Early Medieval Art
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EARLY MEDIEVAL ART
(500 - 950 CE)
I.
BARBARIAN KINGDOMS
A. Basic Characteristics
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Romans called every non-Roman who lived beyond the
frontiers of their empire “barbarians.”
But as Roman Empire declined and fell these people had
adopted Christianity (in NW Europe), settled in towns, risen
to prominent positions in Roman Empire, and absorbed
much Greco-Roman culture.
When Roman Empire fell:
 Armed conflict and competition fierce between tribes.
 Collapse of trade and towns
 Loss of literacy
 Rise of Romance (Roman-based) languages
o By the 800’s, French, Spanish, Italian and other
Romance languages had evolved from Latin
Spread of Christianity
B. Art of the Warrior Lords
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Portable and functional – the Germanic tribes were itinerant.
So their art is practical and easy to carry (portable). These
tribes moved so much that historians also refer to this period
of European history as the Migration period. Because
migration due to war and displacement were so
commonplace in this era, large artwork and architecture
were not (unable to be) produced. Not a lot of the artistic
production was preserved. What we do know is mostly from
burial sites. (Tumuli)
Animal Style – are where the decoration is in the form of
abstracted animals such as bird and fish. These abstract
animal forms are also known as ZOOMORPHIC
IMAGERY.
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Highly decorative – extensive use of gold and gems using the
technique of CLOISONNE.
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CLOISONNE is a metal working technique in which cloisons
(small pieces of metal) are soldered (welded) onto a metal
background plate and enamel is filled in the spaces. The
decorations often included INTERLACE – a design in which
Early Medieval Art
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an artist uses single ribbon or line and intertwines it over and
over for aesthetic purposes.
C. Examples
o Frankish fibula, mid-500’s, (GARDNER’S 408) –
FIBULAS served as pins to fasten garments. They were
like giant safety pins. Merovignian pertains to a dynasty
of the Franks (barbarian tribe).
o Sutton Hoo treasures (ca. 625)
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In 1939, a treasure-laden ship was discovered in a
burial mound at Sutton Hoo in Suffolk, England. The
objects were carefully chosen to reflect the king’s high
status and to equip him for the afterlife.
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Among the many precious finds were a gold belt buckle,
ten silver bowls, and 40 gold coins to pay the 40
oarsmen who would row the deceased across the sea on
his final voyage.
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Not sure who this burial ship is for. King may have
been a Christian convert (silver spoons inscribed with
St. Paul’s name)
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Helmet – (British Museum site under “Highlights of the
British Museum)
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Purse Cover – GARDNER’S 409
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It contains abstract animal imagery, a common feature
of early Medieval art. The art of this period is
sometimes called the Animal Style. The object, a purse
cover, is a small and portable piece, fitting with the
migratory nature of tribes of the early Middle Ages.
The purse cover was made using cloisonné and is highly
decorative; all empty spaces are filled in with enamel
and interlace designs, also a characteristic of art of
early Medieval Europe.
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Notice the heraldic design motifs. Heraldic designs like
this were also seen in the art of ____________________.
3. Vikings
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 793 pre-Christian Scandinavian traders/pirates (viks =
trading places) invaded British Isles. North men
(Norsemen) and continued migration (e.g. in France
Norseman became Norman and now we have the
Normandy coast in France).
 Mostly decorated wooden ships with intricate carvings
 Extant examples from ship burial sites
 Animal-headed post, Osterberg, Norway, ca. 825
 By 11th C. most Scandinavians were Christians.
Translated Viking tradition of ship carving to
ornamentation for churches.
 Wooden portal of the stave church at Urnes, Norway,
ca. 1050 – 1070. Stave is a vertical wedge-shape
timber).
o Elongated animal forms and intertwining
flexible plant forms.
II.
HIBERNO-SAXON ART (600 – 800 CE)
A. Introduction
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During the early Middle Ages there was a sudden flowering of
Christian art in Ireland and the various islands off the coasts
of northern Britain. Its style is called Hiberno-Saxon.
(Hibernia is Latin for “Ireland.”)
Fusion of native and imported artistic traditions
The Christian converts developed their own monastic
organizations that differed from Church of Rome (partly due
to isolation: they were at the “end of the world” from Rome’s
view).
Monasteries chose inaccessible sites to minimize temptations
and distractions
Insular = Hiberno-Saxon = Irish-English monestaries.
