The Romanesque architecture in Italy covers a period of architectural production broader than other European countries, from early examples around the middle of the eleventh century up, in some regions, throughout the thirteenth century.
General characteristics
As in all Romanesque, many architectural elements are used not only functionally but also symbolically (12 columns representing the twelve apostles, long axis of the nave with a slight inclination that indicates the head of Jesus bowed on the cross at death, etc..). However, there are also elements that derive from the geographical and circumstantial situation of Italy: the fact that Sicily was in the hands of the Muslims and that a large part of southern Italy was part of Byzantium implied a series of influences that are peculiar to of this peninsula.
Another element of its own is the reuse and use of Paleo-Christian temples or basilicas of antiquity, adapting them to the modes of Romanesque architecture. Hence the majority of the churches of a single nave with the basic outline of the funerary monuments used by the early Christians.
Given the increasing veneration of relics, the Romanesque temple usually has a crypt normally under the presbytery. Underground corridors with niches were built to place the candles. However, these corridors were progressively filled with other elements such as side altars, offerings and alms deposits and other accessories.
An element common to Romanesque churches is the bell tower located next to the facade or in the apse area.
Regional variants
The artistic panorama is very varied, with regional “Romanesque” with its own characteristics, both as regards the construction types and the materials used. Great variety is also given by the many materials used, which strongly depended on local availability, given that imports were very expensive. In fact, in Lombardy the most used material was the brick, given the clayey nature of the soil, but this does not apply to Como, which instead had great availability of stone; in Tuscany, instead, the white Carrara marble buildings with inserts in green serpentine marble are not rare; in Pugliathe clear calcareous tuff was used. Apart from the Apulian case, from Rome down the Romanesque tends to become more rare and to mix with characteristics of Byzantine and Arab origin.
You can identify some main areas:
the Lombard and Emilia area, which influenced most of northern Italy, from western Veneto to Liguria;
Venice, with peculiar characteristics influenced by Byzantine architecture;
the zone of Pisan influence: northern Tuscany up to Pistoia, Sardinia and Corsica, as well as other isolated coastal areas;
the Florentine Romanesque or “proto-renaissance”;
the Adriatic belt from the Marche to Molise
Umbria and Alto Lazio, a crossroads of more influences;
Rome;
the bell area;
the Apulian area;
Sicily and Calabria, with strong Byzantine and Norman influences but in the first, also Arab.
Sardinia with Pisan, Lombard and southern French influences.
Lombard and Emilian Romanesque architecture
The Lombardy, understood as territorial wider then today’s units, comprising Emilia and other nearby areas, it was the first region to receive the artistic novelties dall’Oltralpe, thanks to the now secular movement of Lombard artists in Germany and vice versa.
These influences were elaborated according to typically Italian schemes, such as those offered by the early example of the abbey of Pomposa (by magister Marzulo), consecrated in 1026, with a bell tower begun by Magister Deusdedit in 1063. There is an original two-color decoration, through the use of red and white bricks, and for the first time in Italy the facade is decorated with sculptures, in this case from bas-reliefs finely sculpted and pierced with branches and animals inspired perhaps to the fabrics Sassanids of Persia. Also the bell towerit is precocious both by type (isolated from the body of the church, according to a model that then became typically Italian), due to the style of the decorations, with hanging arches and pilasters that move the masonry, perforated by the opening of arched windows via wider. It is thought that these characteristics were imported from the Byzantine and Armenian world.
Closer to Germanic models are the churches of Santa Maria Maggiore in Lomello (1025 – 1050) and San Pietro al Monte in Civate (with a double opposing apse).
Important is the early example of the Basilica of Sant’Abbondio in Como, with five aisles covered with wooden beams, where there is a double bell tower in the style of the German Westwerk and a decoration of the external facade with blind arches and pilasters, as well as a remarkable sculptural collection of the Comacine Masters.
Between the end of the XI and the beginning of the XII century, in an already mature Romanic style, the basilica of Sant’Ambrogio was rebuilt in Milan, endowed with ribbed cross vaults and a very rational design, with a perfect correspondence between the drawing in plan and elements in elevation. The stylistic isolation of Sant’Ambrogio should not have been as pronounced as today, compared to the era of reconstruction, when there were other monuments that had been lost or heavily tampered with over the centuries (such as the cathedral of Pavia, Novara, Vercelli, etc.).
