ART 305: EARLY MEDIEVAL ART: IMAGING GOD, IMAGING POWER
Exam 3 (Final Exam) Study Guide:
Preparation:
1) You should be able to identify the objects listed below. A full identification includes
artist/architect, title/name/subject of object, original place of production, date.
2) In addition, be able to summarize what you have learned about each object from your
reading and from class. Be able to explain the object's iconography, patronage, audience, the
materials and techniques used, and its relation to other objects and themes of the course.
Know the definitions of terms introduced in your reading and in class and be able to use these
terms in relation to specific objects.
Format:
The exam will consist of three parts (plus extra credit):
I. Slide Identifications (10 minutes/15 points total): Give a full identification for five slides.
II. Short Answer Comparisons (8 minutes each/18 points each): You will need to fully
identify four pairs of slides. And then respond in two to three paragraphs to one
question/discussion topic concerning each pair (see list of potential questions/discussion
topics below).
III. Ottonian Architecture (5 minutes/13 points total): Fully identify the Abbey Church of
Saint Michael, Hildesheim, 1010-33. Briefly summarize the characteristically Ottonian
exterior and interior architectural features.
Extra Credit: Two additional slide identifications AND a riddle (9 points total).
Potential Questions/Discussion Topics:
1) Compare and contrast these two examples of manuscript illumination. How does each
visualize the words of the text? How does this connect to function and meaning?
2) In terms of our “Imaging God/Imaging Power” theme -- How do architectural spaces (and
their decoration) and liturgical objects communicate meanings about the relationship between
earthly rulers and divinity?
3) Compare and contrast these two images (one made for a private chapel, the other for a
Gospel book) in terms of how each symbolically depicts God/Christ (one relying on Old
Testament iconography and the other on New Testament iconography).
4) Compare and contrast these two images of the Crucified Christ in terms of material, scale,
style, meaning, and function.
5) Compare and contrast these two images of inspired authorship. How do the formal qualities
of the image communicate divine inspiration?
Objects:
Eagle-Shaped Fibulae, Visigothic Spain, 6th century.
Crown of Recceswinth, Visigothic Spain, 7th century.
Golden Buckle, Sutton Hoo Ship Burial, Sutton Hoo, England, c. 625.
Lindisfarne Gospels, Lindisfarne, Northumbria, c. 700.
Book of Kells, Iona and Kells, early 9th century.
Odo of Metz, Palace Chapel of Charlemagne, Aachen, late 8th century.
Oratory of Theodulf, Germigny-des Prés, 806.
Soissons Gospels, monastery of Saint-Médard, Soissons, 827.
Coronation Gospels, Aachen, early 9th century.
Ebbo Gospels, Reims, 816-835.
Utrecht Psalter, Reims, 816-835.
Lindau Gospels, front and back covers, c. 870 and c. 800.
Abbey Church of St. Michael, Hildesheim, 1010-33.
Bronze doors AND column of Bishop Bernward, Church of St. Michael, Hildesheim.
Doubting Thomas, ivory plaque from diptych, early 11th century.
The Lothar Cross, Aachen, c. 1000 (not in book).
Crucifix of Archbishop Gero, Cologne, c. 970.
Gospels of Otto III, Aachen, c. 1000.