Illuminated manuscripts were their most distinctive products
IM created primarily for conversion purposes.
Most potential converts were illiterate: viewed books with awe.
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B. Manuscript Illumination
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Man (symbol of St. Matthew), Book of Durrow, ca. 660 – 680
 See Gardner’s “The Four Evangelists” (page 412) for
explanation of attributes of the 4 Evangelists.
 Full page devoted to pure embellishment
Early Medieval Art
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Lindisfarne Gospels, ca. 698 - 721 (GARDNER’S 16-1 and
16-7)
Carpet Page
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Lent prestige to books (like jewelry)
CARPET PAGES: resemble textiles made up of
decorative panels of abstract and zoomorphic designs.
NO PRECEDENTS in classical art.
Notice St. Matthew is mostly abstract design
Weds abstract early medieval adornment with Early
Christian imagery.
Lindisfarne is an island of the coast of Scotland which
had a monastery famous of producing illuminated
manuscripts
Monasteries in such remote locations were centers of
learning and produced books in SCRIPTORIA – centers
for producing illuminated manuscripts.
Such monasteries were also wealthy and susceptible to
Viking attacks as was the case with Lindisfarne.
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The Lindisfarne Gospels illuminates the Gospels of the
Bible – Matthew, Mark, Luke, and John
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It contains a CARPET PAGE – a highly decorative page
with INTERLACE designs which resembles an Persian
carpet. More intricate than the Book of Durrow.
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Zoomorphic imagery is often included within the design
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COLOPHON (inscription in back of book with info on
book’s manufacture)
St. Matthew
 Used an illustrated Gospel book from Italy as a model.
 Curtain = indoors
 St. Matthew reading or writing in style of Greek/Roman
philosopher depictions.
 St. Matthew sits on bench receding at an angle:
Mediterranean perspective influence (classical)
 But artist mostly interested in design, not volume,
shading and pictorial illusionism of Greco-Roman
world.
 Note sharp lines and flat colors of drapery
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Early Medieval Art
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Who’s that guy?
Book of Kells
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Greatest achievement of Hiberno-Saxon art
Unprecedented number of full-page illuminations,
including carpet pages, evangelist symbols, and
portrayals of the Virgin Mary and Christ
WOW – “the work not of men but of angels.” (Giraldus
Cambrensis, ca. 1150 CE)
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WHEN – The Book of Kells was completed in about 800
CE
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WHERE – The scribes and artists who created the Book
of Kells were monks who lived in a monastery on the
remote island of Iona, off the west coast of Scotland.
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WHO – The names of the illustrators are unknown. It is
estimated that the artwork took a team of illustrators 30
years to complete!
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WHAT – The book consists of a Latin text of the four
Gospels, written in calligraphy and lavishly illustrated in
as many as TEN colors. It contains 680 pages. Only TWO
of its 680 pages are without color.
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The Book of Kells were written and painted on VELLUM
– made out of calf skin, which had been soaked, stretched,
and scraped clean.
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It is often called an ILLUMINATED manuscript because
the drawings illuminate or illustrate the t ext and the
colors illuminate or brighten each page.
HISTORY
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In order to protect it from the Viking raiders, the Book
of Kells was moved to Kells Monastery in Ireland in the
9th century.
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Now known as the Book of Kells, the book remained at
the monastery for almost 200 years until it was stolen in
1007. Its golden jewel-encrusted cover was ripped off
the book and never recovered. However, the book itself
was recovered. 30 FOLIOS – pages are missing
Early Medieval Art
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The Book of Kells remained in the monastery at Kells
until 1541, when the Roman Catholic Church took it for
protection. In 1661, it was returned to Ireland and given
to Trinity College of Dublin by Archbishop Ussher. It
has remained at the college since then and is now
considered a national treasure.
AMAZING FACTS
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The INTERLACE (a complex pattern composed of a
single line that intertwines and overlaps completely
filling the available space) is truly incredible. ONLY
WHEN A TEN-FACTOR MAGNIFYING GLASS IS
APPLIED TO SOME OF THE FIGURES CAN ONE
SEE THE BREATHTAKINGLY INTRICATE AND
EXACT DECORATION. But magnifying glasses of that
power did not exist until hundreds of years later.
