PPT6_BYZANTINE_EARLY_
MEDIEVAL_WARRIOR_
LORD_HEBERNO_
SAXON_CAROLINGIAN_OTT
ONIAN_ROMANESQUE_
HUEZO
BYZANTINE ART
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Architecture: central and quincunx plan churches
Mysterious, irrational, and decorative
Columns with basket capitals
Mosaics with lots of gold
Stylized forms: large eye, long thin fingers and noses
Central, frontal, symmetrical
Figures lack mass and have down-pointing feet
Hieratic (representations or methods are fixed by or as if
by religious tradition) scale
• Flat, linear; no shadows, no landscape, no background,
little modeling
• Isocephalic-heads at same level
Cathedral of San Marco
(Venice, Italy)
• Byzantine and local
artists create mosaics
over centuries
• Built for St. Mark’s relics
• Doge Domenico
Contarini
• Begun 1063
• Cruciform plan with
central dome over the
crossing and four
smaller domes over the
arms
Lamentation Over the Dead Christ
• Mural in St. Pantaleimon,
Nerezi, Macedonia
• 1164 C.E.
• Emperors lifted ban on
religious images
• For more emotion added
Mary and John in a
natural setting
• Represents intense grief
Three Angels
(Old Testament Trinity)
• Andrei Rublyev
• Tempera on wood 4’ 8”
x 3’ 9”
• ATP 1410 C.E.
• Russian icon painting strong patterns, firm lines,
& intense contrast colors
so worshipers could see
in candle light and
incense
• Lines contrast demeanor
• Same figures, different
colors
EARLY MEDIEVAL
• ATP 500-1000
• Represnts a fusion of Christianity, the
Greco-Roman heritage, and cultures of the
non-Roman peoples
ART OF THE WARRIOR
LORDS
• Interlace patterns
• Imaginary animals
• Appears on small portable objects
(manuports), usually with a practical
purpose
• Most likely large artworks did not survive
war rather than were not made
Purse Cover from Sutton Hoo ship
burial
• ATP 625 C.E.
• Gold, glass, & enamel
cloisonné w/ garnets and
emeralds 7½”
• Cloisonné- soldered metal
strips (cloisons) edge up to
metal background, filled
w/stones, glass, or glass
paste
• Believed to be funeral ship of
Lord Scyld (from Beowulf)
• Part of medieval tradition of
burying great lords w/ rich
furnishings
Animal-Head Post
• From Oseberg, Norway
ship burial for two women
• ATP 825
• Wood about 5” high
• Animal form & lace
pattern- fundamental
motifs from Northern
Frontier of former Roman
Empire warrior lords
• Highlights intricate Viking
carving ability
HIBERNO SAXON
(Ireland, England)
• Distinctive illuminated manuscripts (hand
written books containing books of the Bible
and other Christian writings)
• Swirling animal images mixed with
Christian ideas
• High crosses between 8th and 10th
centuries exceptional in mass and scale
• Corsses were freestanding and
unattached to any structural fabric
Cross and Carpet Page of
Lindisfarne Gospels
• From Northumbria,
England
• ATP 698-721 C.E.
• Tempera on Vellum 1’
1½” x 9¼”
• Cobination of Christian
images and animal
interlace style
• Eadfrith, Bishop of
Lindisfarne
• For God and St. Cuthbert
who’s relics were recently
deposited in the church
Chi-rho-iota
(Book of Kells)
• Probably from Iona,
Scotland
• Owned by Kells
monastery in southern
Ireland
• Late 8th or early 9th
century
• Tempera on vellum 1’ 1”
x 9½”
• Opening of Matthew’s
Gospel
• XPI in Greek letters
St. Matthew
(Lindisfarne Gospels)
• Northumbria, England
• ATP 698-721 C.E.
• Tempera on vellum 1’
1½” x 9¼”
• Eadfrith, Bishop of
Lindisfarne
• Follows tradition of
Mediterranean
manuscript
illumination
High Cross or Muiredach
• Monasterboice,
Ireland
• Sandstone about 18’
high
• 923 C.E
• For burial of Abbot
Muiredach who
headed on of oldest
monastaries in Ireland
• Freestanding high
Celtic cross
CAROLINGIAN ART
• Evidence of classical Illusionism:
modeling, landscape background,
attempts at perspective
• Expressionism: energetic lines, emphasis
on expression of inner emotional state
St. Matthew
(Ebbo Gospels)
• From Hautvillers (near
Reims), France
• ATP 816-835 C.E.
