structural:expansion
Wall painting

The large wall surfaces and plain, curving vaults of the Romanesque period lent themselves to mural decoration. Unfortunately, many of these early wall paintings have been destroyed by damp or the walls have been replastered and painted over. In England, France and the Netherlands such pictures were systematically destroyed or whitewashed in bouts of Reformation iconoclasm. Murals in Denmark, as well as in Sweden, and elsewhere many have since been restored. In Catalonia (Spain), there was a campaign to save such murals in the early 20th century (as of 1907) by removing them and transferring them to safekeeping in Barcelona, resulting in the spectacular collection at the National Art Museum of Catalonia. In other countries they have suffered from war, neglect and changing fashion.

A classic scheme for the full painted decoration of a church, derived from earlier examples often in mosaic, had, as its focal point in the semi-dome of the apse, Christ in Majesty or Christ the Redeemer enthroned within a mandorla and framed by the four winged beasts, symbols of the Four Evangelists, comparing directly with examples from the gilt covers or the illuminations of Gospel Books of the period. If the Virgin Mary was the dedicatee of the church, she might replace Christ here. On the apse walls below would be saints and apostles, perhaps including narrative scenes, for example of the saint to whom the church was dedicated. On the sanctuary arch were figures of apostles, prophets or the twenty-four " elders of the Apocalypse ", looking in towards a bust of Christ, or his symbol the Lamb, at the top of the arch. The north wall of the nave would contain narrative scenes from the Old Testament, and the south wall from the New Testament. On the rear west wall would be a Last Judgement, with an enthroned and judging Christ at the top.

One of the most intact schemes to exist is that at Saint-Savin-sur-Gartempe in France. The long barrel vault of the nave provides an excellent surface for fresco, and is decorated with scenes of the Old Testament, showing the Creation, the Fall of Man and other stories including a lively depiction of Noah's Ark complete with a fearsome figurehead and numerous windows through which can be seen Noah and his family on the upper deck, birds on the middle deck, while on the lower are the pairs of animals. Another scene shows with great vigour the swamping of Pharaoh's army by the Red Sea. The scheme extends to other parts of the church, with the martyrdom of the local saints shown in the crypt, and Apocalypse in the narthex and Christ in Majesty. The range of colours employed is limited to light blue-green, yellow ochre, reddish brown and black. Similar paintings exist in Serbia, Spain, Germany, Italy and elsewhere in France.

The now-dispersed paintings from Arlanza in the Province of Burgos, Spain, though from a monastery, are secular in subject-matter, showing huge and vigorous mythical beasts above a frieze in black and white with other creatures. They give a rare idea of what decorated Romanesque palaces would have contained.