Other developments are witnessed by the Basilica of San Michele Maggiore in Pavia, with the façade consisting of a single large pentagonal profile with two sloping roofs, divided into three parts by beam buttresses, and, in the upper part, decorated by two symmetrical galleries of small arches on columns. that follow the coverage profile; the strong upward development is also emphasized by the arrangement of the windows, concentrated in the central area. The model of this church was also found in the churches of Pavia, San Teodoro and San Pietro in Ciel d’Oro (consecrated in 1132), and was developed in the cathedral of Parma (late 12th-early 13th century) and in theof Piacenza (started in 1206).
The cathedral of Modena is one of the testimonies received in a more consistently unitary manner of all Romanesque architecture. Founded in 1099 by the Lombard (perhaps Como) Lanfranco, it was built in a few dozen years, so it does not present significant gothic insertions. With three naves without a transept and three apses, it was formerly covered with wooden trusses, which were replaced with cross vaults only in the fifteenth century. The sloping façade reflects the internal shape of the naves, and is divided into three large pilasters while the center is dominated by the portal with a protiroon two floors (the rose window and lateral portals are later). The continuous series of loggias at the height of “matroneo”, enclosed by blind arches, which surround the cathedral all around, create a rhythmic effect of chiaroscuro, very copied in later constructions. Of extraordinary value and importance is the sculptural kit composed of the famous reliefs of Wiligelmus and his followers. The Basilica of San Zeno in Verona is the most direct example of derivation from the Modena cathedral.
Venice
In Venice the architectural masterpiece of this period was the construction of the Basilica of San Marco. Begun by the doge Domenico Contarini in 1063 on a pre-existing building, it served as a palatine chapel of Palazzo Ducale and did not depend on the patriarch of Venice. The basilica could be said to have ended only in the fourteenth century, but nevertheless it constitutes a unitary and coherent whole between the various artistic experiences to which it has been subject over the centuries.
The basilica is an almost unique conjunction between Byzantine and Western art. The plan is a Greek cross with five domes distributed in the center and along the axes of the cross, connected by arches. The naves, three by arm, are divided by colonnades that converge towards the massive pillars that support the domes; they are not made as a single block of masonry but articulated in turn with four pillars and a small dome.
Elements of western origin are instead the crypt, which interrupts the repetitiveness of one of the five spatial units, and the placement of the altar not at the center of the structure (as in the Byzantine martyrion), but in the apse area east. For this reason the arms are not identical, but on the east-west axis they have a wider central nave, thus creating a main longitudinal axis that conveys the gaze towards the altar.
The exterior was sumptuously decorated after the capture of Constantinople in 1204, with marble slabs, polychrome columns and bare statues of the Byzantine capital. More or less during the same period the domes were raised, to be visible from the outside, and the porticoed square of San Marco was designed. The interior is covered with precious mosaics that were made in a period of time ranging from the beginning of the eleventh century to the thirteenth century (not to mention the Renaissance remakes and additions in the facade of the eighteenth and nineteenth centuries).
Romanesque architecture in the alpine area
In San Candido there is an important example of Romanesque architecture in the alpine area, the collegiate church of San Candido, which presents, as often happens in those areas, elements derived from different cultures, being placed along a pass where the geographical border ran between Italy and northern area.
Romanesque architecture in Tuscany
The Pisan Romanesque was developed in Pisa at the time when it was a powerful Maritime Republic, from the second half of the eleventh to the first of the thirteenth century, and radiated to the territories controlled by the Republic of Pisa (Corsica and part of Sardinia included) and a northern Tuscany belt from Lucca to Pistoia. The maritime character of the Pisan power, and the peculiarity of the stylistic elements typical of its style, meant that the spread of the Pisan Romanesque extended far beyond the sphere of political influence of the city. Pisan influences are found in different points of the Mediterranean area, as well as the coasts of the Adriatic (Puglia, Istria)
The first realization was the cathedral of Pisa, begun in 1063 – 1064 by Buscheto and continued by Rainaldo, who was consecrated in 1118. As in Venice, the Pisan architecture was influenced by that Constantinople and Byzantine architecture in general, with which the Republic had strong commercial contacts. Elements of possible Byzantine influence are the matronei and the elliptical dome with a bulbous crown, placed in the ” Lombard ” way”at the intersection of the arms, but oriental elements were reinterpreted according to a specific local taste, arriving at artistic forms of considerable originality, for example the interior with five naves with colonnades (formerly a Greek cross, expanded to a Latin plant by Rainaldo), inspired by the disappearance of the Romanesque cathedral of San Martino in Lucca, it has a typically early Christian spatiality.