• Ink and Tempera on
vellum
10¼” x 8¾”
• Gospel Book of
Archbishop Ebbo of
Reims – made for him
• Manuscript illuminator
with energy that
amounts to frenzy
Crucifixion
on front cover of
Lindau Gospels
• Saint Gall, Switzerland
• ATP 870 C.E.
• Gold, precious stones,
and pearls 1’ 1 3/8” x 10
3/8”
• Example of Carolingian
book covers
• Made in workshop of
Charles the Bald’s court
• Delicate metal relief in
repoussé
• Statuesque and open
eyed – less real portrayal
Palatine Chapel of
Charlemagne
• Aachen, Germany
• ATP 792-805 C.E.
• Built under
Charlemagne
• Carolingian conversion
of Byzantine building
techniques-foreshadows
Romanesque
• resembles San Vitale in
Ravenna, Italy
• Geometric clarity
OTTONIAN ART
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Stylized figures with big eyes
Completely linear and flat
Hieratic scale
Composition: central, frontal, symmetrical
Isocephalic
Abbey Church of St. Pantaleon
• Cologne, Germany
• ATP 966-980 C.E.
• Begun by
Archbishop Bruno
• Empress
Theophanu
expanded the
church to include a
crypt
St. Michael’s Doors with Relief
Panels
• Hildesheim, Germany
• 1015 C.E.
• Commissioned by
Bishop Bernward
• Bronze 16’ 6” high
• Left door: Genesis right
door: Life of Christ
• Each cast separately
with the figural
sculpture using wax
casting
Crucifix for Cologne Cathedral
• Commisioned by Archbishop
Gero
• ATP 970 C.E.
• Painted carved wood 6’ 2”
• Cologne, Germany
• Example of revival of
monumental sculpture
• Reliqaury-shrine for sacred
relics
• More human and closer to
Byzantine than Early Christian
• Powerful intense agony
portrayed
ROMANESQUE
Sculpture
• Attached to churches, completely dependent on the
architecture
• Stylized, elongated
Architecture
• Use of Roman round arch and barrel vault
• Larger churches built to accommodate pilgrimages:
second aisle, ambulatory, radiating chapels
• Stone barrel vaults replace flammable wooden roofs,
cause walls to be thicker, w/ smaller windows so darker
St. Sernin Cathedral
• Toulouse, France
• ATP 1070-1120 C.E.
• Counts of Toulouse had
church built for Saint
Saturninus
• Geometrically precise
and crisply rational
• Lengthened nave,
doubled the side aisles,
and added a transept,
ambulatory, and radiating
chapels for pilgrimages
• Barrel vaults
St. Ambrogio Cathedral
• Milan, Italy
• ATP late 11th,
early 12th century
• Built in Honor of
Milan’s first bishop
St. Ambrose
• First instances of
rib vaulting
Saint Etienne Cathedral
• Caen, France
• Begun 1067 C.E.
• Begun by William of
Normandy (William
the Conqueror)
• Sexpartite vaultingribs creating six
sections
• Very high vaults for
clerestory
Durham Cathedral
• Durham, England
• Begun ATP 1093 C.E.
• William of
Normandy’s conquest
shanges the English style
• Patterned ribs on naive’s
groin vaults
• Quadrant arches (curves
extend ¼ circle’s
circumference in tribune
• Quadrangular ashlar
blocks carved by corps of
expert masons for walls
Pisa Cathedral Complex
• Pisa, Italy
• Cathedral 1063 C.E.,
baptistery 1153 C.E.,
campanile 1174 C.E.
• Coherent group of 3
Romanesque buildings
• Marble incrustations-wall
decoration of bright
panels of different colors,
as in Pantheon’s interior
• Pisans wanted it to be a
glory to God and bring
credit to the city
Christ in Majesty
South portal of St. Pierre Cathedral
• Moisac, France
• ATP 1115-1135 C.E.
• Record the second
coming of Christ as
King and Judge
• Tympanum
(semicircular lunnette)
above door
• Frieze relief