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In one spot, there are 158 lacings of a white ribbon
contained in a square inch and nowhere can there be
found an error by the artists.
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In the late 1980’s, a Swiss firm specializing in the
reproduction of rare illuminated manuscripts produced
1,480 copies of the Book of Kells and sold each copy for
$18,000!!!
C. Stone Crosses GARDNER’S 16-9
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III.
The crosses have a circle in the center of them. These crosses
are known as CELTIC CROSSES and are important to
Hiberno-Saxon art.
Exceptional mass and scale (18 ft!)
Grave markers
CHARLEMAGNE AND THE CAROLINGIAN REVIVAL
A. The Rise of the Franks
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Clovis converts to Christianity (496)
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“Meekly bow thy proud head…Adore what thou has burned,
burn what thou has adored.”
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Charles “The Hammer” Martel defeats the Muslims at the
Battle of Tours (732)
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Pepin forms a close alliance with the Pope and is crowned
“king by the grace of God.”
B. Charlemagne (768 – 814)
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Personality
Conqueror
Reviving the glory of the Roman Empire
Holy Roman Emperor – crowned Holy Roman Emperor by
the Pope on Christmas day 800 in Old St. Peter’s Basilica.
The spot is marked in new St. Peter’s.
Revived learning
 Court at Aachen
 Scholars such as Alcuin were brought into expand
education
 Saved Greek and Roman manuscripts
 Invented Carolingian Miniscule – our own cursive
writing is based upon Carolingian Miniscule
C. Carolingian Art
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Imperial Imagery
 Equestrian Portrait of Charlemagne (Gardner 416)
Equestrian portrait is reminiscent of Roman imagery
for emperors; think Marcus Aurelius in Rome
It is a figurine of small statue just 9 ½ inches high
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Two Portraits of St. Matthew
 Classical St. Matthew from the Coronation Gospels
(Gardner 16-3) 800 - 810 – classical calm
o Charlemagne encouraged use of classical style in
Aachen (his capital) to reinforce his connection
to the Roman emperors.
o Carolingian artist (if not an Italian who would
have absorbed this style) fully absorbed classical
manner
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o Use of color and shading to mimic the modeling
of light on forms (3D) – not just 2D graphic
linear design
o Toga, cross-legged chair, lectern are Roman
accessories
o Landscape like Roman painting (think 3rd style
in Pompeii)
o Framed in acanthus leaf pattern found in
Corinthian capitals.
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Impassioned St. Matthew from the Ebbo Gospels
(Gardner 417), 816 - 835
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Matthew wears a toga and the modeling of his head,
hands, and feet create a sense of three-dimensional
illusionism.
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Saint Matthew writes with an energy that suggests a
frenzy of divine inspiration. The saint almost leaps
under its impulse. His hair stands on end, his eyes
open wide, the folds of his drapery writhe and
vibrate. Even the landscape seems to be alive.
Matthew appears to take down in frantic haste what
his inspiration (the tiny angel in the upper-right
corner) dictates.
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Artist translated classical prototype into a new
Carolingian language merging classical illusionism
with northern linear tradition.
Utrecht Psalter, ca. 820 – 835
o Psalms of David in 3 columns in Latin letters
with pen and ink drawings across the bottom of
the page across all three colums.
o Perhaps artist copied manuscripts from 400
years earlier.
o Regardless, artist wanted manuscript to appear
ancient and used perspective illusion.
o Figures have a gestural quality, not stiff at all.
o Figures have modeling, a sense of mass
o Many similarities to the Ebbo Gospels, nervous
energy.
Early Medieval Art
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Crucifixion, front cover of Lindau Gospels, ca. 870
o Retain taste for sumptuous, portable objects
from time of the Warrior Lords
o Glorified the word of God
o Christ is young, unbearded
o Does not seem to be suffering
o Repousse (hammered or pressed relief)
o Mediterranean style (classicism) prevails: calm
and idealized.
D. Carolingian Architecture
 Schematic Plan for a monastery at St. Gall, Switzerland, ca.
819
 The Carolingian period left a legacy on the building of
MONASTERIES
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Saint Benedict established rules for monks living
communally that ordered the day into periods of manual
labor and sacred reading. These rules are considered the
Benedictine Rule (Regula Sancti Benedictus).
Charlemagne encouraged the following of St Benedict’s
rules for monasteries.
