PART 3
HISTORY AND CONTEXT
Chapter 3.2
Art of the Middle Ages
Copyright © 2011 Thames & Hudson
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Introduction
 Middle Ages

Marks the end of the Classical world

Ends at the beginning of the Renaissance
 Medieval

End of Roman Empire in the west by 476 CE

The western part of the empire followed the Roman Catholic Church
 Byzantium

Roman Empire becomes Byzantine empire in the east

Roman capital becomes Constantinople

The eastern part of the empire followed the Greek Orthodox Church
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Introduction cont.
 Romanesque

Begins in the 11th century CE

Period of building large stone churches covered with sculpture
 Gothic

c. 1150 to the fifteenth century

Known for grand cathedrals
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Some stylistic characteristics of art from the
Middle Ages:
 Expresses spiritual concerns rather than humanist ones
 Made to support religion and pilgrimages
 Centered around location of relics and important sites
 Religious subject matter
 Richly decorated manuscripts
 Fantastical animal-like forms
 Elongated and twisted figures
 Grand-scale cathedrals
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.31 Map of Europe and the Middle East in the Middle Ages
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Art of Late Antiquity
 Marks the transition from the pagan polytheistic religions
to three large monotheistic religions:

Judaism
• Descendants of Abraham
• Yahweh’s (God’s) face is not shown in art
• Few examples of Jewish art survive

Christianity
• Worships Jesus Christ as the son of God
• Second Commandment



Admonishes that Christians should not worship idols
Some sects believe that this warns against making images of religious
figures
Islam
• Muhammad as main prophet of Allah (God)
• Does not show Allah in art, and rarely shows human figures
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.32 Interior west wall of synagogue at Dura Europos, Syria, 244–5 CE. Reconstruction in National Museum, Damascus, Syria
3.33 Exodus and Crossing of the Red Sea, panel from west wall of synagogue at Dura Europos, Syria, 244–5 CE. Reconstruction in
National Museum, Damascus, Syria
3.34 Painted ceiling, late 3rd–early 4th century CE. Catacombs of Saints Peter and Marcellinus, Rome, Italy
3.35 Good Shepherd, 425–6. Mosaic in lunette. Mausoleum of Galla Placidia, Ravenna, Italy
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Byzantine Art
 Emperor Justinian great patron of the arts

Funded Hagia Sophia, Constantinople

Protected icons at monastery of St. Catherine, Mount Sinai, Egypt
 Mosaic

Made from glass tesserae

Often placed in Byzantine churches to reflect light
 Icons

Encaustic paintings on wood

Venerated, believed to possess powers of healing
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Some stylistic characteristics of Byzantine art:
 Christian subject matter
 Small icons promote personal mediation
 Glass mosaics made for churches
 Floating figures in which line is emphasized rather than
volume
 Flat spaces with minimal sense of depth
 Light an important element for churches and mosaics
 Frequent use of gold, especially in the background
 Empty background to signify no connection to a specific
time or place
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.36 Christ icon, 6th century.
Encaustic, 33 × 18”. St. Catherine
Monastery, Mount Sinai, Egypt
3.37 San Vitale, apse, c. 547,
Ravenna, Italy
3.38 Theodora and Attendants, c. 547. Mosaic on south wall of apse, 8’8” × 12’. San Vitale, Ravenna, Italy
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Manuscripts and the Middle Ages
 Books written and decorated by hand
 Artists and scribes were often monks
 Beauty and detail of manuscripts encouraged long
contemplation
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.39 Page from the Koran,
probably late 12th century.
Maghribi on vellum, 7½ ×
7½”. British Library, London
3.40 Cross-carpet page
introducing the Gospel
according to St. Matthew.
Lindisfarne Gospels, fol.
26b. British Library, London,
England
3.41 Detail of 3.40
3.42 The Fifth Vision of Hildegard of Bingen, frontispiece for Liber Scivias, c. 1230, original manuscript lost. Biblioteca Governativa,
Lucca, Italy
3.43 The Ascent of the
Prophet Muhammad on his
Steed, Buraq, Guided by
Jibra’il and Escorted by
Angels, 1539–43. Miniature
painting from a manuscript
of Nizami’s Khamsa (Five
Poems), originally produced
in Tabriz, Iran
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Pilgrimage in the Middle Ages
 Central to the practice of Judaism, Christianity, and Islam
 Pilgrims traveled to:

Places where relics were kept

Sites of important religious events
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.44 Reliquary of the Head of St.
Alexander, 1145. Silver repoussé,
gilt bronze, gems, pearls, and
enamel, 7½” high. Musées Royaux
d’Art et d’Histoire, Brussels, Belgium
3.45 Dome of the Rock, 688–91, Jerusalem, Israel
3.46 Kaaba, Al-Masjid al-Ḥar¯am, Mecca, Saudi Arabia
3.47 Mihrab from the Madrasa
Imami, Isfahan, Iran, c. 1354.
Mosaic of polychrome-glazed cut
tiles on stonepaste body, set into
plaster, 11’3” × 9’5¾”. Metropolitan
Museum of Art, New York
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Symbolism in Medieval Churches
 Imagery used to teach the faithful stories from the Bible
 Many parishioners and pilgrims were illiterate
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.48 St. Trophîme, west portal
with tympanum, 12th century,
Arles, France
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
St. Trophîme, west portal with tympanum
 Last Judgment


Placed above entrance and exit to church
Blessed on Christ’s right; damned on his left
 Christ


Hierarchical scale
Central position
 Four Evangelists:




Matthew (angel)
Mark (lion)
Luke (ox)
John (eagle)
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.49 Diagram of the west
portal tympanum in 3.48
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Medieval Church Plans
 Churches were sites of relics and made for pilgrimages
 Romanesque churches

Some architectural features reminiscent of ancient Rome

Pointed arch a new aspect at this time

Use of tympanum
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.50 St. Sernin, c. 1070–1120, Toulouse, France
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
St. Sernin, Toulouse, France
 St. Sernin Church

Designed in shape of Latin cross

Entrance on the west; entrance on the east

Towers show generations of building

Bell tower shows evolution of pointed arch in upper levels

Entrance on the west via a portal featuring Last Judgment
tympanum

Altar to the east
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.51 Latin cross plan
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
The Rise of the Gothic
 Gothic architecture

Increased height

Rib vaults

Flying buttresses
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.52 Chartres Cathedral, completed 1260, France
3.53 Chartres Cathedral,
interior view showing
labyrinth
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
To see more of this beautiful and dramatic building, watch:
The Gothic Cathedral of Chartres
Click the image above to launch the video
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.54 Cimabue, Virgin and Child
Enthroned, c. 1280. Tempera and
gold on wood, 12’7½” × 7’4”.
Uffizi Gallery, Florence, Italy
3.55 Giotto, Virgin and Child
Enthroned, c. 1310. Tempera on
wood, 10’7”× 6’9”. Uffizi Gallery,
Florence, Italy
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Discussion question
1. The Middle Ages was a time of strong religious belief.
Select two artworks, each made for believers of a different
religion, and contrast how the artist has emphasized the
religious elements of the artwork.
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Discussion question
2. Compare the architecture of a Gothic cathedral with that
of an Islamic mosque. How does the architecture of each
reflect the beliefs and rituals of its worshipers?
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Discussion question
3. Select one two-dimensional artwork (paintings, mosaics,
manuscripts) from the West and one from the Byzantine
tradition. Contrast the form and content of the two
artworks.
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
This concludes the PowerPoint slide set for Chapter 3.2
Gateways to Art: Understanding the Visual Arts
By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
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Chapter 3.2 Art of the Middle Ages
PART 3
HISTORY AND CONTEXT
Picture Credits for Chapter 3.2
3.31
Drazen Tomic
3.32, 3.33 Zev Radovan/www.BibleLandPictures.com
3.34
Canali Photobank, Milan, Italy
3.35
Photo Scala, Florence
3.36
Monastery of St. Catherine, Sinai, Egypt
3.37
Photo Scala, Florence
3.38
Cameraphoto/Scala, Florence
3.39, 3.40, 3.41 British Library, London
3.42
Biblioteca Governativa, Lucca
3.43
British Library/akg-images
3.44
Musées Royaux d’Art et d’Histoire, Brussels
3.45
© Hanan Isachar/Corbis
3.46
Mohamed Amin/Robert Harding
3.47
Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1939, Acc. no. 39.20. Photo Metropolitan Museum of
Art/Art Resource/Scala, Florence
3.48
© Matthew Lambley/Alamy
3.49
Ralph Larmann
3.50
© Rolf Richardson/Alamy
3.51
Ralph Larmann
3.52
Hervé Champollion/akg-images
3.53
Sonia Halliday Photographs
3.54, 3.55 Galleria degli Uffizi, Florence
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