Typical elements of the Pisan Romanesque are the use of hanging loggia, inspired by Lombard architecture, but multiplied to cover different facades, and blind arches, the motif of the lozenge, one of the most recognizable features, derived from Islamic models North-African, and the two-color alternating bands, derived from models of Muslim Spain.
Other masterpieces in Pisa are the famous Leaning Tower (begun in 1173), the first ring of the Baptistery (started in 1153), the church of San Paolo a Ripa d’Arno (late 12th-early 13th century), the church of San Michele in Borgo.
From Pisa the new style arrived in Lucca, overlapping the primitive Romanesque Lucchese preserved in the Basilica of San Frediano and Sant’Alessandro Maggiore. The church of San Michele in Foro, Santa Maria Forisportam, the façade of the Cathedral of San Martino (completed in 1205), by the workers of Guidetto da Como, represent an evolution of the Pisan style in even richer forms on the decorative plane. detriment of architectural originality. In Pistoia the use of green Prato marblecombined in bands alternating with white marble, it created effects of vibrant two-color (the church of San Giovanni Fuorcivitas, XII century) as well as in the cathedral of Prato.
Apart from the director to the east, the influence of Pisan Romanesque also followed a route towards the south (the cathedral of Volterra, Cathedral of Massa Marittima) assuming characters partially autonomous they did talk about Romanesque Volterra.
The Romanesque in Florence
In Florence between the eleventh and twelfth centuries some elements common to the Pisan Romanesque were used, but with a very different imprint, characterized by a serene geometric harmony that recalls ancient works. The sense of rhythm in the external volumes is evident in the Baptistery of San Giovanni, through the use of squares, classical pilasters, blind arches, etc. following a precise modular pattern that repeats on eight sides. The dating of the baptistery has long been discussed (Roman building turned into a basilica? Early Christian building? Romanesque building?), Also due to the scarcity of documentation. Following archaeological excavations carried out after 2000, it was found that the foundations are two meters above the level of the Roman pavement, so it can be deduced that the era of planting the building is not earlier than the ninth century. The polychrome marble interior, strongly inspired by the Pantheon of Rome, was nevertheless completed at the beginning of the 12th century (the floor mosaics are dated 1209 and those of the scarsella 1218), while the first phase of the external covering must date back to about the same period.
Other examples of the renewed Florentine style are the Basilica of San Miniato al Monte (begun in 1013 and gradually completed until the 13th century), which presents a rationally ordered scan of the two-tone facade, and a rigorous structure inspired by the Lombard Romanesque (tribune). The small San Salvatore al Vescovo, the collegiate church of Sant’Andrea in Empoli and the incomplete face of the façade of the Badia Fiesolana, together with a modest number of parishes and minor churches, complete the picture.
The rest of Tuscany
Out of the cultural influence of the main cities, Tuscany is extraordinarily rich in numerous Romanesque churches placed above all in the rural area. Many are of monastic origin and are due to the presence of various orders, ancient as the Benedictines or of new origin (Reformed) such as the Cluniac or those of the Camaldolese and Vallombrosani. Because of the supranational character of the monastic orders, they are also rich in transmontane or non-Tuscan influences . Among these the abbey of Sant’Antimo(mid-twelfth century), is part of a small class of Italian churches inspired by French models, with aisles to the obligatory rhythm (simple column-pillar alternation), column presbytery, radial chapel. The enormous diffusion of this kind in France (hundreds of examples, mostly aligned along the pilgrimage routes) makes it difficult to identify a direct filiation. Typical of churches of monastic origin, usually with only one nave, is the presence of crypts such as in the abbey of Farneta in Cortona and in the abbey of San Salvatore on Mount Amiata that even presents the Nordic motif of the façade between two towers.
Many of the monastic centers had a function of hospitium, that is, a reception center for pilgrims and wayfarers in general, placed not only along the Via Francigena, but also along numerous other routes on the north-south route, such as the churches on Montalbano (San Just, San Martino in Campo), or those towards the various Apennine passes (San Salvatore in Agna, abbey of Montepiano).