 Abbey is the name for a monastery operating under St.
Benedict’s Rule.
 Abbot: absolute ruler of abbey as elected by monks.
 Manual labor was encouraged and raised in status in direct
contradiction to antiquity’s view of manual labor being
disgraceful.
 Monks followed these rules and separated themselves from
worldly living in MONASTERIES. It is a cure for worldly
intrusions onto monks’ meditations
 Charlemagne encouraged the building of monasteries
which were centers of learning
 Monasteries continued the literary culture of the GrecoRoman world
 Monasteries were self-sufficient communities.
 Notice a new feature attached to the church – a CLOISTER
- a courtyard surrounded by columns similar to the
Roman ATRIUM but attached to the side of the church
 Much of the Met’s Medieval Art collection is housed in a
separate museum called the CLOISTERS
 Clergy, who were also often scribes, held monopoly on
literacy. Reading and copying manuscripts as well as
studying music for chanting, and teaching were all
considered manual labor, eventually.
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E. Palatine Chapel of Charlemagne, Aachen, Germany, 792 - 805
 The Problem
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Charlemagne want to have a Royal Chapel
But what plan should he use?
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Solution One: The Basilica-Plan
 Nave – a large central hall where the congregation sits
 Clerestory – row of windows in the upper part of the
wall
 Apse – a projecting part of a basilica, usually
semicircular in shape
 Transept – cross arm placed at right angles to the nave
 Narthex – an entrance porch of a church
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Solution Two: The Central Plan
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The rectangular basilica church was long the favorite in
Western Europe.
But Early Christian architects also adopted another
architectural type: THE CENTRAL PLAN building.
This type is so named because the building’s parts are of
equal or almost equal dimensions around the center.
In Western Europe, CENTRAL PLAN structures were
first used by Christians as tombs, baptisteries, and
shrines to martyrs
In the CENTRAL PLAN, the DOME is the natural focus
of the church. The DOME functions symbolically as the
“vault of heaven.”
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What did Charlemagne choose? (Gardner 16-17)
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Charlemagne’s Palatine Chapel at Aachen
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Palatine Hill in Rome is where the patricians and
emperors lived. It was the site where Romulus founded
the city of Rome.
Charlemagne’s Palatine Chapel was designed by Odo of
Metz
Influenced by SAN VITALE in Ravenna – Charlemagne
probably related better to the Germanic kings who ruled
Ravenna, and he made several trips to Ravenna
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Notice the significant Roman elements of Palatine Chapel
– It reflects how Charlemagne wanted to revive the glory
of the Roman Empire
First vaulted (domed) structure of Middle Ages north of
the Alps.
Reinterpretation of earlier Christian sources in Rome and
Ravenna
Emulated splendor of Byzantine empire (San Vitale,
Ravenna)
Floating quality of San Vitale translated into massive
form, foreshadowing Romanesque architecture (11th and
12th C.)
F. Carolingian architecture left a legacy on the development of Western
European church design.
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Carolingian architecture favored the basilica plan which was
used in Western Europe for centuries to come
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At the west entrance of the basilica, architects included two
large towers at the corners. The architects enlarged the entire
western façade to unite it with the towers. This large western
entrance made popular during the Carolingian period is called
a WESTWORK.
Abbey church, Corvey, Germany, 873 – 885
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Towers incorporated into west end facade of basilica church.
German,Westwork = western entrance structure, also called a
castellum (Latin for castle or fortress) or turris (tower).
Corvey is only surviving example.
Stairs in westwork for emperor to ascend to second story
which had a separate chapel. Chapel was also used for special
celebrations.
Boys’ choir also stationed in 2nd story chapel.
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G. Decline of the Carolingian Period and the Frankish Empire
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After the death of Charlemagne, his son Louis the Pious
reigned. Louis the Pious was not a strong ruler like his
father.
After his death, three of Louis’ sons split the Frankish
Empire
Early Medieval Art 12
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IV.
