During the 12th century there was an enormous change throughout Europe, as if, almost suddenly, latent decorative imagination and technical skill had come to maturity. Twelfth century sculpture, alike in France, Italy, Germany, Spain and England was accomplished, and at times, almost sophisticated. A blend of conventionalism and naturalism makes the porches of hundreds of churches beautiful examples of architectural sculpture. In painting and mural decoration the influences at work were largely Byzantine. (See BYZANTINE ART.) Crude attempts to imitate Byzantine mosaic are found in much early Italian Roman esque work, and from manuscript accounts it would appear that similar attempts were once common in Romanesque churches farther west and north. Decorative painting shows also the dominance of Byzantine tradition into the 12th century; here, however, various local schools of illuminated manuscripts (q.v.) modified and freed mural decoration. Nevertheless, the chief aim was decorative rather than pictorial. Architectural members were richly patterned and wainscots painted with imitations of stone joints and hanging textiles, with little attempt at realism. Figures were painted flat, with little or no desire for light and shade, and arranged according to a purely decorative pattern; their size was frequently determined by relative importance or decorative neces sity rather than any endeavour to achieve realism.
The Romanesque genius found one of its most congenial outlets in the decoration and illustration of books. As early as the 7th century, a vivid school of manuscript design had developed in Ireland and from there spread to the Scotch islands. The works of the school are marked by rich capitals, borders made of geo metric interlaces, which often also cover the field of the page, and an occasional use of dragon's heads, birds and grotesque human figures. The complex beauty of these pages exerted a strong in fluence on later Romanesque work in many parts of Europe and Carolingian manuscripts show a combination of Celtic interlaces with classic motives and drawings inspired by late Roman manu scripts. Later, the intricate Celtic forms passed out of use, the Roman traditions were modified and naturalistic treatment ap peared. By the beginning of the I2th century manuscripts in all the countries north of the Alps tended to resemble each other, and the figures show many of the characteristics of 12th century sculpture; the same dignity, decorative design and convincing emotional quality. Borders and ornamental initials had lost the
intricate geometric shapes of the earlier period and the stylized leaves and flowers which were later to develop into the glories of Gothic illumination were beginning to appear.
South of the Alps manuscript decoration was following dif ferent lines. There, the influence of Byzantine manuscripts, with occasional reminiscences of classic work, remained dominant.
Romanesque metal work followed many of the same lines of development as Romanesque sculpture. In early work that of the Celtic countries was outstanding and magnificent silver-ware and jewellery were produced. Filigree (q.v.) was peculiarly con genial to the northern love of interlaces and complexities and was frequently applied, with excellent decorative effect, in small areas, to large, simple cups and chalices. (See DRINKING VESSELS.) Meanwhile, Byzantine church silver-ware and goldsmith's work was widely imported into Europe and exerted a strong influence upon the metal work of the later Romanesque times. (See SILVER SMITHS' AND GOLDSMITHS' WORK.) Particularly important was the development in France of a famous school of enamel workers, who worked both in cloisonné and champleve. (See ENAMEL.) Little of the early wrought iron remains, but the exquisite work• manship and powerful design of many 12th century grilles, door hinges, etc., give evidence of a tradition which must have existed for some time. In these 12th century examples the chief beauty comes from the expression of structure and the harmony of the decorative forms with their material. (See BRONZE AND BRASS.) The popularity of Byzantine and Persian textiles in Roman esque Europe was a distinct hindrance to the formation of native schools of vital decorative textile design ; in most cases products of Romanesque looms were the plainest and simplest materials for practical use. There was, on the other hand, a great deal of rich embroidery produced, of which the Bayeux tapestry (11th cen tury) is the best known example. There are also, in many church sacristies, altar frontals and occasional vestments which reveal a similar skill in the medium and an even greater richness and decorative imagination. (See TEXTILES AND EMBROIDERIES ;