ART 305: EARLY MEDIEVAL ART: IMAGING GOD, IMAGING POWER
Exam 3 (Final Exam) Study Guide: (Early Medieval Art)
Preparation:
1) You should be able to identify fully the objects listed below. A full identification includes
artist/architect, title/name/subject of object, original place of production, and 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 subject matter/iconography, patronage,
original context, function, audience, materials and techniques used, and relation to other
objects and themes of the course. Be able to use and define terms (introduced in your reading
and in class) in relation to specific objects.
Format:
The exam will consist of three parts:
I. Identifications/Short Answers (8 minutes/23 points total): Give a full identification for five
objects; and then quickly answer basic questions concerning each object.
II. Short Answer Comparisons (14 minutes each/16 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 the list of potential questions/discussion
topics below). Your answer will be graded based on the depth, focus, and specificity of your
knowledge. In other words, be specific, precise, and thorough!
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.
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: (This numbered list corresponds to a set of study images posted to ARTstor.)
1) Eagle-Shaped Fibulae, Visigothic Spain, 6th century.
2) Crown of Recceswinth, Visigothic Spain, 7th century.
3) Golden Buckle, Sutton Hoo Ship Burial, Sutton Hoo, England, c. 625.
4) Lindisfarne Gospels, Lindisfarne, Northumbria, c. 700.
5) Book of Kells, Iona and Kells, early 9th century.
6) Odo of Metz, Palace Chapel of Charlemagne, Aachen, late 8th century.
7) Oratory of Theodulf, Germigny-des Prés, 806.
8) Soissons Gospels, monastery of Saint-Médard, Soissons, 827.
9) Coronation Gospels, Aachen, early 9th century.
10) Ebbo Gospels, Reims, 816-835.
11) Utrecht Psalter, Reims, 816-835.
12) Lindau Gospels, front and back covers, c. 870 and c. 800.
13) Abbey Church of St. Michael, Hildesheim, 1010-33.
14) Bronze doors (1015), column (1022), Church of St. Michael, Hildesheim.
15) Doubting Thomas, ivory plaque from diptych, early 11th century.
16) The Lothair Cross, Aachen, c. 1000 (not in book).
17) Crucifix of Archbishop Gero, Cologne, c. 970.
18) Gospels of Otto III, Reichenau, c. 1000.