section_path: High Middle Ages/Architecture and the arts
section_name: Architecture and the arts
paragraph_text: Architecture and the arts
  
  Encastellation continued, with stone fortresses built in regions where central authority was weak. Many were motte-and-bailey structures, but Bergfriede (tower castles) were preferred in central Europe and competing urban families built tall towers in Italian cities and towns. The great pilgrimages encouraged the construction of large churches along pilgrimage routes. This led to the development of stone architecture which resembled classical Roman building design and is known as Romanesque. Romanesque buildings have massive stone walls decorated with sculpture in relief and are typically covered by barrel, groin or rib vaults, but they have a number of regional variants. Traditional Byzantine religious architecture remained dominant in the Balkans, although some Serbian churches have a Romanesque influence.
  
  Romanesque art (especially metalwork) was at its most sophisticated in Mosan art, in which distinct artistic personalities—including Nicholas of Verdun (d. 1205)—became apparent, and an almost- classical style is seen in works such as a font at Liège. Few wall paintings survive, although references to images abound in written sources. The employment of itinerant artists, and the use of sketches of murals facilitated the transmission of artistic motifs over long distances. Embroidery flourished; churches and castles were decorated by tapestries, and clerical vestments were adorned with needlework images.
  
  Structural innovations introduced the evolution of Gothic architecture from Romanesque. They included pointed arches to reduce lateral thrust, flying buttresses to reinforce walls, and rib vaults to minimise their static importance. The new solutions allowed the extensive use of large stained glass windows. Gothic architecture emerged during the reconstruction of the Saint-Denis Abbey, near Paris, under Abbot Suger (d. 1151). The new style quickly spread, dominating religious architecture in much of Catholic Europe until the end of the Middle Ages.
  
  Manuscript illumination gradually moved from monasteries to lay workshops, and the book of hours developed as a form of devotion for laypeople. Metalwork continued as the most prestigious form of art, with Limoges enamel a popular and relatively-affordable option. In Italy, the innovations of Cimabue, Duccio, and the Trecento master Giotto (d. 1337) greatly increased the sophistication and status of panel painting and fresco. Increasing prosperity during the 12th century resulted in greater production of secular art; many carved-ivory objects such as gaming pieces, combs, and small religious figures have survived.