by standing armies.  But these haughty barons were met face to face by equally haughty bishops, armed with spiritual weapons.  These bishops were surrounded and supported by priests, secular and regular,—­by those who ruled the people in small parishes, and those who ruled the upper classes in their monastic cells.  Learning had fled to monasteries, and the Church, with its growing revenues and structures, became a new attraction.

The architects of the Romanesque, who were probably churchmen, retained the nave of the basilica, but made it narrower, and used but two rows of columns.  They introduced the transepts, or cross-enclosures, making them to project north and south of the nave, in the space separated from the apsis; and the apsis was expanded into the choir, filled with priests and choristers.  The building now assumes the form of a cross.  The choir is elevated several steps above the nave, and beneath it is the crypt, where the bishops and abbots and saints are buried.  At the intersection of choir, nave, and transept,—­an open, square place,—­rises a square tower, at each corner of which is a massive pier supporting four arches.  The windows are narrow, with semicircular arches.  At the western entrance, at the end opposite the apse, is a small porch, where the consecrated water is placed, in an urn or basin, and this is inclosed between two towers.  The old Roman atrium, or fore-court, entirely disappears.  In its place is a grander facade; and the pillars—­which are all internal, like those of an Egyptian temple, not external, as in the Greek temple—­have no longer Grecian capitals, but new combinations of every variety, and the pillars are even more heavy and massive than the Doric.  The flat wooden ceiling of the nave disappears, on account of frequent fires, and the eye rests on arches supporting a stone roof.  All the arches are semicircular, like those of the Coliseum and of the Roman aqueducts and baths.  They are built of small stones united by cement.  The building is low and heavy, and its external beauty is in the west front or facade, with its square towers and circular window and ornamented portal.  The internal beauty is from the pillars supporting the roof, and the tower which intersects the nave, choir, and transepts.  Sometimes, instead of a tower there is a dome, reminding us of Byzantine workmanship.

But this Romanesque church is also connected with monastic institutions, whose extensive buildings join the church at the north or south.  The church is wedded to monasticism; one supports the other, and both make a unity exceedingly efficient in the Middle Ages.  The communication between the church and the convent is effected by a cloister, a vaulted gallery surrounding a square, open space, where the brothers walk and meditate, but do not talk, except in undertone or whisper; for all the precincts are sacred, made for contemplation and silence,—­a retreat from the noisy, barbaric world.  Connected with the cloisters is a court opening into the refectory, where all the brothers dine.  “Meals were in common, work was in common, prayer was in common”—­a real community life.