Charles the Bald – inherited the western lands which
eventually formed the foundation of France
Louis the German – took the eastern Frankish lands
which eventually became Germany
Lothair – took the “Middle Kingdom” which extended
from the North Sea to Italy
OTTONIAN ART
A. Who are the Otto’s?
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A line of Saxon kings
Ruled what are now parts of Germany, Austria, and
Northern Italy
Three Otto’s ruled from 936 – 1002
Supported culture and the arts – carried on the tradition
established during the Carolingian period
B. Bishop Bernward
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Tutor of Otto III
Skilled in diplomacy
Scholar
Lover of the arts
Expert craftsman and bronze caster
C. Nave of the church of St. Cyriakus, Gernrode, Germany, 961 – 973
 Has transept at east with square choir (space reserved for clergy
and singers in church) in front of the apse.
o Crossing is the area where the basilica’s long axis intersects
the transept (the “horizontal” part of the cross)
o Square crossing is a crossing where the transept and
basilica have the same width and so the crossing area is
square.
 Nave is one of the first to have a gallery between the ground-floor
arcade and the clerestory: Very popular in Romanesque era.
 Note ALTERNATE-SUPPORT SYSTEM: Heavy square piers
alternate with columns. Division continues on gallery; leads eye
upward.
 Note: flat timber ceiling.
D. Cathedral of Saint Michael’s Hildesheim
 Built for an Ottonian Monastery
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Resembles a basilica – long rectangular structure
Early Medieval Art 13
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Notice the use of an ALTERNATE-SUPPORT SYSTEM –
This means that the nave arcade is supported by columns
alternating with piers (rectangular).
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A distinctive feature of the Saint Michael’s church that
separates it from Early Christian basilicas – It has TWO
TRANSEPTS
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Note the arch at the end of the nave in plan view – it
resembles a Roman triumphal arch
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Lateral entrances leading into aisles from north and south.
Loss of traditional basilican orientation toward east (usually
enter in the westwork).
E. Bronze Doors of Saint Michael’s at Hildesheim
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16 feet high
8 scenes from the Book of Genesis on the left and 8 scenes from
the life of Christ on the right
Old Testament scenes prefigure the New Testament scenes.
EXAMPLE – the panel with God judging Adam and Eve for
the original sin is juxtaposed with Jesus being judged by
Pontius Pilate
An inscription mentions their initiator and their date of origin:
"In the year of the Lord 1015, Bishop Bernward, in divine
memory, had these cast door wings suspended on the façade of
the Angels' Temple, for his remembrance."
Technical marvel: most art since Late Antiquity were small
objects. These doors were cast as single objects.
Conceptually though the panels almost read like book covers:
If you are casting a 16 ft. tall door you could have made one
large figure on the door.
Right door relates life of Christ from Annunciation to
Resurrection (Bottom to Top).
Left door depicts Old Testament prefigurations of the events in
Christ’s life (Top to Bottom).
o Fall of Adam and Eve across from Crucifixion
o Eve nursing Cain across from Mary with infant Christ.
F. Bronze Column in Saint Michael’s Hildesheim (Gardner page 448)
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Column reminiscent of the Roman tradition of recording great
events with triumphal column.
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12 ½ feet high
Modeled after ______________ Column in Rome
Narrative tells the story of Jesus’ life in 24 scenes
Reads from bottom to top.
Relates scenes from Christ’s life not covered in doors.
G. Crucifix carved for Archbishop Gero (Gardner 449)
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Commissioned by Archbishop Gero
Carved in oak and then painted and gilded
Highlights Christ’s agony and intense suffering.
Dramatically different view of Crucifixion from Lindau
Gospels.
Ottonian Illuminated Manuscripts
A. Annunciation to the Shepherds, folio in the Lectionary of Henry II, 1002 –
1014
a. Book of Gospel readings for Mass.
b. Angel’s wings still beating as he announces Christ’s birth.
c. Gesture of authority.
d. Terrified shepherds.
e. Hierarchy of scale
f. Rocky landscape with grazing animals derived from Late Antiquity
painting
g. Golden background from Byzantine mosaics
i. Otto II had married a Byzantine princess, was Henry II’s
predecessor.
B. Otto III enthroned, from the Gospel Book of Otto III, 997 - 1000
a. Emperor with German and Byzantine roots (mother was Byzantine
princess, Theophanu).
b. Shows Emperor enthroned with scepter and cross-inscribed orb –
universal authority from Christ – goes back to Constantine
iconography.
c. Barons and clergy are at his sides – both support him (like Justinian
mosaic).
d. Itemize Byzantine styles in painting:
i. Frontal
ii. Flat
iii. Drapery rendered graphically, not forms modeled with
shadow.