Romanesque architecture in Umbria, Marche and Alto Lazio
Umbria
Even in Umbria some churches show Lombard influences, although combined with more classical elements derived from ancient remains that survived in the region. This is the case of the Basilica of Santa Maria Infraportas in Foligno, the churches of San Salvatore in Terni or Santa Maria Maggiore in Assisi.
Similar among them are the most original solutions of the cathedral of Assisi (San Rufino, from the mid-twelfth century) or the cathedral of Spoleto (begun in 1175) or the church of San Pietro extra moenia always in Spoleto, characterized by a breakdown of the facade, in a clear geometric scheme. In San Pietro the squares were also decorated with precious marble reliefs with sacred and allegorical scenes. In some churches, as in the cathedral of Spoleto we find mosaics of Roman influence .
Marche
In the Marches the models offered by the Lombard and Emilian architecture are reworked with originality and combined with Byzantine elements related to the use of models with a central plan. For example, the church of Santa Maria di Portonovo near Ancona (mid-eleventh century) or the cathedral of San Ciriaco (late eleventh century – 1189), have a Greek cross plan with a dome at the intersection of the arms and a protiro in facade that frames a strongly splayed portal.
An example even more faithful to Byzantine models is the Greek cross plan within a square of the church of San Claudio al Chienti (XI-XII century) or in San Vittore alle Chiuse in Genga (XI century) where there is also a central dome five apses (three on the bottom and two on the sides).
Lazio
In northern Lazio many buildings, especially in smaller towns, reveal the direct work of Lombard craftsmen, especially in pillars or vaults However, the Lombard influences filtered out by Umbria were fertilized with the unbroken classical tradition: in Montefiascone with the church of San Flaviano (early XII century), in Tarquinia with church of Santa Maria a Castello (started in 1121), in Viterbo with more basilicas (Santa Maria Nuova, San Francesco a Vetralla, the cathedral, San Sisto, San Giovanni in Zoccoli), all probably decorated by Lombard craftsmen who in some cases also participated in the definition of architecture.
Particularly the church of Santa Maria Maggiore of Tuscania, built in two phases from the twelfth century to 1206 with a basilica plan of early Christian derivation but with the façade elements of Padana derivation as the portal strongly splayed with lions stilofori and the representation of Sedes Sapietiae (the Madonna with the child seated) sculpted in the architrave, where the Madonna’s legs literally hang from the sculpted surface. Also in Tuscania stands the splendid church of San Pietro, characterized by a refined rose window by the masters of Como. In the bell tower of the Cathedral of GaetaLate-Roman and Byzantine space experiences are merged alongside Islamizing themes, dating back to the second half of the 12th century; following the reconstruction of the old cathedral, it appears today completely isolated from its original context.
Romanesque architecture in Rome
n Rome with the impulse of pontiffs involved in the work of reforming the church, as Pasquale II, Honorius II, Innocent II and Gregory VII, an intense architectural season was recorded, intentionally resuming the tradition of the early Christian basilica with three naves on columns, presbytery raised with canopy altar, wooden roof, central apse decorated with mosaics, portico architraved in front of the façade which is generally resolved with a smooth surface, without walls and sometimes adorned with mosaics. The Lombard influence, however present, can be traced in the construction of various brick bell towers, with frames,shelves, mullioned windows and three-light windows.
In the basilica of San Clemente and in Santa Maria in Cosmedin (rebuilt in the 12th century on the remains of the 6th century) a few pillars alternating with a series of three columns were used in the nave, but without a precise constructive logic as in the Romanesque style.
In Santa Maria in Trastevere (1140 – 1148) there is a very traditional interpretation with Ionic architrave columns, even if surmounted by an order superior to pilasters between which the windows open.
More interesting than the architectural panorama was the pictorial and mosaic, with large construction sites for the interior decoration of the Basilica of San Clemente, Santa Maria in Trastevere and Santa Maria Nuova, where Constantinopolitan motifs still prevailed.
During this period, they left the Roman marble masters (the famous families of the Cosmati and the Vassalletto), whose activity also surpassed the borders of Lazio. Their elaborate inlays with colored marbles and tesserae of various stone materials were applied to liturgical floors and furnishings such as pulpits, cibori, altars, cathedrals, Easter candlesticks, etc. Sometimes they were used to decorate more complex and various architectural spaces, such as the cloisters of San Giovanni in Laterano and San Paolo fuori le Mura (first half of the thirteenth century), with pairs of columns alternately smooth, twisted or twisted and more or less mosaics.
