; and the Kaiserhaus, the oldest secular building in Germany, built by the emperor Henry III.
About 1040, containing among other relics of the cathedral an old altar supposed to be that of the idol Krodo which formerly stood on the Burgberg near Neustadt-Harzburg; the church of the former Benedictine monastery of St Mary, or Neuwerk, of the 12th century, in the Romanesque style, with wall-paintings of considerable merit; and the house of the bakers' gild now an hotel, the birthplace of Marshal Saxe.
Two of the galleries are Romanesque, while two are Gothic. Arles has two other churches of the Romanesque period, and others of later date.
Other specimens still in existence are the municipal buildings, Palazzo Loredan and Palazzo Farsetti - if, indeed, these are not to be considered rather as Romanesque - and the splendid Ca' da Mosto, all on the Grand Canal.
Giovanni e Paolo, which has six semicircular pediments of varying size crowning the six bays, in the upper order of which are four noble Romanesque windows.
The 12th century collegiate church, a fine example of the Romanesque style of Limousin, contains a richly sculptured tomb of St Junien, the hermit of the 6th century from whom the town takes its name.
The chief buildings are the chateau, mainly of the 15th century, of which the massive donjon of the 11th century known as the Tour de Cesar is the oldest portion; and the abbey-church of Notre-Dame, a building in the Romanesque style of architecture, frequently restored.
The hotel de ville, the facade of which is decorated with armorial bearings of Renaissance carving, and the church of St Etienne, an unblemished example of Romanesque architecture, are of interest.
The cathedral has a Romanesque Gothic portal of 1332 by a Roman marble worker named Deodatus, and the interior is decorated in the Baroque style, but still retains the pointed vaulting of 1154, introduced into Italy by French Benedictines; it contains a splendid silver antependium by the 15th-century goldsmith Nicolo di Guardiagrele (1433-48).
Antonio is also in the Romanesque Gothic style.
The town is built partly on an island in the Havel, and partly on hills on the right bank of the river, on one of which stands the fine Romanesque cathedral dating from the 12th century.
The church of the Holy Ghost (Helgeands-Kyrka) in a late Romanesque style (c. 1250) is a remarkable structure with a nave of two storeys.
The Romanesque St Clement's has an ornate south portal, and the churches of St Drotten and St Lars, of the 12th century, are notable for their huge towers.
The cathedral of Notre-Dame, one of the finest Gothic churches in France, was founded in the 11th century by Bishop Fulbert on the site of an earlier church destroyed by fire.
At St Menoux, Ebreuil and Gannat there are fine Romanesque churches.
The Romanesque churches of Veauce and Ygrande, and the chateaus of Veauce and Lapalisse, are also of interest, the latter belonging to the family of Chabannes.
The cathedral, originally Romanesque, but restored after 1300 is in the Gothic style; the façade is good, and so is the ciborium.
Coucy also has a church of the 15th century, preserving a façade in the Romanesque style.
The oldest of its churches, St Mexme, is in the Romanesque style, but only the facade and nave are left.
The arches of the Romanesque portal are beautifully ornamented, in a manner suggestive of Arab influence; the bronze doors, executed by Barisanus of Trani in 1175, rank among the best of their period in southern Italy.
The church of the Ognissanti has a Romanesque relief of the Annunciation over the door.
(El Noble) of Navarre, who is buried within its walls; of the older Romanesque cathedral only a small portion of the cloisters remains.
The beautiful cloisters on the south side of the cathedral, and the chapter-house beyond them, as well as the old churches of San Saturnino (Gothic) and San Nicolas (Romanesque), are also of interest to the student of architecture.
At Alet, which has hot springs of some note, there are ruins of a fine Romanesque cathedral destroyed in the religious wars of the 16th century.
The extensive buildings of the Cistercian abbey of Fontfroide, near Bizanet, include a Romanesque church, a cloister, dormitories and a refectory of the 12th century.
Maria Libera, a handsome building in the Romanesque style, but now roofless.
The finest building is the cathedral, in the Lombard Romanesque style, begun in 1107 and consecrated in 1190.
In external diameter, also in the Lombard Romanesque style.