Romanesque architecture in Abruzzo and Molise
Romanesque architecture in Campania
One of the most important construction sites in Campania in Roman times was the reconstruction, commissioned by Abbot Desiderio (later Pope Victor III) of the Abbey of Montecassino, of which today nothing remains. The basilica was rebuilt on the model of the Roman ones and the only echo that remains is in the church of the Abbey of Sant’Angelo in Formis, erected on commission by Desiderio from 1072.
The revival of early Christian motifs (naves divided by colonnades, presence of transept) was also found in the cathedral of Sessa Aurunca (1103), in the church of the Crucifix in Salerno (X-XI century), in the cathedral of Benevento and in the church of San Rufo in Capua.
In the twelfth and thirteenth century buildings there are instead strong Arab-Sicilian and Moorish influences spread from Amalfi, as in the Casertavecchia cathedral (with pointed arches, horseshoe-shaped windows in the transept and entwined arches resting on small columns in the tiburio), in the cathedral of Amalfi (1266 – 1268) and with acute arches intertwined in the façade, on the bell tower and in the cloister; a plot made even more complex in the cloister of the Capuchins (1212). In Naples, however, the Romanesque has almost completely disappeared, due to the subsequent superfolations. It is found in the central area of theChurch of San Giovanni a Mare and in the fine cloister of the National Convitto in Piazza Dante: the capitals and the zoomorphic and anthropomorphic columns are particularly interesting. In Salerno there are remarkable works of cosmatesque mosaics and inlays with Islamic influences.
Apulian Romanesque
The Apulia and its harbors were used by pilgrims in the Holy Land and were also the starting point for many Crusaders in 1090. The great flow of people determined the reception of a great variety of influences that also manifested itself in architecture.
One of the most representative buildings is the Basilica of San Nicola in Bari, which began in 1087 and ended towards the end of the 12th century. Externally it has a massive appearance, like a fortress, with a salient façade closed at the sides by two unfinished towers. The motif of the double towers refers to transalpine examples, and can also be explained by the Norman presence of the Altavilla. The decoration with hanging arches and the presence of a (slightly pronounced) protiro with lions on the façade recall the Lombard-Emilian characteristics.
The cathedral of Bitonto was built between the eleventh and twelfth centuries according to the model of the nicolaian basilica and has the façade divided into three parts by pilasters and decorated with hanging arches. The sixteen-branch rosette is flanked by two sphinxes.
The cathedral of Trani is also important: it was built in the middle of the XIII century, it was built according to the model of the Basilica of San Nicola in Bari, near the sea, as a luminous reference point thanks to the clarity of the calcareous tuff used. The façade recalls the profile of that of St. Nicholas, but it is not divided into three parts by pilasters and does not present the towers and the porch.
The Church of the Holy Sepulcher (of Burgundian origin) and the cathedral (begun in 1126) are also noteworthy in Barletta.
Also remember: the Cathedral of San Sabino in Bari, completed in 1292, and the Cathedral of Ruvo, with a salient façade characterized by the fake matronei, and the Concattedrale di Molfetta, which is the largest of the churches with a main nave covered by domes in axis. Other influences can be found in the church of the Saints Niccolò and Cataldo in Lecce (with Borgognoni echoes, 1180) or in the cathedral of Troy (with Pisan influences in the lower register, Armenians in the reliefs flattened on the architrave, Muslims in the capitals, Byzantine in the bronze doors, completed in 1119).
Romanesque architecture of Sicily
La Sicilia and merged territories in the Kingdom of Sicily generally resented at this time of many different influences, due to historical, political and religious that happened in those centuries: two centuries of Emirate (IX-X century), the Norman conquest (1016 – 1091) and the birth of the Kingdom of Sicily were events that triggered a process of complex cultural stratification.
The style is already formulated in the early years of the conquest, with ample citations of the Cluniac architecture due to the presence on the island of monks and priors of Breton origin, men of trust of the Granconte Ruggero. From a timid hint of the style in Mazara to a more secure mastery of styles in Catania, where a monastery is founded in imitation of the abbey of Cluny, the architecture of the XI century in Sicily appears focused on the concept of fortress, leaving little space to the decorative apparatuses. Although remade in more than one epoch, the mastio erected in Paternò constitutes the thoposof the control and defense system of the newly conquered territories. The massive aspect betrays an origin and a military purpose (as well as in the similar examples, although probably later, of Adrano, Motta and probably also of Catania) and the subsequent rearrangements do not leave many hints for a comparison with other contemporary languages. However, the dungeon plant is synonymous with the adherence to the French fortress system.
The flourishing of the style, however, must move about a hundred years, in the middle of the twelfth century. The role of Campania architecture, where Islamic language is already included in the architectural fabric of cities such as Salerno or Amalfi, does not seem to be secondary to the development of taste in Sicily. Norman buildings with Arab influences are therefore in Palermo buildings like the Zisa (1154 – 1189 circa), conceptually inspired by the Fatimid representation halls and richly decorated by muqarnas; the Cuba (1180); the arabeggiante plant so much of thechurch of San Giovanni degli Eremiti (about 1140), with a cruciform plan, as for the San Cataldo (about 1161). Decorative elements such as bearings, alfiz and mosaics representing eight-pointed stars are well appreciated in many monuments, such as the Martorana (1143). The latter is an important stylistic syncresis with the contemporary Byzantinism, together with the Palatine Chapel in the Palazzo dei Normanni (1143), mentioned both in the mosaics, and in marbles inlaid with cosmatics in the floors and in the first register of the walls. In the Palatine Chapel a happy marriage was made between a Greek cross plan for the presbyter and the basilica body in the nave. The mosaics present a more original scheme than the “observance” of the Martorana. In the room of Ruggero I at the Palazzo dei Normanni there is also a single profane cycle with scenes of gardens and hunting, favorite pastimes of the sovereigns, which incorporates an iconography typical of the Arab palaces.
A further inspiration from Islamic architecture is the church of Saints Peter and Paul of Agrò (1172), whose name was fortunately received by the architect Gherardo il Franco and the mandator Teostericto Abate of Taormina who had the building rebuilt. at his expense (it is probable that the reconstruction, given the proximity of dates, is due to a collapse occurred during the earthquake of 1169). The church presents elements of North African tradition such as intertwined arches, more typically Persian elements such as the polylobed domes, along with some more typically Byzantine elements such as the reuse of Roman columns or the presence of the iconostatic hole.
Other important examples of buildings of the time are the cathedrals of Cefalù (1131 – 1170 circa) and of Monreale (1172 – 1189). In both are attested more influences, ranging from the Cluniac experiences in the area of the apse, to the typical Lombard arches (to Cefalù), to those intertwined (to Monreale) of Arab influence, to the two towers in the façade reminiscent of transalpine models, introduced from the Normans.
The aesthetics of the island Sicily spread rapidly also in the peninsular Sicily, that is the current regions of Calabria and Basilicata. The Sicilian influences are evident above all in the rendering of the details in the exteriors, but particularly in the spatial distribution of the interiors. The cathedral of Gerace (1045) is an effective example of Calabrian taste, rather simple and bare, probably because it belongs to the first phase of style. The Cluniac influence is revealed once again in the distribution of the volumes of the connected environments, as in the lighting system. In this regard it is very interesting to compare the apsidal structure of Gerace, cut by a horizontal frame that follows the curvilinear course of the two apses and dominated by circular splayed windows, and the analogous catanese where for the first time on Isola is experimented with the procession of pointed arches.
Romanesque architecture in Sardinia and Corsica
The Romanesque architecture in Sardinia has had a remarkable development and for a long period. His expressions were influenced, already from the first origins, by contacts with Pisa and later by the arrival of numerous religious orders, coming from various Italian regions and from France. In the island architecture, therefore, Tuscan, Lombard and transalpine influences can be found.
Among the most interesting architectures, just to name a few, stand out the basilica of San Gavino in Porto Torres (before 1065), the palatine chapel of Santa Maria del Regno di Ardara (SS), the cathedral of Sant’Antioco di Bisarcio in Ozieri, the Basilica of San Simplicio in Olbia, the church of San Nicola di Silanis in Sedini, the Cathedral of Santa Giusta of the homonymous center (OR), the church of Santa Maria di Uta(CA), the Saccargia basilica in Codrongianos and San Nicola in Ottana (NU).
Also in Corsica there were interesting Romanesque events, characterized by contacts with mainly Tuscan environments as in the case of the (cathedral of Santa Maria Assunta di Lucciana, church of San Michele in Murato, Santa Maria Maggiore in Bonifacio, etc.).
Source from Wikipedia